Shooting from atop a Chilean horse in Futaleufú, Chile.
“Together, we’ve climbed through moonlit jungle ruins, over snow covered mountains, through ridges of obsidian and pumice leading to the edge of smoldering volcanoes. We’ve even managed to stay atop a Chilean horse racing across former trade routes. I’m not always able to immediately share these experiences with other people, but as long as I can keep my gear accessible and safe, the story can be captured and lives on. But that’s actually the behind the scenes.”
Torres Grande emerges through stormy clouds and a small waterfall collecting rain from the day becomes visible.
Passion productions are a deeply personal experience for me. I tend to choose objectives that require full immersion—a mind and body thing—carrying only a single pack loaded with supplies to shoot and exist.
“Some painters put smocks on before paint ever touches the canvas—for better or worse, that’s not me—I’m there barefoot, covered in paint, out of breath, and I haven’t eaten for days, but I’m standing before something that feels like art.” -Dapp, reflecting metaphorically on the Patagonica production.
In Patagonia, my packs had to be able to adapt to the weather and environments we found ourselves in. Our bodies were worn by the expedition, from bathing in rivers, lakes, and falls, and our down jackets and skin quickly darkened in color—yet somehow, we came out of a month-long mission without a single lost frame or image and all of our gear and camera equipment intact. The bags to this day actually still look and function as smoothly as day one.
Shooting in Patagonia was challenging in many ways but was also the first time that I had a team with me for a travel shoot. I needed their support in shooting, cooking, setting up camp, setting up gear, and keeping logistics on track. Staying true to the rugged and unique nature of my previous travel productions, this time we had to move as swift as possible, charging through the intense weather and environments, carrying solar units, carbon fiber jib cranes, sliders, gimbals, and 4K cameras.
Dapp clearing the snowfields in Bariloche. A burning sun, freezing wind, tons of dust, single-digits camping on snow with a flat pad at night, living out of a ProTrekker450 kind of day.
In order to execute my vision for Patagonica, we were carrying more gear than usual and needed an assortment of packs to choose from depending on the day. Being able to reconfigure on the fly was also a priority as we narrowed in on the Whistler BP 350 AW, ProTrekker 450 AW, and DryZone BP 40L.
A sense of humor and tight-knit group was essential as we climbed and shot through discomfort, and howled with the wind. On trips like this, beards grow long, jokes become harder to explain, vino tinto becomes water, and a game with dice named Zonk is played—and that is all part of the experience. Packing and unpacking, quickdraw shots and strategizing all of the above became a smooth routine early on and the having a diversity of packs that were all strong performers and fitting for different scenarios made the process a breeze.
On a regular day in Patagonia, my Whistler held:
- Sony A7SII w/ Metabones adapter and NDs
- Sony RX100V
- Canon 5D MarkIII
- Canon F1.4L 24mm Canon F2.8L 70-200mm Canon F2.4L 16-35mm Canon F1.8 50mm
- Zoom X1 Tripod | Jib | Slider
- GoPro Hero 4
- Prayer flags | Cards
- Kate’s Real Food Bars | Julbo Glasses
- Buff | Headlamp| Merino wool and possum half-finger gloves from NZ
- Down jacket | Rain gear
- Emergency Blanket | First Aid & Emergency kit
I don’t have a regular packing list nor arrangement but always consider what I can and can’t afford to bring depending on the cinematic or photographic style I am pursuing. Sometimes I plant a wildcard and choose to bring a macro, and other times, my pack is just too heavy to carry zooms.
One look at a handful of stills from Patagonica and you’ll want to see the film!