I actually don’t have a favourite, there have been so many films that have meant so much to me on both a personal and professional level.

Matrix was probably the film that defined me as a photographer and 20 years later it’s epic to still see those images pop up on a weekly basis. The Bourne Supremacy introduced me to two of my long time friends and collaborators Matt Damon and Paul Greengrass, and of course I met my wife Maria on a Bourne film. Recently I have been working on Disney and Marvel films, and I love being part of that family. Shooting Thor was an absolute highlight and working with Chris and Taika was a dream come true.

Then of course Aquaman for DC with the Big Dog Jason Momoa and director James Wan, both amazing artists that give me incredible access.

I guess if I had to pin anything down though, it would of course be Mad Max Fury Road which was absolutely the hardest film I have ever worked on. I had to fight daily for every frame and I think it showed with what I was able to produce. Then there’s the three Bond films I have shot the stunts for, Live and Let Die was the first Bond film I saw with my buddies when I was a kid, and I’m convinced it’s why I work on action films. To shoot one Bond is amazing, but to be asked back three times is an absolute honour.

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So cool they use my photo from #thematrix lobby scene to announce that #matrix4 has started shooting. Such wonderful memories shooting still for the first 3. Massive honour in fact! #lanawachowski #thematrix #thematrix4 #matrix4 @nikonaustralia @nikonusa #nikon @nikonambassador #hollywood #popculture #iconic #actionfilm #actor @blackrapid @aquatech_imagingsolutions #nikonambassador #mynikonlife #SMPSP #unitstills #bts #stillphotographer @smpspstills #australianphotographer

A post shared by Jasin Boland (@jasinboland) on Feb 7, 2020 at 4:46pm PST

Q: YOU MUST BE AWAY FROM HOME A LOT…

As much and I am away a lot, I am actually home a lot too. I can be away on 2-3 films a year. I have been known to fly home from Europe to watch my son play hockey and be on a flight to Asia for another film two days later. Other times, especially over the holidays, I’ll get up to 6 weeks off, and every few years I can have 6 months off just being a hockey dad.

This year I am in Sydney for the whole year but I go home every weekend, and between the films I have a month off. I miss my little family and up until a few years ago, they traveled with me everywhere, but then of course they found interests. Hockey and acting for my son, and being a yoga instructor for my wife. I see how happy it makes them and there’s no way I want to take them away from that. Having a kid play hockey in traveling teams is super expensive, so I have to work anyhow, ha ha…

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@empiremagazine just named this little flick I worked on as film of the century now that’s pretty rad! Thanks for the opportunity Dr Miller! #madmax #madmaxfuryroad #filmofthecentury #movieofthecentury @tomhardy @charlizeafrica @chrispattonstunts @nikonaustralia @nikonusa #nikon @nikonambassador #hollywood #popculture #iconic #actionfilm #actor @blackrapid @aquatech_imagingsolutions #nikonambassador #mynikonlife #SMPSP #unitstills #bts #stillphotographer @smpspstills #australianphotographer

A post shared by Jasin Boland (@jasinboland) on Jan 17, 2020 at 9:45am PST

Q: WHERE DO YOU CALL HOME?

Well our house is on the Gold Coast in Queensland, but my wife was born in Berlin, so we have those two places, but we would all be happier to move to BC. Hockey for my son, cold for my wife, and mountains for me.

Q: WHAT WAS THE HARDEST SHOOT YOU’VE EVER DONE?

Mad Max and Everest

Q: WHAT IS YOUR GO-TO LENS DURING MOST SHOOTS?

Outside 24-120 F4, and inside 24-70 2.8 and 70-200 2.8

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It’s nearly here team! “Extraction” drops onto @netflix April 24 featuring the best boss a guy could have @chrishemsworth and directed by @thesamhargrave who may possibly be the best action director of this new decade! So stoked to work with these two not only sensational film makers but beautiful humans along the way. My little buddy @rudhrakshjaiswal1 stars with Chris along with my pal @randeephooda Can’t wait to see the finished product! #extraction #netflixfilm @netflixanz @netflixfilm #davidharbour thanks for the epic access @leecleary1 @therussobrothers @agbofilms @nikonaustralia @nikonusa @nikonambassador @blackrapid @aquatech_imagingsolutions @hoodmanusa #nikon #nikonambassador #blackrapidambassador #aquatechambassador #mynikonlife #seewhatisee #livethemoment #SMPSP #unitstills #stillphotographer #bts #behindthescenes @lakinreps

A post shared by Jasin Boland (@jasinboland) on Feb 18, 2020 at 12:01pm PST

Q: WHAT ELSE IS IN YOUR GEAR BAG?

Ha, how much space do we have?

Well my general onset studio unit kit consists of 3 Nikon Z mirrorless cameras so I can shoot silent on sensitive scenes, clipped to my custom BLACKRAPID straps.

I have Z35mm f1.8, Z50mm f1.8, Z24-70 f 2.8, Z85mm 1.8 and 70-200 f2.8 in one bag, and then for action scenes or super low light I have 2 D5’s in Aquatech sound blimps with 24-70 f2.8 and 70-200 f 2.8. Plus six Hoodman steel CF express cards running all my Nikon Z cameras. I’m amazed at how much faster they are than the XQD.

I also have fast Nikon primes 24mm f1.4, 35mm f1.4, 50mm f1.4, 58mm f1.4 and 85mm f1.4 when needed for ultra low light or portrait work. When needed I will also run a 200mm f2, 200-400mm f4 and 400mm f2.8.

Then in my action kit, which is what I use for mounting on vehicles or anywhere I can stuff a camera really, I use 2 x D4s’s, 1 D850 and 1 D750 and various lenses like 35mm f2 and 17-35mm f2.8 and a 24-120 f4. All of them I expect may get taken out at some point. On Spectre an airplane wheel knocked one over, and on another film a car hit one. Lots of bumps for my Nikons, but they just keep on going.

The key is when you are in an impact zone, you need to allow your camera to move or in fact fall over. When you are mounted to a vehicle, the important thing is they don’t move at all due to safety for the drivers, cast and crew.

As well as all my rig mounts, I also travel with a lot of safety gear, harnesses, helmets, ear protection, anything you can think of really. My traveling kit is around 100kg so I never fly with it, everything gets shipped ahead. Currently, the kit I have with me on this film hasn’t been home for nearly 2 years.

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My buddy @frankiestills posted a shot of the Big Dog himself @prideofgypsies and reminded me how much fun this beast of a man is to work for! Can’t wait for the next one! #jasonmomoa #amberheard #jameswan #mera #arthurcurry #dceu #comics #movie #film #actionfilm #photography @nikonaustralia @nikonambassador @blackrapid #nikon #bts #behindthescenes #picoftheday #photooftheday #vfx @lakinreps

A post shared by Jasin Boland (@jasinboland) on Nov 17, 2019 at 2:21am PST

Q: WHERE YOU WOULD LIKE PEOPLE TO GO TO FOLLOW YOU?

You know, when I first was told by Nikon I should be doing Instagram, I laughed and said, “I’m not having an app tell me how to frame my shots.” I thought it would never catch on. Of course, I was wrong. If I had bothered to mask myself or use a Instacrop app, I’d be a lot further down the track with my Instagram than I am today.

My last 5 or 6 new clients all only looked at my Insta page. It’s great for staying relevant and I try to be on point with only film posts. I frequently pick themes and just do images from one film for a week, or what’s in the news.

I find most new followers only really look back 10 or so images, so I think it is important to go through the back catalogue and repost from time to time, otherwise those images get lost and you may have well just left them on the hard drive.

Another observation I had early on was I felt like people were just going to Insta to experience other peoples lives, and for quite a while that was true. But at some point it changed, and it encouraged people to get outside and experience life for themselves. It’s helped nurture peoples creativity and in my eyes that’s a fabulous thing.

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Happy new year team and what a year we shared! Here’s my #topnine2019 interesting spread clearly you all love @chrishemsworth he’s well worth loving by the way and the big surprise for me is #thematrix looks like everyone is looking forward to seeing #4 in the next decade. Thank you all for dropping by to see my work you fill my heart! #happynewyear #dhaka @therussobrothers #thematrix4 #chrishemsworth #keanureeves #ghostintheshell #scarlettjohansson @taikawaititi #taikawaititi #aquaman @creepypuppet @prideofgypsies @amberheard #jasonmomoa #amberheard @carrieannemoss @nikonaustralia @nikonusa #nikon @nikonambassador #hollywood #popculture #iconic #actionfilm #actor @blackrapid @aquatech_imagingsolutions #nikonambassador #mynikonlife #SMPSP #unitstills #bts #stillphotographer @smpspstills #australianphotographer

A post shared by Jasin Boland (@jasinboland) on Dec 30, 2019 at 1:08pm PST

Hi, I’m Jasin Boland, a motion picture still photographer based in Queensland, Australia.

Come visit my Instagram @jasinboland. I haven’t updated my web page since forever.

The post BLACKRAPID Ambassador Spotlight: Jasin Boland – Make the Job Work for You, Don’t Work for the Job appeared first on BLACKRAPID.

It’s Gettin’ Hot In Here! | Seattle WA

SUMMER MONTHS ARE HERE AND CAR INTERIORS GET HOT!

On an average summer day, a car interior reaches 116 degrees F (47 degrees C) and the car dashboard gets even hotter, a whopping 157 degrees F (69 degrees C)!

WHEN IN DOUBT, KEEP IT WITH YOU.

Be safe, keep your gear safe, #LiveTheMoment, and have a great weekend!

The post It’s Gettin’ Hot In Here! appeared first on BLACKRAPID.

A CLASSIC IS A CLASSIC FOR A REASON:

it’s reliable, it’s highly functional, it’s of superior quality and it’s stood up to the test of time (ten years!). This strap meets all of those criteria and so it’s no wonder that it’s still a favorite among photographers, including ourselves.

ONE OF OUR FAVORITE FEATURES OF THE CLASSIC RETRO RS-4

is the small zippered pocket which is where we love to keep a memory card, business cards, our ID and the occasional hotel key.

AS FOR CONSTRUCTION,

the shoulder pad is made of PU foam and offers cushioning without the loss of breathability. We’ve worn it on the hottest of days and it was still comfortable. The best part is, this strap can be worn on either the left or right shoulder. We typically wear ours across our left shoulder but on long adventures or photo shoots, it comes in handy to be able to switch the camera to our right shoulder and give the other one a rest.

ALL IN ALL,

this is one of our go-to straps because it’s lightweight (5.9 ounces), looks good, feels good and works well in multiple scenarios.

Thanks for sharing your professional insight and awesome photos, Erin and Caoline!

To learn more about Erin and Caroline visit their BlackRapid Ambassador profile, and be sure to check out their work over on their website www.authenticavl.com.

The post BLACKRAPID Guest Blog Post by Ambassador’s Erin McGrady + Caroline Whatley | BLACKRAPID Classic Retro RS-4 appeared first on BLACKRAPID.

BLACKRAPID Ambassador Kevin RC Wilson recently went out to capture images of the New York skyline at night and took along our new Tripod Jacket.

HERE’S WHAT HE HAD TO SAY.

“The BLACKRAPID Tripod jacket is amazing for the landscape photographer who’s on the go and doesn’t want to fuss around with grabbing your camera accessories in your travel case. The jacket tucks into itself nicely for when you want to move around so there’s no need to take it off the stand during your shoot. Why didn’t someone think of this sooner?!?”

– Kevin RC Wilson, BLACKRAPID Ambassador

Thanks for sharing your experience and beautiful skyline photos, Kevin!

To learn more about Kevin RC Wilson and his work, visit his website at www.kevinrcwilson.com.

The post BLACKRAPID Guest Review by Ambassador Kevin RC Wilson | BLACKRAPID Tripod Jacket appeared first on BLACKRAPID.

WHEN I FIRST PIKED UP A CAMERA,

I found the stock strap to be uncomfortable and quite unfashionable. As a matter of fact, I didn’t even attach it. And to this day, it’s still in the box. But, I needed a support system and a reliable support system for projects that required multiple cameras in a run and gun scenario. Overtime, I grew into an advanced style of photography, but still required a strap that was comfortable and could adapt to extreme adventure. The BLACKRAPID sling strap system has always been the answer.

AT HIGH-ALTITUDE MOTHER NATURE IS IN COMPLETE CONTROL, YOU MUST HAVE THE RIGHT EQUIPMENT, RIGHT TEAM, AND A FIRM FOCUS.

Within the first pre-production meeting for Wings Of Kilimanjaro, we didn’t touch on the risk or mental attrition we would face, instead we focused on the objective. The goal was to not only para-glide off the summit of Mount Kilimanjaro at 19,341 feet, but more importantly to provide education and clean water to the Maasai of Tanzania. In partnership with Nadus Films, our job was to document this great charitable event from start to finish.

MOUNT KILIMANJARO IS THE HIGHEST FREE-STANDING MOUNTAIN IN THE WORLD AND IS THE MOST UNIQUE.

As you trek to the top you pass through four different ecosystems; rain forest to moorland to alpine desert and finally to alpine glacier across volcanic erosion. The equipment list was extensive and detailed, but the proper gear was vital. It has to be the most durable, weather resistant, lightweight, equipment available.

ON AN EXPEDITION SUCH AS THIS, COMFORT PLAYS A VITAL ROLE INTO MENTAL AND PHYSICAL HEALTH.

If you’re uncomfortable, hardship will drill through your body like a bullet. A ten-pound camera can feel like twenty at high-altitude. On Mount Kilimanjaro, a proper support system was crucial and the sling-style strap and soft breathable cushion of the Curve Breathe from BLACKRAPID offset that camera weight, so I continue to climb at the same time in comfort. We pushed through seven trying days of long treks and acclimatization beginning at 3,000 feet all the way to 19,341 feet. I had to haul gear, be ahead of the pack and double time the pace. The cam buckles on the strap allowed me to be versatile in any situation. With the quick zip of the buckle, I could lock my camera in place and continue with the expedition.

ONCE AT THE TOP, OUR DESCENT WAS A FOURTY-FIVE MINUTE, FROZEN FLIGHT STRAIGHT DOWN.

In order to sail off the summit, we had to sprint down the face of Uhuru Peak hoping for a wind cycle to lift the glider and the weight of the pilot and passenger. After an exhausting six-hour summit bid, this dash was the hardest obstacle I faced on the journey, especially with the additional weight of the harness and camera equipment. But, the Backpack Breathe strap was the perfect solution to maintaining a center of gravity, with the DSLR secured to my chest. 

THE GREATEST ACCOMPLISHMENT

Although our expedition Wings Of Kilimanjaro pulled off an amazing feat and set a world record, I believe our greatest accomplishment was not para-gliding off Mount Kilimanjaro at 19,341 feet. Our triumph was raising over a half-million dollars to save the lives of thousands of Maasai in the remote villages of Tanzania.

#LIVETHEMOMENT WITH CLAY COOK

Clay Cook is a BLACKRAPID Ambassador. Discover more about his work over at www.claycookphoto.com.

For more information on Nadus Films, visit www.nadusfilms.com.

Discover more about the Wings of Kilimanjaro project and participate at www.wingsofkilimanjaro.com.

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OVER THE COURSE OF MY CAREER THERE HAVE BEEN

various pieces of equipment that come along and fundamentally change the way I work. The Leica M6, the Canon 5d MK III, and my introduction to BLACKRAPID camera strap support system are a few of them. Whilst on assignment in the forests of Quebec on “Chaos Walking” with Daisy Ridley and Tom Holland, I had the opportunity to fully road test the BLACKRAPID camera straps wading through rivers and hiking up hillsides to keep up with the fast paced hand-held filmmaking.

2018 STARTED WITH A PRETTY BIG BANG WITH THE RELEASE

of “Red Sparrow” starring Jennifer Lawrence and I have also been shooting Mark Wahlberg again this time on a production called “Mile 22” in Bogotá, Colombia. The filming called for major traffic arteries to be closed to enable us to blow up vehicles and to stage a massive gun fight in the center of the Colombian capital. With 5 Panavision cameras filming the action I was separated from my working bags for most of the day and relied on my BLACKRAPID Double Breathe harness and Sport Breathe single sling camera strap to support 3 cameras around my body and a BLACKRAPID Wrist Strap Breathe to keep my M10 close at hand. In an ideal world I wouldn’t want to load myself down with so much gear at one time, but this configuration allowed to me to work on the run and not be without any lens or camera I might require.

ARRIVING ON SET ARMED WITH THE CORRECT EQUIPMENT

and necessary background preparation to collaborate with the project effectively is essential. It is important to understand the content of the film, the message it is trying to convey, and who the targeted audience is.

MY PREPARATION WILL INCLUDE READING OF THE SCRIPT,

reviewing the “mood boards” and breaking down the script to ensure that I have the correct equipment readily available. This is a key point since by understanding the potential filming scenarios of rain sequences, special effects scenes, etc. and will dictate my equipment package. I always use my Think Tank Photo cases and BLACKRAPID camera straps for my Sony and Leica systems. I like to keep duplicate kits with different lenses to help with my work flow and I find the BLACKRAPID Hybrid Breathe and BLACKRAPID Double Breathe strap essential to my work.

IN ADDITION TO THE PHYSICAL PREPARATIONS I ALWAYS

like to spend some time talking with the DP and Director about the look and tone of the visuals to be photographed. I strive to ensure that my work reflects the vision of the filmmakers and provides a consistent representation which is quite often the first visual seen by the public. With the prep complete and the sleepless night before the first day of photography over it’s time to get the sleeves rolled up and begin filming. Knowing the background and experience of the crew is always helpful especially if I’m not familiar with the core group, although after 75 shows its rare that I am the stranger on set.

MY ADVICE TO PHOTOGRAPHERS WANTING TO GET INTO THE INDUSTRY

would be to get as much experience as possible and hone your craft whether it working on short films, additional 2nd unit still photography, or aiding an experienced established photographer who may be able to provide insider’s advice. Your portfolio will be your “calling card” so ensure it is up to date and shows the viewers a range of work in different working situations.

Murray Close is a BLACKRAPID Associate Ambassador. Discover more about Murray and his work at http://murrayclose.com/.

The post Photographing Hollywood Movies with Murray Close appeared first on BLACKRAPID.

HERE IS WHY OUTSOURCING YOUR POST PRODUCTION WILL BENEFIT NOT ONLY YOUR BUSINESS BUT YOUR PERSONAL LIFE TOO.

As you grow in your photography business you may find yourself spending more time behind the computer than the camera.

MANY OF US CREATIVES BELIEVE THAT NO ONE IS BETTER THAN DOING OUR POST PRODUCTION THAN WE ARE.

It is “Part of my Style” – but what if someone else was better at it than you? And even better what if they were cheaper than you? What do I mean by that? Let’s say for argument’s sake that you charge your time as a photographer out at $150 per hour (don’t get all hit up about rates now, this is an outsourcing debate, not a pricing one) We all know that a one hour shoot often results in two hours of post production. This means you are effectively earning $50/hr. Let’s say that you could get someone to do your post production on that one hour job for $50. This means that now you are earning $100/hr. You have doubled your earning potential. Use those two hours that you would’ve spent sitting behind the computer on marketing your business or spending time with your family. Go and have a coffee with other role players in the industry, network, collaborate or even exercise! Using those two spare hours effectively will result in more time behind the camera, less in front of the computer, more money in the bank and Heaven forbid, maybe even a better product.

IN MY BUSINESS I AM THE SPECIALIST PHOTOGRAPHER, I LEAVE THE RETOUCHING TO THE PROS AND TOGETHER WE CREATE A PRODUCT THAT I COULDN’T HAVE ON MY OWN.

These three examples show just that. It would’ve taken me days to do what my retoucher did with the raw images she was given. I utilized that time productively to ensure the progression of my brand. As, I am writing this, my retouching is being done for me and a cheaper price than my time.

Happy shooting!

Brett Florens is a BLACKRAPID Ambassador. Discover more about his workshops and mentorships at http://brettflorens.com/photographers/.

The post Outsourcing Your Post Production appeared first on BLACKRAPID.

OUT OF A BLUR

I came up with an idea, dialed my mates number and well here’s what happened…

Me: “Hi man, well you know how it’s my 18th in 2 weeks, I don’t really feel like just partying you fancy going travelling for 48 hours instead?”

Best mate (Toby): “that’s a bit ridiculous, I mean where can we go, but yeah i’m up for it!”

So I opened up google maps and started thinking where do I want to go next?

Morocco, Istanbul, Barcelona, Norway?

Well, one by one we decided Istanbul, booked the flights, paid for our Visas and we were set.

So it’s Friday 4th March, I finished at college at 4:30, headed home, packed my bag, grabbed my camera, met up with Toby at the station and hopped on a train to Heathrow International Airport, London. Our flight at 10:30pm, overnight to Istanbul.

ARRIVAL

4:15 am and we have landed, go through security, grab our bags and try and catch a little bit of sleep on Ataturk airport’s benches, before the hectic city exploring takes place.

5am and we are up again, the key thing on this trip is that time is precious, very precious. The less time we spend sleeping the more time we spend exploring. So we decide to get into the city, find a taxi and hand him a piece of paper with an address to our AirBnB that we are staying at for one night. He reckons he can get us there but doesn’t seem certain, we went anyway, threw our bags in the back of the taxi and hopped into the back seats.

A gentle sunrise greets us as we make away across the city, empty streets and taking in the Mosques dotted along our route.

Anyone who travels will know that there are always uncertainties, well we arrive at this side road, the taxi driver says we are here, not quite believing him as it looks like a deserted alley we step out look around and agree that it’s better than nowhere, pay him the taxi fare grab our bags and he drives off. Now the issue is firstly finding the AirBnB and secondly the check in time is 8am and we are here at 6am, we make the most of it, exploring the streets and start shooting some portraits of each other.

As photographers we can get pretty excited by golden hour light, so the time was passed simply and contently by photographing the streets with a gentle morning light.

EXPLORING THE CITY

After having been shown around our apartment which we will stay in 1 night, we climb up to the rooftop, the view is unbelievable, surrounded by 3 Mosques, the Bosphorus and Galata Tower. Were eager to get down into the city on foot and just explore as much as we remembering that we are only there for 48 hours.

Not really sure where we were going we headed in the direction where we had seen the Bosphorus from the roof and towards the centre. Soon we find ourselves exploring the ins and outs of any side passages, markets and stalls that catch our eyes. The Grand Bazaar is a whirlwind of passages and alleyways filled with shop against shop, every inch of the place is utilised somehow and it’s got quite a unique atmosphere, friendly and excitable.

A place we were keen to explore was the Spice Market. After having lost ourselves in endless little backstreets we finally found the Spice market by asking local street vendors, our success of finding the market was entirely based on the honesty of the people who could not speak English instead who would just point down a street and we would follow the direction in which they pointed. The colours, smells and fragrances from the Spices are overpowering, yet amazing. Baskets filled with different tea leaves, nuts and spices you’ve never even heard of before.

TIME FLIES

We all know that time passes quickly when you‘re having fun, well that’s exactly what happened our first day was coming to a near end. As we wander the streets of the neighbourhood where we are staying we find this roadside pizza cafe, time for dinner I think.

While we struggle to order with pretty much nil knowledge of the language we end up making friends with two, young Americans who have been traveling for 2 months solid. We chatted, exchanged stories, laughed and ask them where they are off to next. They said they had found jobs for 2 months on a date farm in Israel so that was where they were headed. We part with our pizzas and head up to our rooftop view to enjoy the single sunset we will experience on this short trip.

As expected we pretty much drop fast asleep after dinner, exhausted from the lack of sleep on the plane and trying to capture as much culture during our short visit.

SUNDAY MORNING

Sunday morning, time is ticking.

The weather is gorgeous, from the balcony warm sunlight falls and it’s the perfect weather to wake up to. By 9am we’ve pretty much packed our bags ready to grab quickly on return to our accommodation after one last little explore around the city. But first, find food, a Traditional Turkish breakfast was right down our street. A cafe nestled in on a busy market street caught our eye so we found a table, ordered and ate.

GIVE IT A GO!

We had one last place we wanted to see, the iconic Hagia Sophia. Taking the backstreets we navigated our way around until we are there standing in front of a mosque. The colours and immense size are just mindblowing. But after admiring the mosque sadly we clock the time and yes somehow we need to make it back to our Airbnb and to the airport, without getting distracted by markets, people and without getting lost.

Taxi’s in Istanbul are an interesting experience, very friendly but as any traveller will know each taxi driver has their own driving style and well ours definitely did and I reckon he was amused by our slightly worried expressions. Well at least he was laughing, we were exhausted but very content with our 48 hour adventure.

As the taxi drove us to the airport we just took the time to relax and reflect on what a short adventure can bring, I strongly suggest trying a 48 hour adventure for yourself. You learn to cut down to the basics and enjoy yourself in the moment. Go give it a go?

Stay Positive!!

MORE ON CLEMENT HODGKINSON

Clement Hodgkinson is a French/British photographer and co-founder of The Now Collective (@thenowhumans).  Follow @clementhodgkinson on Instagram

FOOTNOTES: Photos & story by Clement Hodgkinson

The post Istanbul in 48 Hours appeared first on BLACKRAPID.

Feel free to enjoy this track while you read

“HOW WAS CUBA?”

When I’m asked “How was Cuba?” unlike most countries I’ve visited, it’s pretty simple to explain the cool cars and architecture. What isn’t easy is to explain – the people, fashion and culture. It’s an explosion of race, age and color.

Upon landing in Cuba for the first time, I didn’t feel a sense of danger or the need for steadfast movement like I had in Africa and India. We were met with open arms and welcomed like superstars. I was instantly enthralled with the untouched Cuban history and culture.

About two weeks after my return from India, I received a call from the Publisher of the magazine “The Voice Of Louisville” regarding a project in Havana, Cuba for Blue Equity who had established some business roots in Havana. Blue Equity has a number of business projects in Havana making progress and they needed some strong content to move forward. The project consisted of capturing a twenty page fashion editorial as well as a large feature on the rich culture, communist government and beautiful society. The production called for two five-day trips. The first mission would be to scout locations, meet and cast talent and lock down hanging details. The second trip would be the actual production. 

I’VE SEEN A LOT OF STUNNING LANDSCAPES, BUT THIS TOPPED THE LIST

Upon arrival in the Havana airport, we were met with a breath of hot weather, but a bleak overcast sky. I didn’t know what to think; I just followed the pack and hung towards the back of the line. We pushed through customs and after a short wait, we had our bags and loaded everything into a 9-passenger van, guided by our driver, Rafi.

I quickly learned that Cuba was a visual paradise. The color, texture, automobiles and landscape was overwhelming; I didn’t know where to focus. The sun began to peak through the clouds and set into the horizon, which covered everything with a red-orange blanket of color. We pulled to a roundabout and arrived at The Saratoga Hotel located across the street from the Parque de la Fraternidad located in central Havana. Shockingly, our hotel was incredibly luxurious. I checked in, changed clothes and headed up to the rooftop to catch a sunset view and cocktail. I was blown away. I’ve seen a lot of stunning landscapes, but this topped the list. I felt a blast of untapped energy and vibrance.

THE PEOPLE OF CUBA HAVE A YEARN TO GROW

The people of Cuba have a yearn to grow. The island is plentiful, with a lot of room to change. The majority of the Cuban people seem to be happy about the possibility of the trade embargo being lifted and the tourism restrictions being alleviated. Since the Castro revolution in 1959, Cuba has been locked into their own civilization without influence the exception of their communist relationship with Russia.

The aesthetic of the architecture was gorgeous, but confused; worn Spanish neoclassical, odd North American art-deco and boring rectangular superstructures covered in a bland shade of beige introduced by Soviet Union ideals. The streets are electrifying; classic cars sputter from destination to destination without traffic restrictions. With the revolution, import from North America ceased, so classic cars are commonplace and modern cars are considered a luxury.

WE HAD TO RELY ON THE HARD LIGHT OF THE SUN

The team at Digital Transitions provided us a Phase One 645DF with a IQ250 digital back along with a Schneider Kreuznach 40-80mm f/4 zoom lens and a Schneider Kreuznach 110mm f/2.8 static lens. In consideration of using this setup, we made the executive decision that tethering to Capture One was essential. Thanks to my friends at Tether Tools we created the most mobile, small scale, on location tethering system possible. I knew we would be jumping from location to location and we didn’t have the time for an immense amount of setup. With this knowledge, we also knew that carting a lot of lighting would be impractical. The Profoto B2 Location Kit was an obvious choice. We had to rely on the hard light of the sun, it was a risk, but a necessary risk. The B2 head through a Photek Softlighter would provide a soft fill to reduce shadow density caused by the hard sun. I tend to shoot close to what a human eye would see, so for most of the photographs, I shot at a closed aperture(f/6.3 – f/11), I wanted to show off the background and rich culture Havana provided. Also, considering the hard sun, I had to use high speed sync and shoot at a very quick shutter(1/1250 – 1/1600). The Phase One system as well as the Profoto B2 kit, allows for High Speed Sync.

THE SOLDIER UNDER THE TREE WAS THE MUCH-NEEDED CATALYST TO KICK OFF A CALM, BUT EFFICIENT SHOOT

The next morning, we hit the ground running. The sun began to soak the city like a warm bath, which designed beautiful lines and shapes on the city streets. Despite a few last minute audibles by the Government Of Cuba and their choice of locations, we adapted to the scenario and landed at our first location, right in the heart of a military base whom had not been advised of our production. We were left to setup, while the rest of the team made sure the hair, makeup, designers and models were moving. Within twenty minutes of setup, we were faced with a series of guards who shut it all down. Fortunately, Zach was able to speak some broken Spanish and make sure everyone remained calm. As we waited for the rest of the team, we had the unique opportunity to speak with a solider who was on a break under a tree canopy. He was just 17-years of age, quiet, collected and had a hint of excitement in his voice. We talked about the influx of tourism, his role in the military and America. This short chat gave me the opportunity to cool-off physically and mentally. The soldier under the tree was the much-needed catalyst to kick off a calm, but efficient shoot.

I WAS IN HEAVEN.

The crew arrived and after quick conversation, we were given the go. Setup and pre-lighting began immediately and within 10 minutes we had the frame. Our beautiful model Naivys Fernandez stepped in front of the lens wearing a colorful loose purple blouse and pants. With the click of the shutter the production began, on a military fortress, overlooking the city of Havana. I was in heaven. But, immediately we had technical problems. The tether wasn’t working properly and we had a storage issue. We pushed through it, without a distraction and resolved the issue by removing one tether cable in the chain to the MacBook Pro. The files couldn’t import onto our backup drive fast enough causing the error. With that problem behind us, I could finally breathe and work magic. I was excited to work with each model. It was refreshing to be in such a new environment with new talent.

The sun was record-breaking hot and my camera was heavy. With all the accessories, it was close to fifteen pounds, which can add up after ten hours of lifting and holding. Despite the camera being secured to my body with a Black Rapid RS-4, by late-afternoon I was pretty beat and my forearm felt like rubber. Although the team stopped for lunch, we decided to keep moving. Each set required about thirty minutes of time with setup and pre-lighting. The models were rolled out like products on a conveyor belt, it was an extremely productive process and very essential. But, it was a challenge to capture models in the right lighting and include the surrounding environment. We wanted the people, we wanted the bustle and we wanted the noise. Sometimes, that required the right amount of patience. We waited for the right moment and the right timing for the story to form.

WE WAITED FOR THE RIGHT MOMENT AND THE RIGHT TIMING FOR THE STORY TO FORM.

IT WAS A BITTERSWEET MOMENT.

With the final look, we had ran out of available locations. We made an about-face and had the opportunity to shoot on the rooftop of a celebrity penthouse. As the sun hit the horizon, the beautiful María Karla Herrera leaned against a gold lion statue to perfectly frame her body against the skyline. I snapped the shutter and we had our cover and the production was a wrap. My body felt like it had been in World War III and my mind was burned. It was a bittersweet moment.

I THINK CUBA CHANGED SOMETHING IN ME

We celebrated the wrap with a late-night party on the roof with all the models, designers, hair stylists, makeup artists, assistants, government officials and advisors. While others cashed out early to catch our early flight, I celebrated into the cool night. The flight home was quiet, sobering and almost sad. I was happy it was over, but upset to be leaving Cuba and all the friends I had made. Cuba is changing day-in and day-out, but I think Cuba changed something in me. It was a breath of fresh air and opened my eyes to how much I truly love photographing people and the art people create. I’m incredibly blessed to have that privilege, every single day.

Enjoy this First Person Shooter – Behind The Scenes video of Clay Cook at work in Cuba.

MORE ON CLAY COOK

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