Meeting place for a long list of sailors and sailing amateurs, the 6th edition of the SAIL IN festival took place in Bilbao earlier last month. The occasion for Panthalassa to meet sailing legend Carlo Borlenghi. Building a bridge between sailing and people, Carlo Borlenghi creates a powerful connection with the sea through his lens only.  »I’m not a sailor, not a swimmer but I like to shoot everything about the sea.« Growing up in Lake Como, Italy, Carlo Borlenghi is considered a pioneer in sailing photography today. « My main house is still situated in Lake Como, I feel lucky living near the border where I have a private beach with a small boat. That’s nice place. I also have a small flat in Milan.«

Thanks to his long-time valuable experience and distinct knowledge, the Italian photographer shares with us some pieces of wisdom about the vital need for a photographer to learn to adapt. »I didn’t change my vision and concept too much, I just use the technology to create the shot that was impossible before. It’s good to know exactly how difficult it was before to appreciate how easy is today.« Before going back to his native city by the sea, the 78-year-old world-renowned sailing photographer found time to talk to us about the evolution of sailing photography. »When we first used a drone, it was like putting up a tripod to the sky.« From analog photography to digital, he evokes the end of an era for the magazine industry, the use of social medias in the communication process today and a balanced vision between pioneer skills and the need to use new digital technology to take better photos.

Carlo, let’s start by talking about your collaboration with the SAIL IN festival. When did it start?

They first contacted me 10 years ago. They wanted to meet me but I was pretty busy with America’s Cup at the time. I ended up sending a selection of pictures and they used one of them for the poster of the very first edition of the SAIL IN Festival. We kinda lost contact until this year when Javier Sobrino invited me to join them. I was available and free from work at the studio so here I am today in Bilbao.

How did you work on this selection of pictures?

These photos are a little bit what represent both me and my job. For example, the »Brava« shot with the upside down boat was taken during my very first regatta. Some other pictures represent some good moments of my job, like »The big cloud« taken in Australia. Whenever I go out, I try to get one shot, not just for business but for me. Priority is obviously given to the client but I try to come back home with one single good shot. If I eventually have 4 or 5 different good ones, I’m happy. It’s hard to find good angles. When I go to bed, I think and dream of an angle. It’s easier to shoot when you have a picture in mind. You go out and just wait for the best moment and create the shot you have in mind. The picture is there. Shooting outside is not like shooting in studio where you can just put the light on or move the model as you like. You have to play with nature, with the sea, with the ocean. You never know, it can be flat, it can be huge and full of waves. I’m only scared to miss a picture for technical reason or regarding the focus. I want to stand out among other photographers, making different pictures.

Your shots are not only about people sailing, but there’s some real tragedy in there. Are you looking for stories?

Yes, story first. Now that the magazine industry is done, there’s no room for story. Magazines used to give us like 8 pages to play around one story, but now is different. The approach is different depending on the client and depending on the regatta, but 90% of the time today, I look for the single shot. A good and strong one. Nobody cares about the story on the regatta anymore. For an event like America’s Cup when we can eventually create a book, in this case, yes I look for the story. Otherwise, it’s hard to look for a story by yourself, in the sea, everything is expensive. You need to charter the boat, the helicopter and go to remote places. It costs a lot to reach nice places. For example, I’m planning to go to Australia today to cover the migration of the crabs to one special island, but it’s so expensive to go there and there’re only two flights each week.

Why considering to cover the crabs migration and move out of the sailing field?

Because it’s incredible! The crabs go out from the forest and go to the sea, crossing the village. crawling down the cliff. So the island, the village, the streets and the cliffs suddenly become totally red, moving. It feels alive. I try to do some different and unusual photography. This crab thing could become a series I could sell at Paris Photo or in Italy.

Tell us about the techniques you use…

Today, I’m working only with digital. Digital gives you more chances to do pictures that was impossible to do before. Drone is a good example. When we first started to use things like this, we put the drone up, it was like to get a tripod to the sky. Before you had to shoot from a helicopter, and then it was difficult to find a client that would pay the expenses. then you have to push film up to 2000 ISO to get rid of all the grainy… the quality was not very good. Now with the drone, you go up, you shoot with the long exposure, you put the ISO, you stay there and get the perfect picture.

Are you working in respect of the technological advances?

Yes because there are so many new ideas, new angles and new cameras! For example, we also like using the drone while shooting a boat going full speed. Today, you can follow it. It was impossible before, there was a limit. Today, you can use these new toys to get new angles and new pictures. I didn’t change my vision and concept too much, I just use the technology to create the shot that was impossible before. It’s good to know exactly how difficult it was before to appreciate how easy it’s today. In the past, when you did black & white and when you had a black sky, you had to make a mask at the lab, you had to do it manually, because there was no correct picture, there was no reality, you played with the dark or with the lighting in the face or this kind of things.

You mentioned working with black & white… Tell us more about that.

Yes, I like black and white a lot. The thing is that, when I started to do this job, I used the go around like a street photographer, I wanted to go into the heart of things, move from my country to another one and come back with different stories to tell. In the past, it was easy. I remember being in England to cover a regatta and ended up making a story about Stonehenge. I spent two or three days in Stonehenge in order to see the crazy people there. I shot only black & white, even for the sunsets and sunrises. This was my dream – use sailing as a mean to travel and create other stories. Then the sailing thing became bigger and bigger for me and there was no time left.

What are the few places you like the most for pictures?

One the best places is South Africa. Because in 300 km2, you get everything. You start from the forest with all the animals like lions and giraffes, then you go to Cape Town where you get to see whales and penguins. Then you can go to the desert of Namibia very close. In the center town, you also have some good wine and vineyards. It’s a really nice place. I have never been in a cage but you can go out to see the sharks in the cage. South Africa is nice. I also love Australia, especially for the regatta. It is one of the best places in the world, especially during Sydney Open. For us as photographers, it’s very good for the action part. Sardinia is also good, you can get good pictures there. But sailing changed recently. Now, they don’t do long-distance races anymore. For me, they used to be the best ones, because I could use the light in the night, capture sunrise and this kind of light. Now they start at 12 o’ clock and are back on the dock at 3pm.

Over the years, you became one of the most famous sailing photographer indeed. What’s your relationship with the sea?

I’m not sailor nor a swimmer. The first regatta I made was a nightmare for me I had no idea what was going on. I started to do the regatta at the Lake with a friend who owned a boat. I observed those sailors going different ways and didn’t understand anything. Then later I realized it’s a very intelligent sport, I like the strategy it needs. In one way, I think it’s better for me not being a sailor because I don’t look at the technical things. I’m just out to shoot the aesthetic aspects. My mind is free mind. I realized it quickly. People who go to the photo fair are not sailors. So I’m bridging two worlds.

What do you like shooting the most?

I like to shoot everything about the sea. For many years, I used to cover a windsurf regatta in Maui, Hawaii. At the time, Robby Naish or this kind of surfers were there. You could sell the picture of a surfer at the time, now you cannot. Nobody care about surfing anymore. There is just maybe the big wave in Nazaré, Portugal, if ever you’re lucky to be there in this period. This is the problem. You could go to Maui for yourself and make very good pictures but it doesn’t pay the bills. Now, you have to work for sponsors to survive.

The job of sailing photographer evolved. Would you say your job relies more on sponsors than on print publications today?

Totally. Magazines don’t commission you anymore. The only way to collaborate with magazines is showing behind the scenes shots of the regatta. But you definitely have to work for sponsors to survive. For example, I work for Rolex. As a freelance photographer, it’s quite impossible because you need to chart the helicopter. For a 27-hour helicopter tour, it costs approximately 45K AUS$. Impossible for one single freelance to pay. The good compromise is to do the best you can for the sponsor because the priority remains the client. Then if you have the chance to get some free minutes for you, you can do one picture for you.

What about analog photography?

Nobody want analog photography anymore, especially for commercial projects. Clients want the picture for… yesterday! Today, you need to shoot and sent the shot right away. Everybody became crazy about the bloody Instagram and social things. Social medias go way more faster than magazine. People post pictures quickly because using an iPhone helps you shoot quickly and post it straight away.

As a photographer, do you feel you needed to adapt to this new era of social medias and all-things digital?

It’s just another challenge. I have my Instagram account but I use it for myself. However, sometimes it’s too much. There’re so many posts and so many stories that don’t say anything. They’re just here to fill the space. To me, if there’s no good picture, there’s no reason to post it. But for most people, it you didn’t pos anything, you didn’t exist that day. If you post a rubbish, it remains rubbish. I know I may be wrong because there’s some rubbish that work, but I stay with my concept. I don’t want to publish just for the sake of publishing. I’m not in the rush. When working on regattas, I have two assistants. They often want to publish a picture quickly but I say « wait, wait… » We get our name under the picture and nobody cares, nobody knows there was no wind this day, nobody cares if there was rain, or… forget it. Give space for the other ones. If there are good conditions the day after, we’ll publish a picture. Our picture must be different than the others’.

Do you also make videos?

Just taking photos. I’m not trying to do both but I work with a guy at the studio who’s in charge of the video part. We sometimes do our post-production ourselves as well cause I find digital a bit flat. There’s no depth. During a race, we just work on the contrasts of the pictures and equalize the horizon. In the big sea, it’s not easy to get the balance. Then if we have five or ten good pictures , we can play a little bit more after the regatta. When it comes to printing a sailing picture in limited edition, we look more at the details in order to make it a little bit more accurate. But we don’t change the subject, we just clean up the color a bit. Normally, we just spend one minute for each picture. Otherwise, you’ll not survive.

We, at Panthalassa, are working around projects that take care about the ocean, around themes like sustainability, overfishing, plastic pollution like with the Plastic Family displayed here at the Festival. You spend a lot of time in the ocean, on boats,  did you witness any changes?

Of course, you see some environmental differences. Dirty things are happening. There are a lot of dirty deals in the water, and when you are in the helicopter you can see big ships throwing all kinds of things in the water. They clear out the tank in the open sea. When you do the long distance races, you can witness this kind of things. The only thing I can do is publishing pictures about those things to show the problem but I’m just a tiny guy and it doesn’t work. They do what they want, and it’s a shame. The short film entitled « Albatross » has been one of the first pieces of art able to touch these issues in a beautiful and powerful way. When I see these kind of things, I do want to make a movie. Because it was a really good story. The more I talk to people about pollution, the more I realize people care more than 10 years ago. We destroyed so many things in the past and nobody cared. Now the moment comes to talk about plastic. But for me, cleaning up the beach from the plastic bags is just for aesthetic purposes. You have to civilize and educate people to avoid putting plastic on the beach. If you watch “Albatross”, you realize there’s plastic everywhere, even in the birds. It’s part of the ocean. We eat plastic every day. This is the huge problem. And you cannot solve this problem with a “Save the Ocean!” slogan or by picking up the plastic trash from the beach. We need to educate people again and then the rest will come. Maybe slowly, but it’ll come.

Follow Carlo Borlenghi’s work on his website.

 Sailing Photos: Carlo Borlenghi

Portrait Photo: Xabier Aldazabal / SAIN IN Festival

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The SAIL IN FESTIVAL embodies the perfect combination between nautical culture and sailing innovation. Created in 2014, the European festival blends the past, present and future of the sailing culture.

Starting on the 7th of March, 2019, the 6th edition of the SAIL IN FESTIVAL will be the occasion to celebrate sailing through a series of 20 screenings made out of stories, adventures and races, as well as 15 conferences with international speakers, 3 art exhibitions and a workshop.

Urtzi Sagarrubay, director of the SAIL IN festival, says: »We’re creating a unique ecosystem able to combine two essential lines; the educational and sociocultural aspect with the festival, and the innovation aspect and economical development with this special day dedicated to professionals (SAIL INN PRO).« 

Many legendary sailors  have shared their stories on the stage of the SAIL IN. Legends like  Sir Robin Knox – Johnston or Loick Peyron, who once said of the SAIL IN: »You feel the whole team’s desire to share their passion with others. It’ something very beautiful, very pure.«

This year is not different. Among the many incredible guests and presenters will be  Jean-Luc Van Den Heede who needs no introduction. Aged 74, recently spent 211 days at sea and became the winner of the Golden Globe race, a solo world tour, without assistance, without stop and without GPS. He will receive the very first price entitled SAIL IN. For this 2019 edition, art remains a central element.

Another of the this years highlights is the photo exhibition by renowned Italian photographer Carlo Borlenghi whose artworks convey the balance between humans, boats and maritime stories.

When we first met the founders at the Blue Factory and heard the story of their festival,  their vision and dreams for the future, we knew we wanted to sail along. It was love at first sight. Now we are proud to announce Panthalassa will be supporting the SAIL IN  as an official collaborator. We will be helping them spread the word through all our channels, and our Plastic Family will be part of the SAIL IN art exhibition  at the BBK space. We warmly invite you to this 4-day event held in Bilbao on the Bay of Biscay, one of the most popular and important maritime cities in Europe. 

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This year again, the Media Sailing Cup -Segel Media Cup- took place on the Alster lake for another classic three days of hot racing in Hamburg. Regarded as one of the most eagerly awaited events of our calendar, the Media Sailing Cup was held off from the 29th of June to the 1st of July, 2018.

Some of the teams were among the top level crews of Germany, including Women’s German olympic team led by Müller von Blumencron. Combining quality racing J70 sailboats, known as the world’s fastest growing sailboats (6.93-metre -22.7 ft), with a lively après-sail social schedule, this year’s event was a success.

Counting media teams from Der Spiegel, Stern, Taz, Der Hamburger, Tagesspiegel, Yacht, Welt, Boote and many more, this year’s Segel Media Cup embodied a true competitive spirit reminding that sports and smiles are always a simple equation that sum up the winning formula.

Far from last year’s strong winds and cold rain, this 2018 edition hosted once again by the Norddeutscher Regatta Verein has been organized under a wonderful sunshine. Sven Jürgensen, one of the main organizers, not only attributed the event’s success to the beautiful weather but to the action on the water. »This year, 5 extra teams found their way to the Alster lake. With 16 wonderful teams in total, fine weather conditions, this year’s event has been a great and fantastic event. Networking, sailing in the middle of Hamburg including a great final race, a great atmosphere and good spirit… It was truly perfect.« 

For 6 years now, Sven Jurgensen has been working in the heart of German sailing. As a landscape and sailing photographer, Sven has worked for some German sailing clubs and some German Sailing League Teams (NRV/FSC/SVI/BSC).

Over the years, he’s seen more and more women holding professional sail qualifications. For him, it’s important to include and focus on female sailors. »It’s a true challenge,« he says. »Earlier this year, we recently organized the Helga Cup, a female only-event considered the biggest female regatta ever. It is not only a regatta, today it’s a movement.«

The Norddeutscher Regatta Vereinwe hosted the very first edition of the Helga cup in June 2017. »Above all, it’s an event for beginners, for professional sailors, for young and old people,« he explains. »It’s not only a sailing race but a networking event. We’ve been impressed by the global and media interest.« The Helga Cup 2019 is already confirmed and sets to take place on the 13-16 June, 2019. »We hope to align over 80 sailboats on the starting line. The challenge is the boat fleet because we need more than 20 boats to be able to invite more teams.« 

The next Segel Media Cup is planned to happen in August, 2019. The Panthalassa team is ready to take up the challenge and bring its 4th place into play!

 Photos: Sven Jürgensen

More infos here.

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From May 17 to 21, Pasaia hosted the Maritime Festival for the very first time. As a celebration of traditional wooden boats, the basque seaport welcomed thousands of visitors for a 3-days cultural, gastronomic and musical event.

Due to the weather, strong winds and sea conditions, the Hermione, built in Rochefort, France, has been struggling in a thunderstorm, fighting to turn around Portugal and make its way to Pasaia. As a guest of honour, the 47-metre-high, 65-metre-long replica of the Hermione, the three-masted, 32-gun frigate that carried Lafayette to America in 1780, finally docked at the Gipuzkoa seaport on Sunday, arriving to a hero’s welcome in the Basque village. “It was magnificent to see her coming up the stunning harbour entrance« say some visitors in the crowd, come especially for the occasion. As one of the Basque Country’s most charming towns, the historic medieval town of Pasaia has been home of French poet Victor Hugo in 1843. Described as  fascinating, its colourful houses nested in the overwhelming green cliffs stretch out towards the Atlantic ocean.

A Bourante, A Marosa, Gaztibelza, Os Galos… Dozens of wooden boats made the journey from Marseille, La Rochelle or nearby seaports like Zumaia and Lekeitio. One of the biggest boats, a three-masted barque called Kaskelot caught the crowd’s attention. As one of the largest remaining classic wooden ships in commission, Kaskelot was originally a traditional Baltic Trader built in 1948 by J. Ring-Andersen, one of the world’s most reputable shipyards, for the Royal Greenland Trading Company in Denmark. During the 1960s, Kaskelot worked as a support vessel for fisheries in the Faroe Islands. Since 1981, she’s bee featured in many TV and film productions, including Return to Treasure Island, The Three Musketeers, David Copperfield and Shackleton.

As San Sebastian-based ocean and boats lovers, we couldn’t not go. For 3 days, our souls were quenched with maritime spirits. Here’s a recap through 35mm films.

Photos : Elisa Routa

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Known as one of the world’s finest marine photographers, Kurt Arrigo has been interacting with the sea for over 20 years. Born on the island of Malta, Arrigo has been passionate about the sea from a very young age. Sailing, swimming and diving have thus been a significant part of his career as a photographer. »The connection has been strong ever since and I can almost count the days when I have not stepped into the sea.« Known for his profound connection to the ocean, Arrigo’s work always tends to create awareness around this natural element.

From elite international sporting competitions to wild swims amongst hammerhead sharks or environmental projects from the Galapagos to the Himalayas, the maltese photographer’s expertise in underwater photography techniques led him to capture diverse subjects and undertake fearless expeditions. 

Assigned to the 1992 America’s cup, Kurt Arrigo is asked to cover important sailing races around the world. Recognized at the prestigious 1995 Underwater World Championships of photography held in the Red Sea and in the Communications Arts Photography Annual in 1997, Kurt Arrigo has been defined as an official yachting photographer for over a decade. Providing graceful visuals from both the air and the water during the Rolex Sydney Hobart and the Rolex Fastnet, Arrigo is awarded the prestigious Yacht Racing Image of the year in 2012. 

Not only a prestigious photographer, Kurt Arrigo released two books, capturing the historical beauty of his homeland and highlighting the relationship between light and the sea. As a long-standing Panthalassa member, we wanted to showcase his illustrious career and breathtaking work.

Discover more about Kurt Arrigo’s work on his website.

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Dvelas recovers used sails that have their own past history and give them a new life through design and art.

Based in Pamplona, in the Basque country of Spain, the company Dvelas Living Sails collects and recovers old ship sails from which their unique pieces are manufactured. We met Arraitz Koch, one of the founders and designers of Dvelas in Berlin to talk about the concept and idea behind Living Sails, during an exhibition at the Spanish Embassy.

Ship sails become deteriorated with time and use which makes them no longer functional for precise navigation. The materials however still have excellent quality, making them perfectly suitable for the company’s up-cycled textile architecture and contemporary furniture. The designers mix sail making, design, and architecture to revive the sails and create a new and different function for them. Koch explains: “Our aim is to recover used sails that already have their own past history, to give them a new life through design and art. All our designs are inspired by observing sailing techniques, nautical construction and the poetry of the sea itself, a conceptual component being essential in all of them, to merge all of this together.” 

Each old sail provides material and gives new life to a limited series of pieces. Information such as the sail’s origin, its manufacturer, the boat it belonged to, and its home port is tagged on each them. The genuinely crafted pieces vary from chairs, loungers, poufs, and hangers made from recovered bronze karabiners on ropes of hemp, onto designs that are executed for special projects like scenography and ephemeral installations, creating shade and stage or studio backdrops. The designs are handcrafted, making it possible to respect and preserve the patina of the material during the manufacturing process. Dvelas creations are unique because each reused sail formerly was made for a different ship by a different sail maker and had it’s own life leaving distinct marks and traces.  

Watch the video below and get to know more about Dvelas:

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