Photographer Chris Higgins shows us what it takes.
I think we’ve all seen those amazing caving photo images and looked at them in awe, but just what does it take to get those shots? A few months ago I came across a photo by Chris Higgins that was a top five winner in a JOBY, Lowepro, & Outex joint contest. It started me thinking about all the difficulties capturing just such a shot might entail. So after a few emails back and forth I was off to Tennessee with Joey Hiller (JOBY Web Designer). Assuming you’ve watched the video I’ll be elaborating a bit more below about what you don’t see, all the gear, and Joey will chime in with his perspective.
Never again! -Zach
“Never again” we’re the first words out of my mouth as we emerged from the cave. I’ll straight up say it right now; I had an amazing time but hundreds of feet underground, completely covered in mud, and mostly in complete darkness wasn’t for me. This is odd as I’m drawn to extreme activities but I’m also a clean freak. All I know is this was one of the rare times I thought I’d gotten myself in over my head and I’ve literally crawled out under the wing of a small plane mid flight to get a shot.
BEHIND THE SCENES:
The video is made up of a combination of two days of caving but for the sake of storytelling we combined them into one. The first day we were in the cave 12 hours and it was almost all rappelling. We came out of the cave at about 1:30am and were freezing after climbing up the waterfall. We then had to ride in the back of Chris’s jeep for an hour just to sleep on the ground in a cow pasture. You can probably already guess; I didn’t sleep. The second day we entered a second cave and were in the cave 8 hours. Day two was almost all crawling on our stomach. It was 2000+ feet in and 2000+ feet out. At 4 hours into it on the second day I called it; we had the footage we needed and I wanted to take a shower and crash in a hotel bed.
TRAINING: Joey has experience outdoor climbing and he is comfortable around ropes. I have a lot of structure/ building exterior climbing and rappelling experience but using a different rappel device. Our training with Chris literally was 5-10 minutes each where we both had tried to go up and switch over from the ascenders to the descenders (rappel device). I messed this up both times which resulted in the descender opening. If I had an issue while climbing back up the rope and needed to make a change over to the descender I would have to do it right. On Joey’s ascent before me he had an issue with his crawl (the ascender close to your chest that holds you in place) and almost had to make a change over. The crawl was slipping and not grabbing the rope securely. After he finished his ascent he lowered his harness and gear down for me to use. I had to use it for my ascent; so you can see why I was a bit nervous.
GEAR: As you can see in the closing shot we took a lot of gear into the cave with us. Most of it was ropes but I’ll list out everything we used to film it and what Chris brought.
Chris”s Higgins Gear: Nikon D7000, Sigma 10-20 lens, JOBY GorillaPod Hybrid, JOBY Flash Clip, Lowepro Dryzone 40L When outside of a cave Chris has a variety of other lenses and uses a Lowepro Photo Sport Pro 30L AW and a JOBY GorillaPod Focus with Ballhead- X.
Zach’s Gear: Canon 5D mkII, Canon 50mm f/1.2 L, JOBY GorillaPod Focus with Ballhead- X, six JOBY GorillaTorch Flare 125’s, Lowepro DryZone 200, Rode Mic
Joey’s Gear: Black Magic Pocket Cinema Camera, Panasonic Lumix 14mm f/2.5, JOBY GorillaPod Focus with Ballhead- X, Lowepro DryZone 200, two JOBY GorillaTorch Flare 125’s
I couldn’t have imagined myself actually doing this. – Joey
“There was really nothing that could’ve prepared me for this trip. The conditions in a cave are truly some of the hardest I’ve dealt with. It all became obvious when we first entered the cave. With camera rubbing against the rocks and a 150 foot rope around my shoulder pinning me in place, I stopped feeling the jet-lag and the reality of what we were doing really set in.
To get quality video in the cave I shot with the Black Magic Cinema Camera which has a native ISO of 800 and generally performs beautifully in low light. I paired it with the Panasonic Lumix 14mm f/2.5, which isn’t the fastest lens of all time, but has a nice field of view and has the added benefit of being only a $300 replacement if destroyed.” – Joey