The Creative Series

It’s about time I wrote this eulogy reciting how moving to New Zealand healed my soul and made me a more creative person.

New Zealand called me when I was seven years old and I finally heeded that call in 2017. My heart expands every day I live in this wondrous corner of the world, and I’ll have you know that I cried writing this piece.

It’s fair to say I was disenchanted by the world soon after I graduated university. A bundle of unresolved trauma and a fast-paced corporate life left my soul dehydrated, and I could sense I didn’t belong.

Though unidentified at the time, I was headed down a dark path of nihilism. My mind was an endless fountain of existential questions and for every one I couldn’t answer, anxiety spiked at the core of me. I knew I was careening toward some drastic decision. And that scared me.

Sure enough, one day, in the throes of a depression spiral… I bought a one-way ticket to New Zealand.

And below is a list of New Zealand peculiarities I thrashed and fought against, then eased into as my perception of the world changed.

How Moving to New Zealand Healed Me and Made Me More Creative

1. Slow Living

Kiwi culture functions on a value system of slow, leisurely living.

And I had just come from the US, where everyone and everything around me was in some headlong arbitrary competition. That suited me fine of course, as I had a lot to run away from. It’s no surprise to me now why I struggled with mental health. My soul was screaming and somewhere along the way I pressed the mute button.

This didn’t work in New Zealand. People weren’t willing to work as hard or as fast as me. They valued work-life balance and enjoyed their time off.

I learned quickly that rigid structure doesn’t work here. Neurotic planning and highly anxious energy doesn’t work here.

Particularly when I fell in love with a Kiwi boy, my lifestyle had to change. When I had a day planned with chores and obligations, he opted to go to the beach. And it was maddening.

I felt I was living inside a languid bubble and no matter how I strained and pushed, it refused to pick up the pace.

And you know what happens when people like me are forced to slow down? Their demons catch up with them.

I did not accept my new lifestyle with grace. It cracked me open and all my contents fell out and I screamed at the gods and at the mess of my soul.

And although it was horrid and ugly and terrifying, it was exactly what I needed. When we’re in pain, we seek what brings us comfort, old forgotten passions that often take us down creative pathways. For me, it was writing.

Days of nothing gave me great anxiety and I rekindled my writer’s craft, gushing all my angst onto paper. It was profoundly healing and I haven’t stopped since. Reuniting with my vocation gave me great joy and I shudder at the years spent without it.

Busyness kills creativity and mutes the soul. And I live in a place that forbids it.

2. Nature

Of course nature is on here. New Zealand is a stunner, from north to south.

After moving here, I was in a constant state of annoyance at the lack of big, bustling cities. In the US, my list of locations was desk, pub, and bed. And my idea of a good time was shopping, fancy hotels, and stumbling around in a drunken stupor at 3am.

Don’t get me wrong, I still love those things. But for a long time, I didn’t really “get” nature. I never noticed the sun. I didn’t care if it rained nor understood why it mattered which direction the wind blew.

My partner took me everywhere and I knew it was beautiful but I had no emotions about it.

Overtime, and coupled with slow living, my mind started to stretch. I was curious about that flickering sense of peace when I found myself dwarfed by trees or mountains.

Nature’s expansiveness made me realize that there’s a world outside this cage I built of stress and aimless ambition. I lived with chronic despair that nothing ever felt enough. But in the natural world, that plane doesn’t exist. In the natural world, we’re reminded that we’re small and all the things we’re trying to “climb” are an illusion.

No matter how I tortured myself with fabricated problems, the mountain still stood, the trees swayed, and water carved pathways into the earth. This was huge for me. I’m learning to carry nature with me, to call on its stillness when life disguises itself as complicated.

Most importantly, I found answers to my existential questions.  We’re alive to grow, enjoy the weather, and maintain balance within our ecosystem.

Clearing the mind did wonders for my creativity and I ache for nature constantly now.

I want my feet in rivers and my skin tasting of salt. I want to feel inconsequential at the base of a mountain. And I still want to stumble drunk… but on empty beaches with milky moonlight shimmering on the sea.

3. Humanity in Government and National Initiatives

This may seem like an odd one but bear with me. I say this all the time: I have a lot of angst about the world. I work in Government, follow politics closely, and know what I stand for.

And doing that in the States was… exhausting. Disclaimer that I love the US very much. My family still live there and it will always be my second home. But the polarizing nature of its politics is a plague. It seems to me “the best country in the world” doesn’t realize its progress has been halted by broken systems.

Corruption goes unchecked and I lived there in a cloud of cynicism, aching for racial, gender, and climate justice.

When I moved to New Zealand, I realized how the US has fallen behind.

National initiatives for conservation impressed me, and this is now one of my biggest values as deduced from the section above. And the mere acceptance that there is systemic bias against the Māori, New Zealand’s indigenous people, has put the country on a path toward national healing. That’s something the USA still hasn’t managed to do.

Of great import to me, mental health has been prioritised by the New Zealand Government. And during the COVID-19 crisis, I watched our leader say, “We’re a team of 5 million” and yes that healed me. It eased the cynicism in my soul, sparked a candle of hope.

When people find common ground, they’re invigorated to participate in their communities toward positive change.

I experienced this in my professional life, when my work saw communities united after the Christchurch mosque shootings and White Island volcanic eruption and found creative solutions for recovery and solidarity.

True happiness is found when we contribute to society’s betterment. New Zealand is small enough that it’s not hard to make a difference, and finding creative solutions which led to healed communities was more moving than I ever could’ve imagined.

4. Entrepreneurship

The entrepreneurship culture in New Zealand is rampant. A simple stroll down the street will showcase adoration for small family-run businesses. For someone who loves supporting her local community, the lack of big corporations is a breath of fresh air.

And it changed everything.

As the saying goes, “you are the average of the 5 people you spend the most time with”. I went from having zero access to entrepreneurs to being engulfed by creatives running their own business.

This change was a slow-burn and I resisted it for a long time. Having been raised under a corporate lifestyle, I had a head full of lies and they made all my decisions. Work, because it’s what you’re alive for. Climb the corporate ladder. Make more money. It’s the only thing that matters.

I considered entrepreneurship in the past, but being risk averse, I waved it off as a fairy tale. My spirit wilted, dismissing my dream of becoming a writer, of traveling the world.

But meeting other entrepreneurs was surreal. These weren’t privileged socialites with a specific set of skills, as I previously thought this was the type of character who started a business. They were ordinary folk who call expertly on their creativity and discipline. 

My partner, an entrepreneur himself, told me that all the resources we need are at our fingertips and the key to achieving our dreams is simple: persistence.

He was patient with me, bless his soul. And the more my longing grew, the closer I circled to yet another drastic decision. Until one day, I jumped.

And here I am, writing into a blog.

Through writing, I get to be creative every day. I write to cope with the light and dark of my soul, forever at war. I write to make others feel less alone. I write because it’s the only thing I can control in a universe of vitriol.

Through writing, I’m learning what it is to be happy because it’s not something I’ve been taught. And because of my new little business, I seek life so I have something to write about. 

I run naked into ocean waves, sleep under canopies, and rage about the world with beautiful friends. Finally safe and dreaming out loud in New Zealand, I re-acquaint myself with my unmuted soul.

Californian Wildlife Photographer @kristincampbell

Firstly, can you start with a little bit about yourself and when you started your photography career?

My name is Kristin, I am 33 years old and currently living in Orange County, California with my husband. While he is busy building rockets for the next generation of space flight, I spend my days buzzing around the Pacific Ocean looking for whales. I currently work as a guide and wildlife photographer for an ecotourism company called Newport Coastal Adventure.

For me, photography began as a research tool and has quickly grown into a passion. With my degree in marine science, I have been fortunate to work on several scientific projects including joining NOAA’s Marine Mammal Laboratory in the Aleutian Islands of Alaska to conduct fieldwork. In the field, I use cameras to document orca behaviour in and around Steller sea lion rookeries to better understand predation pressures. The objective was simple: point, shoot, and catalogue. Only after I became a guide two years ago did I start to use photography as more than just a research tool. By photographing marine wildlife while guiding out on the water each day, I was able to quickly learn professional camera systems and start getting creative with my images.

What equipment do you use to create your images and why did you select it?

I use a Canon 5D Mark IV and Canon 100-400mm lens. I also use a DJI Phantom 4 Pro v2.0 drone. Almost all of my photography involves freezing motion. Canon’s professional cameras and lenses have a long history of being ideal for wildlife photographers. I have put my Canon system to the test and am continually happy with its performance. Drones are a powerful tool in viewing whales from a new perspective. There have been many times where I have been observing a whale at the surface only to see its methodical breathing. After launching my drone I was shocked to see it swirling with dolphins, a behaviour I could not have seen without an aerial view. This aerial perspective also allows me to view the entire whale, rather than just segments of it as it surfaces.

How do you prepare before going for a shoot?

I am very lucky to be able to work on the ocean daily and all of my shooting occurs during our whale watching tours. My primary duties are to educate our passengers about the wildlife they are seeing, so I keep my camera close by and shoot when I can. I spend 8 to 10 hours a day exposed to the ocean’s many moods and shoot in all weather conditions. My gear is contained in one pelican case that has withstood 20-knot winds, surging ocean swell, and waves of saltwater.

The best way for me to prepare each day is to stay aware of my surroundings and an animal’s behaviour. Whales and dolphins only surface for a brief moment and they can do interesting behaviours in a split second. Being able to read an animal’s behaviour and react fast when they are about to do something interesting is imperative to capture those fleeting moments. You never know what is going to happen out in the big blue so you best pay attention!

You have a huge passion for whales, what is it about these majestic creatures that light you up?

During college, I worked in a Natural History Museum. While there I spent a lot of time cataloguing and looking at the bones of wild animals in the mammalogy collection. I conducted research on the cranial morphology (skull shape) of sea otters and how it affects their dietary ecology. I have always been fascinated by the skeletal adaptations marine mammals have to their extreme environment. For example, their elongated hand bones are formed into flippers and their fusiform body shape allows them to swiftly move through the water. Their form and shape is a unique design for aquatic life.

I distinctly remember walking through the museum’s whale warehouse filled with the skulls, ribs, and bones of these massive leviathans. So much of these animals lives are a complete mystery to us. They live in another world where eyesight, a sense humans completely depend on, is obsolete. Whales and dolphins rely more on sound to find food, communicate, and even navigate. I love the mystery of their lives and spend my days observing them. Each time I see them I hope to unlock a few more of their secrets.

How would you describe your current photographic style?

I would describe my style as artistic wildlife photography. My interest in form and anatomy has definitely influenced my artistic view of animals. I prefer minimal backgrounds to focus on the shape and physical features of my subject. I try to maintain continuity in my editing style so multiple species can be compared to one another and their uniqueness brought to light. An example of this is the top-down headshot of Blue, Fin, Sei, and Bryde’s whales often seen in my imagery. These whales are easily confused for one another out on the ocean, but an aerial perspective reveals the characteristics that make them unique.

My dark tones may contradict the sunny Southern California sunshine, however, they reflect the world in which whales live and the mystery that surrounds their lives. Light struggles to penetrate the depths of the ocean and thus whales live a majority of their lives in a darker world.

Which photographers have inspired your journey and why?

I view photography as a lifelong pursuit and one I hope to never master. No matter what level of photographer you are, there is always more to learn. My photography career is in its infancy and I have relied heavily on my peers to learn and grow. So many fellow marine wildlife photographers I work with daily have helped me learn the technical aspects of my camera and editing software. Even though we all photograph the same subjects, we each have our own unique point of view.

I have a deep appreciation for many wildlife photographers and enjoy a lot of wildlife imagery, however, there is something special about underwater photography and the photographer’s ability to connect with their subject. Photographers who choose sharks as their subjects, in particular, have an incredible knowledge of shark behaviour and appreciation for them as apex predators. James Ferrara’s images show that interaction between free diver and shark (@jferraragallery). Darren Jew (@darrenjew) and Jasmine Carey (@pxlexplorer) both capture incredibly stunning underwater images of whales that I find myself endlessly scrolling through. I imagine myself looking into the image as if beside them, sharing that moment with a swirling humpback whale or powerful orca. I love the minimalism in their underwater imagery and try to emulate that in my own images as well. I have incredible respect for the education, preparation, and time invested in their craft. A single image likely took hours of preparation and a team of support. It is easy for people to overlook that aspect of their photography when quickly consuming it on social media. I have a great appreciation for the process of photography. The image you are left with is simply a memento from an incredible encounter.

What has been your proudest body of work to date?

My photography career is quite young, however it is pleasing to know my images can contribute to our understanding of whales through the scientific community. This may include identifying an entangled whale in need of rescue or documenting a unique species or behavior rarely seen. Photography has been and will continue to be an incredibly powerful, non-invasive tool to help us understand whales and dolphins. I also hope my images inspire people to seek the ocean and to see these beautiful animals for themselves.

As a wildlife photographer what has been your greatest challenge and how have you overcome these?

Wildlife photography is built upon a foundation of patience. Wild animals are unpredictable and quite frankly sometimes just not around. I have invested hours on the water to be in the right place at the right time to capture some of my images. It is a fallacy to think at any given time whales are just breaching out of the water all over the ocean. 95% of the surface behaviours whales do is simply breathing. I challenge myself daily to transform a simple moment into a memorable image. That being said, all of this time invested is wasted if you aren’t prepared. That uncharged battery or forgotten memory card is a day wrecker out on the ocean. And I have learned that lesson the hard way.

Finally, do you have any advice for someone interested in a career in wildlife photography and working on boats?

In a way, I kind of fell into photography. I have always been open to trying new things and learning new skills. My best advice would be to focus on learning skills rather than being dead set on your dream job (especially if you want to work on boats). Be a student of life. Ask questions, volunteer your time to learn new skills if needed, and apply yourself during your free time. Stay humble and develop strong relationships with your peers.

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The Historic Research Vessel Tropic Rover

@totheislands__

The West Coast of Australia boasts some of the most crystal clear waters, majestic landscapes and an abundance of marine life. “To the Islands” is an environmentally conscious yacht adventure company based in the port city of Fremantle, WA. That provides tourists and locals a bespoke ocean experience. The owners Carl and Steve have ocean preservation at the forefront of every experience on Tropic Rover. As most people are aware we desperately need to protect our oceans from plastic waste and the increasing levels of rubbish affecting our marine animals. Your trip acknowledges the importance of the traditional land-owners of Australia and their significant connection to this country and the ocean that we all enjoy.

The departure and arrival point is easily found on the Fremantle boardwalk behind the iconic Little Creatures Brewery. This sixty foot yacht is able to accommodate up to twenty one guests on a bespoke ocean experience.

Proudly displaying the Nautilus at the bow, which have survived relatively unchanged for millions of years and literally translates to the word “sailor”. Making it the perfect symbol to guide your adventures onboard. A cephalopod with a powerful metaphor for spiritual evolution and strength. A reminder to never stop learning and continually expanding our world view.

Tropic rover boasts a rich history and has been used by National Geographic as a research vessel and for several Hollywood films. Available for day cruises, sunset sailing and live-aboard surf, fishing or diving excursions. The crew on Tropic Rover make this feel and look like a hotel on the water. Boasting eleven beds, in five air conditioned cabins. A fully equipped galley with a gas/electric oven and microwave. The addition, of five fridge/freezers and a one tonne snap freezer located on the back deck to keep your catch fresh. All the comforts of home including a Television, bluetooth surround sound system and an array of water toys - inflatables, kayaks, sups and snorkelling equipment.

The ever-popular Wadjemup or Rottnest Island offers abundant marine life, humpback whales and bottlenose dolphins. These magical sea creatures may just join you along your adventure as you sail the sea. Diving or snorkelling will get you up close and personal with some 400 different species of fish and 20 different coral varieties. An island paradise absolutely brimming with wildlife, and home to the ever-friendly and photogenic Quokka.

Another spectacular destination option is Ngooloormayap or Carnac Island. A stunning Island paradise where you will find Australian sea lions, bottlenose dolphins and an extensive range of marine birdlife. With the addition of New Zealand fur seals who frequently visit here. You can simply dive off the boat straight into the ocean. This is what life should be like. This part of the world offers a truly unique experience you would be hard pressed to find anywhere else.

Back on board you can start to enjoy some delicious local cuisine prepared to your exact requests. Additionally, The Adreno freediving and spearfishing team will be working together with the amazing crew to provide a series of custom scuba and free diving experiences. Be sure to keep an eye out for these soon.

Just in case you needed another excuse to book a custom adventure. The smorgasbord of exquisite local delicacies. Carefully selected by local and influential culinary experts to provide ethically sourced and seasonal degustation style dining. An experience that is sure to keep guests and their friends coming back for more.

Think Seafood style tapas prepared in house by a passionate and experienced crew with the addition of locally sourced cheeses, dips and fresh fruit. Or just enjoy a delicious grazing platter on the stern while the sun goes down. Freshly baked bread, with local condiments and an abundance of espresso coffee, refreshments and amazing la paleta ice cream. Make this the perfect way to unwind.

This is only the start of the many available custom catering options for your unique ocean adventure. Proudly stocking Pirate Life beer and Moet champagne, perfect for any occasion.

‘To the Islands’ business owners are accept cryptocurrencies like Bitcoin! Carl and Steve decided to accept this form of currency like many other retailers in the Fremantle business community. In order to diversify and create crypto tourism. Drawing more local and international visitors to the port city of Fremantle. 

So, See the Sea in Style, with "To The Islands"

If you would like to enquire about your very own custom yacht adventure get in contact with Carl via email - [email protected]

Also check out the links below for further information.

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Photos & Video by the talented Lachy Ross - featuring Tropic Rover & Brinkley Davies.

INTERVIEW WITH OCEAN PHOTOGRAPHER AND FILMMAKER @amberandfriendsphotography

Amber Jones is Photographer and Videographer from the Hawkes Bay of New Zealand. A surfer, morning lover, self-confessed introvert and adventurer.  

Ambers work is captivating and her love for the ocean and what lies beneath is evident in her imagery. The passion amber has for storytelling and it’s ability to create real and lasting change is what makes her such an inspirational creative. She works closely with her forever fiancé Riley Elliot a Shark Scientist and waterman.

Firstly, can you start with a little bit about yourself? 

As potentially the biggest introvert in the world, my imagery is my own dialogue of communicating these epic things to the world instead of using words, which I’d fumble the shit out of in front of a crowd ha ha.

What would you say inspires your current vision? 

The ocean is the lifeblood of Earth and many incredible shows happen within it on a daily basis. It is the perfect training ground because it’s never the same conditions - Especially here in NZ.

It’s super volatile and easily affected by winds, tide & swell so it’s a constant photographic university!

How would you describe your photography style? 

Evoking emotion out of the viewer is usually at the forefront of my work, no matter what the subject. I want them to feel the same way I felt as I clicked the shutter and so far, the feedback has been spot on so I’m on track with my mission.

What drew you to capture the ocean the way you do? 

As an underwater photographer/videographer. I am treated to these spectacular shows put on by the water and it’s inhabitants on a daily basis. I wondered if I were to share this imagery around people would resonate with it and end up respecting it the same way I do, and ultimately wanting to protect it.

It’s really easy to look at a beach in New Zealand and think how ‘clean’ and ‘pretty’ it is compared to say, our neighbours over in Indonesia and the Pacific but if you look really closely at the sand you’ll see thousands of micro plastics which is really only the beginning of our problem here. If people learn to value something they’ll want to protect it so it’s there tomorrow and that’s the mission with my ocean based photography.

Can you give a breakdown of the equipment you use to create your work? 

I keep things really simple with a Canon 1Dxii and a two lenses - a 50mm and a 16-35m, and of course the Aquatica housing which lets me take my kit in the water at depths of up to 100m!

What would be your favourite lens and why? 

Hands-down the 50mm. I’m obsessed. It can shoot down to 1.4 so the depth is insane. It means I can really put my own unique take on the surf & wildlife stuff which are a fairly saturated market these days.

What are your go to settings when you shoot in the ocean? 

Never, ever the same! The ocean is completely different one day from the next - even hourly - so my settings are always completely different, which makes it all the more exciting!

Do you have a favourite location you prefer to shoot? 

It may be biased but home in the Coromandel for sure. Against the stunning white sand beach and mountainous backdrop we have an abundance of sharks and waves. It’s not called ‘Paradise Coast’ for nothing!

Is there somewhere you are dying to shoot but you haven’t had the chance yet? 

Tahiti! I can imagine it has natural elements similar to NZ but a thousand times warmer!

You can spend hours in the water what keeps you motivated? 

The personal evolution. I always leave the water having learned something or have a newfound respect for someone/thing.

Have you ever had an experience in the ocean that really scared you? 

I have had much more scary moments in big waves than with the sharks I like to photograph that’s for sure! It’s all about feeling comfortable in your environment and you achieve that by spending the time to learn about the specific activity.

For me, I feel completely helpless in big swells because I haven’t spent much time doing it, but thanks to my partner Riley & the knowledge he’s shared I feel completely at ease swimming with a 12ft pregnant Mako shark.

Can you tell me about any unpleasant encounters with marine life? 

To this day I can honestly say that the most unpleasant encounter I’ve had is with seasickness. I just can’t shake it no matter what I eat/drink/think!

What do you enjoy most about your career as a photographer? 

Telling stories and giving people a window into a world they wouldn’t usually get access to and convincing them to cherish the ocean as much as we (partner/shark scientist Riley and I) do.

Most humans aren’t ignorant or malicious people - they just haven’t had access to the information about the conditions of our oceans and wildlife, so if I can aid in that process using a natural gift then that’s what I’ll do, because the biggest mistake we can make is to think ‘someone else will do it’!

When you are not in the water what are your other passions?

My dog, Kona - The other love of my life ha ha.

How do you continue to evolve as a photographer? 

The internet is both a blessing and a burden with the plethora of information out there. I watch a few tutorials and vlogs by people who I think are pushing the envelope of content and then inject my own spin and style on them. I also try and shoot a lot of passion projects to keep the fire ignited.

Among all your work what is your most memorable capture? 

So hard!! I have two events which really stick out; One was purely because it was my first ‘hands on’ shark dive with my camera. Riley had made me sit on the boat for the first few sessions so that I could watch the behaviours of the Blue Shark from the safety of the boat, then after hours of studying his Go Pro footage we went out one morning, chummed up, and found the ‘dream’ shark to work with.

He gave me the all-clear to jump in with this relatively large, but chilled out Blue shark and I will never, ever forget that moment. The water was uncharacteristically clear and calm and as soon as I entered the water it was like the entire universe stood still. I was full of adrenaline yet blanketed in this unexplainable calm, watching this peaceful creature weave itself through Riley and I.

the second was producing my first documentary “Hinemoana” this year which is a celebration of female surfing in New Zealand. It was a passion project with a script that had been sitting on my hard drive for almost three years when the opportunity came up to work with an American production company (Triglass Productions) to bring it to life.

After a few Skype calls I completely trusted their vision for the film and they flew over in March and we smashed it out in a week! Mother Nature delivered the goods to both coasts over the course of the week so we have one incredible film currently being cut in the USA for release hopefully by September! Watch this space!!

What is something you wish you had known when you first started your journey in photography?

To stop worrying about what everyone else is doing and stick to my own mission.

How do to keep yourself physically fit to be able to do what you do? 

My dog Kona will NEVER let me sleep in past 7am so we’re up and at ‘em every morning for a walk or run. In Summer, my life consists of running, surfing & diving so I don’t have to consciously try and keep fit but in Winter I unfortunately have to rely on our little gym here and make sure I commit to at least two days a week among the dog running.

What methods do you use for editing? Can you explain your workflow? 

I use the Adobe creative suite simply because all the controls translate within each other and its easy to navigate once you get the hang of only a few things. There are so many tutorials out there which keep me on my toes and learning new tricks!

Who would you say are your greatest influencers and inspirations? 

Cristina Mittermeier (photographer/speaker/Sea Legacy) - is an incredible advocate for the environment using her storytelling skills to make a difference, I love everything she stands for. Danielle Clayton (owner/founder Salt Gypsy) - Danny introduced me to the world of sustainable fashion and really opened my eyes to being a conscious consumer. She really empowered me to use my storytelling capabilities for brands doing good shit in the world & I’ll be forever grateful for our paths crossing. Riley -  He’s always pushing me to be a better person, in and out of the water and is my constant source of underwater inspiration.

Brands like Toms, Salt Gypsy & Patagonia for lifting the lid on traditional surf wear and challenging the market to be better, both environmentally and socially.

Lastly do you have any advice you would give someone starting out in photography? 

Stick to your own aesthetic and shoot things you’re most passionate about and it’ll shine through in your imagery.

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TAKE YOUR SURF PHOTOGRAPHY TO THE NEXT LEVEL WITH THESE TIPS FROM @stimages

Consider your composition 

I see so many surf photographers putting their subject bang in the middle. I’m guessing that they are only focused on the surfer and not giving a thought to an interesting composition. This creates boring photos. A few things can be easily done to lift your compositional game when shooting from the beach with surf action.

Firstly with surf photos I like to position the surfer surfing into the frame from either the left or right hand side so the viewer can see what lies in front of them. This better tells the story and gives the viewer an indication of what lays ahead for the rider. Also either putting the surfer in the top third or bottom third of the image will also satisfy the rule of thirds composition which will lift the photos quality by a fair amount. These are just two of the many compositional techniques that can be employed with surf photography. If you don’t consider composition you are missing out on a massive piece of the photography puzzle.

Use Shutter Speed Priority – TV mode

There are certain times to use full manual and aperture priority modes, but on the whole shutter speed priority works great for surf action photography. This mode is especially useful when photographing surf action from the water.

When you are dodging set waves and swimming into position then having this half manual – half automatic mode of shutter speed priority will allow you to concentrate on all the other variables outside of locking in the correct exposure in full manual mode from shot to shot. The other reason is when you are in the water your lens is constantly pointing in different directions and all of these directions will have different exposure values, so in shutter speed preferred the aperture will swing up and down to get you a well exposed photo.

Now when shooting surf action and you want to freeze the action then I would suggest a shutter speed set at 1/800th of second or higher. If its super bright and sunny go up to 1/2000th of a second to really freeze that action and get those water drops nice and crisp. This is for freezing the action of course and getting a super sharp photo and most of the time this is what the action photographer is searching for.

When shooting from the land this high shutter speed works really well when using longer lenses. Full manual is a great option for land based shooting if you are confident selecting all of your settings yourself.

If not stick to TV mode, if you want an extra safety net you can also select auto ISO, but I prefer to set the ISO value myself to have that little bit of extra control.

Anticipate the action

 When photographing surf action I like to surf the wave with the athlete. My own surfing has improved from many years of photographing high-level surfers. When you mind surf each wave with the surfer you will better understand and be able to anticipate what is going to happen next and when you know you will be in a better position to compose your image for impact.

Prior surfing knowledge or being a surfer yourself is a definite advantage with surf photography but not absolutely necessary.

If surfing is new to you I would suggest lining up your composition with the pocket of the breaking wave, a really good surfer will never be too far from the pocket of the wave. So if you keep your framing around the moving pocket of the wave you will be in the right spot for those peak action moments. 

If you are keen on further improving your surf photography, but don’t surf yourself then I would suggest you start watching lots of surfing videos and you will start to get a feel the lines surfers take on a wave and how to anticipate that action. 

Water drop free lens ports.

So how do you get crystal clear pictures while shooting through your dome port or when using a wide-angle lens or GoPro style camera in the water?

The goal when shooting through a dome port is to have a thin - even sheet of water sucking perfectly against the entire port. This method is called “Wet Port Shooting” and is the most effective method when shooting surface work from the water and split level shots.

If you don’t have this perfectly even film of water covering your dome port then you will get water drops forming that will ruin your shots. Nothing worse than nailing that hero shot in the barrel to find out later that a water drop is covering the subjects face.

So to get this even film of water sucking to the lens port you will need to lick your lens. Yep that’s right you will need to spit all over that thing and make sure no part of that port is neglected. 

This is a widely used and known technique, but what isn’t widely known is that it works so much better if you lick your lens port around 5 minutes before you dunk your camera housing into the water. Your success rate of getting clear pictures will triple if you use this method. I have a few more tips for getting clear images with dome ports and wide lenses in a free mini course which you can get access to at the end of this article. You will also find out how to get clear pictures when shooting through flat ports using longer lenses. This method is entirely different, so take the course if water photography interests you.

Servo Focus and High speed motor drive. 

 If you have a high-speed motor drive option on your camera then use it. That perfect moment will be easier to capture if you have taken multiple shots, you can always get rid of the rubbish later on the computer.

Also have servo focus set so your lens tracks the moving subject and keeps them nice and sharp for the entire ride. The focus tracking systems in the latest cameras are phenomenal so make sure you are using all the technology to your advantage. 

Light

Photography is all about the light. I am looking at light all day long whether I have a camera in my hand or not. Interesting light makes for interesting photos. With surf photography you can use light for different effects.

Always be on the look out for changing weather patterns, those stormy skies or light cracks in the clouds can make for dramatic lighting setups. 

I love shooting either end the day. Sunset and Sunrise and the hour leading up to or after are great times for many types of photography and surfing is no different. I prefer lower sun angles for pretty much all surf photography. Your photos will have more feeling, more emotion and just be more pleasing to the eye. And don’t be afraid to shoot into the sun that beautiful backlighting can be challenging but well worth the effort for the results you can get.

Having said all that there are certain types of surf photography that look great in the midday sun. If you have a water proof camera or water housing then midday is a great time to go underwater and shoot surfers gliding through the wave from underwater. The bright sun is diffused by the ocean surface and the light penetrates the surface to light up the underwater world, a world few get to see, so those photos are super engaging.

Also if you have a drone then the top down photos of surfing are also great in the bright hours of the day, so either go below the surface or well above the surface when the sun is high in the sky.

Foregrounds & Backgrounds

 A good clean high action photo of surfing isn’t going to cut it these days, you need to create some more interest to get peoples hearts racing. Setting the scene is one way of capturing the viewer’s imagination.

Using an interesting foreground leading into the action shot is one way of giving the viewer something more to latch on to. If you can incorporate some out of focus scenery that gives a few clues or a feeling of the destination then try to take some of your shots that include that foreground interest.

If you are at a beautiful location then look for angles that can better lineup the background to give a sense of place and scale. Using both foregrounds and backgrounds rather than just shooting toward a blue empty sky can give your shots that little extra something.

Long Lens 

Most times when shooting surf action from the land there is going to be a fair distance between you and the subject so you are going to be looking for your longest lens. When I first started surf photography back in the late nineties and early two thousands I envied the top surf photographers with their massive 600mm lenses. The trend back then was for super tight action photos and that could only be achieved from the land with 600mm lens and extenders. However by around 2005 the trend had shifted towards more pulled back photos and you didn’t necessary need the massive lenses. I much prefer the slightly pulled back look; with this you can start to incorporate the foregrounds and backgrounds that I was talking about in the previous section. 

So now you can get really great action photos with 400mm lenses and I even regularly use a 70-200mm lens to get those more interesting pulled back shots. Another advantage with the crop sensor cameras like the Canon 7D is that a 400mm turns into a 640mm so you are getting a powerful lens now for much less investment. 

With the half frame cameras like the Olympus then you turn a 400mm into a whopping 800mm!! So what was once out of reach to most photographers is now attainable. 

Use a tripod or at least a mono!

So often I see surf photogs getting around the rocks and shorelines with massive lenses trying to hand hold them! I know image stabilization has come a long a way, but using a tripod or at least a monopod will improve you photo clarity, your composition and your general thought process around what you are trying to achieve. 

Using a tripod or monopod with lenses 400mm and longer will make for better image quality, your slight mistakes will be magnified the more powerful your lens is, so stabilizing the image at your end will improve the sharpness of your photo. You can also set the level up so when panning with your subject the horizon will always remain straight and not annoyingly tilting on an angle, another mistake that I often see often.

One thing to watch out for with a tripod is make sure you don’t get stuck in one spot, keep moving around high and low, down the beach in the dunes all around to get variation in your series of shots.

Don’t just look for the action 

The surfing experience isn’t just about that killer barrel ride or the huge aerial maneuver. The in between moments can tell the surfing lifestyle even better so don’t just be focused on the action. 

When you are down the beach all sorts of things can be going on. Be on the look out for chance wildlife encounters, especially if they involve the surfer. Be tuned into the process of entering the surf, paddling out, and the entire experience of wave riding. If you are doing surf travel, make sure to include the culture of the place you are visiting.

You don’t want to come home with just 3,000 surf action photos and nothing else that tells the true story of the journey of a surfer. I feel you should tell the whole story and that will come together as a strong portfolio with far more meaning to the viewer. 

These quick 10 tips are designed to get you thinking more about your surf photography and hopefully give you a few little insights that you may not be considering when shooting surf action. I dive deeper into the process of water and surf photography in my latest free mini course called “Transform your water photography” you can enrol today at: HERE 

Interview with Ted Grambeau @tedgrambeau

Firstly, can you start with a little bit about yourself and your photography career.

I grew up in Victoria in the Gippsland region in Wonthaggi and Foster.

My interest in photography evolved through shooting surf photography and expanded from there.

I studied photography at RMIT, in Melbourne, working briefly as an assistant at Brian Brandt studios in South Yarra. That was a leading Advertising, Commercial and Fashion photographic studio in the day in Melbourne. Brian was a living legend in the industry during this time.

I travelled and worked in New York as an assistant to Burt Glinn, chairman of Magnum at the time. Burt was shooting corporate work. Magnum is considered the most prestigious photo agency with a collection of the world’s greatest photojournalist/artists. It still is today.

I returned to a nomadic lifestyle for some 30 years shooting surf for Surfer magazine and Surfing Life in Australia. I have developed a range of clients in the surf industry Rip Curl, Quiksilver and Billabong. In addition to Red Bull, Apple, Speedo and Patagonia. I also shot swimwear issues for several years.

I specialised in big projects such as Rip Curl’s Search, Quiksilver's Crossing, and Billabong Odyssey.

I also rode a motorbike from LA to Patagonia for BMW and Rip Curl on the Search, eight months and 35,000 km.

I’ve published several books, including ‘Ted Grambeau - Masters of Surf Photography’ by The Surfers Journal, ‘The Surfer and the Mermaid’ with Tim Baker, and ‘Adventures in Light’ with Rip Curl and Tim Baker.

In addition, I have pursued personal fine-art projects, in particular, ‘Sealevel’ a fine-art abstract documentation of the ocean.

This series was unique, and I have developed that for about 8 or 9 years now with numerous exhibitions.

Now I share some of this knowledge through photography workshops.

What equipment do you use to create your images and why did you select it?

I have had the good fortune of working with and owning a diverse range of camera equipment.

From 8x10, 4x5 film cameras, medium format, Hasselblad, Leica, Fuji, Mamaiya, Linhoff, 35mm systems Nikon, Canon and Olympus.

I currently use Nikon cameras and lenses and occasionally other medium format equipment.

I want to be clear that no camera or brand makes will make you a better photographer; it may make the photos you take better! By this, I mean the camera does not make you get out of bed earlier to search for the perfect light or create unusual compositions. It will not create great anticipation or connection with your subject.

Your camera is a tool; you must feel comfortable and confident in what you can achieve. This knowledge will provide you with the opportunity to create images with a minimal effort, in a reliable manner and importantly support that reliability with back up service. It would be a system that extends those opportunities through lens and accessory choices. All this at a suitable resolution that you require for your end-users within your budget.

Currently, the range of high-quality options available for all the above criteria is endless.

If your destination is exhibitions, your requirements may be different from someone whose use is mainly shooting for the web. Determining your requirements for the end usage is essential.

Shooting mega resolution pixels for the web is overkill and expensive.

If you are a high-end advertising photographer shooting with a $60,000 equipment may be justified.

It's a very personal decision, and there is no one best camera, of course, the budget will usually be the determining factor.

I love fast prime lenses, and I like to be able to choose the best camera for the assignment at hand. The medium format experience is higher quality sometimes at the expense of the slightly deliberate (slower) process.

If you have got a 150-megapixel camera and end-use is Instagram you may have spent too much and slowed your workflow down dramatically.

Can you tell me about your book ‘Adventures in Light’?

My book "Adventures in Light" ( my companies’ name ), literally describes my life.

I wanted to create a book that represented all aspects of my photo journey. Quite often, when you do a book, you need a definitive theme. Which, immediately rules out a lot of your favourite images.

My theme is more about my photo journey, much of which was a collaboration with Rip Curl. As the philosophy of The Search closely mirrored my own philosophy, maybe I was looking for light as much as waves.

But my theme was broad enough to sustain images that stand alone. An underwater portrait could sit alongside a wave shot, so turning each page is like a surprise. It is intersected by several little feature trips on extreme travel and surf adventure.

In essence, it is a photo-based book with words by Tim Baker and designed by Alastair Mitchell of "The Potting Shed" in the UK, it is in effect about my photographic journey.

I self-published, a daunting task as creating the images is only about 25% of the work required when creating a book. There is a large financial commitment. Selling the book is the biggest ongoing challenge.

I continue to sell exclusively through my website as well as some Rip Curl stores.

I have been fortunate with the number of industry connections that have assisted me. My partner Selina has been that key to making the book successful. Her knowledge of social media and design have been invaluable.

Which photographers have inspired your journey and why?

Photographers that consistently produce high-quality work, I draw my inspirations form a diverse range of genres.

The great photojournalist's who turn truth into art, my boss Burt Glinn was indeed one of these. Henri Cartier Bresson, I believe, was the greatest photographer ever. Sebastian Selgardo. Frank Hurley, an Australia photographer who was unbelievable, James Nachtwey.

Fashion legends Richard Avedon, Peter Lindenberg, Albert Watson, Mario Testino, Gilles Bensimon.

Landscape inspirations Ansel Adams, and Murray Fredricks.

Sports, Walter Boos, and Art Brewer.

This is the tip of the iceberg, but these are the calibre of people I will spend $150 on their book. They produce consistently high quality work. But most importantly, they have developed their look by contributing to the creative process.

How has social media changed the photography world today?

Today Instagram is a constant and immediate source of amazing imagery, much of which the photographers have not gone on their own creative journey but that have seen a look online and gone out and copied that technique.

It becomes quite evident when you look at someone's body of work, whether they have evolved with their own style with a constant evolution of development.

To be considered valid as a good photographer, we must contribute to the creative process.

All the inspiration we feed off should be a starting point, not an endpoint. If it's the endpoint, then you haven't gone anywhere, other than showing you have mastered a technique.

This is a long journey; it is a lifetime journey.

It is a significant point that our inspirations should only be a starting point.

How has surf photography evolved over the years, what do you see in the future for the industry?

Surf photography has had several major disruptions in the last decade.

One was digital; images became unlimited in quantity. Good and bad.

But the instant verification cut out the learning curve. People could get a result without knowing technically about what they are doing.

Previously shooting film, whether that be for surf, wedding, fashion or commercial was daunting. Someone invested thousands of dollars for you to go on assignment. Sometimes I would be away for two weeks on a commercial assignment and bring back 200 rolls of film. You didn't know if you had a single image until they were processed. When shooting slides the margin for error was about ⅓ of a stop for reproduction in a magazine. You had to know what you were doing. Exposure was not a guessing game.

Your workflow had to be impeccable. There was a lot of pressure to get it right; you had to choose what ISO you were going to shoot before you left the country: 50 ISO, 100 ISO or 400 ISO.

You had to meter highlights, shadows, mid-tones, know the nuances of the film, know the lab where you were getting them processed, what colour bias they might have. It was very specialised.

Now you look in the back of the camera you can get a result or change exposure.

Professional photographers solve other people’s photographic problems, so it's essential to know what you are doing. No amount of "likes" makes you solve those problems.

It's raised the bar for sure, and there are a lot more great images as a result, but as I said maybe some people have taken a short cut and do not understand how they achieved that result, so it's less likely they can re-create that result again.

What have been some of your favourite photography trips?

Generally, the most challenging trips stand out for me like the Bike trip through Mexico, Central and South America, looking for the northernmost surfer in the world. Boat trips with Martin Daley and Sonny Miller on the Search, Mozambique, Madagascar, Russia with Tom Curren, Iceland, Norway, Tahiti for perfect surf (hopefully my next trip will be my best!).

In your opinion what makes an image exceptional?

The ability of an image to affect us emotionally, it has to be able to connect with us.

For whatever reason, it has to communicate with us, it might be the subject, the composition, the technique, the tone, the colour, the texture.

It has to be such that it is no longer just an arrangement of pixels but something that impacts us profoundly.

This is essential for all great pieces of art.

It might be historic, horrific, beautiful, but it must have the power to move us.

Images that stand out for example:

The napalm girl from Vietnam or the man in front of the tank in Tiananmen Square.

The tonal master of Ansel Adams and so it goes on.

Cartier Breton was a genius at defining moments, of real life.

It's an excellent exercise when we see an exceptional image to ask ourselves that very question. What makes this image great...

What is the most challenging aspect of being a photographer today?

The most challenging aspect of photography today is standing out in a saturated sea of images.

With clients erring toward-influencers it becomes a popularity poll and less about crafted image-making.

Magazines have died a natural death; other opportunities have flourished; everyone can be an expert. Saturation dominates subtlety.

There are more great photographers than ever before, but it gets somewhat smothered in the sheer volume of visual stimulus.

Do you have any projects planned?

Yes! Always.

Do you have an advice for aspiring photographers, especially in such a saturated market?

For aspiring photographers, it is the most exciting, challenging time.

There is more competition than ever before.

My advice: learn your craft thoroughly, follow your passion relentlessly and enjoy the journey.

Finally, you offer incredible Ocean, Lifestyle and Surf Photography workshops, what can people expect from this experience?

Next year’s Surf, Ocean and Lifestyle Experience in Bali will be pretty exciting. Darren Jew, one of the most gifted ocean photographers on the planet will be joining us as well as Jasmine Carey, who is full of talent and technical knowledge.

This course aims to have practical and relevant exercises. Whilst it has aspects of surf action, it is more about learning and understanding skill sets that can be applied to all aspects of your photography.

Understanding light, colour, working with water housings in the ocean and pools, applying solutions to portraits, swimwear, fashion as well as action and street photography.

Helping you solve photographic problems as you evolve as a photographer.

Creating more professional workflow solutions all while having fun in one of the most amazing working environments. It is about giving you the confidence to take your work to the next level.

Bookings are through Foto Frenzy’s website.

It might be prudent to book as soon as possible as numbers are limited.

Regards,

INTERVIEW WITH @matt_burgess_photo

Firstly, can you start with a little bit about yourself?

Hello! My name is Matt, and I am an ocean photographer from the Mornington Peninsula, Victoria, Australia. I am a husband, father, soldier and most importantly, an ocean addict.

What drew you to capture the ocean the way you do? 

I started shooting the ocean seriously in 2007 while living in Perth, Western Australia. The waves were usually terrible and crowded, so I began to look for other ways to capture the fleeting moments of brilliance that the ocean provides. I was called a nerd and usually laughed at by “surfers” for shooting from the water, it was well before social medial and seen as “taboo” at the time. I started with a point and shoot waterproof camera and slowly built up my equipment as the addiction took hold!

Can you give me a breakdown of the equipment you use to create your images?

I am currently shooting with a Canon 5DMK3. My favourite lens would be the Canon 16-35mm F2.8 ii – It’s a beast and allows a lot of versatility when shooting in the water and low light situations. Aquatech Imaging Solutions Housings protect my camera gear. In addition, I use Lumecubes, Shark Banz, nife fins, Sunbutteroceans, natural skincare and Need essentials wetsuits.

What motivates you to push yourself right to the edge to get that perfect shot?

The thrill of the chase and the possibilities keep me going back! It gets super cold down here in sunny Victoria, so getting out of bed can be hard sometimes. I know if I don’t go, I will be grumpy and disappointed in myself all day! So I always get up.

Have you ever had an experience that scared you in the water?

Nothing too major just the usual scraping, you can get under large water masses. I think if you respect the ocean, your surroundings and know your limits, you should be fine.

On day by day basis, what do you do to keep yourself physically fit to be able to do what you do?

I have been in the Australian Army for nearly 20 years, so I get paid to go to the gym and be fit, fitness is a massive part of Military life.

What would you say inspires your creative vision? 

I draw inspiration from nature, and it’s the most excellent show on earth! The ocean especially is ever-changing, and no moment will ever be replicated.

Talk me through your process before getting into the ocean to shoot, what are you looking for to create that perfect image?

Before getting into the ocean, I usually have pre-checked all the conditions (winds, swell, tide) and prepared my equipment. I typically know what type of wave I will be shooting; it could be a reef break, slab or shore break. I also check the cloud cover and the general direction of the sun, and if everything is aligned and you put yourself out there. There is no reason why you couldn’t get a great image! The most important thing is to GO!

How do you continue to educate yourself to become a better photographer?

I read – a lot! Also, just spending time with your camera in different light and weather situations. I am always learning, if you stop learning you have given up.

Are there any photographers or people who have inspired you on your ocean photography journey?

Anyone that has a go inspires me! And it is good. There are a few “photographers” within surf photography with their heads up their butts! It costs nothing to be kind, support each other and be happy!

Among all your work, what is your most memorable capture?

My favourite image is still in the ocean! But! If I had to choose it would be an image called “angelic”, it was captured on the back beaches of the Mornington Peninsula in the summer of 2017. The image is of two waves meeting creating backwash, which throws water meters into the air. This particular backwash created the form of an angel, and I knew it was a keeper the moment I captured it.

Finally what advice would you have for anyone wanting to get involved with Ocean Photography?

INTERVIEW WITH EMY DOSSETT @salty_see

Firstly, can you start with a little bit about yourself?

My name is Emy and I’m an Australian Surf and Underwater Photographer living in Sayulita, Mexico. I’ve been a professional photographer for 3 years now, working as a designer and a photographer. In May 2018, I decided to quit my full-time design job to pursue my dreams of living in Latin America, being a Full-Time photographer, speaking Spanish fluently, surfing every day and creating wonderful human connections. I’m having a bloody wonderful time at attempting all 4 things. I love anything to do with Latino Music and shaking my booty, endless adventures, longboarding, the ocean (kinda obvious) and photography. You’ll find me cruising around with a big fat smile and crazy blonde curls, sometimes with one foot on the ground and my head in the clouds but most of the time, floating around in the sea.

What equipment do you use to create your images and why did you select it?

I shoot with a Canon 7D Mark2 and an AquaTech housing. I chose AquaTech because Ocean Photographers I aspire to, recommended it to me. I also love the functionality, durability and design of the housing. I chose the Canon 7D Mark ii because of the autofocus capabilities which are well suited to Sports Photography, it presents some limitations by not being full frame but other than that, I love it!

What would be your favourite lens and why?

For surf photography, I love shooting with my Canon 70-200mm. It gives me room to sit far away and still get a wide shot at 70mm or I can right in the action and get beautifully detailed shots.

For under the water I love shooting with my Tokina 10-17mm lens. It throws out a beautiful deep and perspective without having to be too far from my subject.

As a Female Surf Photography do you come up against any challenges?

The industry is very male dominated so I thought I’d experience a lot more misogyny. But most people are curious more than anything. So in terms of being a female surf photographer, I’ve only ever experience curiosity, acceptance and encouragement. When I’m out in big swell, the surfers are constantly checking in to see if I’m ok and people are always interested to hear more about what I do. If anything, I experienced more challenges as a female surfer than a female surf photographer!

Which photographers have inspired you, and how did they influence you?

Sebastiao Salgado, Morgan Maassen, Sarah Lee and Ming Nomchong. Sebastiao Salgado for his ability to tell such powerful narratives through his imagery. Morgan has always been a huge inspiration, I love his vivid colours and simplistic yet mesmerising compositions. As a Motion Designer/ Editor, Morgan first caught my eye with his Motion reel, a collection of his video work. His editing and music selection are always on point and he always manages to take me right there, where ever he is in his imagery.

Sarah is actually a friend of mine and I’ve been privileged to work alongside her for years with my Motion Design work on Alison's Adventures. When I first saw her work, I was blown away, I couldn’t get over that someone could see that moment and create these images, I was like how the hell does she see that?!? Sarah has always been a huge inspiration for me to take the leap from Motion Designer to Ocean Photographer and to look for those little hidden details in everything.

I love the dreamy filmic style of Ming’s work. Whenever I see Ming’s work, I feel like again I’m there in the picture, mesmerised by her work. She’s also been a huge help and inspiration when I was first getting into Ocean Photography.

Do you think you need to be a surfer to shoot the ocean?

I find this question hard to answer because I’ve been a surfer longer than I have been a surf photographer so I’ve never known what it’s like to be a surf photographer without the knowledge of not knowing how to surf. But what I would say if you need a good understanding of the moves and moments. If you love surfing and have an appreciation for it and you’re not a surfer, I’m sure that appreciation will drive you to capture beautiful images.

But what I do find is my surf photography improves the more I surf and it helps when you have shots in mind, understanding how you can achieve it and directing the surfer. But more importantly, what you definitely need more than anything is a good understanding of the ocean, how it works and your limitations. And how to get yourself out of trouble!

Three things you have learnt this past year?

Ohhhh I feel like I’ve learnt so much this past year! Numero uno… I’ve learnt to really really believe in myself! I’ve struggled so much with this. But when I decided I wanted a change, moving halfway across the world and then I just did it, I was like, ok maybe I can do this haha. There have been moments when I feel like I’m not getting anywhere but I’ve learnt to hang in there, don’t give up. And there’s been a lot of things that have got in my way! It’s taken a lot of hard work and persistence.

Numero dos!!! That it’s ok not knowing! I’ve always been a person who doesn’t have much of a plan and then thinks, shit, I need a plan, so I try to be organised. I go between being super organised to super disorganised. When people would ask me about I was doing, I’d get defensive because I didn’t know and I thought I should. I’m getting much better at the fact that sometimes I have a clear idea of what I want and other times, I have no idea at all. Embracing the unknown is such a beautiful part of life, life would be so boring if we knew what was going to happen all the time.

Numero Tres! That Mexicans are the masters of living in the moment. And that mañana is always a good time to do everything haha.

What inspires your creative vision?

For the most part, colour and light, textures in nature. Getting lost on a visual journey in nature around me. People and their stories. Anything to do with surf!

Other ocean, portrait, photo documentary and fashion photographers, Films and documentaries.

Art! I’ve always been drawn to abstract art movements like Impressionism, Art Nouveau, dreamy art where you can float away with colours, patterns, repetition and so on.

How have you developed your imagery over the years? What steps have you taken to develop your work?

I have an artistic sometimes abstract style. My style has developed organically over the years, I guess the active steps I’ve taken is pushing myself to shot in a different light, moving around in the surf to shoot from different angles, paying attention to little details that catch my eye and following where they can take me. Before I started photographing in the ocean, I’d go down to the beach at sunrise. I would always think, I’m going to the same beaches, I’m never going to get different shots but I don’t have time before work to go further afield. I would get down there and I was always so surprised at the things that would catch my attention and then I’d be off down the rabbit hole, so I guess what I’m saying is always being open and flexible in the environment I’m shooting it has helped develop my style as it feeds my curiosity and opens doors to seeing things differently.

How would you describe your current photographic style?

Artistic and dreamy, colourful and full of life. Whether it be cotton candy skies with the light catching in the flecks of the spray of a nice bottom turn or the midday sun specks highlighting and framing someone paddling by.

Have you ever had any experiences in the ocean that really scared you?

Yep! Totally! Before Christmas, a big swell came through here in Sayulita. The waves were about 2.5 metres. Some decent sized sets were coming through. I swam out and it was fine, it was actually really exhilarating. Everyone was dropping into these faces of water and cheering each other on. For me, it was the third time I’d been out in waves over 2 metres. I went in and decided I wanted to go back out again. In those 20 minutes, the tide had dropped a little and the current had become stronger. As I started swimming back out again, I started to realise how much bigger the waves were. I made it out through the first set fine but then the 2nd set came through and jacked up right in front of me, I made it under the first wave perfectly fine but the pressure of the wave breaking on top of me made me realise how big it was.

I freaked out and started to lose my breath. I started swimming in, letting the waves toss me around as I tried to calm my breath down. I got stuck in the trough right inshore, I didn’t have enough energy to get out. By this stage, I’d washed down the beach and my friends had thought I’d already exited the water. I waved my arm in the air but no-one could see me. Eventually, I just let the waves wash me right up onto the sand. Whilst I was never actually in trouble, my mind definitely got in the way and fear took over.

Do you have any projects you are currently working on?

At the moment I’m waiting for my camera to be repaired so I’m working on my first solo exhibition here in Mexico! I’m also working on my blog that I’ve been wanting to do for a very long time. I love writing so it’ll be a collection of short stories about my experiences and the people I meet and shoot, so stay tuned! I’m also working on the Fine Art Print side of my business, selling more physical products! Coming from a design background, I love seeing my Art printed and framed.

Once I get my camera back, I’m heading to Cabo San Lucas, Baja Mexico to shoot with a travel blogger! Whoop whoop!

Finally, do you have any advice for aspiring ocean photographers?

Just get out there and shoot. If you’re like me, I’ll make up excuses in my mind but it’s the times when I’ve ignored those excuses, I’ve captured some of my best work or made the best connections. Shoot in all different conditions from light to weather. Make sure you know your limits though. Learn as much as you can about reading the ocean, breath hold. Shoot as much as you can and learn from your mistakes. Get curious, research, ask questions, when shots don’t work. If you’re making mistakes, it means you’re pushing yourself. Things don’t always go to plan, and if you can be ok with that, and change your creative direction, then you’ll be surprised at what you can capture.

Reach out to Ocean Photographers you admire and ask for their advice. Be patient but persistent, opportunities and growth come from a combination of hard work and talent.

Website www.saltysee.com.au

Instagram @salty_see

Facebook saltyseephotography

Knowledge Of The Ocean

Always consider your safety first. Know the surf break your shooting at and never shoot alone. Learning and understanding surf reports and swell conditions are essential before you even step foot in the water. Understanding currents, rips, swell periods and wave types with make your life in the ocean much more pleasant.

LEARN MORE HERE

Basic Camera Options

A GoPro is an excellent start when it comes to ocean imagery, and there are so many talented ocean photographers who kill it with an affordable little camera.

At 12 Megapixels, this compact little device with gimbal-like ultra smooth video. Gives you the opportunity to focus on positioning first without the extra weight of a full frame camera.

See some GoPro Ocean Photographers HERE

Your next option is the Olympus Tough TG6 this is a 12 MP 4k Camera/Video it is also perfect for snorkelling and diving with and has a depth rating of 12 meters. It works well in low light conditions.

Stepping up from here most people use their current full-frame camera and lenses then purchase the housing and lens ports of choice.

Another option for those of you who have an Apple iPhone can opt for the Axisgo Waterproof Housing for your Iphone. These are fantastic to travel with as they are so compact and easy to use.

Surf Water Housings

You must consider you ocean photography needs when selecting a housing they are rated to different depths but boil down to personal preference.

I personally own an Aquatech Waterhousing and I have never had an issue with it’s performance in the ocean.

There are many other surf/ocean photographers who use other options though and these include SPL, LiquidEye and Salty Housings these are all lighter and more compact.

Fins

When I first started, I hated using fins, but as you get more confident and need to get into a line up your fins will save your life in larger waves. I own a per of DCM Fins and DaFin surf fins.

I prefer the DCM for more extended periods in the water as these are so much lighter and less fatiguing. I would pick the DaFin’s if the swell was significant as I find they propel you through the water with a bit more power.

This is definitely a personal preference, but these are the two most popular options after speaking with multiple surf photographers to establish their preferences these two came up as the standouts.

A Wetsuit