PROfiLe JASiN BOLAND LiGHTS, cAmeRA, AcTiON

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JASIN BOLAND
Lights,
camera,
action
Lisa Perkovic goes behind the scenes with Australian
photographer Jasin Boland and uncovers the secrets
to making it big time in Hollywood.
Lights, camera, action
What’s your role on a movie set?
My job is to photograph everything
that takes place on the film set. Primarily,
that’s photographing the cast as they’re
acting in a scene. In many instances, my
photography is the first point of sale
(posters, magazine covers and online art),
so the imagery is extremely important.
It needs to generate enough interest for
the audience to want to walk inside the
cinema and see the movie.
How many shots would you take
on average for a movie?
I mainly shoot action films, so I shoot
heaps. I’ve been known to supply more
than 50,000 frames and that’s after heavy
editing. A poster can be made up of many
elements. In some cases you might have
an amazing photograph of a body, but the
face, or even one limb, is replaced with an
image from a different frame. It doesn’t
happen often but my job is to provide
options so the studio can promote
the film in the best way possible.
How did you get started?
In 1981, I started at the Sunday Times
newspaper in Perth as a darkroom
technician. After receiving a cadetship,
I worked on newspapers in Perth,
Brisbane, the Gold Coast, Hong Kong and
finally London. I returned home. After an
accidental break, I found myself with a
few days on a television series. I really
enjoyed the environment and atmosphere
and knew I wanted to pursue a career in
film after just a couple of days on set.
How long are you on the movie set?
Are you there from start to finish?
Like all things, budgets determine how
often I’m on set. I generally work on quite
big films so I’m there everyday of shooting
– from shooting call until wrap – and then
have an hour or two of post-production
each day while working.
When I’m in Australia, I generally don’t
get a great deal of film work. I have more
of an American or European style and
it doesn’t seem to be what producers
are looking for in our domestic market.
Having said that, I have worked on
some fantastic local TV series. I recently
spent four months working for my friend
Jonathan M. Shiff on his latest series, Reef
Doctors, for Channel Ten. If I’m in town
and he has a gig, I usually get to do stills
for him. Generally it’s only a few days a
week as a ‘day player’, but it’s a lot of fun.
I get to work with the buddies I cut my
teeth with in the industry years ago.
It also means getting to work for
some amazing Australian actors such
as Lisa McCune and director Colin Budds.
Every young actor should get the
opportunity to work with them. Lisa
is an astounding actress and an amazing
person, her Gold Logies are as much
about having a golden heart as about
her incredible talent on film, and Colin
has mentored more young actors than
you could believe.
It’s also great being at home where
my wife Maria, son Hunter and I can
actually live in our house.
IMAGES
The Mummy Tomb
of the Dragon
Emperor
» Universal Pictures
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JASIN BOLAND
What does a regular workday on set
look like?
We generally work a 10-12 hour day, six
days week and after three to five months,
it can become pretty exhausting. Luckily
the sets are social places, so although the
hours can be brutal, there’s always time
for a chat. We all become very close,
especially on films away from the studio.
Are your shots staged or do you shoot
as the camera shoots?
I shoot action films so I generally try not
to do set ups. My work is quite raw and
I try to keep my process organic. I think
it comes from my days as a news
photographer. Essentially, I need to tell
a story with a single image. Although
I’m laying out the director’s vision, I’m
also trying to interpret what he’s saying
in a still image. It can be quite a challenge,
but when you nail it, it’s very fulfilling.
“I just try to believe
the story and cover
it as if the events
unfolding are real”
business is return requests, so they
know what they’ll get from the outset.
I tend to shoot on very similar themed
films, which is great because they’re the
ones I go to see myself. Being on set
searching for great images is a lot of fun.
How would you describe your style
of photography? Is it independent
to the movies you shoot or do you
find it adapts to the genre of film?
I don’t over-think how I’m going
to approach a film, I shoot like I’m a
photojournalist in a real environment.
I just try to believe the story and cover
it as if the events unfolding are real.
I don’t treat the events like art if it’s an
awesome action film. Instead, I want to
grab a frame that makes you say, “wow,
that’s cool” and then hopefully drive you
to go and see the film. “Real” would be
the best way to describe my style.
Who’s your client? Are you given a brief
or shot list?
My client is the producer, director, studio
and actors – pretty much everyone on
a film set is my boss. I need to make
everyone happy.
At the level of the films I work on there
isn’t a shot list – you get hired because
you know what’s required. Most of my
IMAGES
What are the most important
photographic factors on set?
Lighting is clearly important, but you
can find great lighting in the strangest
of places. It’s everywhere, so as
photographers we should know where
to look. The most important elements
for me are patience and timing.
What are you looking for from
actors when shooting?
Believing that they’re the character in
the film is what makes a great film still.
Matrix
» (Top)
Warner Brothers
Keanu Reeves
The Mummy
Tomb of the
Dragon
Emperor
» (Right)
Universal Pictures Brendan Fraser and
Michelle Yeoh
Lights, camera, action
Does it matter
that Brendan
Fraser is not in this
shot?
Aeon Flux
» (Far right)
Paramount Pictures
Charlize Theron
58 | Your guide to DSLR PHOTOGRAPHY
What are five techniques for capturing
action without looking staged?
1. Action is very organic. You don’t
actually know what is going to happen
so you need to have a flexible approach.
2. I love the use of long lenses but
sometimes if there’s a lot going on,
something a little wider can capture
the story better.
3. Shutter speed is similar – fast
shutters are not always the way to show
the energy in an action shot. Sometimes
shooting a really slow shutter can help
add some confusion, especially in a simple
image where someone is just walking
through a crowd.
4. The most important thing to
remember is that there should be no
rules. We now have astounding cameras
just begging to be pushed to their limits,
so why not try a little of everything and
surprise yourself.
5. Develop your own techniques and
formulas. I have a great one for explosions
and fire, but it only works with Nikon
cameras for some reason – I guess that’s
due to the way their matrix metering
system has been designed.
What gear do you use?
I use a D4, a D800 and my baby, the Nikon
1. I use all the cameras independently and
assess the scene to choose which body to
use. At the moment, I’m shooting a huge
action scene in a dusty environment on
the roof of a train, so I’m using my D4.
I never realised how awesome the colossal
new 80 frame buffer would be. The D4’s
frame rate, auto focus and dynamic range
still blow me away.
For special shoots, when I need a
lightweight kit, I use the D800 – the
sensor is nothing short of astounding and
I think it’s going to take out every camera
award possible. We’ve all waited a long
time for this one. I think the D4 and the
D800 were made to be a team, all the guys
I speak to feel the same and want both
bodies in their kit. Even guys on
alternative systems are looking at getting
a D800 for their studio work.
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JASIN BOLAND
Lights, camera, action
day is when you’ve been shooting for
hours and someone asks where you’ve
been all day.
What are the best parts of your job?
I really love the whole film-making
process. I’m just a tiny speck in the realm
of things, but it’s exciting to be working
on a big project and knowing so many
people from all corners of the globe will
see your work. We may not be known by
name, but the work of Motion picture still
photographers are some of the most
recognisable images in photography.
The travel with my family is great too;
I met my wife Maria in Berlin on Bourne
Supremacy and we now have a son,
Hunter. It’s great when we get a film
in Europe so we can hang out with our
family over there. Safe House in South
Africa last year was amazing – we were
able to spend weekends as a family on
safari and Hunter talks about it all the
time. We’re off to Namibia for a film this
year and it’ll be great to explore another
new country.
It can get a little strange bringing a
child up on sets. He gets some strange
ideas about life – like food coming from
the end of a phone and knowing the
difference between a movie snake and
a real snake. When I tell him I’m going
to work, he asks if I’m going on a plane.
IMAGES
Matrix
» (Top)
Warner Brothers
Keanu Reeves
Hugo Weaving
or included? Sanctum
» (Right)
Universal Pictures
Safe House
» (Far right)
Universal Pictures
Ryan Reynolds
The other system I use for a small and
versatile kit is the Nikon 1 V1. When we’re
doing explosions or other dangerous
scenes, I set my V1 on Gitzo tripods and
fire away remotely, while using a second
camera on a long lens. The Gitzos stay
rock solid, even when there’s a shock
blast from an explosion and that’s what
you need when filming action.
I love the Nikon 1 V1’s face recognition
auto focus – it’ll pick up a face even
through a car window. The electronic
shutter on the Nikon 1 is completely silent
so it’s perfect on a film set. I have mine
modified so I can trigger it with a wireless
remote control.
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What extra gear do you need when
shooting on set?
Shooting action means I need really quick
access to my cameras. I hang them from
BlackRapid straps, which allow the luxury
of being able to climb up ladders and
onto rooftops, trains and other crazy
things. They also save my back and neck.
You need the right gear to get the most
out of your equipment, so fast, reliable
cards are essential. The hardcore Delkin
Rugged 1000x cards are my primary
memory, I back up to the Sony XQD cards.
With the speed of these cards combined
I don’t miss any of the action playing out
in front of me. The Delkin cards are built
to military specs in America. I could
get them wet and they’d survive.
When I’m on-set my cameras need
to be silent or as close to it as they can.
They’re housed in AquaTech sound blimps.
Alan from AquaTech gave me a big say in
development, so much of what you see
has been tailored to my own standards
and requirements. A couple of the big
advancements are that the Blimps can
be customised for each photographer’s
shooting style and control needs, there’s
also Schneider glass on the end of the
tubes, making them easily the best in
their class.
My equipment is on constant rotation
around the world, so safe shipping is
essential. Everything from the Nikons
to the BlackRapid straps are packed into
HPRCs (High Performance Resin Cases).
They’re 25% lighter than other cases
available – that’s a big saving on shipping
and excess fees.
What are some of the challenges of
your job and this type of photography?
Access can be difficult at times.
Developing relationships and showing
people that you can do your work while
seeping into the cracks is probably the
most important thing to master. A great
Do you always have to capture an
actor’s “good side”?
Everyone has a photogenic side.
I generally find if someone is a little
on the heavy side it’ll be the side of the
hand they write with. For slim people it’s
the opposite. Finding the right angle of
someone takes a little time but it’s also
one of the great aspects of photography.
Essentially, if we can flatter someone with
a really cool image of themselves, in
reality we’ve flattered ourselves. I think we
have an ulterior motive when it comes to
people liking our work. It’s as much about
our own personal satisfaction.
What’s your post-production process?
Due to the massive number of images
I shoot in a day, I try and keep my work
flow very quick. I use Nikon ViewNX for
a quick scan and delete, and then if I have
any RAW adjustments I use CaptureNX 2.
For my creative work I use Nikon
software. If you haven’t used any of
their plug-ins before you should take
a look – the filters are incredible.
“A great day is when you’ve been
shooting for hours and someone
asks where you’ve been all day”
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JASIN BOLAND
Lights, camera, action
How has the use of DSLR video changed
the industry? Is it used?
For the motion picture film industry, DSLR
capture is mainly used with crash cameras
or lightweight rigs – you can hide these
behind things to capture some additional
action. Everyone is really excited about
the D4 and D800 due to the sensor, their
ability to change frame sizes and the fact
they’re the only DSLRs capable of
recording uncompressed files.
Young film-makers have now been
given the ability to make serious films
on smaller budgets. DSLR film-making is
still very much in its infancy but growing
at a colossal rate. We’re very lucky to have
the equipment we have today. Ten years
ago, I never believed we would be where
we are now. Now nothing would surprise
me and I can’t wait for the next stage
in digital evolution.
Do you work in a studio to re-create
any sets or shots?
I don’t re-create sets or shots, but I do
what we call specials or gallery shoots.
I’ll have a full studio set up – sometimes
with 10 strobe heads or more – and
in-between scenes for a day or two
the actor will walk on and we’ll shoot
for poster art. It’s really fun but can be
incredibly stressful. Sometimes you
only get two or three minutes to pull
everything together. Usually everything
you thought about and ran through
in your head is thrown out the window.
Why do you shoot with Nikon gear?
Ahhhh my beloved Nikons. In my entire
professional life I have shot with Nikon,
I haven’t worked with any other system
and our photography has grown together.
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IMAGES
Safe House
» (Top left)
Universal Pictures
Denzel Washington
Ghost Rider
» (Bottom left)
Sony Pictures
Nicholas Cage
Ambassador
» (Top right)
Jasin Boland
The Bourne
Ultimatum
» (Bottom right)
Universal Pictures
Without Nikon I certainly wouldn’t
have the career I have today.
I work on action films so my life
is governed by shutter speed. I need
amazing low light capability and superfast auto focus. These are two areas
where the Nikons really excel.
The other thing about Nikon is that
it believes the enthusiast is the heart
of photography. All the enthusiast models
have technology in them that I’ll find in
my next professional models. Look at
what the D90 and D7000 morphed into.
The guys on the street have pretty
much the exact same opportunities in
photography that I have. Sure, I have a
faster frame rate and a little better low
light capability, but that’s where the
differences end. I think keeping the
enthusiast part of the development
process is a huge tribute to Nikon and the
respect they have for us as photographers.
How has being a Nikon Life
Ambassador affected your career?
Being a Nikon Ambassador is a colossal
honour. There are seven of us and we get
on like best buddies – we respect each
other’s work and all love a chat.
Being an Ambassador helps my work,
too. I’ve never been good at landscapes
and I’ve learnt to see things differently
through the conversations I have with the
people I meet when I’m out and about
for Nikon.
I have a lot of respect for the enthusiast
photographer. I really envy the guy on the
street for whom photography is purely for
fun. I get to meet so many of these people
both socially and through competitions as
a Nikon Ambassador. It astounds me how
incredible their photography is, but
they’re not professionals. In fact many
can out-shoot some of the biggest names
I know, including myself.
What’s on your gear wish list?
I have everything I need to shoot today,
but what interests me most is what’s just
around the corner. I would love to see a
hybrid system with a mix of the D4 and
Nikon 1. My dream would be to have
optical and an LCD viewfinder and
combine everything that comes with
their abilities.
To find out more about Jasin
see mynikonlife.com.au/
ambassadors
and jasinboland.com
“I work on action films
so my life is governed
by shutter speed”
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