When I first hiked the John Muir Trail, I actually wondered whether there would be great photo opportunities.  We would only go past the backside of Half Dome.  Likewise the Mount Whitney Crest.  No icons at all to photograph.  It is true that the mountain scenery on that trip is gorgeous, but daytime photos of it generally are not.  It was on this trip that I learned to chase the light and some of the rules of the road for doing so.

On any hike in the backcountry, it is essential to be open to the sights of the day.  Unexpected opportunities appear and disappear.  Reacting quickly can make the difference between a great shot and an ordinary one. It is true that many photographers head out with a pack full of lenses, an extra body, and a tripod.  They must be Navy Seals.  

For me that doesn’t work, and it especially doesn’t work on a 30 day hike, most of which is above 10,000 feet.  On a hike you might be unable to stop and wait for a hour or more for the light to be right. After a 3,000 foot ascent, you may be very tired when an opportunity presents itself.  It is essential to be open to the unexpected and to be able to move quickly to capture the image the moment it presents itself. 

Galen Rowell, in my mind the father of contemporary adventure photography, used a 35mm file camera, at a time when many “serious” photographers insisted in medium or even large format cameras for photography.  The modern version of that camera is a lightweight mirrorless digital camera.

At first, I used Nikon or Canon APC cameras because they were the lightest available.  Some of the photos from these cameras are presented on this site.  The lenses available for these cameras were good, but I was looking for better quality. 

In 2012 Olympus came out with the OMD, a small, lightweight mirrorless camera.  Olympus has traditionally been a source of excellent lenses.  I loved the mirrorless feature and the reduced weight because of it.  Despite some loss in visual quality through the viewfinder, the fact that no mirror had to be moved during exposure meant for very smooth shutter operation, especially important at low light situations.

I  have never looked back.  Now I have the newly released OM-1.  It is an adventure photographer’s dream camera.  The body is quite light.  It is the world leader for in-body-image-stabilization.  Crisp clear hand-held shots can be had from shutter speeds of a couple of seconds or more.  It has focus tracking that will follow a bird, for example, and capture full resolution images at 50 frames per second.  It has in-camera high dynamic range capability that is cleaner than ever thanks to a faster sensor.  The same sensor speed has also improved the image quality of the in-camera focus stacking.  It provides a hand-held 50 megapixel option for relatively still subjects.  

The camera also has a new feature that simulates a neutral density filter enabling clear shots of flowers aside a blurred stream.  Each of these features can be programed to a single button or dial for immediate access. 

It has best-in-industry weather proofing.  I will stop this list with a mention of the 5.76 dot OLED electronic viewfinder, which for all practical purposes is as good as optical.

Putting aside for the moment the hand-held 50 MP feature, the big issue with the camera is its 4/3 sensor, which is half the size of full frame cameras.  It also has “only” 20 megapixels. There is no question at all that on a bench test, there will be greater detail from a 40 to 50 MP full frame sensor.  Likewise there is no question that the full frame camera, and especially its lenses, will be much, much heavier.

Operating in the field is quite a different matter than conducting a bench test.  The equipment must be carried, sometimes for great distances over difficult terrain.  My OM-1 with a Pro f4, 12-45 lens weighs less than 2 pounds including battery.  No full frame body with a pro quality lens comes close.  God forbid that a tripod would be needed. That weight not only has to be carried, but it has to be hefted into place for a steady shot in the low light conditions that prevail at dawn, dusk or after a storm.

Let’s look at a typical example.  Start with a camera setting at f4, ISO 200, and shutter speed 1/100.  As the light dims, the Olympus camera with its unbeatable stabilization allows you to maintain the 200 ISO setting while decreasing the shutter speed.  If the light drops 8 stops, the shutter speed can be decreased to 4 seconds.  With care you can get a great, clean shot of stationary subject.

A full frame camera and its much heavier lens is at a severe disadvantage.  It is a challenge to hold that rig steady  for a shot at 1 or 2 seconds shutter speed, much less 4.  Instead, it is more likely that the photographer will have to increase the ISO.  If the ISO is increased by the same 8 stops to 12,500, the photographer can get the shot at 1/100 shutter speed, but at a noticeable loss of image quality.

For action shots like wildlife, no competitor, full frame or otherwise, can deliver full resolution focus tracking at 50 frames per second.  The lighter weight of the Olympus is also a tremendous advantage when moving quickly to keep the camera framed on the darting unexpected movements of wildlife.

For some reason, I wish the sensor had more than 20 megapixels; but I can’t really figure out why.  Yes, there is a limitation on the size of print enlargements, but that has no practical effect on me and probably not on many others.  I have a 16 x 20 print of my Alpamayo shot on the South America page which has no discernible quality loss.  

I photographed a falcon on the roof of an old office building in downtown San Francisco that was the site of Sam Spade’s office in the film noir classic, The Maltese Falcon.  (It was taken with an OMD that had a 16 megapixel sensor. See below.) The Natural Resources Defense Council, which has offices in the building, made a 24 x 20 print of that shot which it displayed in a conference room.  Again there was no visible loss of image quality.

However, let’s say you want to go larger.  With Adobe Super Resolution, the file size can be upscaled to twice the size.  My 20 megapixel image becomes an 80 megapixel image.  The native raw file size for this camera is about 11 x 14.  With Adobe Super Resolution, the base file size is about 22 x 28.  I believe that file could be enlarged to 30 x 40 while retaining excellent image quality.   I used Adobe Super Resolution to upscale my picture of the Tengboche Monastery on the Himalaya Page  to a 28 x 14 print.  It looks fabulous.

While I don’t want to understate the importance of technical quality,  it is also a mistake to overemphasize its role.  A good photograph also depends of the selection and framing of the subject and the timing of the shot. I love to hike, and photography enhances the hiking experience.  It makes me think more about my surroundings, and it leaves me with images that enrich my memories.  For me, Olympus lightweight, high quality equipment is the secret sauce.  

I am a retail customer of Olympus.  I do not receive any discounts or promotions that are not available to retail customers.  The opinions on this website are my own.

Adventure travel is a great opportunity for photography, but it has its own challenges.  You are always on the move.  There may be a schedule to keep.   Even if your adventure travel takes you to famously photographed scenes, the light at your arrival might not be good or the weather may be terrible.  There may not be time for a set shot with a tripod.  If your adventure travel includes hiking, you will have to be able to carry the gear.  If you want to enjoy the photography of adventure travel, these challenges should be accepted.

Galen Rowell famously said that the best camera in the world is the one you have with you.  It is equally true that the best photos of your trip are from the scenery that is there. 

The light on your trip may offer unanticipated opportunities. Go out and see the light at dawn, at sunset or after a storm.  Adventure photography means taking advantage of the opportunities that are offered, even if they were not the opportunities hoped for.  Forget that wonderful morning cup of coffee or tea or a relaxing beer in the room in the evening.  Go outside. See what the light might be doing.  

A lightweight camera and lens is key.  The best place for the tripod is in your closet.  Modern mirrorless cameras have less glass and less weight.  New levels of in-body-image-stabilization (IBIS) reduce camera shake and enable excellent images at 1 second shutter speeds or even slower.  Maybe you should reevaluate that f2.8 lens that weighs a ton.  A pro quality f4 lens may be all you need.  Lighter weight equipment is not just easier to carry; it is also easier to steady for the longer shutter speeds. 

Outside the scene may be changing quickly. The adventure photographer should be light as well as quick.

Then there is the excitement of the shot itself.  When a great original scene presents itself, maybe fleetingly, your heart will pound, but it must be stilled.  You may have only one chance to get this photo.

That being the case, my advice is to take a shot right away with whatever settings are on your camera or set it to auto and shoot.  Worry about the problems in post-capture, but at least you have the shot. 

If the light is still good, take a deep breath and slow down. Under no circumstances should you repeat the shot you just took. Think about the composition of the shot.  Take care to get the focus point of your camera exactly where you want it.  Are the shutter, aperture and ISO settings what this shot needs?  The light may be dim.  You may need a slow shutter speed.  Yes, your camera has great stabilization, but you may need more.  Is there something solid you can lean your back against?  Is there something to rest the camera on? A really solid position is to sit down with your back against something sturdy and both knees bent up in front of you.   If none of that is possible, put one leg forward, one leg back.  Rest firmly on your back leg and steady your body, elbows against the chest.  Take a deep breath. If you can do it, listen carefully to your heartbeat.  When you are ready to shoot, hold your breath; and press the shutter smoothly and carefully. 

If there is time for another, reconsider everything.  Would another angle be better?  Should you go for a wide angle or a telephoto? If there is a lot of contrast, consider exposure bracketing. Should you use high dynamic range? What about focus stacking?

This is your shot.  If the time is fleeting, there is no point in wasting it with haste. Slow down.  You will be rewarded for doing so.