A fraction of a second. It is the difference between a magnificent and a mediocre sailing photograph according to Carlo Borlenghi, the official “eye” of the 32nd America’s Cup.
"We are all at the same mark, in the same position, waiting for the same boat to arrive at the same moment, but there will be one who manages by one fraction of a second to achieve something more than the others."
Carlo Borlenghi
Born in Bellano (Italy), Borlenghi grew up on Lago de Como. He studied hydraulic engineering and started taking photographs as a hobby. He would sell them to boat owners just to earn a few extra lira on Saturday afternoons in Milan. Suddenly the world of photography began to change, sponsors and commission services appeared. So began the career of the magician behind the lens who has never stopped studying, experimenting with new angles and ideas, and more importantly never stopped feeling excited about his work.
Anyone who meets Carlo for the first time is surprised by such an affable, modest character who is without a doubt the world reference in sailing photography. A master whose open mind and attentive vision is always capable of immortalising the world in the most original manner.
As well as collaborating with the world’s best magazines and running an important photographic agency, Borlenghi has been involved with the America’s Cup for over 20 years. He started in 1983 with the first Italian challenger Azzurra. He has not missed an edition since then, and has worked for several Italian teams: Italia (1987), Moro di Venezia (1992), Luna Rossa (2000 and 2003). In 1995 there was no Italian challenger but Carlo was there.
After so many years taking the photographs of one single team, Borlenghi has gone over “to the other side”, and is today the official photographer for the 32nd edition of the America’s Cup.
What is the main difference between working for a team and working for the organization? When you are part of a team, you participate a lot more and the human factor plays a fundamental role. You share the pleasure and the pain with them, although you have to know where to keep your distance when it comes to doing your job, and getting a good photograph at the most critical moments. You have to stay cold. When you work for the organization however, you don’t have the emotional involvment but you do have a more global vision and are freer to experiment and have more options to choose.
How has the work of a photographer changed in the digital era? It has changed tremendously. The digital era is about quantity rather than quality. In the 32nd America’s Cup races, my assistants and I might take around 1200 photographs a day. It is impossible to prepare them so carefully and that goes for all photographers. Web sites are updated very quickly and want the images immediately. We usually have very little time.
Does a digital photograph allow you to get away with everything? You can get away with a lot. I was a lot more conservative before, because I couldn’t throw films away but I can now take a lot more risks. Before the digital era, twenty years ago I would use about 10 or 20 films a day. Today I might use 200 photographs of the 1200 in a day’s work.
Do you save money with digital photography? No, it actually costs more. A professional must always have the best and the latest material on the market, and that means you are continuously buying equipment. I change my camera more or less every year and a half, whereas before it would be every five years.
Black and white or colour? Black and white hardly exists any more. I only use it for my own personal enjoyment, to make calendars or creatively in my spare time.
Has the digital era improved the quality of photographers? Partly, yes. The new models are almost perfect and correct errors, although it is still down to a photographer’s ability. We are all at the same mark, in the same position, waiting for the same boat to arrive at the same moment, but there will be one who manages by one fraction of a second to achieve something more than the others: the exact light, the right focus, the best angle... and it is what really makes the difference.
Is it true that you can’t swim? Very true! And it means I have to be really careful. If you can’t swim you are always alert, keeping the right distance and having full respect for the sea.
Have you ever been in a dangerous situation?? No, but I once spent two days on board Club Med (the catamaran Grant Dalton won The Race with in 2001) and I honestly could not wait to get off. It’s madness; like living in a washing machine, absurd speeds, you couldn’t wash, you eat terribly. It was at that moment that I wondered just why they do it.
You have invented a camera that achieves some really impressive effects at water level... Since I can’t use a subaquatic camera I had to invent something different. In some races there is only a tiny amount of wind but the sponsors still wanted good photographs. The only possibility was to create a special effect, an artistic photograph. It was the reason I invented a system that allows a different, more spectacular angle independantly of the wind and sea conditions.
You are always accompanied by young assistants, what do they bring you? Some have talent, others do not, but I always learn something from them.The boys are part of my family and I love comparing myself to them, they are my contact with their generation, since I don’t have a family, and I find it difficult to understand. Through them, I understand what younger people like, how they see the world, what the market is demanding. I also study videoclips, fashion magazines and they tell me what the guidelines are, and you just have to interpret them in photography.
Once a year I also organize a kind of ideas competition with them. I give them several photographs and ask them to modify them freely. Something interesting always comes out of this exercise and can be applied in the future.
This generation of photographers is a lot more interesting than the last because they invent more and copy less. Young people of today take more risks and show an incredible attention to detail. They see things with different eyes looking at the future. I am expecting great things from them.
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