Creative: Patagonia, Episode One

Patagonia looms. Let me explain why this is happening. A few months ago, I gave a talk in Seattle, and after, I was approached by a woman who asked me if I would consider teaching a workshop in Chilean Patagonia. I said, “Of course.” I asked her to reach out at a later date so we could discuss the options. I’ve been approached a hundred times by a hundred different people regarding a hundred different countries, but most inquirers fail to follow up. Evelyn, however, followed up. Almost immediately, in fact.

She and I began to discuss options, ideas, routes, timelines, and all the other things required when one does a workshop. As many of you know, I work with Elena Dorfman twice a year, and when it comes to this collaboration, I get off easy. Elena does the behind-the-scenes legwork, and it is considerable. Nothing is easy now. Some countries require full payment for hotels, cars, etc., a year in advance, and now we enter the territory of no refunds and wild cancellation fees. It is A LOT of work, and when the workshop arrives, and things go smoothly, it can feel like it was nothing at all to put the trip together, when this is far from reality.

When Evelyn began to describe her home country and her home territory, Patagonia, I was entranced, but I also began to feel slight unease. I began to feel like I needed to see Patagonia before asking students to come see for themselves. Patagonia is different. Different from Berlin, Morocco, Albania, or Japan. Patagonia is exposed. Elements, weather, temps, distance, and a full range of physical expenditures. Hikes, boats, glaciers, ranches, and cities are all worth exploratory missions, but to do so requires a bit more physicality than other locations.

This is a scouting trip.

The goal is to skip a stone across Patagonia. I’m not there to shoot a definitive essay. I’m not there to do one thing. I’m there to do many things. Marine mammals, city, ranches, national parks, pumas, remote areas, and potential commercial fishing opportunities. This is the plan today, right now, as I sit here, but it will change once we have boots on the ground. My goal is to come away with two or three things that would comprise a stellar Patagonia experience. I could also see an extension at the end that might put us somewhere more about experience than exposures. We’ll see.

As you can see, I’ve got a few things I need to bring. Two backpacks and one checked duffel. The only other time in the past decade I checked a bag was in Antarctica. I checked this same duffel, actually. A bag I’ve had for about a decade. Yes, I wish it were waterproof, and I wish it had wheels, but I still love this bag. I’m also taking my small Tenba and my NYA-EVO Fjord 40/50. I would take the smaller NYA-EVO, but I don’t own that bag.

I’m also fortunate to still have my full range of clothing from Beyond. I was gifted this gear back in 2019, and it still looks new. Pants, shirts, pullovers, jackets, rain gear, hats, gloves, etc. I continue to be amazed at the difference between this gear and anything else I’ve owned. There are other outdoor companies I like and use, but I go through their offerings quickly. Beyond just doesn’t seem to want to die. The brand has changed a lot since 2019, and much of what I have is no longer available.

As you can see, I’m taking quite a lot of kit, at least for me. Two bodies, three lenses. I go back and forth about this. I’m taking this gear because I’m challenging myself to shoot new things, things I would have never considered a few short years ago. But the class I want to build will work for anyone. If you are a one-camera/one lens person, or you want to bang it out with long glass and motor drives, so be it. Any will be welcome.

I’m also using the trip as a chance to make new things for Blurb. I told my boss that if we had a full-time video crew shooting five days a week, we would still use all the footage and want more, such is the appetite for motion content. So, these trips help me supply the motion pipeline and force me to up my game when it comes to shooting motion. Moving pictures are time-consuming, fickle, and fraught with tiny things that can go wrong. I liken creating films and printing in the darkroom. Tripods and neutral density filters are now part and parcel for how we operate, but again, I could easily see getting on a plane with one camera and a short lens to do this same trip. It would force me to make a different kind of picture, but that’s where the fun and challenge come in. I’m a believer that you don’t need much. What you DO need is your story and your own personal experience. I know what Patagonia looks like. Heck, do a Google search and prepare to be flooded.

It feels a bit strange to take on a trip like this. The freedom almost feels wrong in a way, which is probably a sure sign I NEED a trip like this. There are five of us total, so others to share with along the way. There is a full agenda, but no crushing deadlines or need to transmit files to anyone. I’m hoping to write, but I also know that tends to get pushed back when there are things to see and do. The journal is being built anyway….