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Damon Loble and Jake Trott

Hasselblad has given us the perfect tools to provide a one-of-a-kind creative experience to high-end commercial photographers.”
Damon Loble and Jake Trott


For Nike, Inc., Beijing Olympics, 2008. Captured with Hasselblad H3DII-31.

For ESPN the Magazine, “Prosthetics and Athletics,” 2008. Captured with Hasselblad H3DII-31.

For A4 magazine, Brigitte Sire in "I'll Take Manhattan," Issue #57. Captured with the Hasselblad H3D-31.

H3DII-31 Delivers Versatility and Virtuosity
The Choice of Digital Technicians & Their Clients

Digital technicians Damon Loble and Jake Trott own and operate 150Kilos, a boutique capture company based in Los Angeles, California, which provides commercial photographers with digital technicians, cameras, and computers for location photo shoots. Loble and Trott have worked all over the world for their high-end client base, which includes Nike, Adidas, Oakley, Victoria's Secret, American Eagle, Vogue, GQ, ESPN the Magazine, Esquire, Interview, Purple, Self Service, Quest, iD, American Express, Visa, and Tommy Hilfiger. Their medium-format camera system of choice? Hasselblad.


We specialize in creating custom color palettes and tonal curves that are unique to each photographer’s style and creative vision on set. Photographers come to us looking for digital techs who do more for a shoot than balance
color from a gray card and manage files. They choose a boutique capture company like ours for personalized service. 

At 150Kilos, color is critical. Our goal is to have the color, tone, and atmosphere of every image about 95 percent of what it will be when the file is retouched—or what it would be if the retouching were to be overseen by the photographer. Other than for purely diagnostic reasons, a photographer’s client should never view the linear RAW file data.  

Working with the Curves and Color Correction tools in FlexColor has given us the unparalleled ability to make amazing images with FFF files. Hasselblad FFF files have a very fine granulated texture, which is one of the most appealing visual aspects of the system. CMY Curves adds an important dimension to color grading on set and is absolutely critical for controlling density in differently toned areas of an image. No other capture software gives as much control over an image as FlexColor. We look forward to trying the new Phocus software in the near future. 

The 31-megapixel Hasselblad cameras are the most used in our inventory, probably on a ratio of 20 to 1. What makes them so special is that they are faster and their files have a spectacular feel to them. The micro-lensed sensor at 400 ISO produces a quasi grain on the image that is leading to artificial grain actions on the back end so that images simply don’t look digital.  

Having the camera/software system in a package like this has allowed our company to have a visual voice on set. People like the way we see things, or rather, how we interpret them for the photographer. What we sell clients is the unique experience that comes from working with 150Kilos, which is a direct result of Hasselblad cameras and software. 

A number of high-profile projects—all captured with Hasselblad H3DII-31 or 39 cameras—are slated for completion during November. These ads for Adidas Climafit, Adidas Techfit, Got Milk, Victoria’s Secret VSX, Tommy Hilfiger, and Oakley range from beautiful, naturally lit singular images to highly technical, multiple image composites. As a group, these images vividly reflect the versatility and virtuosity of Hasselblad and FlexColor.

Currently, we own two H3DII-31s, a H3D-31, a H3D-39, and a CFH-39. We’ve had every camera Hasselblad has offered since the ixpress 132c. Learning new software can be intimidating. If you have the vision, however, there isn’t a better tool on the market to help you realize that vision. 

Hasselblad has given us the perfect tools to provide a one-of-a-kind creative experience to high-end commercial photographers.

Text: Alice B. Miller