Punishing heat in North Luangwa, Zambia. We measured 58 degrees C in the sun, but as this would be a world record I suspect we were wrong. Very, very hot. The landscape was scorched, the Mwaleshi river evaporating more each day and all electronic gear was left struggling at these temperatures.
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Filming rain in London. Night city rain always provides a photogenic mix of water and light, where every surface turns into either mirror or lens. Shooting at 50fps and 100fps helped to bring some 'weight' to the fall of the rain. Defocused headlights, store front reflections and silhouettes... all movement seen through a mist of tiny liquid lenses.
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Shooting clouds, fields, lakes and skies across Devon and the Lake District. I sometimes forget just how striking the British landscape is! Red Epic with Angenieux zoom set, Helicopters, Drones and a spot of the Canon 150-600 to soak it all up.
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Shooting across the North East of the States and into Canada, working with some extreme winter temperatures. Up on Mount Washington the temperatures fell below -30C with a wind chill of -50. This combined with winds in excess of 75mph made the shooting challenges fairly substantial. With your entire skin surface covered, crew communication in this wind becomes a challenge.
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Shooting sunrises and sunsets in Tenerife looking for an establishing shot with the right mix of flare, silhoutte and ambient landscape. We took a mixed bag of glass: Zeiss/Arri Ultraprimes and a Duclos 11-16mm... but it was with the Angenieux 45-120 that we best found the look. This zoom rendered strong warm flares with the lenses signature element array streaking across the frame.
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Shooting in snow, ice and avalanches in the Swiss Alps. The beautiful landscape presented a host of challenges. With temperatures running down to -10, operating became tricky and battery life markedly reduced. Neoprene covers on the batteries and exothermic Hand Warmer sachets worked incredibly well to keep the electronics going.
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A return to Guyana and the mighty Essequibo river, on a shoot that journeyed through miles of uninhabited jungle and rich water ways. The temperature and humidity was high and the flash rain downfalls extreme. As always in the equatorial jungle, the photography involved a battle with mud, water, heat and humidity. Peli cases, dry-bags, poly bags and silica gel were always close to hand.
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Shooting in the Australian 'outback'. Forest fires, dust storms and 40 degree heat.
The new Red Epic fans had to work hard, particularly given that the camera was bagged most of the time... even placed in a Scuba housing for the dust storm... and yet no overheating issues at all!
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Great to see that the Bigfoot Files series has been such a hit with audiences! Nepal's 'Yeti', the 'Sasquatch' of the States and Russia's 'Almaste' are all brought to life in these 3 x one hours and subjected to more rigorous scrutiny than usual. Masterfully directed by Steven Clarke for Icon Films.
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With its tiny form factor the Epic lost the advantage of a large heat sink that a bigger camera body provides. Not that I would want to increase its scale, but the smaller form necessitated the introduction of a fan to cool the cameras hard working 'brain'... Which brought with it certain sound considerations.
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The vastness of Russia is breathtaking, and a shoot that ran from Moscow to Abkazia and on into Siberia came with some tough logistical challenges. I found a wealth of photographic inspiration in its rich history, landscape and people on this my first visit.
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