Puerto Rico + Bad Bunny
NOW BOARDING: Flight AA1341 MIA to SJU
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NOW BOARDING: Flight AA1341 MIA to SJU 〰️
A few snapshots from recent trip to Puerto Rico to see Bad Bunny La Residencia en el Choli
Old San Juan
Condado
787 Coffee
ERIN
Residencia En El Choli
Whispers of Tennessee: A Family Journey Through Green Hills and Rainy Roads
At the edge of June, we traded the salt and rhythm of Miami for the hush of Tennessee hills. We stayed in Kingston Springs, tucked away in a house that felt more like a gentle invitation than a rental. Decorated in the quiet luxury of Restoration Hardware tones—linen sofas, soft neutrals, moody lighting—it had a piano in the corner, a banjo hanging on the wall, and a guitar leaning in wait. Music felt like part of the architecture.
Mornings started slowly. Steam curled from coffee mugs while rabbits hopped across the dewy front lawn like they owned the place. The kids played in socked feet, chasing each other between wooden beams and window light. It was a different rhythm—a little looser, a little softer.
At the edge of June, we traded the salt and rhythm of Miami for the hush of Tennessee hills. We stayed in Kingston Springs, tucked away in a house that felt more like a gentle invitation than a rental. Decorated in the quiet luxury of Restoration Hardware tones—linen sofas, soft neutrals, moody lighting—it had a piano in the corner, a banjo hanging on the wall, and a guitar leaning in wait. Music felt like part of the architecture.
Mornings started slowly. Steam curled from coffee mugs while rabbits hopped across the dewy front lawn like they owned the place. The kids played in socked feet, chasing each other between wooden beams and window light. It was a different rhythm—a little looser, a little softer.
We wandered.
Nash Family Creamery
To Nash Family Creamery, where the day began not with dessert, but with dirt, grass, and the earthy heartbeat of a working farm. We took a tour first, tracing the path from pasture to table. We stood beside calm-eyed cows being milked, watched calves nuzzle in the shade, and learned the quiet mechanics of how milk becomes memory. Afterward, we rewarded ourselves with grilled cheese sandwiches on thick slices of bread, buttery and warm, and ice cream under the sun—melting just fast enough to make you grateful.
Franklin
To Franklin, with its Main Street charm and antique storefronts, perfect for walking hand-in-hand under a shifting sky.
Leiper’s Fork
To Leiper’s Fork, where Americana lives and breathes—a town that feels like the past isn’t gone, just slower.
Leiper’s Fork Distillery
The distillery there offers grown-ups a taste of smoke and spice.
Nashville
There were bursts of city too. We made our way into Nashville—Broadway for neon chaos and live guitars that spilled onto the street, 12 South for boutiques and donuts.
The rain met us there, warm and sudden, washing over concrete and laughter alike. We didn’t mind. We ducked into shops and soaked it all in. Sunshine returned in time to dry our shoes.
The trip wasn’t polished or perfect, but it was textured—soft where it needed to be, rough around the edges where memories are made. Rain and music, road trips and naps, and sticky fingers from melting chocolate.
Tennessee gave us space to just be—together, quiet, loud, curious.
And that little house in Kingston Springs? It gave us something else: a pause. A way to hold the summer in our hands before it slipped too far ahead.
Shot entirely on Kodak Portra 400 35mm film with a Leica MP, these photos showcase the rich tones and nostalgic feel of film photography across rural and urban Tennessee.
Developed and scanned by Palm Film Lab in Miami, FL.
How I Film Road Bike Rides with GoPros and Edit on Mac Mini
Most weekends, I’m out riding. Sometimes it’s me and a buddy. Other days, it’s a small crew—five to ten of us rotating and pulling. And now and then, it’s a bigger group roll-out from one of the local bike shops. We hit the usual: Key Biscayne at sunrise, Robert Is Here, the stretch up to Riviera Beach. The rides are therapy. Filming them just captures the motion.
Here’s how I do it without overcomplicating anything.
Most weekends, I’m out riding. Sometimes it’s me and a buddy. Other days, it’s a small crew—five to ten of us rotating and pulling. And now and then, it’s a bigger group roll-out from one of the local bike shops. We hit the usual: Key Biscayne at sunrise, Robert Is Here, the stretch up to Riviera Beach. The rides are therapy. Filming them just captures the motion.
Here’s how I do it without overcomplicating anything.
The Setup: Two GoPros, Front and Rear
I keep it simple: two GoPros (Hero 12 Black), one mounted up front underneath my Wahoo Bolt, the other under the saddle or saddle stem. That gives me both forward motion and a clean rear view—perfect for group rides and catching drafting lines, breakaways, or those tight moments when the group gets spicy.
Both cameras shoot in 5.3K at 24 fps, with 10-bit color turned on. Everything else stays default—no flat profiles, over-sharpening or over-tuning. I want the footage to look how the ride felt: clear, fast, real.
The detailed settings…
Video: Standard
Aspect Ratio: 16:9
Resolution: 5.3K
Color: Natural
Raw Audio: Off
Wind: Auto
Shutter: Auto (unless you use ND filter, in which case you can sync it with your fps, of example 1/48 at 24fps)
EV Comp: 0
White Balance: Auto
ISO Min: 100
ISO Max: 1600
Sharpness: Medium
Lens: Linear
Hypersmooth: Off for Neewer 1.2 anamorphic, On for regular GoPro lens
ProTune: On
Encoding: 10-bit
Optional: Anamorphic Lens for Extra Width and 16:9 format
Sometimes I’ll throw on a Neewer 1.2x anamorphic lens on the front and back GoPro (see photos above). It stretches the field of view a bit and brings in a little more light and road. It’s got a raw, gritty feel—something between skate video and handheld doc. Great flares as well. But when I use it, I always turn off HyperSmooth—the stabilization otherwise results in warping.
Editing: Fast Cuts, Real Pace
Once I’m back, everything goes into DaVinci Resolve on a Mac mini M4 base model. It handles the high-res clips fine, no lag. I don’t spend hours color grading or adding effects, just some simple preset transitions.
Scenes are 4 to 6 seconds max—keeps it tight and lets me sync to music easier.
I edit to the beat of a specific song, something that rolls like the ride. I usually have the specific song picked before editing.
Final video stays under 120 seconds. No filler. Just rhythm, motion, and light.
Where We Ride
It’s mostly Miami and South Florida. Key Biscayne is the go-to, but we’ll head south to Homestead (Robert is Here) or swing north for 100-mile ride to West Palm or further. Depending on the weekend, I might be riding tempo with a friend, rotating pulls in a tight group of ten, or hanging on with one of the faster shop rides.
Why I Film
I don’t film to make something cinematic. I film to remember the ride. There’s something about the sound of the tires, the wind off the causeway, the buzz of the pack—that’s hard to explain but easy to feel when you watch it back.
The footage doesn’t need to be perfect. It just needs to move.