Taylor Steele is hunkered down beneath a pile of plastic tarps in the howling wind and the pouring rain trying to change the film magazine and battery pack on $30k worth of 16mm camera equipment. By the time he’s done, the lens will be fogged over again. The camera will be water damaged. The film will be compromised. And several key waves of the session will have passed undocumented.
“Don’t worry, Taylor,” I tell him, “It’s not the footage that matters, it’s all about how you get it. Right?”
His stare is blacker than the Icelandic sky.
Fifty yards up the rocky point, photographer Dustin Humphrey is shivering behind his camera beneath a makeshift, plastic cover. His lenses are stuffed inside his heavy Patagonia jacket. His head is buried beneath more plastic. But already he’s realized that this rain-sopped session is bound to ruin his $6,000-lens.