We’ve long wanted to film famed surf photographer Chris Burkard in action, so when we heard that he was headed to the Arctic with professional surfers to tackle the brutally harsh seas, we packed our bags and followed. In our latest installment of SmugMug Films, we travel with Burkard on his journey with professional surfers Patrick Millen, Brett Barley, and Chadd Konig as they brave sub-zero temperatures to capture moments of raw beauty, adventure, and community. Keep reading after the video to get an exclusive interview with Chris about how he got his start, what he looks for in a fantastic image, and that time he got deported from Russia.
How did you get started with photography?
I did a lot of art in high school. And I transitioned to wanting to explore doing art out in the field, but I soon realized it wasn’t very fun. It wasn’t a very intimate experience to me. You’re just a bystander. When I picked up a camera and started taking photos of my friends surfing and landscapes, I realized I was in the moment. I was out there, and shooting these photos was an extension of the body. It was intimate. You’re a part of it, and you can take it anywhere: social settings, mountaintops, oceans. It was a perfect extension and a great medium of expression for me. To this day I’m seeking out new places so I can bring a camera and experience them.
If you hadn’t become a photographer what would you have been?
Probably a fireman. I don’t know! I worked for many years in random jobs. Before I was working to be a photographer, I worked on cars a lot. I loved old vehicles and the idea of making them how I wanted. It came down to the idea of wanting to do something where people will appreciate my craft and my talents, and I realized that was what made me want to turn machines into artwork. If I wasn’t a photographer, maybe I’d be working on cars somewhere.
How would you describe what you do today?
I’m always seeking out the adventures in life, whether I’m shooting surfing in a cold, harsh environment or shooting a commercial assignment. And that’s meant to speak to the idea of going to a new place, summiting a new peak, or surfing a new wave. It doesn’t matter to me how big or how small. My goal has always been to create images that inspire people to get off their couch and go explore something new.
The idea of exploration is the thing that really makes me want to push harder. It’s the driving force behind a lot of my work.
What do you look for when creating an image?
There’s a lot of technical things I’ll look for. I’m looking for light, contrast, and all those elements that make a good image. But I consider other elements when I’m thinking of how to capture something. Like if there’s historical value to a photo—where I’m shooting a place that might not be around for very long—that’s very important to me.
Coming from an art background, I’m used to trying to put everything I want into this easel shape. I’m just bringing in all the elements. When you’re shooting and photographing in this frame, you have to get everything inside it. You’re really constricted in being able to make it happen.
For me, it’s also super important to push your cameras as far as they can go to capture what you’re seeing. A photograph is usually a two-dimensional item. If there’s anything you can do to make it feel three dimensional, that’s the goal.
I also like the idea of creating images that will carry weight with people. Photos that aren’t driven by advertisements or logos. And it’s super important, too, when creating a body of work that you want to be around longer than yourself.
Given the adventurous nature of your work and the harsh conditions you’re in, are there any great pictures you didn’t get to take?
There’s always a lot of pictures I don’t get, or I feel I haven’t had a chance to capture yet. As a photographer, or anyone who’s a perfectionist, that’s all you think about: all the moments you didn’t get. And that’s just life. You’re striving for something better, and you always wish there’s something you could’ve captured, but if you get them all, you’ll have nothing left to strive for.
What do you consider the biggest challenge about your work?
It all depends on where I’m going. The nature element is the hardest thing, like if I’m going somewhere really cold or somewhere that has a harsh environment. Being in the water in high 30s or low 40s can be brutal on your body, mind, and psyche, and it’s always challenging. You’re always weighing out risk versus reward. Luckily, 90 percent of the time you’re not far from a warm car, but there are those moments when you know in order to get the shot you have to go out and suffer a bit. Those are the times I feel most alive. I have to put in more effort and lose a little bit of skin.
Your explorations often take you to off-the-beaten-path locations. What do you look for?
I’m drawn to places that feel and look more wild. I think it’s human nature to want to see these places, but the reality is most people don’t want to put in the time to find them. So a big part of what I do is try to find spots that will speak to that aesthetic. The location is almost as important as who I’m with and what I’m shooting. Each place plays a huge character role in these stories. Whether I’m on a remote beach in Norway or somewhere in Russia, I want to be in a place that people naturally associate with adventure.
How do you find these places?
There’s a certain recipe. There are a lot of amazing places I could go, but I have to have an assignment that takes me there. I have a list of places I would love to see and love to experience, but I don’t have opportunities to shoot there. But I have a list. And it’s something I tick off as I get to go to places.
With so many places yet to see, is there a favorite place you’ve already been?
Oh, yeah. I’ve been to Iceland 13 times. That place is pretty dang special.
What do you love about it?
The way the landscape is always changing really draws me in. It’s inspiring to me and makes me want to go back because the conditions and climate are constantly evolving. For a photographer, it’s what you’re always searching for. You could shoot only one day there and have so many different conditions.
I don’t like to go to places that wouldn’t be inspiring to me on a personal level. Because if you’re not excited about the work you’re doing, then it’s hard to want to photograph it.
Is there a photography project that’s been the most meaningful for you to date?
The trips I do, I invest a lot of my energy, heart, and soul. That’s why when they turn out successful, it means so much. Success can be measured many different ways, but for me it’s pretty simple: If I feel like I got the images I needed, or got the job done while still being able to experience the culture for myself, then the trip was a success.
I plan for three years or more to do these trips, and when I’m able to set foot on the landscape and experience it, I don’t want to leave anything behind. For me, that’s been Russia, Alaska, Iceland, and Norway. These are places I put a big part of myself into.
What’s been your most challenging to date?
I’d say Russia just because of the logistical challenge of getting there. It took three years to plan and find the place to go.
I went to Russia for the first time in 2009, and you have to fill out a visa request like three months ahead of time. I was in a crew with four people, and we had to go through customs. I get stopped. They look at my passport. They look at me. They look at my passport again. They look at me. And I realize the entry date on my visa was for the next day. It was the wrong date.
After a long discussion, they put me in a holding cell for 24 hours, and then deported me to South Korea. After recouping a day later, I flew back. It was scary. Really scary. I didn’t get food and water until I talked to the embassy. It was crazy.
It was one of the first places I traveled to that was really wild and remote. And it was such an eye-opening one because I realized for the first time what it felt like to have all your rights stripped from you. It makes you really appreciate being on American soil.
What’s at the top of list for a place you’d like to return to?
I really want to go back to Chile and explore Tierra del Fuego. It’s at the very end of South America, and it looks amazing.
In a lot of your behind-the-scenes shots, it looks like surfers are headed right at you. Have you ever suffered any collisions?
Oh, yeah. I’ve been run over. I’ve had surfers hit me with their board. Cut my nose and other things. Those are the experiences that make it exciting. You’re very much at risk. And it makes it that much cooler, really, being able to be a part of the action. Being hidden in the midst of it myself.
Ever lost any gear?
I’ve lost quite a bit of gear. One time I was on a little boat, and we got hit by a wave. Basically my entire kit went overboard, and I lost about $30,000 worth of gear. Luckily, I had insurance for it.
Speaking of gear, what are your must-haves?
I have a lot of must-haves. It comes down to the fact that I think, man, if I don’t need to use this it’s not going to be much of an adventure!
A multitool is super important when it comes to being somewhere remote and interesting. Obviously having a good, reliable camera is crucial, and that’s personal preference. I like to travel really light and really small, so I use a lot of mirrorless cameras, like the Sonys. There’s usually a solar charger of some kind, whether for cell phone or camera. An ultralight, ultrasmall water-purification device that uses UV light. Energy bars. A light rain jacket is always crucial. A lightweight tripod is always in there. Filters. Almost always a pair of gloves.
If you don’t need a headlamp, it’s not even a place you want to go. I can’t count how many times I’ve gone out driving around, having a great time, then coming back for a couple hours to sleep until dark. That’s when, as a photographer, you know the best light is going to be, or when the stars are going to come out. Nine times out of 10 we’re hiking back in the dark with a headlamp on.
It sounds like you have a survival kit with some camera gear versus a camera kit with some survival gear.
That’s really what it comes down to. I want to make sure that when I’m shooting photos that I’m able to relax, knowing that safety is taken care of. I occasionally have a small rope and carabiner just in case I need to lower down from somewhere. Usually the most unusual thing I have in there is a packet of gummy candy, because that’s one of my favorite things. It’s either a reward after the shoot because things have gone well, or I just got beat down by rain or no sun and I want to have something sweet.
Given the chaos you’re in for your shooting conditions, do you shoot manually?
Yeah, always. I love shooting manually. You really start to work with your camera, and it becomes second nature. I like to have complete control. I don’t want to have my camera trying to make decisions for me.
Do you have any rules when it comes to your overall process?
When I’m going somewhere new, I’m really careful not to research too many of the places I’m going to see because I don’t want to get some interpreted view of what these places should look like on a postcard. I want to be able leave my view and perspective unskewed so I can maintain ultimate creative freedom. That being said, I also want to make sure that I’m being educated on where I’m going, because the more unique the less you know. That’s a really important mantra to have at all times.
If someone decided to pursue a similar path, what advice would you give them?
I personally would tell them that I don’t think school is going to teach you the type of skills you need to do what I do. A big part of this is experiencing things. Learn from a magazine setting or an editorial conference. Study a photographer you like and really understand the hustle it takes to do what they do. Understand what it’s like to be in those commercial and editorial situations where you’re trying to make it all work for a client.
I look back at the time I spent driving down to Oceanside every week to intern at Transworld Surf, and a summer I interned with a landscape photographer. That’s where I feel like I gained the biggest understanding of what photography was really like. I realized what it means to run your own business. And if you still want to do it after that, you should.
Any advice for capturing a great image?
There’s great moments happening everywhere, but for me there’s two main types. There’s the one that happens all of a sudden, which requires being there and being ready, and knowing your equipment inside and out. And the second is the one you’ve preconceived. Sometimes those are really special to me because you have this idea and you get to see it through.
Look for unique lighting situations. Go out in storms and go out at a time when no one else is. That’s when you’re going to capture something unique.
And what about the best advice you’ve ever received?
My grandpa told me to kick ass and take names. I don’t know if that’s good advice or not.
I guess a personal mantra I try to follow is the more you know, the less you need. I’ve always been a big proponent of traveling with less and not being the person who has the biggest, most expensive camera. It’s not that I can’t afford it, I just like to experience moments personally as well as through my camera. If you walk away from any trip and it’s a complete blur because you were shooting the whole time, then you weren’t really experiencing it.
In the end, you should have all these cool stories to share with loved ones and family and friends. At least that’s how it is for me. I always try to be present in the moment and really experiencing it myself, too.
What do you find exciting about the photography industry today?
Now everyone is a photographer. People have cameras and video cameras in their phones. At any time I could have four or five cameras on me. It’s crazy.
What we’re seeing is the emergence of these smaller, lighter cameras being able to capture more real, intimate moments. And I think the idea of mobile photography and how it’s changed photography as a whole is really exciting.
I think we’re really seeing, too, a changing of the guard where a lot of established photographers have lost touch with the people who are interested in their work because they haven’t adapted to these new forms of social media or ways of promoting their work.
Photography as a whole is really moving toward those who are open to sharing. Nothing’s a secret anymore. If you try to keep secrets, people just aren’t going to embrace it. They want to find people who are sources of knowledge and are able to share that knowledge. That’s how I look at inspiration.
Find Chris online:
Subscribe to the SmugMug Films channel to watch and see future installments as soon as we set them free. If you enjoyed the film with Chris Burkard, you may like these artist profiles on underwater photographer Sarah Lee, YouTube superstar DevinSuperTramp, and lava chases Lava Light.
And it’s been a blast! Since then we’ve gotten a great response from all of you who’ve shared your referral links and made the world a safer place for photos. Thank you! And if you’re still not sure why SmugMug’s good for people, here’s a few tips from our clan to yours.
5 Possible Reasons Why Your Friends Need Their (Photo) Space
Remember, SmugMug’s Refer-a-Friend program gives you a unique link for you to share with friends. When they click it and open their own SmugMug account, they get 20% off their first year and YOU earn 20% towards your next renewal.
1) They’re about to take off on an insanely dangerous road trip through the Himalayas and will need somewhere to document every flat tire, every mountain pass, and every mug of chhaang they choked down.
2) They’re a budding concert photographer and it’s high festival season. One camera, 3 days, 40 bands (and zero showers). They’re suddenly going to have hundreds, probably thousands, of high-energy pics that need a home.
3) Your city just set up a giant, public slip ‘n slide and your friend almost broke their butt… on camera, of course. They’ve got to collect all the pics and videos and share them on Facebook, STAT!
4) They’ve finally decided to start major reno on the house, and need a really easy way to keep track of before, after, and while-we-had-no-kitchen-and-kept-the-microwave-in-the-bathroom phases.
5) Their kids are off to camp, sleepovers, amusement parks, and lots of other fun shenanigans with their BFFs. Where else can your friends keep those memories clearly organized so they’ll be proper blackmail for when the kids are grown?
And… Someone Won a GoPro!
We promised goodies to happy referrers and we’re proud to announce our first winner today. Congrats to Amy Wilson! We love her serene vignettes of animals, flowers, and local landscapes and hope that you check out a fellow SmugMugger’s site, too.
If you’ve just joined us or if you didn’t see our initial announcement, we’re choosing a random name from our pool of SmugMug referrers each month to win a GoPro Hero 3 camera. It’s perfect for capturing all kinds of great memories in the moment, so take a look at our contest page for all the details on how you can win yours, plus additional info on the Grand Prize trip to SmugMug HQ next year.
Happy sharing, and keep on capturing those memories!
CJ Kale and Nick Selway long ago fell in love with Hawaii and founded Lava Light, a photography gallery focused on capturing the ever-changing landscape created by an active volcano and crashing waves—and sometimes both together when the conditions are just right.
And if swimming with fire and dodging lava bombs weren’t challenging enough, these photographers believe in creating their images completely in camera. Balancing exposures between sky, water, and lava can be incredibly tricky.
Luckily, Lava Light has shared some tips to help you get the shot without combining exposures or using HDR.
Photo Tip #1
To capture lava and stars together, put a neutral-density (ND) gradient filter on your lens upside down to balance the extreme exposures between the lava and stars.
Photo Tip #2
When photographing lava in the daytime, use the ND grad right side up to balance the light from the sunrise, because the sun will eventually be brighter than the lava is.
Photo Tip #3
For front-lit scenes, a hard ND grad balances light from a bright sky and a dark foreground, allowing you to darken the sky and deepen colors. For example, in this shot I used a polarizer to intensify the rainbow, but it left the sky a fraction too bright. So I added a 1-stop hard ND grad across the entire sky to darken it and get its depth and color to match with the lava and everything that’s front lit below.
Photo Tip #4
To capture the little curvature of a wave, a shutter speed around 1/3 of a second is usually enough to get a little light blur to the water but keep that shape in the wave.
Photo Tip #5
If you’re trying to capture a really misty feel, where the water almost looks like fog, use a 2- to 3-second exposure.
Photo Tip #6
Since we capture everything in camera, sometimes we have to compromise on exposures and accept some clipping of highlights or shadows. So maybe a rock by the lava won’t have any detail in the shadows because I want to capture the detail in the lava instead, and I prioritize my exposure for the lava.
Photo Tip #7
Prepare the right gear for the day. My normal, hike-out-to-the-volcano kit includes a Nikon D800e, Canon 5dMkIII, 16–35 L lens for Canon, 14–24 for Nikon, a 50mm and an 85mm prime, and a 50–500 Sigma telephoto. Because sometimes you want a wide-angle shot, like the rainbow and lava, and others you want to zoom in on the drip, which requires a telephoto.
Check out the SmugMug Films artist profile of Lava Light below. Thanks for the tips, Nick and CJ!
Find Lava Light online:
To celebrate moms, we took time to chat with a couple of our favorite photographers, Natalie Licini of Je Revele Fine Art Photography and Chrysta Rae of Chrysta Rae Photography, about how they juggle successful photography businesses with raising their family. They’ve shared a little insight into how to get the kids to the dentist and invoices in the mail, all while keeping their clients happy. Like all moms, keeping all those balls in the air is a struggle. But one that is rewarded with the best of both worlds – time with their children and paying the bills doing a job they love.
Today we’ll see their top five tips for getting everything done like a pro.
1) Make – and Stick to – a Strict Schedule
One of the biggest advantages to being your own boss is setting your own schedule. But that doesn’t mean that work has to slide into family time and vice versa. Find a balance between the responsibilities of your business and your children no matter how tough it is, especially when your office is at home and you’re truly never far from work.
I try to work Monday through Thursday and keep weekends free. Each day I wake about 8am, spend time with my children, check email, drink coffee, and then drive to our New Jersey office by 10am. We have two photo shoots per day on Monday, Wednesday, and Thursday with Tuesdays reserved for client viewings (sales appointments), usually late in the day to accommodate working clients. Fridays I reserve for accounting at home. Every day I handle client inquiries and questions and head home about 5pm. Every other Saturday is date night with my hubby and every single Sunday we have dinner with my parents, brothers, aunt, and cousins. It’s my favorite day of the week. We just relax, talk about life, and enjoy the company.
I drop the kids off at school, then I’m off shooting. I can book 1 to 6 shoots a day (once I did 9, but I almost died). While I’m out, I have to find multiple addresses and deal with realtors, homeowners, builders, and managers on location. I help stage, clean houses, make small talk, shoot, and then I scoot to my next booking. I pick up my kids and take them to hockey, or go grocery shopping, or pick up their friends, etc. Both my kids love it and thrive in hockey. And in my schedule, hockey is non-negotiable. They are members of a team, and that has huge value. Nothing interferes with that. And as much as I can, I’m at each practice and every game cheering them on.
2) Stay In Focus, No Matter Where You Are
Focus on the job at hand. Be present in the moment, and with the people you’re with at that time. Give all your attention to your clients when you’re working with them, and to your family when it’s their time for your attention.
My main focus is always my boys. Their needs come first. Work is always there, so I just make sure when I’m with my kids, they know they’re my priority. I’m lucky they understand how hard I work, and that I’m doing it to better our lives. And when I’m at work, I build a true bond with all my clients. Simple things like not bringing my phone into a client’s home—it’s easy, but important. They know they’re the only focus I have while I’m with them. I ask questions and talk about my personal life; my clients truly know me and, in the end, they know they’ll get my best effort AND that I truly care about them.
3) Don’t Be Afraid to Outsource
Whether it’s help with the kids and the house, or with the non-photography tasks of your business, know when to hire an extra set of hands or two. Relinquishing control can be hard, but you’ll save that much more energy to focus on the things only you can do.
We have an au pair who lives with us. She helps with the children during the day while I’m at the office, feeding, dressing, playing with the kids, and getting them to and from school. In New York City having an au pair is more economical than day care, which costs 35-50% more. My team helps with editing, printing, writing, and preparing our clients’ orders for pickup. I’ve hired additional staff to write for Je Revele, and we have an in-house editor.
4) Love What You Do
We hear from photographers all day, every day, that they love their jobs. Keeping your heart in line with your hands is the best way to guarantee success, and that you’ll wake up every morning excited about the days ahead.
The biggest perk of doing photography for a living and raising my boys is they SEE daily that if you love something, you can find a way to make a living doing it. Work should be something that gets you out of bed in the morning, not something you press the snooze button on while dreading the day ahead of you. The bottom line is I do what I love and have found a way to make money doing it, and I also have balance with my family. Being a mom is the most important job in the world, and the most rewarding. I truly think I’m giving them a very big life lesson in finding their passion and empowering them. With enough persistence and passion, anything’s possible—it’s there for them to grab.
If you love what you do, and can pour your heart and soul into growing your business, do it! Don’t let fear hold you back. I’ve had photography mentors over the years who’ve really helped me grow and establish my business. Attend workshops with some of the masters in our industry and you’ll find your skill level improve dramatically.
5) If You’re Just Starting Out
Making the leap to start your own photography business can be the most exciting step of your life, especially if you’re coming away from being a full-time parent, or a more traditional job. Here are two final tips to keep in mind if you’re looking to go pro.
Set a timeframe. I gave myself one year: if I could pay my bills and still afford a few luxuries at the end of it, I would continue. It started up quite quickly for me; I posted on Facebook that I’d offer $50 photography sessions for families while I was still in school. It was truly just to give me things to shoot and learn “in the field.” From that one post I did hundreds of portrait sessions and, after I graduated, I was confident enough to even shoot weddings.
Network! I suggest networking with your community, business owners, moms, and dads. Always gently mention you’re a photographer and be prepared to hand them a brochure of your work. I have little accordion brochures in my purse that I give out by the dozen, thanks to a suggestion I heard on creativeLive from Sue Bryce. Rather than having someone lose my business card, I give them a brochure so they can see my work immediately. It makes a good impression that helps them make a call to book a session with me.
Do you have your own secrets to running a tight family ship? We’d love to hear them! Add your comments at the end of this article.
My name is Chrysta Rae. I’m a professional interior/real estate photographer working full time in the Edmonton, Alberta area. I have 2 amazing children, Tyson (he’s 11) and Grayden (he’s 10). The boys are in grades 5 and 4, and both play in high level hockey all winter, and both play spring hockey as well. My kids are exceptional people. They’re funny, kind, thoughtful, dorky, and loveable. I love being their Mom.
My family was first. I started photography professionally when my youngest went into grade 1. I have always been a very self-empowered business person. I previously owned a closed captioning business that ended when my youngest son was about 2. With the recession and new technology, the business just slowly died. I was a stay-at-home Mom until both kids were in school… then I needed to fill my days back up again! I had always loved photography and decided to focus my attention on it on a “professional” level. I enrolled in the New York Institute of Photography and devoured everything I could to learn every single thing I could about every aspect of it.
I was born and raised in New York City. I reside there with my husband and 3 children. We have 2 girls ages 5 and 4 and our son is 11 months old and already walking. Yay! My daughters are in dance, piano and have singing lessons. It’s busier than it sounds, but we have a manageable schedule.
I opened my business 6 months after my first child was born in 2008. I started photographing clients using backdrops in my basement in 2008. In 2011, I left my full time job and moved to my first studio. Then in 2012, I rebranded and opened our flagship studio in a historic New Jersey Castle.
As Mother’s Day approaches, we turn to those in our lives who have helped us become better at what we do, and those who inspire us.
Kelly Lester is the owner, creator, and creative mom behind EasyLunchboxes.com. During the past two decades she has been an actress, entrepreneur, wife, and mother of three. EasyLunchboxes was born out of Kelly’s innate ability to do things efficiently while on a shoestring budget, and her desire to send her daughters to school with simple, healthy food with little to no extra packaging or ingredients. We loved seeing how she’s able to juggle her career, her business, and her family so very well.
Kelly shared the story behind Easy Lunchboxes with us, as well as some great tips on how SmugMug helped her grow Easy Lunchboxes into the successful business that it is today.
Read the full interview with Kelly and be sure to thank the people in your life who do so much for you each day!
This week we’re debuting Joel Grimes as our next SmugMug Films subject. As commercial pro and Photoshop wizard, Joel has found great success following his creative dreams and leading workshops worldwide on how he plans, shoots, and polishes those incredible images. Watch the film now and don’t forget to subscribe to the channel to see each new episode as we post them.
When it comes to creating masterful illusions, Joel Grimes is happy to share what it takes to succeed in the art and photography world: hard work and passion. The bravery to be yourself at all times doesn’t hurt, either. Learn how he applied these truths to his own path into commercial photography.
Tell us a bit about how you got started with art and photography.
I’ve always had that side to me, even when I was a little kid. In grade school, we’d have art projects, and I would be in heaven. Then in seventh grade, I think it was, I had my first official art class. That was the ultimate. I was like, “Wow, every day I get to do art and actually receive a grade.”
When I got to high school, we had a program where you could do photography. I just thought, “This is really cool.” I ended up staying in the program my sophomore year, and then my junior and senior years. By the time I was a senior, I was the photo teacher’s assistant. But I still didn’t understand starting it as a career.
When I got out of high school, I ended up working for an outdoor store downtown. One day a man came in looking for a waterproof container. I asked what it was for, and he said it was for transporting film. I said, “I’m a photographer, too!” I had just spent every dime I had on this new black-body camera, which was the first: the Canon EF. At the time, I thought it was like buying a ferrari. It was just so amazing.
Turns out he was the head professor of photography at Pima Community College and asked if I’d thought about taking any photography classes. They had just started a new semester at the college, and he said if I really wanted to get in his class, he could pull some strings. I said yes!
What I didn’t know is he had a waiting list of 80 students for that class. His name was Lou Bernal, and he was the most inspiring educator I’ve ever been around. He really launched me into thinking about photography, not only as a possible career but as an art form. From that point on, photography really became an all-consuming passion.
But I still didn’t understand photography as a career. Like, do I do weddings? Do I do editorial? After college I ended up sharing a studio with a guy who was a natural at marketing. He really taught me a lot about selling myself. With his guidance, I ended up going after the commercial advertising arena. And I’ve been doing it ever since.
I look back and never thought I’d get to where I am. It’s just amazing. I feel very blessed.
What inspires you first when you go about creating an image? Do you see the full concept or does a background or subject inspire you first?
In songwriting, people ask, “What comes first: the melody or the lyrics?” It’s the same with photography. For some people the melody comes first. Some people get an idea and put it into lyrics. It’s really a mixture of both.
I think about an idea, but most of the time it’s kind of a discovery process—it’s found moments. Found ideas that aren’t too thought-out, meaning I don’t create a plan for what I want to end up with. I have an idea stylistically, but it’s not as scripted as people think.
I always tell people there’s two things I’m not and two things I believe I am. I’m not brilliant and I’m not a creative genius. I do have a passion for the creative process, and I work really hard at it. I put in the time.
You can be brilliant and a creative genius and produce nothing in your lifetime. But if you have a passion for the creative process and you work very hard, great things follow.
When we’re in school learning photography, many people think, “I’m not brilliant at it. I’m not as talented as my friend or my classmates.” That’s what I thought when I was in school. But in the end, having a passion for the creative process will out-trump or outwork and outperform the brilliant creative geniuses. Don’t worry about if you feel like you don’t quite get it. Just keep practicing. Keep working at it. Keep putting in the time. And then explore.
What gets you up at 4:30 in the morning to photograph the sunrise? Being brilliant? Being a creative genius? No. It’s passion. I can’t wait to see what this morning will bring. And those are the people who achieve great things.
Your process relies more on finding the right feel for the moment and less on the technical, but do you have go-to light setup—somewhere you start before tweaking?
You have to, especially when you do commercial shoots. You have to know the basics of achieving a soft light or a harsh light. How to light one person or ten people. It’s all about solving problems.
When you’re in a commercial scenario, you can’t just play and hope it will all come together. I’ve walked into a room with a client standing over me, and I’ll say we’re going to shoot from this angle with lights here and our subject here. Within 4 minutes I have it figured out. And they ask, “Are you sure? Can we try over here?” And I say that won’t work because there’s cross light and you have a big pipe in the background. That comes from just having walked into a room a thousand times. Time and practice.
I can teach everything I know about lighting in 30 minutes, but it takes 20 years of practice to understand how to apply that lighting. Unless you practice it over and over again, you’ll never be able to walk into a situation and build the shot.
I try to create light that could be a real-life scenario. So I use cross-light, like Rembrandt did, which is a simulation of what could be a true environment. I can simulate sunlight with one big light source. I can do a three-light approach with two edge lights and one overhead light, like if I had two windows to each side of me and a little bit of fill in the middle. That’s a pretty rare scenario, but it’s true. It can happen. I actually like to do that three-light approach because it builds depth and it looks a bit gritty.
I use my light to create a certain feel. It is a representation of what could be real and true, but it’s really about creating the mood.
How do you coax your subject to deliver the shot you’re looking for?
Personality plays a role in how I approach my subjects. Some photographers are animated, coaxing their subject to crack up and smile and do all sorts of crazy things. Others will walk over and move the subject’s arm, their chin, their hand. My personality is to watch the subject as I ask them to try different things. Suddenly they’ll do something and I’ll say, “Oh! Can you do that again?”
I’ll give an example. There’s a shot I took of the rapper Mustafa. He’s got his shirt off underneath a leather coat, he’s in a tunnel, and he’s right in your face. The light’s perfect on his face and his hands and he’s coming right at you. He was actually a bit reserved when he came in. As we started to work, he was standing there, and it wasn’t really working. As I watched him, he started pulling on the jacket. I said, “That’s cool, what if you spun and held your jacket out like that?” He did, and that’s our shot. I had no idea that’s where we were going to end up. But because I saw him tugging on the jacket while I was moving lights, I thought it might be a cool shot.
That’s how the process works for me. I don’t overscript or overthink it. I let everything take its course.
Within this commercial realm, do you have a favorite type of shoot you like to do?
Sports figures make unbelievable subjects because they’re superheroes. They make great subjects. But I also like photographing real people. I love faces. I love personalities. I love characters.
For example, I met a guy named Steve Stevens in New Orleans. He’s got these really cool sunglasses on and he’s kind of looking off to the side with New Orleans in the background. He was my ride from the airport to the college where I was speaking. While he was driving, I was thinking, “This guy is perfect!” So I asked if I could bring him in to do a portrait during my demo. I end up getting this great shot and everyone thinks I cast this guy from hundreds of people. But it’s an everyday person. I just make them look larger than life.
Could you tell us a bit about a shoot that’s most memorable to you to date?
Before digital, I was doing commercial ad work and some corporate work and shooting with a large-format, 4×5 camera and sheet film. Very slow and very meticulous. A large power utilities company was doing an annual report and I was called in to the creative pow-wow meeting with the CEO, art director, and everybody. They wanted to do something different that year, so I pitched the idea of doing a series of portraits of the customers—the end users of electricity—in black-and-white large format. I knew I was really pushing it, but they let me put some samples together and come back. And they ended up going for it. I went to 24 countries with that 4×5 camera. China, Brazil, Argentina, Kazakhstan. It was just heaven.
We can really hear the joy and passion in your voice, and you obviously have a lot of fun doing this. Do you have any challenges?
Generally, as human beings, we tend to want to follow, not lead. If someone paves the way for us, we’ll follow that path. The hardest thing for me, and I think for most people, is that we get inspired by others’ work and we think we want to be someone else. We want to be that photographer, we want to follow their lead. The problem is if you follow others, you always blend with the masses. But if you follow your uniqueness and stick with what you do best, you’ll stand out.
It’s scary to hang your hat on something that’s just you. It opens the door to criticism, and nobody likes to be criticized. So we avoid criticism at all costs, and we follow others. The hardest thing for me is to stay true to who I am. Yes, we need to be inspired by others, but every day I have to wake up and be Joel Grimes, not somebody else. When I teach, I always tell people, “Be yourself.” You’re unique. One of a kind. There’s no one on the planet just like you. And when you work from your uniqueness, you’ll rock the world.
What do you love most about being an illusionist?
Taking something that is everyday and adding excitement. For the most part we tend to go to work, get a coffee, go to our desk, do our task, go home. We want to experience something that’s outside the everyday mundane. My job as a photographer—as an artist—is to create things that take people out of the everyday and submerge them in something that’s a bit of a fantasy.
Being an illusionist is really being an artist and honing that craft to a point where people believe it. They believe that girl is that beautiful. That guy is that strong. They look amazing. Larger than life. Lighting and Photoshop play into that formula. Some people say that’s not right, but every photograph is a manipulation because you choose the lens, you choose when to take the picture—when to create that moment. Everything’s a representation of reality. It’s my job as an artist to take that representation and make it even more fantastic. That’s fun. To me, that’s part of being an artist.
Could you talk about how you refine the illusion in post-process?
It’s part of the creative process. You take the picture and then you have to finish creating it. Some people think Photoshop is cheating. But as an artist, it doesn’t matter how much I create in camera or in Photoshop. In the end, when I present that image, does it work? Is it a reflection of my artistic vision? That’s what’s most important.
So I blend the two together. I solve some problems in Photoshop that I couldn’t do in camera, using blending modes, working on multiple layers, masking, all that. When I’m teaching, some people say, you know, if you lift your left leg and put your finger on the Alt key, there’s a shortcut. And I say, okay, but right now that’s not important. What’s important is I’m getting to where I need to to be.
Over time I’ll learn that working with smart objects is a better way to work than not. And adjustment layers are less destructive. I learn all those little things as I go. There are people who can run circles around me in Photoshop, but in the end, people really like the end result I achieve.
Any favorite tools in Photoshop?
One of the things I teach a lot is to work from a RAW image, bring it into the RAW converter, manipulate it there, and then open it as a smart object in Photoshop. This way, when the image comes over, it’s still tied to RAW. That gives me very little destruction.
The problem most people face when they start in Photoshop is they destroy their image. There’s a thousand ways to destroy your image, lose bit depth, lose pixels, lose tones, detail, all that. The number-one rule: minimize destruction. Smart objects and adjustment layers are the single two most important things to have in your workflow to minimize destruction.
Any advice for those looking to get into creative photography?
To be an artist, you have to put your neck on a chopping block. It’s impossible to survive as an artist in this industry if you can’t overcome rejection. The biggest thing that keeps us from moving forward is fear of rejection. You may get lots of praises, but you’re not always going to get a good critique. And a negative critique is like a knife stabbing you in the back, with an added twist. It hits right in your heart.
As human beings, we don’t like to be criticized. It hurts. And it keeps us from moving forward and taking risks. But you can’t let one person steal your dream. That person may not have any authority whatsoever in truly understanding what you’re doing, but it still derails you as an artist.
It’s like country western versus rap. If you’re a country western singer and you present your demo to a rap record-label company, they’re going to wonder what the heck you’re doing there. They’re going to boot you out the back door as quickly as they can, right? And you feel rejected.
But were you really rejected? No, because you gave them something they don’t have any interest in. As artists, we present our work to people who sometimes have no interest in what we’re doing. And when they say they aren’t interested, we take it personally. It’s like selling country western to a rap label.
Criticism will come. It’s guaranteed! Don’t take it personally.
Anything we didn’t ask that you’d like us to know?
Hard work will outperform talent any day of the week. Put in more hours than the person you’re competing against. Practice, practice, practice, and great things will follow.
Find Joel online:
When we started SmugMug 12 years ago, it was a labor of love created between father and son and shared by word of mouth among family, friends, and neighbors. Through the years, photo lovers have touted SmugMug’s great features through conversation and email, creating a trail of beautiful websites that bridge one family to the next.
We knew it was time to make some big changes so we could better say “Thanks!” to all of you who’ve shared SmugMug with those you love.
“What’s the new Refer-a-Friend program?”
When you refer someone to SmugMug, you’ll earn 20% of their account value and your friend gets 20% off their first year. You’re basically splitting a 40% discount two ways. Just be sure they use your unique referral code at signup.
The referral credit you earn will automagically be applied towards your next SmugMug renewal, or credited towards your next Gift of SmugMug.
You can always see how much credit you’ve earned in your Account Settings, under the Stats tab.
“What does that mean for me?”
Your friend must use your unique referral code for you to get credit. To find yours, log in and visit your Account Settings > Stats tab to see your personalized referral details, and your credit balance. Copy the link and pass that along to your friends, or you can just grab the code itself and ask them to paste that in when they sign up for their new account.
Math example: Say your friend signs up for a full SmugMug Business account, which is normally $300/year.
- You’ll get 20% – or $60 – of that amount put on your account to apply towards your next renewal or your next Gift of SmugMug.
- Your friend also gets $60 off their first year at SmugMug, dropping their signup cost to only $240.
“But I don’t have any pro photographer friends!”
SmugMug is not just for full-time photographers! Photos are a part of all of our lives, no matter what type of camera you have and how often you’re taking pictures. Whether you’re a wedding pro, a business owner, a family guy, a world traveler, a writer, a student or if you just love life in any way at all, you’d probably appreciate a safe, beautiful place to keep (and archive) your photos online.
Let’s not forget that everyone on SmugMug gets 24/7 white-glove support by our team of amazing Support Heroes (who are everyday people just like you), so there’s no excuse. And whether you’re Regular Joe or a Smokin’ Hot Pro, every print order that comes from our labs is covered by our 100% money-back guarantee.
Your life is worth sharing. Take pictures of it!
“How do I know how much credit I’ve earned?”
You can check to see your referral credit balance at any time in your Account Settings, then click on the Stats tab.
To everyone who’s referred people to our family and helped us grow: Thank you, from the bottom of our hearts. We literally could not have come this far without you!
You Can Win a Slice of the SmugLife
To celebrate today’s announcement, we’re giving our U.S. friends a chance to come on down and be a SmugMug VIP:
GRAND PRIZE. In December 2014, we’ll choose one lucky, random SmugMug referrer to come visit SmugMug HQ and get the full VIP treatment. (Max 100 entries per person.)
Monthly prizes. Every friend you refer to SmugMug enters you into a monthly drawing for a sexy, slow-mo capable GoPro Hero3+ Black Edition, or a $400 Amazon Gift Card. Drawings occur at the end of each month from May through November. (Max 10 entries per person.)
What does it mean to be “VIP?”
- Airfare and 2 nights hotel accommodation in San Francisco, CA
- A tour of our print-covered global headquarters in Mountain View, CA
- Your favorite meal cooked by our in-house chef (touted as the best in Silicon Valley)
- A chance to talk with the people who built the features you know and love
- A full face-painting session where you’ll become the superhero of your dreams (like these)
- Your portrait taken by our President and Co-founder, Baldy (and a big print to keep)
- A helicopter tour and photowalk around San Francisco with Baldy & friends
Check out the official promotion rules for the full terms and details. We can’t wait to have you over!
* Unfortunately due to international contest rules, this contest is only open to U.S. residents.
Water photographer Sarah Lee (recently featured in a behind-the-scenes artist profile for our SmugMug Film series) grew up in Hawaii, surfing and swimming competitively. One day, while at a swimming competition, she was handed a camera and hasn’t looked back since. She finds inspiration in the unpredictability of nature, creates art that captures the interplay of people, water, and light, and uses photography to find beauty in the chaos. If you want to take the plunge into underwater photography, check out Sarah Lee’s essential underwater photography tips below, plus get a close look at her underwater photography gear kit.
Underwater Photo Tip #1: Ask your models to channel their inner ballerina or yogi and trust them. Open body posture is key. This photograph was taken of adventure model and soul surfer, Alison Teal, somewhere in the warm waters of Fiji.
Underwater Photo Tip #2: I find it ideal to photograph people underwater in the late morning between 8-11am because you’re going to need a lot of natural light being underwater. Though, on occasion it’s fun to experiment with different times of day. This photograph was taken during the last hour of the day, probably in the presence of a few sharks too shy to make themselves known.
Underwater Photo Tip #3: Skin tones look the best within 1-5 feet of the surface. Beyond that, you start to lose the warmth and reds in their skin tone.
Underwater Photo Tip #4: Lately I’ve been using an Outex, which is a silicone water cover. It’s rad because you can use different lenses in it, and it has a tripod neck strap. It’s worked really well underwater in lots of different situations.
Underwater Photo Tip #5: You don’t always need a fancy camera or underwater setup to take a good photo. This photograph was taken on a GoPro. Read more about shooting with a GoPro on my blog.
Underwater Photo Tip #6: Working with props and clothes can be challenging underwater but worth the effort! In this shoot, I created a jellyfish from an umbrella, ribbons, and beaded curtains. Just be careful you don’t lose anything in the process!
Underwater Photo Tip #7: Within the realm of underwater photography, there’s not much in your control. It’s all about being in the moment and finding the composition within the “chaos.” Most of my favorite photographs were taken when I just let things “be” and used my camera as a way to interpret what is happening at the present moment, rather than trying to orchestrate and control any of it.
Underwater Photo Tip #8. Protect your gear. I alternate between surf housng and water covers depending on the conditions I shoot in.
Find Sarah online:
When not finishing up her film-production degree on the coast of California, Sarah Lee spends as much time as she can in the water. Be it Hawaii, Australia, or any coastal beach, she loves diving in to see what photos can be captured beneath the waves. Her natural love of swimming led to photographing swim meets, and her interest in photography grew until she started taking her camera in and under the water to photograph other swimmers, surfers, and good friends. Sarah’s passion has led to her work being featured in Italian fashion magazines and for adventure companies in Australia and New Zealand.
How long have you been a photographer?
I started taking pictures in high school, and I never thought I’d do it professionally. I grew up surfing for fun and swimming competitively. Someone handed me a camera during a swim meet one day, so I started taking pictures. When I started shooting, I really enjoyed the way it allowed me to interact with people and capture what was happening. And it evolved from there.
How would you describe your specialty?
What I do is 90 percent focused around the water and ocean. I grew up around it—and in it—and it’s very important to me. I would describe what I do as water and lifestyle photography. It’s people interacting with nature, in water.
My approach to photography is more spontaneous, because, for me, it’s more about capturing what’s actually happening than trying to make something happen. With water, many things are out of your control, and I love that. Whatever the water and light decide to do, you have to adapt to capture it.
Have you worked on a lot of surf photography?
Probably my favorite thing to do is surf photography, but I approach it more as something to do for fun. I was in Fiji two years ago during one of the surf contests, with 15- to 20-foot waves. I just love swimming and shooting in huge waves!
Is that the coolest place you’ve traveled for a shoot?
Actually, there’s this spot in New Zealand called Blue Duck Station. I traveled there with the Alison’s Adventures series I was working on. It was this amazing farm filled with sheep and horses and rivers—just the most majestic place. Imagine riding horses up the tallest mountain at sunrise to watch the fog separate over the mountains. It was incredible.
Are there any other shoots that are particularly memorable for you?
I did a shoot for a high-fashion design company, forte_forte. This Italian clothing company found me online, and they sent me their capsule collection that they wanted to have photographed underwater. They were these gorgeous, expensive gowns, and I told them, “You know they’re going to get destroyed, right?” They didn’t blink.
For that commission, I got some of my friends together—swimmers and surfers—and we swam under really big waves with these really heavy, long dresses, and it was an incredible feat, especially for the models. forte_forte loved it. It got published in Marie Claire Italy, too, and all over the Internet.
Did the models have to change in the water?
Yes. I swam with a huge backpack filled with the dresses, and the models had to change in the water between waves. That’s also why I use only experienced swimmers and girls whose swimming abilities I am familiar with.
It sounds challenging!
It’s extremely challenging! Especially for the models since they have to swim in the dresses, too, without fins. It can be really tiring for them.
Have you done any more fashion shoots?
I did one a couple months ago for another Italian company’s swimwear line. They had these expensive Italian leather boots they wanted shot underwater, as well as purses and jackets with bikinis. Styling is a bit impossible, but there are approaches to having a purse underwater and having clothes in motion.
And the model—huge props to that girl. She had to wear high heels and a jacket while holding a purse under the waves, and she was amazing. I tried to put on one of the shoes just to see what it was like, and it was a disaster.
How do you find models for your underwater shoots?
Mostly it’s people I meet surfing or swimming. I’ve never really used a professional model before. Because water is such a difficult element to deal with, it’s important the models are strong swimmers and are aware of what the ocean can do—and be able to hold their breath well. It takes a really special person to do that.
Do you have signals to direct the models while underwater?
We actually wait to surface to give direction. It’s all about timing so we can talk above the water and give direction, then go back underwater to continue shooting.
What kind of conditions do you look for when you go out for a shoot?
It depends what kind of shoot it is. My favorite kind of shoot is early in the morning or sunset underwater—just like any photographer’s ideal timing. Condition-wise, it depends on the spot and if it will be high tide or low tide. Each spot is different in terms of when water clarity is best. There are so many elements to consider, like surf size, tide, wind, and weather.
For shooting underwater, you want bright sun and less cloudy weather. But above the water, like for surfing, I love cloudier, darker skies with light—like when a storm has cleared and the clouds are dark but there’s so much light. That’s the best.
How far do you usually have to swim out?
It depends on the spot. For some places it’s 50 feet off shore, and others it’s a couple hundred feet. Lighting for underwater is best between 1 to 8 feet from the surface. Too deep and you lose a lot of light and clarity, and it affects skin tone.
Is everything you shoot natural light only?
Ninety-nine percent of what I do is all natural light. I’ve tried flashes underwater, but I haven’t really gotten into it. Lately I’ve been shooting underwater at sunrise or sunset to experiment with natural lighting.
Have you ever used props other than dresses and other items your models wear?
For one shoot, I really wanted to build something that looked like a jellyfish. We found a plastic umbrella, bought some beaded chandeliers that go over windows, took them apart, then stitched them onto the umbrella and added ribbons. That was really intense to deal with in the water.
Was the umbrella easily tossed around by the waves?
We didn’t take it into the waves because of the risks of having a huge umbrella underwater, so we took it out into deeper water for that shoot. It worked out pretty well—and no plastic pieces were lost in the process!
What gear could you not live without?
If I could just have one lens and body to walk around with, it would be my Nikkor 50/1.2 and 5d MkIII.
Lately I’ve been using an Outex, which is a silicone camera cover. It’s rad because you can use different lenses in it and it has a tripod neck strap. It’s worked really well underwater in lots of situations.
And of course fins—and goggles, sometimes.
Do you have to decide on which body and lens you’re using before you swim out for a shoot, or do you ever swim back to shore for a lens change?
I have to choose one and go out for the entire shoot so no; I have to make a choice and stick with it and shoot it all on manual, adjusting aperture and shutter speed as I go. I’ve done it enough that, based on the conditions, I know what’ll work best. For anything underwater, you’re usually shooting fisheye or wide angle.
It must be like manual zoom, too, but instead of walking you’re using your fins.
Totally! It’s cool because you can just be underwater, floating and swimming. It’s not always just a “walk in the park,” and that’s what I love most.
Any advice for an aspiring photographer?
I like to approach every photo session as an experiment. Be open to whatever nature and the elements give you, and work with it. Take it easy, and adapt to whatever happens. So far that approach has worked out for me.
Find Sarah online:
Today we proudly release the third episode of SmugMug Films featuring YouTube superstar and extreme sports videographer Devin Graham. Watch it now and subscribe to see future installments as soon as they’re live.
Devin Graham has always loved adventure. From traveling with his father to snowboarding with his friends, he’s enjoyed experiencing all life has to offer. Even after two severe injuries, Devin didn’t lose his love for extreme sports; instead, he decided to keep experiencing them–only now from behind the lens, sharing through YouTube the unique, wild, and extreme adventures he discovers all over the world.
How did you get started in film?
I started making videos when I was a little kid. My dad had this huge camera that used VHS tapes that I would borrow, and he was always hesitant about letting me take it because it was the only one we had. I would break them from time to time, but it allowed me learn.
I used Legos to make little stop-motion movies essentially–I hit record really fast and took a picture of a couple things, then I’d stop tape, move the pieces, and take a couple more shots. I’d also make music videos with my siblings.
Once I got to Boy Scouts, I was able to get the cinematography merit badge. We learned how to edit on a turntable, which was very slow editing. Later I volunteered at a cable access studio. After that, my senior high school project required us to make a creative video, so I made a snowboarding video with my friends, and that’s where I learned linear editing, how it’s done today.
If you were filming snowboarding in high school, your interest in extreme and unique adventures must have started early!
Definitely. I got a lot of that from my dad, who was a big outdoors person. He loved camping. He loved hiking. And I’ve always loved extreme sports, especially snowboarding, which I did constantly. I’d go out with all my friends and film us all snowboarding together. Then I’d come home to edit on the computer, so I taught myself how to edit digitally that way–back when computers were really slow and it’d take weeks to put together a 30-second clip.
With your love of extreme sports, do you participate in any of the adventures you film today?
When I was filming my snowboarding videos, I actually broke my back and then my leg, and I was told I would never be able to do that kind of stuff again. But I loved it, and I was able to figure out how to stay involved through filming. I pretty much stay behind the camera now. Occasionally I’ll participate in something that won’t hurt my back. Generally, I come up with ideas and then let my friends, who are the professionals, handle the action so I don’t chance popping my back out of place.
Goodness! May we ask how you injured yourself?
I broke my back and leg in two different trips, a year apart. My back injury happened during a snowboarding jump on a tabletop I was trying to clear. It was 70- or 80-feet long, and I didn’t go fast enough. I spun and landed from high up–it would be like falling from a couple stories and landing on flat ground. My vertebrae squished in an L2 compression fracture.
My leg broke during snowboard camp. I was on a trampoline of all things, and I landed on a spring. It popped the bone out of my leg. They had to stick a rod down my leg, and I had to go through surgery, but it never stopped me. When I recovered, I went right back into filming extreme sports.
Wow. Seeing your behind-the-scenes videos you’d never know. You’re running and jumping along with these folks!
Yeah, my original goal was to tell feature film stories for Hollywood on the big screen. Then I made the decision to create wedding videos on the side to help with finances. When I started studying other wedding videos, I realized they all used static shots. I wanted my wedding videos to look like something out of a movie. And with movies, the camera is always moving.
I heard about Steadicams and things that allowed you to get those moving shots. After lots of research, I bought a GlideCam and started using it on everything I did, including the fun things I did with my friends. That led to using the GlideCam for the extreme sports videos, which require me to always keep moving!
You make it sound simple, going from weddings to extreme sports, but it sounds like quite a transition!
It definitely was a transition. I was filming weddings on the side while I was going to college for film. While I was working on my studies, I discovered the power of social media and YouTube. I was able to transition at the right time and find my niche with extreme sports, which people would share. Then companies around the world started asking to hire me to do bigger and better projects for television. YouTube opened the door to all these opportunities, and it’s been great ever since.
How do you handle lighting while you’re doing all this running around?
For me, there’s no science behind it. I just film what I feel looks good. Since we’re a one- or two-man team at most, we don’t have time to light things. That’s one of the reasons I shoot outside: you don’t need a whole crew to light things. But we do time all our shoots around the sunlight, filming during the golden hour when the sunlight’s looking its best.
With such a small team, do you use additional cameras, or are you just running around everywhere to get all those angles?
We’re literally just getting every shot we can think of, running from one thing to the next. Especially when we have only an hour of sunrise or sunset. In addition to the GlideCam shots, we’re also using GoPros now since the quality has gotten so amazing. With those we use a GoScope, which is basically a pole we can hook the GoPro on to. We’re all about making people feel like they’re part of the action, and the GoScope allows us to put the viewer in the position of the athlete.
Any other essential gear?
We use two cameras as our main cameras: a Canon 5D MkIII and a Canon EOS-1D C. Ninety-five percent of our shots are with those and 5% are from the GoPro cameras. For lenses, the majority of our shots are done with the Canon 16-35/f2.8 L series. The rest of the time we use a Canon 70-200/f2.8. With the 16-35, we can be everywhere. We’re always choosing epic or amazing locations, and the wide-angle shots make the viewer feel as if they’re there.
We’re curious about your settings since you’re moving around so much. Do you shoot any of this manually?
We’re working on new videos once a week, which doesn’t allow a lot of time to edit, so we try to do everything in camera. Generally we’re shooting everything at 2.8 with ISO around 100 and shutter speed around 4000. We also use a B+W polarizer, which makes the skies super blue and the greens super vibrant as well.
As far as focus goes, we do everything manually. When shooting video, you can’t do automatic focus because the focus will be pulled all over the place. So we set the focus and then try to keep our subjects the same distance from us. If we move in close, we just change the focus.
What are vital things you look for when framing a shot?
I try to have movement in the foreground as well as in the background because it gives the shot more life. If nothing is going on in the background, I’ll have someone run by or shoot a water gun so it feels like there’s as much action going on as possible. Then I’ll look for good lighting that makes the person or location pop the best.
How do you maintain your framing so well while you’re running along with the action?
Years of practice! When I started I wasn’t very good with the GlideCam, but now that I’ve done it so much I don’t have to look at the camera anymore. I can instead look where I’m going and get a good sense of what I’m filming.
What do you feel is important for telling a great story in film?
I always try to create mystery in the first 15 seconds of any video I do. This involves close-ups so we don’t reveal exactly what the viewer is going to see. For example, in the rope-swing video, you see someone walking in a close shot, then you see them setting up something, and it makes you wonder what they’re doing. Then, at that point, it’s all about making the viewer feel like they’re a part of the action and showing them something they’ve never seen before.
I feel so many people are stuck in their office space looking out the window, and they want to experience life, so we try to give people experiences they potentially would never have.
Could you walk us through your editing process after a shoot?
We’ll spend a day shooting and then it usually takes a week to edit the video with music and sound. The music I use is stuff my friends compose. And our sound design is done by a guy in England. It’s really just straight-up editing.
We always have an idea of how we want a video to play out, but once we start editing we get a better scope for it. We lay out everything on a timeline and go through every shot one by one–it’s a discovery process all over again. Then we’ll spend a couple of days fine-tuning and putting sound in.
Often we’re editing on the plane when we’re coming back from a shoot. The world is my office.
That sounds like it can be tiring. How do you keep going?
It is definitely tiring, which is why we’re super selective about our projects. We don’t do anything that we’re not going to be passionate about. And that’s the only reason we can do what we’re doing–when we travel it’s almost a vacation because we love it so much. We’re hanging out and making a video with friends, and we’re just having fun. We get to see the world doing that.
Any advice you’d give to someone who’s looking to get started with filmmaking?
Go out and constantly shoot and constantly learn. A lot of people wait to get accepted on projects, so they never end up shooting. But what I discovered is by doing a video once a week, we’re constantly growing as filmmakers. It’s okay to fail as a filmmaker. Make a lot of mistakes and learn from them. And content is more important than any gear you can or cannot afford.
What do you love most about what you do?
It gives me amazing opportunities to work with amazing people. I get e-mail from people around the world thanking me because it’s given them a reason to go outside and do things they’re passionate about. I once got a letter from someone who said they were going to commit suicide but then remembered my videos; he said the videos gave him a reason to be alive because these were all things he’d be missing out on. For me, more than anything, the reason I do what I do is it gives me an opportunity to give back to the world and show how amazing life really is.
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