Scottish Winter with GORE-TEX

Over the course of last winter, I worked on a project in collaboration with GORE-TEX, Jamie Skelton, Ella Wright and Tim Miller, putting a range of GORE-TEX Pro kit through its paces over the course of a Scottish winter season. When it comes to testing kit, I don’t think you get a much higher bar than Scotland in winter. Going out in all sorts of wild weather, grovelling up thrutchy mixed chimneys, and sweaty walk-ins carrying heavy packs full of climbing gear. The clothing you wear needs to keep you dry to give you every chance of succeeding in this tough environment.

Jamie Skelton on the wildly overhanging third pitch of ‘Hung, Drawn and Quartered’ VIII 8, on Am Basteir

Aside from a brief spell of good conditions prior to Christmas, the winter of 2020/21 began slowly. January was warm, with little snow on the hills and not much in the way of conditions for winter climbing. Eager to get started on the project, early season patience gradually wearing thin, until finally a cold storm arrived at the end of the month. Myself, Jamie and Tim headed up to the cliffs high above Number 3 Gully on Ben Nevis. As snowed up rock routes these usually come into condition fairly quickly after a storm. 

From afar during the approach, things didn’t look promising. There had been less snowfall than expected and much of the Coire was looking black and out of condition. In Scottish winter climbing there is a set of ethics which determine whether a route is in acceptable winter condition (largely to stop people scratching their way up rock routes in summer with ice axes and crampons, but also because an important part of the challenge of doing a route in winter is dealing with rime and icy rock and thus having some rules is important to ensure a fair winter ascent). Routes are expected to have some rime of snow on them, or to be icy enough that an ascent wouldn’t be possible with bare hands and rock shoes in order to be considered in fair winter condition. We ventured higher into Coire na Ciste, hoping that things might be more promising higher on the cliffs. Our persistence paid off. 

Jamie Skelton finishing the delicate traverse on ‘Babylon’ VII 7

Babylon, a route at the highest point on Number 3 Gully Buttress, was covered in a thin layer of rime ice. Just enough to be in fair nick. The route follows a system of cracks up to an outrageously positioned top pitch. A thin traverse, with wild exposure below you, leads to the foot of a wide chimney. A couple of big moves and you’re into the chimney itself and using your entire body to bridge and thrutch your way up to the top of the cliff. The pitch was almost a perfect test of some of the key aspects of the GORE-TEX kit. Its ability to move well with the climbers as they made the big moves into the chimney, and then also its durability and abrasion resistance as they used full body friction to make their way up the chimney itself.

Jamie Skelton pulling into the upper chimney on ‘Babylon’ VII 7

Tim Miller putting the abrasion resistance of the GORE-TEX Pro fabric to good test

Topping out on the route with time in hand, we took a wander up to near the summit of the Ben. Seeing that Gardyloo Gully was in great early season icy condition, Jamie and Tim quickly romped up the atmospheric gully, allowing us to capture some ice climbing imagery. A nice bonus from the day!

Tim climbing beneath the big chockstone in Gardyloo Gully, high on Ben Nevis

February brought more storms, and our attention turned to some of the more out there winter climbing locations in Scotland. Tim ramped up the ambition levels further, having seen a recent photo online which suggested that a route called ‘Hung, Drawn & Quartered’ on the Isle of Skye may be in condition. Situated on the sharp pinnacle of Am Basteir on the Cuillin Ridge, the route is a modern classic which sees relatively few ascents. It follows an overhanging basalt dyke line which cuts through the steepest section of the cliff. Upward progress is made by hooking your axes over chock-stones (which have fallen and wedged themselves into cracks in the rock), with a bit of chimney grovelling thrown in for good measure. 

‘Hung, Drawn and Quartered’ VIII 8, on Am Basteir. The climb follows the overhanging basalt dyke which runs up the cliff

As spindrift whips around the cliff, Jamie makes the final moves to the belay on the third pitch of ‘Hung, Drawn and Quartered’

This was one of the highlight days of the entire winter for all of us, Jamie and Tim both agreeing that it was one of the best Scottish winter routes they’d climbed. Although a little part of me was gutted not to get to climb it myself, I enjoy days like this with a camera in hand as much as the days hanging off a pair of axes. Stormy conditions (a drone crash..), some complex access and rigging to get into the top of the route, and an incredibly photogenic line at the end of it. It gave everything I really look for in a day out shooting winter climbing.

The breathtaking An Teallach ridgeline

After getting down from Am Basteir and refuelling on pizza in Broadford, we decided to make the most of the good conditions and head straight up to the Northwest Highlands for another day out. Tim had other commitments, but Ella was free so she drove up to join us. An Teallach is one of the most iconic mountains in Scotland, its jagged ridgeline almost resembling a sleeping stegosaurus. One of (if not the best) winter playgrounds in Scotland, the gullies provide excellent steep skiing and the blocky, vegetated sandstone which makes up the cliffs, freezes to offer excellent winter climbing. That morning, we set off through the infamous maze of thick Rhododendron woods that mark the start of the route in. High hopes for an adventurous day ahead, we were hoping to climb a line on Lord Berkley’s Seat, a steep prow of sandstone midway along the ridge. The approach involved ascending a steep snow gully, however as we began up the gully it quickly became apparent that a lot more snow had fallen here than on Skye and more worryingly there was a weak layer sitting beneath all of this fresh snow. As a large hulk of a mountain, sitting way out on its own near the sea, An Teallach can get large amounts of snowfall. Any incoming weather from the Atlantic, hits this vast mass of rock and deposits any precipitation it carries. It was clear that reaching our planned objective was going to be unfeasible with the deep and unstable snowpack, so plans were adapted and we improvised a plan to get some photos on a more accessible section of cliff. Although it wasn’t the plan we’d initially hoped for, we came away with some good images of Ella on some likely unclimbed ground in an impressive position high above Hayfork Gully. One thing I’ve learnt over my time photographing and climbing in the Scottish winter is that things don’t always go to plan, and although you can spend lots of time analysing weather forecasts and snow reports, you don’t always get it right! It’s crucial to never be too wedded to a plan, and to know when you need to change tack and come up with a plan B (or C or D!).

Ella Wright climbing high above Hayfork Gully on An Teallach

For the final day of the project, much later in the season, we headed back to where it all began, Ben Nevis. Ben Nevis is particularly famous for its late season ice. Many of these are long face routes which form due to regular freeze thaw cycles on the mountain. These differ in character to waterfall ice often climbed elsewhere in the world. A common feature of these routes is a unique kind of chewy, plastic ice, which is brilliant to climb although often not so brilliant to protect, with ice screws seldom inspiring much confidence! 

Jamie leading the first pitch of ‘Five Finger Discount’ IV 4 on Ben Nevis

Ella on pitch two

A big part of the project was also highlighting the wash, care and repair methods which can seriously prolong the life of GORE-TEX kit. Many people choose to retire their shell jackets and trousers once they begin to lose water repellency. By using wash and reproofing products, such as those offered by Grangers, it’s possible to give GORE-TEX fabric a completely new lease of life. This is not only good for your wallet but also for the planet! We used a variety of Grangers products, such as the Performance Wash and the Performance Repel Plus to keep the kit performing at its best through the winter, along with GORE-TEX fabric patches to repair the occasional nick or tear in the clothing.

Reproofing one of the jackets

Patching up a small nick in the fabric

As to how the kit performed throughout the winter, I’d generally judge the performance of your winter shell relatively passively. What I mean by this is that it doesn’t need to do anything flashy or exciting, it should just be reliable and perform. The only times you should actually be aware of how it’s performing is when it lets you down and isn’t doing what it should be. You only notice a jacket isn’t breathable when you’re damp with sweat during a period of exertion. You only notice it’s not waterproof when it’s heavily raining or snowing and you’re no longer dry inside. You only notice it’s not stretching when your freedom of movement is restricted whilst making a big climbing move. You only notice it’s not durable when it tears on a sharp rock. Although no jacket or material is totally perfect in any of these regards, GORE-TEX performs exceptionally well on the whole. It allows you to go out and climb in often incredibly challenging conditions. The vast majority of the time you don’t notice what it’s doing, but when you think about it, it’s doing a quite exceptional job keeping you dry and protected from the elements. It very rarely lets you down and that’s the reason why it’s the go-to for the majority of people who climb in the Scottish mountains during the winter months.

2018 - The year of 'maybe this whole thing wasn't such a daft idea after all'

2018 felt a bit mad. Good mad, but mad all the same. It’s been the first year where I’ve started to realise that this slightly crazy, speculative career gamble might actually fly in the long run. More importantly however, it’s been a year of amazing trips with even more amazing people. As such I wanted to put together an end of year review piece, partly to share an insight into what goes on behind the scenes in my work, partly to share some photos I haven’t previously published, but also partly for my own benefit to have a record of what’s been a really fun year.

My work tends to operate on a seasonal basis, so I’m going to start from the beginning of winter 2017/18 and a day out shooting Greg Boswell and Guy Robertson attempting a hard new mixed line on Bidean nam Bian’s Church Door Buttress. As perhaps one of the strongest winter climbing partnerships in the business at the moment, it’s always a real privilege to get to photograph these two doing what they do best. The flip side of this is that I always feel a bit of pressure to capture photos which do justice to their exploits.

Conditions weren’t what most would consider ideal for photography, with flat light and poor visibility through most of the day. I’ve come to learn however that these are often the best conditions for taking good winter climbing photos, as more often than not you’re photographing subjects who’re climbing on shaded north facing crags, and as such high contrast lighting isn’t your friend. Still, I can remember walking off the hill that day and not being sure whether I had anything decent at all (although this is often the case when you’re so cold you can’t hold the camera still and trying to judge whether you’ve actually taken anything good on a tiny fogged up LCD screen). Fortunately though, the day was a success, with Guy and Greg successfully making it to the top of their new route (albeit having to climb the last scary overhanging pitch in the dark!) and from my point of view, coming away with a few decent shots of the climb.

Next up was a week out in the Alps working for NUCO Travel, a big player in the student snowsports holiday industry. I was shooting a mixture of some of the events they were running across a few different resorts, alongside getting some skiing shots they could use for marketing and on their social channels. The week coincided with some great early season snow conditions in the Alps, so it was all about the pow shots!

After a short break over Christmas and New Years it was back up to the Highlands, which were experiencing some fairly special snow conditions. One weekend in particular will live long in the memory for anyone who was lucky enough to be out…

In February I joined up with the talented folk over at Coldhouse to spend two weeks shooting a Scottish Skiing film for Pertex. In almost an exact microcosm of a full Scottish Ski season, the majority of the two weeks was actually spent inside, pouring over weather forecasts, watching storm cycles develop, and trying to anticipate where we might catch good snow conditions. In amongst all that I had some of the most memorable days I’ve spent on skis and we made a wicked little film about Scottish skiing. As director, Matt Pycroft put it “If you like skiing, or Scotland, or smiley, psyched children, or stormy weather, or strangely dedicated chartered accountants who moonlight as steep skiers, then you’ll bloody love this little movie.”

In addition to taking some photos and working as an assistant producer on the film, I also somehow ended up being persuaded to feature in it. Here’s a few photos I took during shooting and a link to the film in case you haven’t seen it already.

Next up, I was back out to the Alps for another week working for NUCO. This time round I was out for their Academy training week. It was great fun to get to photograph such a psyched team of strong young riders, all giving each other loads of encouragement through the week and helping each other to improve and progress. Here’s a few of highlight shots I’ve picked out from the week.

Next it was back to Scotland and another shoot with Coldhouse. This time we were doing the first of two shoots for Rab to mark the tenth anniversary of their iconic Microlight Jacket, which is one of their bestselling products. Rab were re-designing and re-releasing the jacket to mark the occasion and were looking for a series of photos and short films to celebrate the different people who used them. The first shoot focussed on Corin Smith, a fly-fishing guide who’s been doing important work exposing various shortcomings and downsides of the salmon farming industry in Scotland. For the shoot, we explored the adventurous side of Corin’s fishing, seeking out remote lochs, accessing them on foot or on skis, and making use of Scotland’s bothies for the some of the more far flung spots.

In amongst the various commercial shoots I worked on during the winter, I also enjoyed some quality days out on skis with friends. Special mentions must go to Dave Anderson, Scott Muir, Matt Pavitt and Philip Ebert who formed a formidable midweek team for highly successful missions on Stob Ghabhar, Sgòr Gaoith, and the backcountry around Glenshee. Not to mention a brilliant consecutive few days skiing in the Northwest Highlands, on which I managed to fill an entire separate blog post.

The tail end of winter brought something a bit different - Cut Media were producing some new content for GoApe and wanted a photographer to tag along and capture some stills to supplement the video. It definitely wasn’t my usual sort of work, but I always enjoy the challenge of shooting something slightly different, and it was undeniably a fun few days running around on their high ropes courses, zip-line treks, and offroad segways with a camera in my hand!

In mid-May to round off the winter a big group of us descended on the CIC Hut to ski the north facing gullies on Ben Nevis. Despite some pretty damp conditions, I was chuffed to get to ski both of the Castle Gullies, neither of which I’d skied before, in addition to my fourth (I think!) descent of the classic Tower Gully. I’ve taken plenty of skiing photos on the Ben before, so this time I opted instead to film some of the action from the weekend. For anyone who hasn’t skied on the north face of the Ben before, hopefully it gives a bit of a feel for what it’s all about (some years the weather isn’t totally shit too).

At the start of January I’d taken a phone call from Matt Pycroft at Coldhouse, whilst standing at the side of a busy ski slope in the 3 Valleys in France. “Hi Matt, what’s up?”, “Hi mate, okay so long story short we need a photographer/cameraman to join a six week long climbing expedition in the Himalayas. Only slight issue is we need to start booking VISA’s and permits today, so you need to let me know in the next half an hour if you can make it...”

Four months later, I found myself at the check-in desks of Manchester Airport , a good 10kg of camera equipment over the baggage limit, (having tried and hopelessly failed to blag my overweight bag onto the flight), indulging the rest of the team in some early expedition bonding through an age-old game of ‘who can fit five extra drone batteries in their hand luggage?’. After a bit of sleight of hand with the bags on the check-in scales, we were on our way to India.

I was to spend the next six weeks with Malcolm Bass, Paul Figg and Guy Buckingham in a remote region of the Garwhal Himalayas documenting their attempt to make the first ascent of Janhukot (6805m). I won’t go into too many specifics of what happened during the trip (it’s all in the film which you can watch below), but in short I couldn’t have asked for a better first expedition job. Brilliant company from Malcolm, Paul and Guy, great support from Matt and the team at Coldhouse through the whole process, and just a great all round experience.

Things I found challenging included taking photos/video at altitude (I’m usually okay with altitude, however my standard approach of running ahead of the group if I see a potential shot, as opposed to getting everyone to stop so I can set up is completely unsustainable in thin air and would more often than not leave me completely burst for the next hour or so). Things I enjoyed included being completely cut off from the digital world for over four weeks - an initial tough withdrawal period is quickly replaced by a realisation that life is way nicer and simpler without having to know what every man and his dog is up to all the time. I was incredibly grateful to both Pertex and the team at Coldhouse for having the faith in me to send me off on my own to both photograph and film the expedition - hopefully there will be many more to come!

A quick turnaround after the Himalayas (this was the stage of the year where I felt like I was constantly living out of duffel bags) and I was driving out to the Alps for a month or so. The trip began with the second part of the Rab Microlight shoot. This time we would be focussing on Julia Virat, a mountain guide based in Chamonix. We followed her during a days guiding on the Aiguilles d'Entrèves, getting a good mix of night time shots and also some nice sunrise shots high on the ridge itself. For the night shots I made use of headtorches to provide some low key atmospheric lighting (I’ve toyed with using big strobes for lighting before, but I generally find they’re too heavy and a bit of a faff, so not ideal for the fast and light style of shooting I try to employ).

My second big job in the Alps this summer was for Jöttnar and easily ended up being the craziest shoot I’ve worked on to date. The idea started fairly simply. We were to go out and climb a route with two of their athletes, Tim Howell and Willis Morris, capturing some gritty alpine imagery along the way. The whole thing grew arms and legs when Tim, a basejumper, suggested that he might be able to jump off a point half way up the route. In turn, Willis, a speed flyer, decided he would bring along a speedwing to fly down from the top. Then to top it all off, Jake Holland, a filmmaker and paraglider, joined the shoot and brought along a tandem wing, so it looked like we were all flying down! This shoot was definitely one of the hardest I’ve worked on, but also one of the most rewarding. Traversing the Arête du Diables is a fairly long day in itself. If you add in having to capture photos and video along the way (and set up the odd basejump), you really need to make sure you’re moving fast and not faffing at all. This style of shooting, where you’re having to balance moving quickly and safely alongside taking photos, is exactly the kind I get a kick off though, and I was chuffed that it all went as well as it possibly could have. You can read the full story of the day and watch Jake’s film here.

In September, after a month of climbing and working in the Chamonix area, I returned to the UK , where I had two more shoots with Coldhouse for Rab. Although these photos haven’t been used yet, Rab have very kindly given me permission to share a few of them in this post. The first was a running shoot around Glencoe with Greg Boswell, showcasing a few products being used in a fast and light scenario, moving across scrambly exposed terrain. Now Greg obviously isn’t best known as a runner, but fell running is an important component of his training for climbing hard winter routes, and his competency at this discipline really showed as he had no hesitation at moving fast over technical, exposed terrain.

The second shoot was down in Wales with Calum and Gabby Muskett. Rab were looking to get some product focussed imagery showcasing their Kinetic Plus jacket functioning well in damp conditions. We had two days set aside for the shoot so all we had to do was pray for some wet weather... Day one ended up being hopelessly dry, however fortunately enough, not long into day two the heavens opened and we ended up with some of the wettest conditions I think I’ve ever worked in, with points during the day where I genuinely couldn’t clear the water off my lens quick enough between firing off salvos of shots. For anyone wondering about the weatherproofing on the Sony A7III cameras, it survived this, which was about as devious a field test as you could ever come up with. I guess some people might find these sort of conditions a pain to work in, but I seem to almost enjoy it more when the weather gets a bit mental. You invariably end up with more dramatic photos and you feel like you’ve been put through the ringer to get them, which adds to the overall reward factor, or something like that anyway..

My last shoot in the UK for the year was up in Tiree with a few of the team at Tiso. It was more of a lifestyle kind of shoot than anything else, exploring the island in a campervan and taking a few shots of various jackets and pieces of kit along the way.

My final job of the year was out in Antarctica, shooting photos and video for both Jenny Davis and Richard Parks, who were both going through final preparations before setting off on separate expeditions to ski solo and unsupported from the coast to the south pole. It really was one of those once in a lifetime trips, so I’m incredibly grateful to both of them for bringing me along. I’ll likely do a separate post on this at some point, however in the meantime here’s a few teaser shots from the trip.

To round off the year I headed back to Scotland, where Winter was making a brief early appearance. One of my aims for this year is to resist the lure of the easy type-one fun you get from ski days and instead spend more time in the type-two fun zone, working on trying to get my winter climbing up to a higher standard. I made a decent start of this with three days up on Ben Nevis with my mate Luke, who’s currently working towards his prerequisites for the guides scheme. Whilst we were halfway up the classic ‘Gargoyle Wall’, Jamie Skelton and Matt Glen were also climbing the intimidating looking ‘Darth Vader’ on the other side of the gully. Although I wasn’t really out to take photos that day, I’d fortunately brought my camera with me and was in the right place at the right time to get a few shots of Jamie leading the crux. The shot below isn’t perfect by any means as it would’ve been good to get a cleaner perspective of the climber (rather than him being half hidden in the crack), however the combination of the rimed up rock, soft light, and amazing rock architecture on that part of the Ben makes it worth sharing I reckon.

I’m learning that an important part of progressing and improving your photography is learning to be your own biggest self-critic. It’s generally the case that if you share work on social media you only really ever get positive feedback, be it through ‘likes’ or the odd positive comment. It’s very rare that you’ll get any sort of constructive criticism or critique. As such it’s very easy to take all the positive feedback, rest on your laurels, and not work on improving at all. For me personally, this would be a surefire path to losing interest in what I do and burning out. I’ve therefore found it a useful exercise personally to try and recognise where my weaknesses are and work at improving them. I find the process of doing this adds to the challenge and should in theory help to make me a better all-round photographer.

Coming into 2018, I knew that my strengths lay with what I’ll refer to as the ‘hero’ type photos. These being the shots of a stunning sunrise, perhaps with a skier blasting through untracked pow, or alternatively a climber making a hard move with some scary exposure below them. I find these sort of shots are usually easy enough to get with a bit of good planning, good athletes, and an eye for composing a shot. At the start of the year I set out to try and improve both my storytelling and product photography. A great storytelling photo doesn’t necessarily have the same wow factor as a ‘hero’ shot, however in the world of social media, which seems to be an endlessly perpetuating stream of ‘hero’ shots, I find a good storytelling photo often stands out from the crowd. They can be much more interesting to look at, and often demonstrate a far better skill level from the photographer than yet another golden sunset shot. Although most ‘hero’ shots usually come easily with good planning, storytelling photos take a slightly different skillset. Constantly being aware and switched on, anticipation of what might be about to happen next, and fast reactions to capture the decisive moment, are all important skills that contribute to taking good storytelling photos. Storytelling photos are often slightly rough around the edges, perhaps not properly in focus or slightly blurred, however this often adds to their charm!

Whenever I’m trying to improve on a certain area of my photography, I always find it useful to look at other photographers work who are really strong in that area. In this case a great example of someone in the adventure sports field who does storytelling very well is Kelvin Trautman, whose photos excel at capturing the emotions of athletes when pushing themselves beyond their limits. I’ve also recently been introduced to the work of Ragnar Axelsson, whose work documenting the lives of people living in arctic regions is both beautiful and fascinating to look at, giving an insight into the harshness of living in an arctic environment.

The product photography overlaps slightly with both the hero shots and the storytelling photos, and is very important for much of the commercial work I do. Here I’m ultimately trying to show off a particular product and its features with some exciting or visually interesting imagery of the product being used in a real life situation. This can sometimes require a bit of direction of the athletes you’re working with to get them in the right place, however I try to be as light on instructions as possible (preferring to shoot in a mainly reportage style) as I tend to find it’s often easy to spot staged photos a mile off.

As I said, I’ve made a concerted effort to try and improve both these areas in my photography and hopefully some of that has come across in the images I’ve shared in this post. Looking back over the photos I’ve taken in last year, I realise that I’ve perhaps gone too far the other way and taken too few hero shots, so this year perhaps a good objective would be to redress the balance a bit!

Anyway I’d like to finish by showing my appreciation to all the clients who’ve trusted me to produce work for them, all the athletes who’ve tirelessly repeated moves or got up at some stupid time of the morning for one of my hair-brained early starts (my job is easy compared to what you all do), and also to all the friends who I’ve shared the simple pleasure of time in the mountains with. Without all of you I wouldn’t be lucky enough to be doing what I firmly believe is the best job in the world, so a massive thanks to all of you!

'The Game'

Scottish backcountry skiing is all about ‘the game’. Every winter, those that choose to play it will spend time almost every day poring over weather charts and trying to build a picture of where the best conditions might be. This picture is complicated by highly localised weather systems and ferocious winds which commonly strip the mountains of any new snow which has fallen. The line between finding a gully either full to the brim with powder, or choked with sheet ice is often a thin one.

With so many variables at play, even veterans of ‘the game’ regularly head into the mountains only 50% confident that their assertions about conditions are correct. The remaining 50% based on gambling on some sort of blind hope. This is what can make Scottish ski days so rewarding. Every day out is a full-on adventure, with the unknowns only adding to the excitement.

A couple of years back, we took a punt on some early season snowfall in the east and set off into the Cairngorms, reaching the plateau in time for sunrise. It was exactly one of those days where we had no idea what to expect. Conditions could easily either have been incredible or total crap. As it was, we had a bit of luck that day, resulting in one of the most memorable days I’ve ever had on a pair of skis.

Pete Mackenzie dropping into Diagonal Gully as the sun rises over the Cairngorms

Pete Mackenzie dropping into Diagonal Gully as the sun rises over the Cairngorms

Scoping out his line moments before dropping into an atmospheric, clag filled Pinnacle Gully

Scoping out his line moments before dropping into an atmospheric, clag filled Pinnacle Gully

2016 - A look back

At the end of the first full year in which I’ve really begun taking my photography seriously, I wanted to do some sort of review of the year including a selection of some of my highlight images from 2016. I also thought it would be a worthwhile exercise to reflect back on what has in many respects been a fairly mad year, with some notable big changes in my life. I hope this exercise of looking back and reviewing will help me prepare in some way for the big challenges I’m expecting 2017 to throw at me - so here we go!

After a slow start to the Scottish ski season before the New Year, the first weeks of January 2016 finally brought good snow conditions to the Highlands. This was particularly the case in the Cairngorms, where a pre-dawn start allowed myself and Pete Mackenzie to get above the Loch A’an Basin in time for sunrise. Westerly winds had filled in the gullies there well and we managed a descent of Diagonal Gully in clear conditions, before the weather closed in for our further descents of Pinnacle Gully and the classic Aladdin’s Couloir in Coire an t-Sneachda.

Within a few days, conditions were looking good in the west, so we headed to Nevis Range’s infamous ‘Back Corries’, where I came away with this shot of Pete jumping into the top of ‘Chancers’. Later on in the year, this photo was to gain me my first ever magazine cover in BMC’s Summit Magazine.

February brought both more snow and long periods of settled weather, providing plentiful opportunities to get out in the mountains. There were two particular days which stand out for me. The first, a cold summit camp on Aonach Mor, only yards from the top of Easy Gully, providing an ideal base from which to ski it at first light. The shot I came away with has its flaws. I’m not completely happy with my positioning or the composition, however I think it makes up for it with the atmosphere with the sun glowing off the fresh snow and highlighting the spindrift which was blowing up over the top of the gully.

The second was a day spent with local Fort William freerider, Dave Biggin, on a bluebird powder day at Nevis Range. Standout moments include him straight-lining the ludicrously steep Y-Gully and the mega air he took from a flat take-off into ‘Marian’s’ - a powder filled bowl situated near the summit of Aonach Mor. It was awe-inspiring to watch someone of Dave's skill level and confidence ripping around on his home turf.

Although I’ve always felt I’ve had a reasonable grasp of composition in a photo, use of light has never come so naturally to me. Inspired by the work of other skiing photographers such as Jordan Manley and Sverre Hjørnevik, who both have incredibly good grasp of lighting, I knew that in order to progress and develop as a photographer it was something I had to consciously work on. As such I was particularly happy to pull off this shot of Tom Southworth skiing on Aonach Mor towards the end of a day. The sun was low in the sky and I knew that if I positioned myself well before Tom dropped in, then it would provide a good backlighting, catching the powder as he skied the steep entry. I find these kind of shots, where you have an idea or concept in your head which you then execute competently, incredibly rewarding to pull off.

March brought warmer weather and spring skiing conditions to Scotland. On a day skiing on Bidean nam Bian above Glen Coe, I captured this opportunistic image of Balasz Turi standing at the top of his line, highlighted against the background of a cloud which was sitting in the glen below. For me this shot really shows what Scottish backcountry skiing is all about - an optimistic mindset of just getting out there and enjoying the Highlands on skis, regardless of the sometimes lean and marginal conditions we’re often up against. This is something that anyone who skis regularly in Scotland should be able to relate to!

In each of the last few years, I’ve always had a trip to the Lyngen Alps in Norway’s arctic circle. This year we decided to chance our arm and head to the Lofoten Islands instead - more of a gamble on snow conditions, however arguably more stunning scenery. The gamble only half paid off, as we ended up spending a lot of the trip chasing snow conditions round the islands. Despite this, I was able to capture some of my favourite images of the year. The first I've chosen shows Al Todd and Niall McPherson battling full on winter conditions on the way up a gully on Trolldalen. I have pushed the limits of this file in editing somewhat in order to achieve the look it has, however I've found this is often necessary when shooting in poor light conditions in order to make an image pop and to give it interest.

The second is perhaps my favourite photo that I’ve captured during my photographic career so far, and an image that was recently recognised with an award at the Kendal Mountain Festival. A combination of pouring over conflicting weather forecasts and gambling on a break in the weather just in time for sunset, along with Fabian's charging ability on a pair of skis, resulted in an image which probably best conveys the direction I want to take my photography in.  That being adventure photography which also possesses high visual impact and artistic qualities.

Another highlight image from Lofoten was of Fabian hucking in front of a moody Lofoten backdrop. Again it's not technically perfect, having realised later I should have shot at a slightly faster shutter speed to freeze the motion, however the shot is still passable and it's something I've learnt from going forwards.

The below image I didn't end up sharing online at the time, although I eventually entered in the Kendal Mountain Festival competition where it finished second in its category.  It's fairly minimalistic compared to many of my photos, but it also has a strong storytelling element to it - something I'd like to build into my photography more. We were half way to the summit of Kistbergtinden when the wind picked up greatly. Taking the decision to head back down the mountain, we encountered a group of Norwegian skiers who had decided do similarly and turn for home. They had taken their dog out for the day's touring, however the dog was now struggling to make headway in the high winds. The owner easily scooped up the dog and proceeded to ski down the mountain, cradling it neatly in her arms. The photo managed to capture the feeling of the weather conditions at the time and shows off a particularly unusual skiing scene. I guess I like it because it's something different.

My final shot from Lofoten is one which shows just how beautiful these islands can be on a good day. After a trip of mixed snow conditions, we were finally rewarded with a dream descent of the south face of Himmeltinden, skiing all the way from the summit to near sea level, with a view of the other islands stretched out in front of us. It was easily one of the most memorable ski descents I've had in my life.

Back home and it was time to make the most of the spring conditions in Scotland, although Ben Nevis still had its full winter coat on. Two weekends based in the CIC Hut on the mountain's North Face, and I came away with two sets of photos which both made various national papers at the time. One of the best received was probably the photo below of Niall skiing past the ice which was still formed on the narrows of Number 5 Gully.

My second choice from those weekends is a shot of Pete Mackenzie taking a rather bold entry into Tower Gully. It shows that it's still possible to go out in claggy conditions with poor light and come away with good photos. The main interest in this image comes from the dynamic feel given by Pete's wind-up into his next jump turn.

With the ski season concluded, my next trip was to the Alps in June, and an fantastic opportunity to spend a week learning from Jon Griffith, widely regarded as one of the best mountain sports photographers in the business. In addition to learning a vast amount during the course, it was a brilliant week of great weather and good company, taking in a lot of routes and being worked pretty damn hard. A huge amount of focus was given to shooting on the fly, so maintaining the fast alpine-style pace that's needed in the Alps, whilst also capturing images on the move. I was also able to spend time working on improving compositional elements and also product photography - something which should hopefully come in handy this year. I'm very grateful to Jon for putting on such a great course, which I'd highly recommend to anyone interested if he does run it again. The below image is one of my standout shots from the week - you can't really go too far wrong with a composition like that!

Following the course, I spent a further few days in the Alps climbing with a friend from home, Jordan Tiernan, which gave me a good opportunity to put into further practice what I'd learned. This particular shot, taken just minutes before dawn whilst climbing on the Aiguille d'Argentiere, I was particularly pleased with on account of the tricky lighting conditions. I think it goes some way to conveying the feeling of what it's like climbing a mountain in the cold and dark before the sun rises, and gives an insight into the alpine climbing experience.

The back end of the year brought further adventures up to Skye, where I ended up reaching the last fifteen in the UK interviews for a 'Director of Toughness' job (look it up - it's far too ridiculous to explain here) with Columbia Sportswear. Unfortunately I missed out on the position, although it was great to get that far from nearly a thousand UK applicants, and the interview turned out to be a pretty fun day out. It did however give me the opportunity to get out and explore The Cuillins for the first time. Making the most of the great weather, I went for a run up on the ridge, taking in the Inaccessible Pinnacle as part of my route. It was here that I captured this shot of Jamie Bankhead on the final climb to the summit. It goes some way to showing off the scale of the mountains there and the amount of technical terrain on offer, far beyond anywhere else in the UK.

In October, with the continued aim to find more sports in which I can potentially hurt myself, I got into mountain biking. After being initially terrified (falling onto snow at 30mph seems like it would hurt far less than onto a tree), I started to see the fun side of it and even took the camera out to get a few shots.

With the good late autumn/early winter weather, I also found time to venture into film-making, turning out this video of Ollie Barker running the Aonach Eagach ridge. Having run the ridge just recently as part of the Glencoe Skyline, I don't know why the hell I wanted to go back quite so soon (particularly carrying a tonne of camera gear), but hey-ho. I've learnt that making films is a lot more challenging and time-consuming than shooting stills, and I'm a fair way from being able to produce professional quality work, however this film was starting to get towards the level I'd like to eventually reach.

My final image, I took just last week whilst skiing at Glencoe. It's been another slow, frustrating start to the Scottish winter, with flurries of snow quickly followed by milder temperatures and thaw, however we were in much the same position last year and I'm holding out confidence things will improve. The lifts weren't open, however myself and Gordon Pearson were able to get a few laps in by skinning through the resort. I wanted to play around a bit with longer shutter speeds (1/50s - 1/100s) and skiing close behind Gordon on his telemark skis in order to try and add some dynamism to the shots (with Gordon's figure staying as sharp as possible, whilst the ground around him was blurred with the movement down the hill). It turned out to be a test of both my skiing and my photography skills, and 95% of the shots I came away with were completely unusable, however in this one I achieved something of the effect I'd set out for. Again, rewarding to go out with a more creative concept in mind and successfully pull it off.

To round off this review I’d like to talk about the changes I've initiated in my life this year. If you’d said to me just under two years ago, when I made my first forays into mountain sports photography, that it would soon become one of my greatest passions, I would have struggled to take you seriously. However it quickly did, to the point where I found it one of the most rewarding things I’d ever done in life. 

In August of last year I took the decision to leave a good, stable job in the energy sector, with a regular income and good prospects for the future, to follow an uncertain career path, working from job-to-job as a mountain sports photographer. It felt like easily the biggest decision I’d had to make in my life, and it took me at least three months to pluck up the courage to finally make it. Yet, at the same time it was an easy one to make. I was beginning to gain confidence that my photos were good enough, and I also knew that if I didn’t at least give it a proper, committed go, then I’d spend the rest of my life wondering 'what if'. 

The initial plan was to spend time building my portfolio and building contacts, in order that perhaps in twelve months time, I’d be in a position to start bringing in regular work, however things have moved along much faster than expected. I already have a decent number of exciting projects to get stuck into this winter, with some fairly big clients. Things are definitely looking promising for the future (all we need is some snow!).

If you’ve read to the end of this (apologies - it turned into more of an epic than expected), then I want to thank you all for your support, whether you're people that I've had the pleasure of spending time in the mountains with, or people who have shared, liked or commented on my photos on social media, or simply appreciated them. Without all your support, there’s no way I’d have got as far as I have on this exciting rollercoaster ride of a journey.