2021: Year in Review

2021 has been a bit of a mixed bag. Parts of the year were nearly as busy as before the Covid pandemic began and other parts felt more like 2020 with long stints here in the office. Regardless, I was still able to create some wild images. A huge thank you to my clients who have continued on with assignments in a tough year and many of whom put in place very strict Covid practices. I very much appreciate my clients approaching any gathering with caution and reasoned practices to keep all of us as safe as possible.

This year also brought with it some amazing experiences–like getting to fly upside down in a helicopter–and some amazing assignments. In February, Fujifilm launched the GFX 100S–their latest 102 megapixel GFX medium format camera–and it was great to see all of the downhill skateboarding images we created for that campaign appear all over the place with the release of the camera. I couldn’t share those images in last years 2020 Year in Review post because the camera had not been announced yet. You can see the best images from that campaign here on my website. Below is a screen shot of the main image Fujifilm used to promote the new GFX camera here in the USA.

Since working with the new FUJIFILM GFX 100S, its has been my main camera and the GFX 100, it’s big brother, has taken the backseat for many assignments in deference to the smaller, more portable 100S. Many of the images shown here in this year-end summary were created with these astounding GFX 102 megapixel cameras. A sincere thanks to Fujifilm for their continued support of my work and for helping me to have the best possible tools I could ever dream of.

I know that these “Year in Review” blog posts are a dime a dozen – and I have seen a lot of them over the last few weeks – but I hope you find this blog post at least entertaining. Without further ado, here are what I consider to be the best images I have created this past year.

Red Bull Air Force
Los Alamos, California — USA

Early this spring, after the epic boom in Covid cases over the last winter, I received a great assignment from Red Bull to once again photograph the Red Bull Air Force training camp. I have photographed the last four training camps for Red Bull, which has helped me to establish quite a good relationship with the team and also a very well rounded portfolio of BASE Jumping, wingsuit BASE jumping and aerial acrobatics images. This years training camp was held in Los Alamos, California and offered a completely new landscape to work with as can be seen in the images below.

My sincere thanks to the entire Red Bull Air Force and to Red Bull for allowing me to be a part of this years training camp. I am already looking forward to the next time I get to work with this incredible crew. For the full story on this assignment check out my Summer 2021 Newsletter.

Red Rocks, Nevada — USA

Right after the Red Bull assignment shown above I had another assignment with SanDisk and DPReview to show off their latest solid state travel hard drives (SSDs). For this assignment, I chose to create some rock climbing images using my brand-new FUJIFILM GFX 100S and a variety of GFX lenses. Eric Becker, working with DPReview, created a behind the scenes video showing how the images were created and working with the SanDisk SSDs. My thanks to Eric and the DPReview team, as well as SanDisk of course, for this assignment and also to the climbers, Joey and Yulia Cohn and Keoni Onsaga, for coming out on two frosty cold days.

Highlight Skydiving Team
Tucson, Arizona — USA

While photographing the Red Bull Air Force team training camp, Amy Chmelecki asked if I would come out and photograph the Highlight Skydiving team, which is an elite female skydiving team. While working with the Highlight crew, they wanted to swoop through a wall of fire as they came in for a landing. I had not seen anything like this in my fifteen years of photographing various skydiving sports but it seemed like a goldmine photographically. As can be seen below, Kaz Sheekey swooped through a wall of blazing fire and smoke (the smoke came from a flare set off in front of the fire line) and these two images might be my best images from 2021. I couldn’t decide which image is better, the one with her in the midst of the flames or the second one where she has just busted through the flames. Hence, I have posted both here. My thanks to the entire Highlight Skydiving team for their incredible hospitality and for having such a cool team training camp.

Rocky Mountain School of Photography
Missoula, Montana — USA

For the last five years, I have spent one week each year teaching a workshop for the Rocky Mountain School of Photography (RMSP), which is a nine month intensive professional school for those looking to become professional photographers. I have taught a course on Adventure Photogrpahy and during that week, I try to capture a few images here and there to show the students what I would do in those scenarios. On the day we worked with a few whitewater kayakers this past year, I got the image below of Sebastian Johnson whitewater kayaking on the Clark Fork River in downtown Missoula, Montana. As this location had a very busy background I thought using a slow shutter speed to create a motion blur would lead to an interesting image–and well, it turned out pretty well. My thanks to RMSP and the kayakers for working with us in seriously cold kayaking conditions.

Santa Fe Institute
Santa Fe, New Mexico — USA

Every once in a while I have a local assignment, i.e. one here in Santa Fe, New Mexico. Usually, local assignments involve a portrait of some type and this was one of those gigs. I have worked with the Santa Fe Institute several times over the last few years and as one of the most elite science institutions in the world it is always fun working with SFI. For this assignment I was tasked with creating a few different portraits of renown physicist and cosmologist Sean Carroll. As someone who studied physics in university and got a B.S. in physics, it was pretty cool to meet one of the icons of the science world. To create something unique and show the power of Sean’s mind, I created a double exposure image melded from a black and white portrait and a photo of a 3D art installation at the institute. We also had Sean write out some of the equations he is working with at the institute for a more “standard” portrait. I thought both images are pretty cool and it was great to hear Sean liked them as well. My thanks to Sean Carroll and SFI for working with me on this assignment.

And if there is any doubt about the importance of science and scientists, the last few years have proven quite effectively how important science is to our modern society and how incredible the new vaccines are in protecting us. Please get vaccinated to protect yourself and others.

Golden Aspens
Santa Fe, New Mexico — USA

I seem to have been on a motion blur kick this year as I created a wide variety of motion blur images–two of which are show here in this year end post. While on a hike this fall, a patch of glowing golden Aspens along the Alamos Vista Trail above Santa Fe, New Mexico caught my eye and I spent five minutes or more moving the camera and my body to make motion blur images of this forest wall. It probably looked pretty hilarious as I bent my knees in a pumping motion up and down. That seemed to be the best technique for holding the camera steady at slow shutter speeds and not moving it any closer or farther from the scene. The result was the image below. While this technique is nothing new, and many, many photographers have created this type of image, I found this one image (out of hundreds I created that day) to be “The One.” It has already become one of my most asked for images as a fine art print.

New Mexico Tourism
White Sands National Park, New Mexico — USA

This fall, I had a very fun assignment working with New Mexico Tourism, the City of Alamogordo and the New Mexico Museum of Space History. The assignment was to create a series of images of Mike Shinabery (an employee of the Space Museum) in an Astronaut suit in and around Alamogordo, New Mexico. The Space History Museum had a $60,000 USD replica space suit based on Neil Armstrong’s suit used for the Moon landing in 1969. This is the suit you see here in these images. The images we created in White Sands National Park in particular were the best images from the assignment and some of the more unusual images I created this year. Below are two of my favorites.

For the full story on this assignment check out my Fall 2021 Newsletter. My thanks to Bill Stengel who brought me in for this assignment!

New Mexico Tourism
Wild Rivers Recreation Area, New Mexico — USA

On another New Mexico Tourism assignment this fall I photographed fly-fishing on the Rio Grande river in the Wild Rivers Recreation Area near Questa, New Mexico. While hiking down to the river I saw this pretty amazing overhead view with phenomenal colors and textures. Our fly-fisherman Toner Mitchell was gracious enough to hike downriver so I could get a series of images of him in various spots on the river. This image below is one of my favorites from that assignment and seemed worthy of this year end summary.

California — USA

While this image isn’t from 2021, after two years I am just now able to share it. This image is from a major ad campaign I shot for Eylea, a subsidiary of the pharmaceutical giant Bayer, way back in 2019. Eylea is a drug for those suffering with Macular Degeneration. On this gig, we created three heavily composited images for the campaign. [Note: It is extremely rare that I use compositing in my work and if an image is composited then I am very clear about how the image was created.] In the image brief the ad agency had a mountain scene from Austria and wanted to create something similar here in the USA without snow in early April. While working with my producer for this assignment, we chose a road in central California for the cyclist to ride on–and which had the right foothills surrounding the road. The mountains in the background are from Colorado, the sky is from another image and all of the daisies you see below were added in post-production. While we produced four different composited images for this assignment this one is by far my favorite.

So long 2021. My thanks to Red Bull, Fujifilm, SanDisk, National Geographic, New Mexico Tourism, SFI and all of my other clients with whom I worked this year. Thank you for taking the time to check out some of this years highlights. Feel free to comment on any of these images and tell me which one you think is the best of the best from this year. Happy Holidays and a Happy New Year to you all. Here’s hoping your 2022 gets us all back to fully normal and is filled with adventurous travels and amazing experiences!

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An Epic Year for Camera Technology

This article originally appeared in my Fall 2021 Newsletter. You can download the Fall 2021 Newsletter here. If you would like to subscribe to the Newsletter please send me an email. The newsletter is free and is sent out quarterly.

This year, 2021, will go down as the year mirrorless camera technology truly came of age and replaced digital SLRs. At this point, I suspect DSLRs are still the mainstay of many professional photographers but with the incredible announcements of the Sony A1, the FUJIFILM GFX 100S, the Canon R3 and the Nikon Z 9 pretty much across the board every camera company has a stellar option for those looking to upgrade. Back in February of this year I published a blog post entitled, Tools of the Trade: Transition Mode, where I started off that post with the following:

“2021 is the year that everyone in the photo industry will sit up and take notice of the mirrorless cameras that have been flooding the market for the last decade. It has taken a decade for the new mirrorless options to finally match the venerable speed-demon pro-caliber DSLRs that we have all been using as professionals. I am sure many would say this happened a few years back but for pros who get to know their gear over years and years of use, a change in the system is a huge deal. With the back-to-back announcements of the Sony A1 and the FUJIFILM GFX 100S, 2021 kicked off with a bang announcing two new high-end cameras that show what is possible with mirrorless technology. With these two camera announcements, I have sold off my entire Nikon DSLR setup including all of my Nikkor F-mount lenses.”

That blog post was purely predicting that all professional photographers would finally start making the move to mirrorless after the launch of the Sony A1 and the FUJIFILM GFX 100s. I knew the Nikon Z 9 was coming (since Nikon told us long in advance it was in the works) but had no idea what it would become. Now that the Z 9 has officially been announced we can see that every top camera manufacturer has a mirrorless option for pretty much any genre of photography, including sports and wildlife photographers. Since selling off my DSLRs, I have been working predominantly with my FUJIFILM GFX cameras (the GFX 100 and GFX 100S) as well as the Nikon Z 6 and the Z 7 II. Earlier this year I was pondering a move to Sony or Canon (in terms of full-frame cameras) if Nikon could not come through with the Z 9 but it appears that Nikon came through with a stellar new camera offering for pro photographers. I do have a Z 9 on order, and I am excited to again have a stellar medium format and 35mm set up to cover fast action and ultra high-end image quality. The GFX system is my main camera system (and has been since the release of the GFX 100) but I still need a smaller 35mm format kit that can deal with crazy fast action as well. Hence, with my move to mirrorless cameras the focus in this article will be on how these cameras have improved overall image quality and what they allow us to capture that we couldn’t create with DSLRs. 

In-Body Image Stabilization (IBIS): IBIS has been in mirrorless cameras for a while now. IBIS is stabilization built into the sensor mechanism itself via magnets that hold the sensor in place and stabilize the actual sensor. This amazing technology allows photographers to handhold high-resolution cameras at incredibly slow shutter speeds and still get sharp images—as shown above in an image created for the US Marine Special Forces. I have been able to handhold my mirrorless cameras with this feature at 1/10th second and get reliably sharp images. All of the major high-end mirrorless cameras announced in 2021 have this feature. Going forward, I would be surprised to see any mirrorless camera not having IBIS built in. This is a critical feature in my mind for any mirrorless camera.

Better Image Quality: This is a key part of the reason to go with mirrorless cameras. If the image quality isn’t better than the DSLR cameras of yore then what would be the point? The Nikon D850 was such a stellar camera that it took a while to better it in the mirrorless space. The new mirrorless cameras and lenses allow for sharper images corner-to-corner than their DSLR cousins. The built-in lens profiles that work with Lightroom and Capture One also improve the image quality as well. As noted above, the stabilization (IBIS and lens stabilization) also allow for sharper images over a wider array of shutter speeds. The FUJIFILM GFX medium format cameras notably take image quality to a higher level at much more affordable prices than ever before. As the image below shows, the 102 MP medium format sensors in the FUJIFILM GFX 100 and GFX 100s offer image quality that is a big step up from any 35mm camera at this point.

Higher Quality Mirrorless Lenses: The new lenses designed for these new mirrorless camera systems are a big part of the image quality gains. Shorter flange distances, newly designed optics with modern technology, and the lens profiles that help correct those lenses are all part of the equation. The camera companies are also looking to the future when even higher resolution sensors will be put into cameras and the new lenses will need to keep up with those sensors as well. 

Built-in Lens Profiles: We have mentioned lens profiles a few times already so I thought I would list it here again. Basically, all of the camera manufacturers have created profiles of their lenses and have shared these with Adobe and other software manufacturers so that these can be used to correct minor issues that pop up with every lens. These profiles help to correct things like aberrations, including chromatic aberration, as well as vignetting and other optical issues. The end result is that we get better images due to a combination of the improved optical quality of the lenses and the related lens profiles. 

Faster and More Accurate Autofocus: The autofocus on most high-end DSLRs was already pretty fast, but the top-end mirrorless cameras have been able to use faster processors to calculate autofocus incredibly accurately at up to 120 times per second or faster in some cases. The new mirrorless cameras, because there is no mirror, can also use machine learning to track the eyes of your subject, or the subject itself with incredible accuracy far beyond the AF systems built into DSLRs. And all of the AF calculations are done on the sensor itself, which insures accurate autofocus in a way never before possible. Gone are the days of fine-tuning the autofocus of DSLRs to make sure they focus accurately with your lenses. Because the AF is done on the sensor the manufacturing variations between lenses is irrelevant—at least in terms of the autofocus. This new AF technology, along with IBIS and better image quality, are the big three reasons to move to mirrorless. 

Decoupling the AF point from the Composition: One of the big advances in the new AF technology is that there are AF points from corner-to-corner across the viewfinder. Because of this, we are now finally free to compose the image as we want without any AF restrictions. This is a huge benefit. Additionally, with eye tracking and the new subject tracking algorithms, in many instances we barely even have to think about the AF at all since many mirrorless cameras have exceptional AF accuracy even in challenging light. 

Truly Silent Operation: With modern mirrorless cameras we now have full and truly silent operation, save for the noise made by the autofocus moving lens elements back and forth. This is achieved using the electronic shutter option available in most mirrorless cameras. The Nikon Z 9 is the first pro-caliber mirrorless camera that does away with the shutter mechanism altogether. In fact it is a silent camera by default and you can turn on the sound to simulate a camera with a shutter. While a silent camera may not seem like a big deal, in many situations it will allow photographers to capture images without disturbing the subject such as in wildlife photography and photojournalism. Imagine a press briefing without all the annoying shutter mechanisms clacking away from the still photographers. Imagine a tennis match where the players don’t have to hear all of those cameras firing away as they try to line up their next shot? Silent cameras will quickly become the defacto standard and I would not be surprised to see them required at major events where sound is an issue (tennis, golf, press events and so on).

Live Histogram and WYSIWYG: Mirrorless cameras from a decade ago included the live histogram in the viewfinder and pretty much all of the current mirrorless cameras allow for the histogram to be visible in the EVF or on the rear LCD. While this isn’t new, it is incredibly valuable and makes capturing well exposed images much, much easier than it was with DSLRs. Of course, beyond the live histogram, the what-you-see-is-what-you-get (WYSIWYG) EVF viewfinders also help massively when it comes to dialing in your exposure. These features not only help to get accurate exposures but they also help to dial in a creative effect using exposure settings. In some scenarios underexposing or overexposing the image helps to create the mood you want to convey better than the most accurate exposure and being able to see that instantly in the EVF is a huge help for translating your intent into the final image.  

Faster Frame Rates: Once the mirror was removed from the camera, and faster processors were introduced, the ability to speed up the frame rates in mirrorless cameras jumped drastically. The Sony A1, released earlier this year, notably pushed that envelope to a shocking 30 fps at 50 MP. Of course, for most of us, even sports photographers like myself, 20 fps, much less 30 fps, creates a digital workflow nightmare. It is great to have these options, but realistically, I can make do with 12 to 14 fps and occasionally will bump up to that 20 fps when absolutely needed. Regardless, the new crop of super fast cameras open up new options we have never seen before in any cameras thus far. 

While each of these points on their own may have a small (or large) impact on how you use a camera to create images, put together they change the photographic experience substantially—especially for anyone coming from the world of DSLRs. Note that I am not trying to sell anyone a mirrorless camera. I am just laying out my experiences and the advantages I see in working with the latest technology—and my reasoning for selling off my DSLRs. 

I will admit getting used to an EVF takes a little while, but with time it becomes very difficult to go back to a DSLR. This was the experience I had when I purchased the Nikon Z 6 way back in 2018 and then had to use my Nikon D850 for faster action oriented assignments. To be clear, the Nikon D850 was and still is a phenomenal camera. Even so, all of the advantages discussed here, and the speed with which mirrorless cameras can get you to the final image, makes the transition to mirrorless more than worth it for pro photographers. 

We are at a point now where I am not sure how the top-end cameras can be made any better. My current setup is unbelievable in terms of speed (the forthcoming Z 9) and image quality (GFX system). I am sure manufacturers will come out with ever higher megapixel cameras to tempt us in the future but for the moment, the technology is astounding. If you have been on the fence about making the move to mirrorless, now is the time. There is going to be a glut of gear on the used market so don’t wait until all of your DLSR gear is worthless to sell it off. Kudos to all the manufacturers for taking it to the next level!

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Fall 2021 Newsletter

The Fall 2021 issue of the Michael Clark Photography Newsletter is now available for download. If you’d like to sign up for the Newsletter just drop me an email and I’ll add you to the mailing list.

This issue of the Newsletter includes an editorial entitled Cosmic Correlations, an article entitled An Epic Year in Camera Technology, an article detailing a recent assignment with New Mexico Tourism and the New Mexico Museum of Space History, an editorial entitled Blurry Aspens, and much more.

The Michael Clark Photography Newsletter goes out to over 8,000 photo editors, photographers and photo enthusiasts around the world. You can download the Fall 2021 issue on my website at:


If you’d like to check out back issues of the newsletter they are available here.

Please note that the newsletter is best viewed in the latest Adobe Acrobat reader which is available for free at www.adobe.com.

Also, if you are a subscriber and you have not already received the Newsletter, which was email out a few days ago please send me an email with your current email address and/or check your spam folder.

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An Astronaut on Planet White Sands

As part of a recent assignment for New Mexico Tourism I worked with the New Mexico Museum of Space History to create a series of images of Mike Shinabery (an employee of the Space Museum) in an Astronaut suit in and around Alamogordo, New Mexico. The Space History Museum had a $60,000 USD replica space suit based on Neil Armstrong’s suit used for the Moon landing in 1969. This is the suit you see here in these images. Of course, this suit looks perfectly new and is bright white since it isn’t coated in lunar dust. Interestingly, this replica doesn’t have all of the gaskets you would find in the original but it still weighs a lot. Mike brought along with him a co-worker, April James, who helped him get in and out of the suit, and who was also there to monitor his safety as the suit is such a good insulator that Mike could easily pass out from dehydration.

Since White Sands National Park was nearby, and offered an otherworldly landscape, we spent a few hours creating images of our astronaut wondering around the dunes and taking it easy near the iconic rest area shelters. With Mike on the dunes, it felt like we were on another planet and the location seemed to fit very well with the idea for this assignment. With the lifestyle images of Mike sitting in a picnic shelter (and leaning against it) we definitely were tipping our cap to the “tongue in cheek” nature of our photo shoot.

We ended up creating images in White Sands around noon–not typically the first choice for photography. But because the suit was white and the blazing sun filled in most shadows, this really helped lend itself to the high-key look I went after in the post-processing. It also just goes to show there isn’t really any bad light. It is all how you use it. For this assignment I worked with my FUJIFILM GFX cameras exclusively so all of the images were captured using a glorious 102 MP sensor and a variety of the FUJIFILM GF lenses.

As a space nut myself, and as someone who desperately wanted to be an Astronaut (and even got a B.S. degree in Physics pursuing that dream), this assignment was pretty fun to say the least. Mike and April had quite a few amazing stories gleaned from working with NASA. They also talked about the time, way back in 1982, when the Space Shuttle landed at White Sands as well as some of the lesser known details about the nearby test of the first atomic bomb back in 1945.

We got quite a few amazing images on this assignment. The images included here in this blog post are just a few of my favorites. The image above is definitely among the top images I have created this year.

My thanks to Mike Shinabery and April James from the New Mexico Museum of Space History for all of their hard work to help create these images. Also, a huge thanks to New Mexico Tourism and the City of Alamogordo for this assignment. Lastly, a huge thank you to Bill Stengel for bringing me in on this project.

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2021 Fine Art Print Sale

To get the ball rolling for the fall holiday season, I am happy to announce a 15% off sale on all of my fine art prints until December 31st, 2021. How this works is very simple, just take 15% off my standard fine art print pricing, which can be found here, and contact me to order the print. This sale includes both paper prints and metal prints. Also, note that my print pricing includes free shipping (in the continental USA) as well as print mounting on DiBond (for paper prints). All metal prints come ready to hand on the wall.

All of my images are available as Fine Art Prints. You can see which of my images are in the Limited Edition category on my website. Any images that are not shown on the Limited Edition page are considered Open Edition prints. Available print sizes are listed on the pricing page. I will work with you to make sure the final print is the best it can possibly be and will look great mounted on your wall. All paper prints are made on the finest baryta photographic papers.

Below are a few sample prints that I have made in the last few months to give you an idea of just how stunning these turn out when framed up.

Also, the metal prints I am offering, printed by Blazing Editions, are absolutely stunning as well and are also on sale. Just as with the paper prints, all of my metal prints come mounted (as they are printed directly on the metal) and additionally they come with a backing or frame so that they be hung on the wall straight out of the box. Below are a few examples of the metal prints on offer.

Please contact me with any questions or if you would like to look at a wider range of images than are featured on my website.

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Backflips in a Helicopter

This blog post is an excerpt from a longer feature article that appeared in the Summer 2021 issue of the Newsletter. You read the full article click here to download the PDF magazine.

Having worked with the Red Bull Air Force on more than a dozen assignments over the last decade, it is always nice to get the call for another gig with the team. I have gotten to know the crew pretty well over the years and even wearing a mask and a hat they recognized me instantly when I showed up at the 2021 Training Camp in Los Alamos, California earlier this spring. Imagine working with Superman and Superwoman on your next photography assignment and that gives a sense of what it is like working with the Red Bull Air Force. 

On this assignment, I spent quite a bit of time sitting in the back seat of a helicopter—either the Red Bull Helicopter or the shotover helicopter, which was there to capture video. Normally, with a shotover helicopter (which has a gyro-stabilized camera mounted under the left front corner of the helicopter) no one else is allowed in the helicopter when they are shooting. But in this case they were open to having me in the back with an open door because the camera operator and cinematographer (one and the same person) sits up front in the left seat. Hence, we had a lot of options for capturing action from the air on this gig.

Capturing images of Kirby Chambliss and Kevin Coleman, the stunt plane pilots, as well as Aaron Fitzgerald, the Red Bull helicopter pilot, is always challenging. Both Kevin and Aaron were new additions to the team so we definitely wanted to capture some great material of them in action. To document Aaron Fitzgerald in the Red Bull helicopter I worked mostly from the shotover helicopter and flew alongside him while strapped in and shooting out an open door. On that first evening we went out at sunset and buzzed a hot air balloon (which we were set to be working with a few days later) and Aaron did back flips in the helicopter right next to the balloon. All I can say is the folks on that balloon ride got one hell of a show!

A few days later, after having spent a considerable amount of time flying back seat with Aaron in the Red Bull helicopter, he told me to come up and sit left seat after I had been flying with him all afternoon. He wanted to take me up to do his entire aerobatic show, which lasted about six minutes and involves several 360 upside down maneuvers—in a helicopter! My first reaction was, “That sounds great, but I don’t want to puke in your helicopter.” Aaron assured me it wouldn’t be too bad and instructed me how to follow the horizon from the windows above and below the front seats to keep ourselves oriented and our stomachs at bay. I told myself, “Well, if there is ever a time to do this, then this is it—and Aaron is one of the best pilots in the World.” I trusted him completely. Once I got strapped in and locked down with the five-point harness I grabbed my Nikon Z7 II and a fisheye lens to document the experience. At the top of this blog post you can see a fisheye image of us inverted (note the horizon).

I kept my camera firmly on my lap—so as not to injure myself or cause any mayhem in the cabin—and shot series of images during each maneuver. I knew that if I tried to raise the camera at any point and we shifted our position quickly at the same time I could nail my face with the camera or worse. I had the camera tethered to my harness as well so it couldn’t go on walkabout in the cabin and result in a catastrophe. In all we did at least a dozen or more inverted stunts and with Aaron calling them out I was able keep the horizon locked in and hold onto my lunch. 

There are only a few helicopters in the World capable of going upside down and even fewer pilots skilled enough to pull off this maneuver. Helicopters technically are not supposed to go upside down. Once we landed, Aaron congratulated me on being on of a very small number (a few dozen) to ever go upside down in a helicopter. That six or seven minutes was definitely a highlight of the assignment for me and gets stacked on many other amazing experiences I have had working with the Red Bull Air Force. Below are a few images of Aaron mid-air captured from the second helicopter.

My sincere thanks to Aaron and the entire Red bull Air Force for another stellar training camp. And also, my thanks to Red Bull for hiring me for this gig. Always a blast!

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Summer 2021 Newsletter

The Summer 2021 issue of the Michael Clark Photography Newsletter is now available for download. If you’d like to sign up for the Newsletter just drop me an email and I’ll add you to the mailing list.

This issue of the Newsletter includes an editorial entitled Upside Down, a review of the FUJIFILM GF80mm f/1.7 lens, an article detailing a recent assignment with the Red Bull Air Force, an editorial entitled Finding your Voice, and much more.

The Michael Clark Photography Newsletter goes out to over 8,000 photo editors, photographers and photo enthusiasts around the world. You can download the Summer 2021 issue on my website at:


If you’d like to check out back issues of the newsletter they are available here.

Please note that the newsletter is best viewed in the latest Adobe Acrobat reader which is available for free at www.adobe.com.

Also, if you are a subscriber and you have not already received the Newsletter, which was email out a few days ago please send me an email with your current email address and/or check your spam folder.

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