© Jamie Goodsell
Saturday, April 27, 2013
Monday, April 22, 2013
Wednesday, April 17, 2013
Monday, April 15, 2013
PHOTOGRAPHY INTERVIEW • TODD GLASER
by Jamie Goodsell
All images © Todd Glaser
website • www.tglaser.com
Surf photography is something I’ve always respected and
enjoyed. It’s hard not to get completely awestruck when picking up a copy of Surfer Magazine. The photographers that grace those pages put themselves in
really extreme situations for the sake of getting a great image. Todd Glaser is
a staff photographer at Surfer Magazine and if you’ve seen any surfing photos
in the past couple of years, you can bet some of them have been his. He gets to be out in the water and photograph some of the greatest athletes and human beings on planet Earth. I was lucky enough to get some of Todd’s time and ask him some
questions.
Where are you from originally?
San Diego, California.
Who influenced you to start taking photographs and what is your first memory of picking up a camera?
My dad was always taking photos of my sister and I when we were younger, so I would play around with his cameras as a kid. I would take it with me everywhere we went.
Where did you go to school?
I went to the Brooks Institute of Photography in Santa Barbara and graduated after three years with a Bachelor of Fine Arts in Commercial Advertising.
Who are three of your biggest photographic influences?
That's a hard one. I admire a lot of people's work but if I had to choose...
3 in no order:
Anton Corbijn- I'm kind of obsessed with his work. It's so natural yet he always shoots his subjects in a way that shows the viewer something they may not know about them. Hasselblad Master.
Scott Aichner- In my opinion the images he captures in the water with a wide-angle are the best out there.
Patrick Trefz- He mixes the fine art world and incorporates it into the surf world. He doesn't shoot a lot, but when he does he always comes back with a fresh perspective. I especially like his work during the making of "Thread".
How did you end up shooting for Surfer Magazine?
A bit of dumb luck and countless submissions to Grant Ellis, the Photo Editor. I would submit images, sometimes get a response, sometimes not, continue to bug him with more images until he gave me the opportunity to go on an assignment. It was to Mavericks. I went up there to chase a swell and he liked the images I brought back. I've been working for them ever since.
What's in your camera bag? Do you have a favorite camera or format?
Way too much gear...it depends on where I am going or what I'm shooting, but a typical trip will have me bringing:
1D Mark IV and 5D Mark III for digital bodies. Lenses ranging from a fisheye, to a 500mm lens, a Hasselblad 500C and a point and shoot or two. Two housings just in case one goes down while shooting. My favorite camera is my Hasselblad. I like to shoot most of my lineups and portraits with that camera. The square aesthetic is easy on the eyes and you can't beat the quality of film with Zeiss glass.
Can you go in some depth and talk about all of your gear you use to shoot surf photography?
All of my housings are made from Del Mar Waterhousings. In my opinion they are the lightest and strongest housings out there. I have ports that fit a fisheye, a 50mm, an 85mm, and a 70-200mm. I usually bring two sets of swim-fins and a warm wetsuit.
How many different countries have you travelled to so far through surf photography?
I don't know how many countries I've been to in the past couple of years...I do know that I just had to get new pages in my passport because I filled a new one up in two years.
You've built a reputation not just as a surf photographer but a person who works hard and stays devoted to the craft. Where do you see yourself ten years from now?
Ten years from now, I will be married...still chasing swells and working on more commercial campaigns and editorial assignments both inside and outside of the industry. I love photography and enjoy shooting subjects outside of surfing too. Maybe getting into the motion world a little bit. At this point I'm not too sure, kind of taking it one day at a time right now.
How do you edit your work? What was the thought process for your new site?
Originally I built my own website in Flash, but soon realized after I built it that Flash isn't compatible on most handheld devices and iPads. Sadly enough, that's what most people and clients are viewing our work on these days. So I decided to build a clean way to show my images that's easy to change. I shoot quite a bit so it's important to me that I can change my portfolios without spending too much time. The more time I spend on a website and editing, the less time I can be out surfing or shooting photos. As far as my work goes, I use a combination of Lightroom and Photoshop.
Could you talk about one of your favorite images?
I don't really have a favorite. There are some images that I like more than others but I don't like to look at my work and pick favorites. Maybe that's why I am not the best editor. I feel like the minute you look at your work and become comfortable with it you lose the edge to want to continue to create and capture. I like some of my images for different reasons. Usually the images I like are the ones that I have a connection with...but others may not feel the same way about it.
Can you tell us something about surf photography that we wouldn't think about on our own?
For all of the days you see beautiful images from, there are countless days of thinking you're going to score only to have the winds switch, the rider have the wrong board, and the tide to be wrong. Surfing is one of the only sports to photograph where all the elements are always moving. The wave, the wind, the sand, the subject and you as the photographer. With that being said, when everything does come together it is magical. It's those magic moments that keep us coming back for more.
What are some surfing terms that you could familiarize the non-surfing public with?
Hi - A lot of people have egos when they paddle out in the water. A simple hi or hello goes a long way in the lineup or in the parking lot.
Go - Not used as often as it should, but usually means that you just had a good wave and rather than taking the next wave, you let someone else have it and get to ride it themselves.
Burrito - The most commonly eaten meal after surfing in Southern California. It's a delicious combination of Beans, Rice, Cheese, Guacamole, and your choice of meat (meat is optional). Served with a side of Salsa.
How would you describe your work to a blind person?
Boring, flat, and like an old folk song.
Can you take us through a typical day for Todd Glaser taking surf photos?
It depends where I am and what the waves are doing. I usually wake up pretty early wherever I am, check the waves on the internet, check the wind, drink a glass of water or two, coffee, light breakfast. Depending on the waves we'll go try to shoot during the sunrise light, eat some more, surf again, lunch, maybe a couple of emails or phone calls to see where the waves could be good for the afternoon, surf/shoot again, eat dinner, download the photos at night, back them up twice, charge the batteries, prep my gear for the morning to do it all over again.
Where do you think your passion comes from?
Combining my two passions of surfing and photography gives me a lot of inspiration to wake up everyday. I guess it's the unknown that gets me excited to wake up everyday. Every morning you get the opportunity to do something new or see something fresh. Maybe that's what makes surfing so special, no two waves are the same, such as no two surf photos are the same. I think if I shot football or basketball knowing I was going to the same court everyday it wouldn't be too inspiring.
What are you doing to get more out of your images every time you go out?
Every time I shoot I try to think about what I have done, what worked, what didn't and apply that to the next shoot. Photography is always evolving. The minute you become complacent is the minute you lose your creativity.
I believe in slowing the shutter speed down when I'm shooting live music photographs. My favorite images sometimes are the blurry ones. Do you ever experiment with this kind of thing on the water?
Absolutely. I think some of our best images come from happy mistakes. Steve Sherman taught me that a long time ago. It's good to know the rules, and just as important to break the rules. With the increase of photographers it's important to constantly challenge yourself and push yourself to create something that others may not be doing. Especially with speedblurs, they can give so much more feeling.
What do you look for in a portrait?
A portrait is all about a connection with the camera. I struggle with them, but am trying to shoot as many as I can to become more well rounded.
What are some highlights of your career so far?
Being able to wake up everyday and think about what images I want to make next is a highlight, as has filling up a couple passports with stamps, chasing swells, and seeing places I never thought I'd be able to go to. As far as tangible achievements, winning the Follow the Light Award helped kick start my career as a photographer. When Quicksilver used my images to celebrate Kelly Slater's 10th and 11th world titles that was pretty cool too. We have made some images together that we are both proud of. It's still early on in my career so time will tell what happens next!
Can you mention some legends you've been lucky enough to photograph?
I've been fortunate enough to work and photograph some amazingly talented surfers and athletes. There's more to being a talented surfer that makes them a legend. I am very fortunate that the guys I travel with are all solid humans out of the water too.
How do you adjust so quickly for composition when you're shooting fast moving subjects? Is that kind of environment so intense that it's like in slow motion at times?
Shooting surfing is an understanding of light, your subject, and anticipation where the peak moment will occur. Sometimes it means you have to swim a little faster to get in the spot to capture the peak action at what in your opinion is the best angle. There's no right or wrong, it's what you think looks good. Communication is key with the surfers though. Letting them know what lens you're using and having an idea what the image you are hoping to achieve, can make capturing surfing a lot more productive.
What have you learned from your shooting experience so far?
Keep your O-ring clean! Any sand or hair, and your cameras going to be swimming in water in no time. Words I'd use to describe it would be: hot, cold, fast-moving, hurry up and wait, exhilarating, sunburn, swim, traffic, airports, fresh fruit, fresh fish, new foods, new places, new friends, new music, a symphony of all of the above put together with a hi-5 to finish the day.
Do you listen to surf music?
You can't go wrong with The Beach Boys for good ol' surf music.
What's next for Todd Glaser?
I'm about to make some lunch, just got home from surfing this morning. There are a couple swells on the maps so I am trying to figure out where the best wind, weather, waves are going to be. Hopefully go there and make some new images. I would love to do an art show or book at some point, but I don't think I have enough work yet. Thank you for letting me ramble!
Visit www.tglaser.com to experience Todd's vision which is updated regularly.
"WHEN EVERYTHING DOES COME TOGETHER, IT IS MAGICAL"
Where are you from originally?
San Diego, California.
Who influenced you to start taking photographs and what is your first memory of picking up a camera?
My dad was always taking photos of my sister and I when we were younger, so I would play around with his cameras as a kid. I would take it with me everywhere we went.
Where did you go to school?
I went to the Brooks Institute of Photography in Santa Barbara and graduated after three years with a Bachelor of Fine Arts in Commercial Advertising.
Who are three of your biggest photographic influences?
That's a hard one. I admire a lot of people's work but if I had to choose...
3 in no order:
Anton Corbijn- I'm kind of obsessed with his work. It's so natural yet he always shoots his subjects in a way that shows the viewer something they may not know about them. Hasselblad Master.
Scott Aichner- In my opinion the images he captures in the water with a wide-angle are the best out there.
Patrick Trefz- He mixes the fine art world and incorporates it into the surf world. He doesn't shoot a lot, but when he does he always comes back with a fresh perspective. I especially like his work during the making of "Thread".
How did you end up shooting for Surfer Magazine?
A bit of dumb luck and countless submissions to Grant Ellis, the Photo Editor. I would submit images, sometimes get a response, sometimes not, continue to bug him with more images until he gave me the opportunity to go on an assignment. It was to Mavericks. I went up there to chase a swell and he liked the images I brought back. I've been working for them ever since.
What's in your camera bag? Do you have a favorite camera or format?
Way too much gear...it depends on where I am going or what I'm shooting, but a typical trip will have me bringing:
1D Mark IV and 5D Mark III for digital bodies. Lenses ranging from a fisheye, to a 500mm lens, a Hasselblad 500C and a point and shoot or two. Two housings just in case one goes down while shooting. My favorite camera is my Hasselblad. I like to shoot most of my lineups and portraits with that camera. The square aesthetic is easy on the eyes and you can't beat the quality of film with Zeiss glass.
Can you go in some depth and talk about all of your gear you use to shoot surf photography?
All of my housings are made from Del Mar Waterhousings. In my opinion they are the lightest and strongest housings out there. I have ports that fit a fisheye, a 50mm, an 85mm, and a 70-200mm. I usually bring two sets of swim-fins and a warm wetsuit.
How many different countries have you travelled to so far through surf photography?
I don't know how many countries I've been to in the past couple of years...I do know that I just had to get new pages in my passport because I filled a new one up in two years.
You've built a reputation not just as a surf photographer but a person who works hard and stays devoted to the craft. Where do you see yourself ten years from now?
Ten years from now, I will be married...still chasing swells and working on more commercial campaigns and editorial assignments both inside and outside of the industry. I love photography and enjoy shooting subjects outside of surfing too. Maybe getting into the motion world a little bit. At this point I'm not too sure, kind of taking it one day at a time right now.
How do you edit your work? What was the thought process for your new site?
Originally I built my own website in Flash, but soon realized after I built it that Flash isn't compatible on most handheld devices and iPads. Sadly enough, that's what most people and clients are viewing our work on these days. So I decided to build a clean way to show my images that's easy to change. I shoot quite a bit so it's important to me that I can change my portfolios without spending too much time. The more time I spend on a website and editing, the less time I can be out surfing or shooting photos. As far as my work goes, I use a combination of Lightroom and Photoshop.
Could you talk about one of your favorite images?
I don't really have a favorite. There are some images that I like more than others but I don't like to look at my work and pick favorites. Maybe that's why I am not the best editor. I feel like the minute you look at your work and become comfortable with it you lose the edge to want to continue to create and capture. I like some of my images for different reasons. Usually the images I like are the ones that I have a connection with...but others may not feel the same way about it.
Can you tell us something about surf photography that we wouldn't think about on our own?
For all of the days you see beautiful images from, there are countless days of thinking you're going to score only to have the winds switch, the rider have the wrong board, and the tide to be wrong. Surfing is one of the only sports to photograph where all the elements are always moving. The wave, the wind, the sand, the subject and you as the photographer. With that being said, when everything does come together it is magical. It's those magic moments that keep us coming back for more.
What are some surfing terms that you could familiarize the non-surfing public with?
Hi - A lot of people have egos when they paddle out in the water. A simple hi or hello goes a long way in the lineup or in the parking lot.
Go - Not used as often as it should, but usually means that you just had a good wave and rather than taking the next wave, you let someone else have it and get to ride it themselves.
Burrito - The most commonly eaten meal after surfing in Southern California. It's a delicious combination of Beans, Rice, Cheese, Guacamole, and your choice of meat (meat is optional). Served with a side of Salsa.
How would you describe your work to a blind person?
Boring, flat, and like an old folk song.
Can you take us through a typical day for Todd Glaser taking surf photos?
It depends where I am and what the waves are doing. I usually wake up pretty early wherever I am, check the waves on the internet, check the wind, drink a glass of water or two, coffee, light breakfast. Depending on the waves we'll go try to shoot during the sunrise light, eat some more, surf again, lunch, maybe a couple of emails or phone calls to see where the waves could be good for the afternoon, surf/shoot again, eat dinner, download the photos at night, back them up twice, charge the batteries, prep my gear for the morning to do it all over again.
Where do you think your passion comes from?
Combining my two passions of surfing and photography gives me a lot of inspiration to wake up everyday. I guess it's the unknown that gets me excited to wake up everyday. Every morning you get the opportunity to do something new or see something fresh. Maybe that's what makes surfing so special, no two waves are the same, such as no two surf photos are the same. I think if I shot football or basketball knowing I was going to the same court everyday it wouldn't be too inspiring.
What are you doing to get more out of your images every time you go out?
Every time I shoot I try to think about what I have done, what worked, what didn't and apply that to the next shoot. Photography is always evolving. The minute you become complacent is the minute you lose your creativity.
I believe in slowing the shutter speed down when I'm shooting live music photographs. My favorite images sometimes are the blurry ones. Do you ever experiment with this kind of thing on the water?
Absolutely. I think some of our best images come from happy mistakes. Steve Sherman taught me that a long time ago. It's good to know the rules, and just as important to break the rules. With the increase of photographers it's important to constantly challenge yourself and push yourself to create something that others may not be doing. Especially with speedblurs, they can give so much more feeling.
What do you look for in a portrait?
A portrait is all about a connection with the camera. I struggle with them, but am trying to shoot as many as I can to become more well rounded.
What are some highlights of your career so far?
Being able to wake up everyday and think about what images I want to make next is a highlight, as has filling up a couple passports with stamps, chasing swells, and seeing places I never thought I'd be able to go to. As far as tangible achievements, winning the Follow the Light Award helped kick start my career as a photographer. When Quicksilver used my images to celebrate Kelly Slater's 10th and 11th world titles that was pretty cool too. We have made some images together that we are both proud of. It's still early on in my career so time will tell what happens next!
Can you mention some legends you've been lucky enough to photograph?
I've been fortunate enough to work and photograph some amazingly talented surfers and athletes. There's more to being a talented surfer that makes them a legend. I am very fortunate that the guys I travel with are all solid humans out of the water too.
How do you adjust so quickly for composition when you're shooting fast moving subjects? Is that kind of environment so intense that it's like in slow motion at times?
Shooting surfing is an understanding of light, your subject, and anticipation where the peak moment will occur. Sometimes it means you have to swim a little faster to get in the spot to capture the peak action at what in your opinion is the best angle. There's no right or wrong, it's what you think looks good. Communication is key with the surfers though. Letting them know what lens you're using and having an idea what the image you are hoping to achieve, can make capturing surfing a lot more productive.
What have you learned from your shooting experience so far?
Keep your O-ring clean! Any sand or hair, and your cameras going to be swimming in water in no time. Words I'd use to describe it would be: hot, cold, fast-moving, hurry up and wait, exhilarating, sunburn, swim, traffic, airports, fresh fruit, fresh fish, new foods, new places, new friends, new music, a symphony of all of the above put together with a hi-5 to finish the day.
Do you listen to surf music?
You can't go wrong with The Beach Boys for good ol' surf music.
What's next for Todd Glaser?
I'm about to make some lunch, just got home from surfing this morning. There are a couple swells on the maps so I am trying to figure out where the best wind, weather, waves are going to be. Hopefully go there and make some new images. I would love to do an art show or book at some point, but I don't think I have enough work yet. Thank you for letting me ramble!
Visit www.tglaser.com to experience Todd's vision which is updated regularly.
Friday, March 29, 2013
FLASHBACK
© Jamie Goodsell
I'm going through my live images today, doing some edits and adding some images for my new website (coming soon). I wanted to talk for a minute about blurry images and why you should take them. This image wasn't thought out or planned at all, which is impossible during a live set anyways.
This photograph was mostly an accident, but now I have all of the information. I have the shutter speed, ISO, aperture and focal length for this image and I've used this information to my advantage ever since. Don't be afraid of being experimental with your camera settings. Even if everything is on the line, don't hold back from taking chances, because you could get something unexpected and possibly far out.
Aperture: f/2.8
Shutter Speed: 1/5s
ISO: 1600
Focal Length: 70mm
Monday, March 25, 2013
VINYL
I wanted to share a few records (new and old) that I've discovered and rediscovered in the past few days, weeks, and months because I've been playing them non-stop. Maybe you'll like at least one of them and that's my only angle here. If you're already in the know, that's good...feel free to send me some records you've been spinning lately!
Artist: The Ventures
Album: (THE) VENTURES IN SPACE
Release Year: 1964
Label: Dolton
Buy: www.sundazed.com
Artist: Rockin' Horse
Album: YES IT IS
Release Year: 1971
Label: Philips
Buy: www.discogs.com
Artist: The Ventures
Album: (THE) VENTURES IN SPACE
Release Year: 1964
Label: Dolton
Buy: www.sundazed.com
Artist: Rockin' Horse
Album: YES IT IS
Release Year: 1971
Label: Philips
Buy: www.discogs.com
Artist: Pretty Things
Album: PARACHUTE
Release Year: 1970
Label: Harvest (UK) / Rare Earth (US)
Buy: www.discogs.com
Artist: CLAP
Album: Have You Reached Yet?
Release Year: 1972
Label: Nova-Sol
Buy: www.discogs.com
Artist: Jessica Pratt
Album: S/T
Release Year: 2012
Label: Birth Records
Buy: www.discogs.com
Artist: Al Casey
Album: SURFIN' HOOTENANNY
Release Year: 1963
Label: Stacey (Produced by Lee Hazlewood)
Buy: www.sundazed.com
Artist: William Tyler
Album: Impossible Truth
Release Year: 2013
Label: Merge
Buy: www.discogs.com
Saturday, March 23, 2013
PHOTOGRAPHY INTERVIEW • J. GRANT BRITTAIN
by Jamie Goodsell
All images © J. Grant Brittain
website • www.jgrantbrittain.com
I got my first skateboard for Christmas that year (Birdhouse/Andrew Reynolds with a rabbit graphic) and that's how it happened. Almost immediately I had like three friends, which is three more than I had before. Skateboarding became a way for me to communicate with people and it turned my life around in a positive direction. I was getting stoked on learning new tricks, learning about tons of new bands through skateboard videos, and making friends at an alarming rate.
One of the greatest benefits of skateboarding was learning about photography. When you bought a skateboard magazine (and I'm hoping this rings true for kids today as well), it wasn't just something you'd look at and then just throw away. It was like a bible, a work of art to be cherished, something that held all of the secrets! The more I got into skateboarding, the more I appreciated what it took to be a good skateboard photographer.
Grant Brittain started taking pictures in 1979 at the Del Mar Skate Ranch where he was working. He borrowed his roommates camera and started documenting friends, locals, and visiting pros. In 1983, he was asked to contribute skate photos to the premiere issue of TransWorld Skateboarding Magazine and became its founding Photo Editor and Senior Photographer. For the next 20 years, he would help the publication grow into the most popular magazine in the world and create some of the most iconic images in skateboarding photography. Towards the end of 2003, he left TransWorld with some of his peers and went on to start The Skateboard Mag, where he is currently the Production Manager and Senior Photographer.
"THERE WERE ONLY FOUR SKATE PHOTOGRAPHERS WHEN I STARTED"
What does the "J" stand for in J. Grant Brittain?
Jenius? Actually Jordan.
How long have you been taking photographs professionally and what is your educational background? Do you feel having an education in photography is important?
I started shooting at Del Mar Skate Ranch in 1979. Got a couple of photos in Thrasher in the early 80's. Helped found TransWorld in 1983...so 1983. I was an art major at Palomar Jr. College and then after I printed a skate photo in the darkroom I changed over to the photography department and took almost every class from 1981-1983. Photography education is helpful, but I don't think anyone shooting skate photos gets asked for their college transcripts. School is a fast way to learn a lot about photography though, makes you well rounded in all of the photographic disciplines.
What are some ways you stay inspired?
I read a lot of books and magazines, study photographic history, go to lectures, see photo shows, take photographic workshops, check out blogs, etc. Other people’s work keeps me inspired and on my toes.
What masters of photography were you influenced by?
I started shooting Skateboarding first, so did the skate photographers that came before me; Stecyk, Bolster, Goodrich, Terebonne, Friedman, Sharp and Cassimus. When I started photography in school, I took a photo history and a contemporary photo class that allowed me to develop a style and start thinking about photography as an artform. I was exposed to Ralph Gibson, Walker Evans, Man Ray, the Bauhaus, Avedon, Henri-Cartier Bresson, Ansel Adams, the Westons, Meatyard, Irving Penn, the list is endless. I still look at their work and am amazed at their vision.
Is there a young skate photographer out there right now you've noticed who's doing it completely different and just standing out artistically?
I think Anthony Acosta is one of the best out there, he does beautiful photography.
Can you think of a photographer who you've recently discovered and were really influenced by their work?
I took a workshop ten years ago with Keith Carter, and to me he's the best fine art photographer in the United States. I've taken two workshops from him. He's an inspiring guy and a true classic artist. He is a teacher and a super friendly guy...watch him online.
What is one of your favorite collaborations you've done in the past or will do in the future? Are there any personal projects you're working on you could share with us?
My friend Mike Farber helped me fund my 20x24 Polaroid project in 2003. We flew to San Francisco and used the 20x24 Polaroid camera with Tracy Storer and shot portraits of the local pro skaters and did 20x24 Polaroid Transfers. Pretty Rad. I am also doing things with my friend Josh Higgins, he is a designer and does amazing work in the design and graphics world. He was Design Director of the latest Obama campaign and just took the job as Design Director at Facebook. Josh designed my website and we have done some shows together. I am trying to work on a coffee table book, but that is slow goin’.
Who is one of your favorite non-photography artists?
I love art. In high school I was looking at a lot of Andrew Wyeth and Rick Griffin. Robert Rauschenberg and Jasper Johns turned me on in art class. In college, my wife turned me on to Marcel Duchamp. They really opened my eyes wide and I realized that art is limitless. When I got into photography I was also exposed to The Bauhaus and Man Ray and I liked how they mixed art and industry together. Then doing magazines I got more and more into type and design.
What is currently in your camera bag?
I shoot skating with the Canon 5D Mark II...I don't spend a lot on new gear. I would if I had the money, but I don't. I use Quantum Q-flashes and Pocket Wizard slaves. I have the newer Pocket Wizard transmitter, so I can shoot at 1/500th and faster. I use my Hasselblad and Leica for my art stuff. I'll never stop using them.
What's one of your favorite cameras?
I love my Leica M6, it's what I always wanted and I have it.
Could you elaborate a bit on your process when you're taking a portrait?
I just think that a portrait should say something about the person or tell a story. If a person has an interesting face, that can carry a photo, say a Lance Mountain or Duane Peters. It helps to have a relationship with the person, it’s awkward shooting portraits, it’s invasive. However, that being said, I have shot portraits of people who I knew and the portraits were terrible. Hit or miss I guess. I like environmental available light portraits the best, but in the studio I like a gridded soft box.
What do you think film photography can teach the younger generations?
I don’t think it matters really what you shoot, film or digital. I love film. I like the craft that goes into making analog photos, but in the end it’s all digital. Most young people have never shot film, I think shooting film teaches a person about photography and seeing. It slows you down and you become more involved in the process.
How has your photography evolved over the years? Is it pretty much the same process, do you light things a bit differently now?
Once I learned about lighting in the 80's, I pretty much shoot the same as I did back then. I shoot pretty simply with just a little bit of gear.
What three images do you consider to be the best you've taken throughout your career as a professional skateboard photographer?
1. Chris Miller, "Pole Cam" because it's just a different kind of shot.
2. Chin, "Hand plants" was a historical moment.
3. Tod Swank, "Pushing" was so artsy and the first time a non-peak action shot was on a cover of our skate mag.
 |
Who are some music photographers you look up to?
Jim Marshall and William Claxton - those classic jazz and rock black and whites are wonderful. I met Jim at his slideshow just before he passed away, what a character!
Do you own any prints from other photographers? What is one your most fond of?
I bought a Keith Carter. It's the dancing bear one, always thought it was funny. He wasn't surprised when I bought it.
How was it being photographed by Tim Mantoani for his "Behind Photographs Project"?
It's an honor to be included in Tim's project, we had that connection of both having used the giant Polaroid camera. He owns his though.
What was the most dangerous place you've ever had to get into to get a photograph?
Shooting my wife in labor...twice.
You used to shoot street skating, have you ever been arrested?
Always been lucky with cops, never been arrested.
What's the craziest skateboarding trick you've had the opportunity to witness and document?
Danny Way jumping the Great Wall of China.
Is there a photograph you regret missing?
The loop with Tony Hawk in Tijuana Bull ring. I was in Europe at the time.
Where do you stand on pushing mongo? When you used to skate more, what was the best trick in your bag?
I learned Mongo, it's ugly. I made both of my kids push normal. I could do an ollie on a bank.
Does anyone in your family take photographs? What do they enjoy shooting?
My grandfather was a hobbyist. My daughter shoots Holga. My son is a skate filmer. My wife shoots product for her Etsy shop.
How important would you say perseverance is for a photographer?
It's the key factor. This is the only thing I have ever stuck with in my life. In today's competitive world, it's the only way to succeed. There were only four skate photographers when I started.
There are so many photographers these days, what do you think it takes to stand out?
I would be trying new things, like large format. All skate photos look basically the same, so make it different somehow. I would hate to be starting out nowadays.
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Briefly, what were the transitions that skateboarding went through over the past 50 years and has skateboard photography changed at all?
I saw steel and clay wheels as a kid, the Dogtown era when Rock Star skaters were born, the skatepark era, the death of skateboarding, the rise of street skating, skateboarding on TV, the web, X Games and video games. I don't think skateboard photography has changed much since Warren Bolster first started using a fisheye to document skateboarding in the 70's. The gear has changed technically, that's about it though.
What are some important lessons you've learned from being a photographer for over 30 years?
Don't throw away bails, people love wipeout photos. Don't drink more than two beers while shooting. Don't turn your back on a skater while shooting.
If you could pull an ideal or a value out of the late 70's and bring it back into society today, what would it be?
Take life slower.
Lastly, do you have any vinyl laying around? What are a few of your favorites and who are you listening to right now?
I kept all of my vinyl. I have several hundred. My wife and daughter collect vinyl too. I've been listening to a lot of Cocteau Twins lately and a lot of Coltrane and Miles too. Brian Eno late at night.
Prints of Grants work are available here: www.etsy.com/shop/jgrantbrittainphotos
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