“Little folks, huge mountains.” That is how alpine journey photographer Kamil Tamiola sums up his aesthetic. “I all the time clarify it is little folks, huge mountains and clouds. You may actually break it down to those quite simple issues. However there’s a very highly effective message these images convey. You may construct large, dramatic, epic tales out of this. Or you possibly can put the man within the ice cave and simply illuminate him and use the ice as a reflector. You do not have to do extra. It is a quite simple visible language. Utilizing scale, utilizing climate situations… All these tiny elements inform a narrative. Individuals occurring an epic journey within the huge mountains. The clouds emphasize the drama and present the dimensions of the mountains and the problem the climbers had.

“I imagine images are made from visible parts,” Tamiola says, “visible options. It is a visible language that is used to speak issues. For instance, the expressiveness of the faces of the folks, or utilizing angles to speak the story, like an establishing wide-angle scene, or a decent telephoto to herald some motion. It’s all a visible language, and that is why I name it visible storytelling.”

Not like an editorial photographer who would possibly accompany a climbing staff because it surmounts a brand new impediment, Tamiola places his visible storytelling method to work on industrial assignments. So he strives to get rid of probability and make sure the success of a shoot by bringing collectively the perfect topic within the good location at simply the correct time. It is all about preparation.

“I actually spend quite a lot of time excited about the placement,” Tamiola says. “Ninety p.c of the particular work is on preparation. I spend quite a lot of time on the lookout for data, speaking to mountain guides, telling them I am on the lookout for a spot the place I’ve an enormous mountain, or a wall of granite, or a spot the place the glacier could be very blue with a number of options and open area. After which we spend a number of time going over footage and generally climbing to places, as a result of I am 20 minutes from Mont Blanc. I inform folks that is what I’ve discovered on Google pictures, that is the place we’re going to go, I imagine that if the clouds will kick in we’ll have a number of drama, a number of attention-grabbing issues occurring.”

Tamiola takes a rigorous, nearly scientific method to preparation, and for good purpose: he holds a Ph.D. in utilized physics. The day we spoke he had simply been granted a provisional patent for an algorithm he developed to precisely calculate nighttime lengthy exposures. When Tamiola speaks of his experiences testing cameras or lenses, or how the inverse sq. legislation elements into capturing nighttime imagery, or how a selected little bit of software program has been higher engineered than one other, he is bringing to bear a Cambridge training in a subject of research that applies on to images. When Kamil Tamiola talks, photographers ought to pay attention.

Kamil Tamiola works in places the place the climate is greater than an aesthetic concern. He explains, “Climate is so necessary. Within the mountains, particularly the upper ones just like the excessive Alps, that are the very best on this a part of the world, the climate can change in 20 or 30 minutes in summer season. The clouds can create in a short time. A few of the mountains, due to the neighborhood to the Mediterranean Sea, have a really peculiar microclimate with, for instance, electrical storms build up rapidly. And belief me, there’s nothing worse than being caught on the center of an open subject glacier, in the midst of a rolling electrical storm. You could have rolling thunder, the lightning hitting the glacier and the present propagating on the floor of the glacier and electrocuting folks. Silly! These usually are not avalanches. Any such silly factor, like not checking the climate forecast correctly, or not discussing with a mountain information the day earlier than, who was there, who can let you know, look, the climate is sweet, but it surely’s too heat, can lead to a disaster. Many individuals, mountaineers even, they begin taking images and never listening to situations round. And when the storm comes there might be no helicopter rescue. Helicopters do not fly in storms!”

Tamiola is so diligent in getting ready for his climbs as a result of he is a giant believer in taking management of a photograph shoot, not just for the sake of the dramatic pictures he is got down to create but additionally in order that he and each different member of his staff makes it again safely.

“The fantastic thing about working in any mountain atmosphere,” he says, “is that getting up the mountain is 50% of the success. And the opposite 50% is getting safely down. This is applicable not simply to images however to any exercise which includes mountains. Statistically, 80% of the accidents within the excessive mountains occur on the descent. You are drained, euphoria kicks in, you are glad, ‘Alright, we wrapped it up, the climate was good!’ These accidents aren’t spectacular or dramatic. Armageddon type issues do not occur often within the mountains. Mountains hardly ever crumble. What occurs is folks do silly issues, like not clipping carabiners or not tying the ends of the rope they usually rappel off the rope. Or unclipping on the glacier to go sooner, after which they simply enter a crevasse. Foolish, ridiculous issues. That is the opposite facet of out of doors images within the mountains.”

Climate can also be a serious threat issue. Storms come up in mere minutes and might entice climbers on a treacherous descent or pin them to a glacier as lightning cascades throughout. Being caught off guard by an impending storm is bush league, a particular no-no. It is rigorous preparation that offers Tamiola absolutely the confidence within the success of a shoot and the security of his staff.

For the uninitiated, right here is how Tamiola says mountaineering images are often made. As a part of a staff of a handful of climbers, the photographer is roped to his colleagues for security—simply as they might be for some other climb. Due to their proximity, broad angle lenses are the order of the day; topics are actually tethered inside a couple of meters of the digicam. Once in a while he could attain an space the place he can anchor himself to the mountain and ask superior climbers to repeat a piece of the climb for the sake of {a photograph}. That is when the experience and professionalism of his staff is particularly necessary.

“That is what I clarify to advertising and marketing folks,” Tamiola says. “I might be working with mountain professionals, people who find themselves principally paid to do their job. And their job is to get my ass safely on and off the mountain, to not have casualties there. As a result of that is severe. Individuals die doing this. And the second factor is, after I ask them for one thing, they simply do it. They will not be like, oh, I do not really feel like doing that.”

The extra technical a climb, the extra security tools is required, which limits the quantity of photographic tools Tamiola can carry. At extra simply accessible places he has used Section One medium format digital cameras together with Elinchrom and Profoto strobes. More often than not, although, he prefers a Canon EOS 5D Mark III with pure gentle—or, on uncommon events, a Speedlite.

For the picture of a climber swinging an ice axe as she ascends a sheer ice wall, Tamiola stuffed the backlit shadows with a Canon 580EX II. For a shot of an ice climber at night time, the cave was illuminated with Elinchrom Quadra strobes—enabled, after all, by a good quantity of preparation.

“I went the day earlier than to see the way it seemed,” Tamiola explains. “I knew the climb, I knew it was steady, they’re skilled ice climbers, they informed me they might climb it 200 occasions, so I checked out this gap from many angles. After which after all we go in the midst of the night time, we convey all this junk, we attempt to maintain it heat, as a result of at -20C˚ batteries discharge instantly. And it is a fully totally different sort of shoot, the place I already know what I am aiming for, and naturally I can not see the way it appears, however I do know what I am on the lookout for, I do know what the security margin is, I do know ought to the climate fail—and the climate failed, as a result of it began snowing on this shoot fairly closely—I do know what to do. That is precisely the distinction between doing it on the skilled degree and occurring a hippy glad journey the place possibly we’ll do it or not. No no no. If I can not do it, I’ve a plan B. If the climate is dangerous right here, plan B is to go there. If there isn’t any plan B, there should be plan C.”

Ready as he could also be, Tamiola refers many times to his love for experimentation. It is how he discovers new methods and new places and the way only a few years in the past he found a love for nighttime images. Shortly thereafter he made a picture that may go viral, convey him a modicum of web fame and speed up his images profession. It is a picture of a person exterior his tent, in the midst of the night time, getting ready for a climb.

“The picture is fairly cool really,” he says, “as a result of it is a mix of journey and lengthy publicity images. There are many issues occurring. Numerous folks accuse me that this picture has been Photoshopped fully, as a result of they might not imagine that you would mix lengthy publicity images of celestial objects, the starry skies, and having an individual with a head torch and issues occurring. It has been taken within the very coronary heart of the Mont Blanc basin. Within the background you may have one of many summits of Mont Blanc, and on it you may have climbers with headlamps. The picture is taken precisely at three within the morning. Why? As a result of that is the second that individuals begin their climb to the summit. At that second, it’s a must to get up, drag your ass from the tent, arrange… and that is what this man is doing. This picture is for me the essence of what I like about mountaineering. It is about understanding the place you might be, understanding how we have to do issues, committing to it, dragging your ass out at night time, when it is very chilly—actually it is annoyingly chilly—and also you have a look at the sky and the celebrities and it is surreal. It is simply surreal.”

Tamiola edited this picture as he does all of his images, counting on what he calls the best possible RAW processing algorithm available on the market.

“The entire processing occurs in Seize One,” he says. “It is completely the most effective in relation to debayering and actually squeezing the final little bit of shade out of the recordsdata. And I say this as a scientist. This is the reason when Section One approached me it wasn’t about cash or getting a Section One digicam to work with, or a self-marketing factor. I stated, ‘I’ve used your software program and it is superior, and if I could possibly be related to it, sure please.’ It is not the most effective software program, it is really fairly gradual, however [technically speaking] it will get you much more. It is actually superior.”

The scientist turned photographer is assured in his findings due to his testing, which once more brings him again to that love of experimentation. He could focus his efforts on preparation and security, however that is all in service of an concept—in order that when he is on location within the Alps, up earlier than the solar, shivering chilly and monitoring a altering climate sample, he is set himself up for achievement. By setting up a framework he’s free to improvise, to experiment with the entire variables of climate, lens, lighting and composition. If it weren’t for experimenting, he is probably not a mountain photographer in any respect. He would possibly nonetheless be in a lab within the Netherlands, doing no matter it’s utilized physicists do, working with a photospectrometer as an alternative of a DSLR. If not for the love of experimentation that in the end led to a profession change, the world of Alpine journey visible storytelling can be lacking a powerful, clear voice.

“For me,” he says, “images is about experimenting. And this is applicable the identical to outside images of any kind. I all the time clarify it isn’t nearly a robust visible that tells a narrative, but it surely’s about experimenting—not simply with the settings of the digicam, however with the climate, with the panorama, or with the situations, or with lights. That is what excites me. I like being within the mountains. That is why we reside within the Alps. However on the finish of the day, it is all the time very thrilling whenever you’re in a brand new place and you’ll actually experiment. With dangerous climate kicking in, you’ve got deliberate a pleasant picture shoot and also you simply should say okay, with this climate, what can we do?”

Kamil Tamiola’s Gear

  • Canon EOS 5D Mark III
  • Canon EF 16-35mm f/2.8L II
  • Canon EF 24-105mm f/4L IS
  • Canon EF 24mm f/1.4L II
  • Canon EF 17-40mm f/4L
  • Canon EF 70-200mm f/4L IS
  • Profoto B1s
  • Elinchrom Quadra RX
  • Canon EOS C100 for movement work
  • DitoGear OmniHead (6-axis motion-controlled head system) connected to Cinevate heavy-duty sliders for time-lapse work
  • G-Know-how G|DRIVE ev ATC waterproof exterior exhausting drive
  • Mamiya 645DF+ with Section One IQ250 or IQ280 backs
  • 28mm, 40-80mm and 80mm Schneider-Kreuznach lenses
  • Section One Seize One eight Professional software program

To see extra of Kamil Tamiola‘s images, go to his web site at www.alpine-photography.com.

By William Sawalich, Images By Kamil Tamiola –>

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