The purpose of the shoot was to create images predominately for social media campaigns on the Rolls-Royce North America account with (800K followers), but also the Rolls-Royce global account (10 million followers). After several months the images are finally being posted by the client. To see more images from this shoot, visit my Rolls-Royce North America photo gallery – it’s a work-in-progress with more images being added in the future.

4 Things I’ve Learned in Automotive Photography

• Cars Talk. Automotive photography shot lists can be overwhelming. It’s tough to shoot every luxurious interior and exterior detail when working in between video and drone teams. So I learned to shoot first what was working before making big changes. If the car was screaming “shoot me now” – I tried to grab it! Otherwise I’d run out of time, the car would get moved, the light would change, or I’d get pushed aside. Listen to what the car is telling you.

• Speak up for your “five more minutes.” Often those 3 words meant I had to finish quickly. Although I probably wanted 30 more minutes, it wasn’t going to happen without putting us behind schedule. Give up the 5 if you can, but push for an extra 5 when it can save everyone time later.

• Ai isn’t replacing all forms of commercial photography. When it comes to race cars and luxury cars, drivers want to see the exact same thing they’ll be driving. There is no substitute for the real thing.

• The Rolls-Royce “Spirit of Ecstasy” hood ornament has been featured on most RR cars since 1911. It was created by the artist and sculptor Charles Robinson Sykes. Not Glenn Robinson. Not Charles Bronson.

Dry Creeks, Hot Hikes, and Hey Nice Auto Focus!

Possibly the biggest challenge on this shoot was dealing with California’s drought (again). The low water levels on the Russian River took away a few options that would have otherwise been more scenic. Plus our visit to a small waterfalls on the second shoot day led us to a spot that was a complete bust! However we still found a way to make it work after a few extra miles of hiking (without enough snacks) on a hot day that was already long. Weee!

On the other hand, the most rewarding part about the entire job was getting sent a fresh Nikon Z7II body and a full set of Z lenses. I still use DSLR bodies, but mirrorless cameras are just more fun. The smarter focus tracking gave me a few extra shots that I probably would have missed, and having focus points throughout the entire frame is a “yes, finally!” moment. Sadly it was just a consignment mirage. When the job was over I had to send all the gear back to Nikon.

View the full lifestyle product gallery at The Russian River for Nikon USA here. Big thanks for a patient crew!

Props + Wardrobe: Judi “The Factor” Oyama
Location Scout: Jof Hanwright
Assistant: Ebbe Roe Yovino-Smith
Talent: Blackwell Files
Production: Creative Space Artists

How Are Photographers Working On Set In A Covid-19 World?

We are required to meet local safety measures, and besides masking up, getting vaccinated, and social distancing – here are some of the options I have been offering to clients during this time:

• Remote shoots. Send me your product and your shot list.

• Outdoor shoots. This allows us to spread out and take advantage of good air circulation. Depending on the weather and location, there are also ways to create the look of a controlled studio set up with a seamless background outside. We built a studio set in a parking lot to create this image for a client!

• Indoor shoots. We can get tested to insure safety during your shoot. We can also share proofs with a client wirelessly to a tablet, or to a large monitor at a 25Ft distance. Some digital techs are now offering options to live broadcast photo shoots to art directors, photo editors, and clients who need to work remotely. There are added expenses to cover the additional equipment and prep time, but this can be offset by saving time and eliminating travel costs.

When working with small to large crews I have been adopting some of the policies and guides endorsed by trade groups within the commercial photo and film production industries below.

Basic Procedures Involve:

• PHOTOGRAPHER / PRODUCER – send updated safety protocols before each photo shoot, provide PPE to crew, coordinate current safety needs with a contact at the location,
• PHOTOGRAPHER, ASSISTANTS, DIGITAL TECHS – sanitize common work surfaces, maintain safe working distances by shooting tethered or with wireless remotes.
• HAIR & MAKE-UP ARTISTS – sanitize brushes, combs and supplies. Follow AICP and MJ68 guidelines (see below).
• WARDROBE STYLISTS – sanitize styling equipment and supplies. Follow AICP and MJ68 guidelines (see below).
• SUBJECTS / MODELS – wear PPE up until it’s time to be photographed.
• CRAFT / LUNCHES – packaged orders picked up or delivered.
• LOCATION PREP/WRAP – assigned person to sanitize work surfaces and lunch area before/after shoot.
• EVERYONE – respect 6’ft social distancing, receive a contactless temperature check prior to working on set, wear PPE, wash hands frequently, limit handling supplies and equipment outside of your role, travel to shoot location independently, bring personal drink container to the shoot (let’s reduce waste anyway).

Guidance For Photo Shoots

• MJ68 New Production Protocols. Endorsed by APA
• ASMP Safety Guide for Visual Creators
• AICP General Practices For Worksites (on location or in studio)
• AICP Production Specific Guidance for Crews
• National Set Medics Guidelines + Questionnaire for Productions
• LensRental’s How To Disinfect Camera Equipment

General Work Guidance:

• CA GOV (TV + photo crews to use “office workplaces”) Statewide Industry Guidance
• California Dept Public Health (CDPH) FAQs + Latest News Releases
• OSHA Preparing Workplaces for Covid-19

How Has Covid-19 Affected Photos Shoots?

The restrictions have slowed me down a little, but not by much. Some of the biggest changes have been from locations that have increased insurance requirements, or having to squeeze a covid test into my schedule. Overall we are still productive by: 1) prioritizing the shot list, 2) having an efficient schedule, 3) making selections on-line after the shoot, and/or 4) working with a digital tech.

I really look forward to kicking my mask to the curb. Until then, I’ll continue to enjoy the process of working with everyone. The chest bumps and bro shakes are on hold, but we will still crack jokes, play good music, and have fun making images.

High fives from 6 ft.

– Jay Watson

Five of my favorite things about this shoot include:

1. The decision by the art director to combine the plain photo background and equipment with the SF cityscape.
2. Luck. Getting permission to shoot at Yerba Buena Gardens was much easier than I would have guessed.
3. The test shot with Lorenzo. I dig it as much as the final image.
4. No noise. By starting at 7am there was hardly any foot traffic to compete with during the shoot.
5. Bruno. God bless that little dog.

Gear heads can see a full list of Ed’s mods on the Cayman 728 S featured post on Apex Race Parts.

FAQ: Do you they ever let you drive the cars?
Never.

From Photoshelter:

4 Lessons I Wished I Learned Sooner in Photography

1. Don’t hang on to the same old gear for too long. The photo world is obsessed with new tech and new gear. However it never inspired me, and it was never a catalyst behind my love of making images. For years I was too devoted to the ethos of “making due with what you have.” It forced me to save money, but I was also being lazy. Knowing there is always something new and better, I ignored adding some basic tools that could have helped me visually, and I overlooked modern conveniences that could have made life easier as a photographer. Instead of regretting the gear I did purchase, I regret some of the things I didn’t purchase sooner. Be smart about saving or reusing versus updating and replacing. It’s a balance.

2. Invest in Apple stock. Kicking myself. 

3. Be the director. When I started out I would shoot nearly any idea a client asked because well… they were the client. At one point in my career I noticed the shift from me asking clients what was next on the shot list, to them asking me what’s next? This was a turning point in my career. It coincided with bigger jobs, more input, more rewarding assignments, more trust from the people around me, and more fun. I still hustle, but I’m more vocal about saying which ideas are not worth pursuing. Be the fly on the wall to understand your visual options and the personalities involved with the job. Be a director to make things happen and to allow the best ideas to come forward.

4. Don’t put too much faith in the advice from the photo industry. Sometimes the advice is good, but it could be specific to a field that doesn’t apply to you. We work in different regions with diverse clients, visual styles, deadlines, and usage needs. We are hardly ever in the same exact situations. So store the advice that applies to you and ignore the negativity. There are no reps, agents, or art directors with bottled magic. At some point in time we have stop looking to others for the answers, and we have to be responsible for ourselves. If you think you know what to do — it’s time to start doing it.

See Photoshelter’s full post: “Lesson’s Learned by 4 Lifestyle Photographers“

It’s easy to have regrets, or to think how I could have done things differently. On the other hand, it’s also nice to acknowledge there are a few things that I would do exactly the same way. – JW

“To work on the bike, to resurrect it to this point, and to be able to jump on it again, looking through that same fairing, sitting on that same seat, and riding it around the racetrack, thinking about the good times with Matsu, all those memories, was an emotional roller coaster. It just blew me away.” – Thad Wolff

4 Reasons Why The Cover Of Thad Is My Favorite Cover I Ever Shot:

1) Thad’s Suzuki GS1000 was only on track for a few laps during a brief historical exhibition race at Laguna Seca, and I could have easily messed this whole thing up. There are much less opportunities for the best angles when shooting motorcycles on track versus cars. For moto at Laguna – it’s outside right turns or inside lefts. Otherwise the rider will be leaning into a turn and the bike will block their entire head. This was shot at turn 9 aka “Rainey Curve” (an inside left) with every single busted stitch and worn patch on Thad’s leathers tack sharp.

2) The photo was originally just a key editorial image for the article, but later the photo editor called to say they chose it for the cover! Even though they changed the color treatment – they dropped it into a nice layout. God bless print!

3) Because Thad Wolff is THAD WOLFF! 

4) Thad was a pro AMA superbike racer. He has been on countless covers in the past and a top competitor in the early 80s. The feature in Motorcyclist covers the path of the Matsu built Suzuki GS1000 back to Thad almost 30 years after it’s last race. There was something more special than just a bike on the track this day. You’d have to read the article and meet Thad in person to understand it fully.

Full story on Thad Wolff in Motorcyclist Magazine.

They wrapped up the podcast by asking “what advice would you give to new photographers?” That one is a tough one. I gave a crumby response. So after the interview I submitted a list of tips that were posted on Photofocus.

6 Business and Creative Tips for New Photographers

1. Start assisting. Make yourself available to other photographers. Start from the ground up as a volunteer assistant, 2nd assistant, and then to a 1st assistant as you get more experience.

2. Learn more about the photo business. Join APA or ASMP. Each site has terrific resources for business related info. Get the single best resource I have ever read: “Best Business Practices For Photographers” book by John Harrington. It’s a book. Study it!

3. Don’t be afraid. Start shooting commercial jobs now and don’t be afraid to ask for money. Yes you need experience, but you also can’t afford to work for free. Learn about marketing, pricing, estimating, billing, and contracts Don’t take an assignment that is over your head. Always be able to deliver.

4. Don’t be so hard on yourself. Nobody ever said photography was easy, cheap, or fast. It’s okay to make mistakes and to be frustrated. It takes years to gain experience. Embrace the hard work, and try to enjoy the process along the way.

5. Shoot great content that matches what your target audience needs.

6. Build the best website you can. Showcase your best work with 2-4 galleries (or genres of work) with roughly 12-30 images in each gallery. Don’t build a gallery for every genre of photography. Show your focused strengths. Shoot a creative self portrait that is just as strong as the work in your portfolio. Treat the bio portrait like an assignment. Write a strong bio that avoids cliches in 2-3 short paragraphs. Mention your specialties, your experience, and a few personal facts about you. The site should be on your own domain name.

4 Tips for New and Working Photographers Looking to Refresh Their Career

7. Work on improving your technical skills. Experiment with new tools. Commercial work demands that you can produce work with some level of predictability. The more you know, the more reliable you become. It also builds up your own confidence, and will open up new creative doors. If you are lacking in certain skills like lighting or retouching – practice and look for a good workshop to fill the void.

8. Start a new body of work. New theme. New genre. Give yourself a new outlet to explore without any expectations.

9. Make art or photography part of your daily lifestyle. This means being active every single day of your life. This could be time spent looking at images, reading new techniques, practicing new skills, testing new gear, writing down ideas, sending emails to potential clients, researching, sharing/posting images, working on your portfolio, or of course shooting something new.

10. Don’t let yourself get in the way. You can always find a reason not to shoot. Excuses like “I need more time, more money, more equipment, better locations, or better subjects” will easily keep you from moving forward. Make due with what you have, rent gear, and find creative workarounds. It’s never going to get easier. You know what to do. So just do it.  – JW

Visit the press page for more interviews and discussions on photography.

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From PhotoShelter’s “The List” lookbook: “For the first time ever, we’ve assembled an exclusive list of the top photographers on PhotoShelter — our platform used by over 80,000 professional photographers to showcase, store, deliver and sell their images.

Our panel of judges selected 90 PhotoShelter photographers who all exhibit a superior portfolio, excellent photography, and a convincing pitch to potential clients.

These photographers span across 18 major categories including sports, lifestyle, food, events and travel. Whether you’re searching for great photographers to hire, hoping to license stunning imagery, or looking for advice from the experts, you’ve come to the right place.”

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5 Lighting Tips For Portrait, Editorial, and Commercial Photographers

1. Experiment with different modifiers to push your lighting boundaries. Each mod has its own set of characteristics. I’m never bored with lighting because the mods in my kit seem to change every six to 12 months.

2. Build your kit wisely. When I started out, I purchased light stands, grip, clamps, reflectors, light panels umbrellas, soft boxes and grid spots before I owned my strobes. Your kit is you. Strobes are just light sources that can easily and affordably be rented. White sheets, shower curtains and foam core are the world’s cheapest reflectors.

3. Think about size, distance and power. Mods are softest when they are large or moved closer to the subject. They become a point light source with more specular contrast when moved farther away or made smaller. Start with the largest practical mod based on the conditions and distance from the subject needed. Too much power can override a mod’s soft qualities.

4. Shape your subject. Don’t just aim the light directly at your subject unless you want an on-camera flash look. Rake the light across your subject to give it shape, direction and fall off.

5. Avoid the center. Boxes, octas and umbrellas have hot spots and more contrast in the center. Place your subject near the back edge of your modifier to allow the majority of the surface area in front (where it’s softest) to do its magic. I file this one under “Things I Wish I Learned Sooner in Life.”

Jay Watson is an editorial and lifestyle photographer based in San Francisco, CA. His client work consists of action sports, automotive, apparel and corporate subjects.

Tutorial featured on:
“Fully Lit” on Rangefinder Magazine
“45º/45º Lighting” on Westcott.com

This 1-min video was used for direct customer marketing across numerous social media channels by Whole Foods. We brought a rig to hang a second cam overhead for the prep shots. It proved to be invaluable for the (3) videos we filmed to inform WF employees on the food preparation of each roast along with tips they can share with customers on cooking times. We didn’t get to sample the rib roast or hen, but the duck was fantastic.

Chef Trent Page of Whole Foods shares (3) new holiday roasts that are available at Whole Foods Market stores in Northern California.

It was one of the most stressful weeks I can remember, yet it ended with me feeling like I have the best job in the world. You don’t plan for a smashed truck just like you don’t plan for destroyed knee caps, broken ribs, or cancer. I was humbled and sucker punched on this assignment for good reasons. Meeting two super humans reminded me that the financial and sentimental lose of a truck didn’t matter one bit! Thank you photography.⠀

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Shoot Related Facts:
•  Peter normally eats Puffins cereal after his training rides. When I asked why not a full meal, he replied “who has time for that – I have to take a nap.”
•  Furniture sliders can turn a conference room into a small studio when you are in a pinch.
•  4 different photographers across the US were assigned to this feature. We each had to match our photography to the art direction.
• Four months after Peter’s accident he was racing in the Tour of Utah.
•  My truck has been replaced with a better one, and nobody was hurt except for my wallet.

View the entire feature and read the compelling stories of all 6 featured cyclists: “These Legs Were Made For Cycling.”

Gallery of the morning crew pushing weight at CrossFit Belmont, CA below.

“I haven’t had a drink since breakfast.” – Rooster Cogburn, 1975

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“Michael and Jacob Forrer, brothers from an Indiana family of 5 siblings formed Repurposed Grain. Building items from reused and reclaimed wood. Giving old stock a new purpose. As our world has become more digital, there is a newfound appreciation for things handmade, well made, and timeless. Wood, hammers, pencils, nails, saws. Simple objects used by craftsmen for centuries. Most of whom weren’t surfers, fishermen, skateboarders, or rock climbers like the Forrer Brothers.” – JW

 “The Forrer Brothers at Mammoth Lakes, CA” –  is a fly fishing and rock climbing adventure piece with Michael and Jacob Forrer. Produced for the lifestyle brand and Bluetooth speaker company G-Project.

Shooting At Mammoth Lakes

Photography and video from this project was used to promote the product release of G-Project’s ruggedized G-Drop and G-Tube bluetooth speakers by encouraging enjoyment of the outdoors with the tagline “Get Out and Play.” Over the course of 5 days camping, hiking, fishing, and climbing in the Mammoth Lakes area, we shot a few terabytes of video and several thousand images. The work was also featured in Refueled Magazine, the social media accounts of G-Project, GearProject, Born To Hike, Westcott Lighting, Lexar, and won first place in Rangefinder Magazine’s Lifestyle Photo Awards.

This project took on a life of it’s own. None of it could have happened without the spirit of Michael and Jacob Forrer, Spencer Siegrist, Nils Carlson, the team at G-Project, or without the inspiration from the epic landscapes of the Eastern Sierra Nevada Mountains. There needs to be more days like these – with or without cameras. It was one of the most rewarding projects to date.

Behind The Scenes

Highlights of Shooting At Mammoth Lakes:

• Meteor showers and campfires.
• The uninvited visitor who crashed our campsite and insisted we were surrounded by aliens.
• Funky colored sunsets from the smoke of nearby forest fires.
• Driving down washboard forest roads.
• Getting a front end alignment after the shoot.

See entire photo galleries:
• Rock climbing the Eastern Sierras with the Forrer Brothers
• Fly fishing at Mammoth Lakes with the Forrer Brothers

Ranchers Rick Harrison and Richard Stewart filmed in Winters, CA with Chef Melissa King | Whole Foods Market

Camera work: Nils Carlson, Jay Watson
Director: Jay Watson
Editor: Michael Altino

The land at Pete’s Valley Cattle is made of large grazing fields, small rolling hills, and steep rocky terrain. The views are just as fitting for a California plein-air painter as they are for cattle. With over 6,000 acres, the ranchers know the location of every cow including the occasional rebel that has to be brought down the mountain after roaming off while in search of tender grass. Ironically the dogs do most of the work at Pete’s Valley Cattle. Rancher Wayde Harrison relies on the help of over 5 well trained work dogs to distribute the load – American pit bulls. The breed has have been used in the US since the early 20th century as “catch dogs” on cattle ranches. Wade’s dogs were eager to do the work, so we didn’t need to stage any of this footage for the video. It was an epic day on location for us, but just a normal day at the ranch for everyone else.

Outtake: Ode to Eadweard Muybridge

Vaughn Brown, menswear designer. San Francisco, CA | Bicycling Magazine

Vaughn makes work shirts that are comfortable, functional, and dressy. The fabric is stain resistant and water repellent, while the vented shoulders allow extra movement. Besides details like rubber buttons that provide durability, the double pockets with a single flap are extra trick. So of course Vaughn used the same features in his collaboration shirt with Bicycling Magazine, and styled them well at each photo spot.

From An Editorial Shoot In San Francisco

• Outside the camera frame is my assistant Timo holding a 48” Westcott octabox.
• Timo doesn’t “trust” fancy coffee drinks.
• Unfortunately many good spots with a San Francisco background require shooting in an intersection.
• Parker Dusseau’s logo is a Jack Russell terrier named Winston.
• My first bike was a chopper style cruiser with 20” wheel

This fall we covered a select group of customers of HydroFarm for two days of track time with Exotics Racing Los Angeles at California Speedway in Fontana, CA. Exotics has driving schools in LA and Las Vegas where guests get the chance to command cars made by Ferrari, Lamborghini, Porsche, McLaren, and Corvette. You can view their list of supercars here, and if you play your cards right – they might take you on a drift lap at the end of the day.

A few people have asked if I get to drive the cars for these types of gigs? Nope. Tracks have tight schedules, and they often run multiple programs throughout the day. If  you factor in fuel, tire/break wear, and labor for staff – the costs add up. So far there haven’t been any freebies, but maybe someday. Until then my track time will stick to shutter speeds and memory cards.

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intro: Jay Watson has been living and working in California’s Bay Area since the turn of the century; his work as a photographer is a love letter to his adopted state. He balances commercial clients in Silicon Valley with editorial magazine work, and shoots plenty of “car porn” for the likes of Porsche and Audi Sportscar Experience. We called him up to talk about his work, his website and “California culture.”

PDN: How’d you get your start in photography?

JW: I studied photography in college at the University of Maryland, Baltimore County. It was a conceptual fine art program, but while there I started assisting other photographers to learn about commercial art. As I moved more in that direction, I slowly started getting clients. Then, I moved out to California in 1999.

PDN: You’ve lived in the San Francisco Bay Area for almost 17 years, and on your website, you say that much of your personal work is “inspired by California culture.” What exactly is California culture?

JW: To me, California culture can be any scene like lowriders, custom cars, or motorcycles – to surfing, BMX, and skateboarding. Some of these subcultures and sports were born here, so California is a creative birthplace whose culture affects the rest of the country, if not the world.

PDN: What California projects are you working on now?

JW: I’m slowly narrowing down selects for a portfolio from over 20,000 images of coverage from an on-going “gentleman’s” F3 race series. The client gave me incredible access to the tracks. It allowed me to capture some images that other motorsports photographers may not necessarily be able to get. One summer, I shot about ten days over five weekends at the same track. You have to push yourself in these situations: How am I going to make this work look different from each race so the coverage doesn’t become formulaic? It’s not a “California project,” but I’m trying to apply a similar approach by covering the culture of motorsports.

PDN: Do you remember the first website you used to host your work?

JW: My first two websites were that classic example, where I had a great friend create a good website for me. But I couldn’t change or switch any of the images on my own. So for years, my website sat stagnant. I initially switched to PhotoShelter for client delivery and to create custom proof galleries. Now I use it for everything. It’s awesome, with clean, intuitive navigation and the portfolio views on PhotoShelter look fantastic.

PDN: How else does your website figure into your business?

JW: Besides proofing and delivery, I have galleries on the back-end of my site for certain categories that I don’t necessarily market to. For instance, if someone calls to ask if I shoot products, I can share a gallery on the back-end of my website that’s just products. I get a couple of apparel jobs this way too. I want to have different examples of work ready, but I also don’t want to water down my site. If I showed automotive, editorial, lifestyle, apparel, sports, industrial, corporate, and products. It would be too much. So I have things I’m focused on, my specialties—the galleries that are always visible, and I have galleries of secondary work that are ready to share on the back-end. PhotoShelter is great for managing both. The secondary work is still searchable, but it’s not published on the main website.

PDN: What’s the most fun part of your job?

JW: Shooting at different locations. Days at race tracks are really fun. Shooting car-to-car from the back of a moving vehicle is exciting. Or getting to shoot surfers at Mavericks [California] is also great. Fun days are where I come back thinking, “wow, this is my job!” I’m pretty lucky. Starting out I never imagined working on some of these things.

Thanks for viewing. Feel free to get in touch if you have any questions about Photoshelter. If you would like an estimate for a photo shoot, please send an email here to ask for a photo shoot questionnaire. 🙏

Rancher Joe Pozzi of Valley Ford, CA with Chef Melissa King | Whole Foods Market

Camera work: Nils Carlson, Jay Watson
Director: Jay Watson
Editor: Michael Altino | Silver Style Pictures

Recommended gear for shooting on a ranch in Valley Ford, CA:

1. Essentials: sunscreen, warm hat, windproof shell, hot coffee, and cameras.
2. Waterproof work boots with minimal tread, because lamb poop will fall in love with the treads on your fancy hiking shoes from REI.
3. Beer to celebrate the day.

Below is a gallery of automotive images from a photo shoot at the Tesla Motors factory in Fremont, CA. They were shot for the German published Lufthansa Magazine for a story about the innovative robots used at the factory to assemble the Model X luxury SUV car. There are 580 robots – the Wolverine, Cyclops, and Colossus that are used to weld and assemble cars together at the Tesla factory in Fremont, CA. The place definitely has a Star Wars element to it, so I tried to shoot as many parts of the assembly line as possible. However there were major restrictions due to safety, tight factory production schedules, and things under wraps which couldn’t be photographed. Coincidentally, the next day Tesla was scheduled to unveil the new Model 3 car to the world, so the entire shoot was a fast pace rush against the clock.

At the end of the factory tour a Tesla rep gave us a lesson on how to get buck wild in the Model X. He put the car in “Ludicrous mode” which allows the Model X to accelerate from 0-60 mph in 3.3 seconds (comparable to many supercars). Ironically the mode can only be activated with the brake fully engaged, making it impractical for real driving purposes and most likely only used for goofing off or staking claims. I guess it justifies Tesla’s name choice for the feature.

Dirk Kunde had the toughest job of the day. The poor guy had to drive the Model X all the way to the airport before heading back to Germany for the magazine’s test drive and review. Sure beats Uber.

“You’ll only have 15 minutes,” said the PR person on the phone who was in charge of keeping Google CEO Sundar Pichai on schedule during my upcoming photo shot for The Telegraph (UK).

I arrived 2 hours early to find parking, locate the right building at Google’s huge campus in Mountain View, meet the contact, scout a primary spot, scout a secondary spot, set-up your equipment, do a few test shots, and then wait…

“We are a bit behind, so now you’ll only have 5 minutes to shoot,” said the PR person a few minutes before Sundar Pichai arrived. Sure. I’ll just scrap my third spot down the hall and stick with options 1 and 2.

A minute later he arrives. “Hi Mr Pichai. I’m Jay, and this is for The Telegraph UK. Nice to meet you.” Click. Click. Click for a few dozen shots at the first spot. “Two minutes,” the PR person announces. Click. Click. Click for a few dozen frames at the second spot. After a few more clicks I say, “okay we are done. Thanks so much for the time. I really do appreciate it.”

“It’s only been 4 minutes, so you still have 1 more minute to shoot,” said the PR contact.

San Francisco Members of The Battery were invited to attend a driving day with cars used in the Audi sportscar experience driving program at Sonoma Raceway. Hosted by Simraceway, the Audi SCE program at Sonoma typically include personalized driving instruction, auto cross, team competitions, and hot laps on track. Anyone who signs up for this program is guaranteed to finish with pain in their face from so much smiling. Below are some highlights from a day covering members of The Battery. More work from this series can be viewed in the Audi motorsports gallery on my website.

Hana Hou! Magazine, the magazine of Hawaiian Airlines just published some portraits I shot of tiki artist Brad Parker in Kona, HI. The portrait of Brad above was shot at the Royal Kona Resort. Since this was an editorial travel gig, I didn’t get to bring my normal set up. My lighting kit for this job included: a speedlight, silver reflector, umbrella soft box, a handful of rubber bands, gaffers tape, and myself as the human light stand/assistant.

CamRanger. The tape and rubber bands were used to attach the speedlight to the umbrella box, only because my swivel mount was a few thousand miles away. It was a clumsy fix that worked because of one key piece of gear that allowed me to be a human light stand. By using CamRanger to create a wireless connection to send preview images from the camera to my iPhone, I was able to hold the light in position while using CamRanger to remotely trigger the camera mounted to the tripod. So I wasn’t even standing behind the camera, and Brad was being directed from me only a few feet away out of frame while I held the light and proofed captured images on my phone. CamRanger is fairly pricey considering the same wifi hardware unit sells for peanuts on Amazon, but what you are paying for is killer software that is even better than Nikon’s wireless app. There are a million things you can do with CamRanger, but they forget to mention you can use it to be your own assistant on a photo shoot. They also have great tech support. It’s a simple portrait, but under the circumstances (no gear, not much time, no extra assistant) I couldn’t have made this image if it weren’t for the CamRanger.

Shooting Video and Stills On Location

Shooting both stills and video in back country with a skeleton crew can be challenging. We shot in tandem as much as we could to avoid climbers repeating their movements, and to keep the adventure moving forward. Though one huge obstacle was powering the cameras and computer equipment using only solar (Goal Zero) and DC (Toyota Tacoma) generated power for 5 days. Besides recharging at a coffee shop on the 3rd day, the lack of mains power in the outdoors made backing up terabytes of data each day an exhausting task.

However the packaged deliverables was incredible. We delivered (10) teaser video clips, (1) full 3 min video edit, countless behind the scenes outtakes, and (2) complete image galleries with 30+ images each. Work from this series was featured in Refueled Magazine, several social accounts like Gear Project, Born To Hike, Westcott Lighting, and Lexar. Lastly, some portraits from this series won first place in Ragefinder Magazine’s Lifestyle Photo Awards. So on top of the actual assignment, this project involved a lot of additional outreach to help it get more eyeballs.

Rock Climbing With The Black Magic Design URSA

For this production we shot video in 4K with the Black Magic Design URSA cinema camera to film our adventures at Mammoth Lakes and Bishop, CA. The URSA is an anvil to lug around in back country for 5 days. While a smaller camera would have been more practical, the BMD cameras are a cinematic fit for the scenery of the Eastern Sierras. To make it work we used the URSA as much as possible on a tripod, then Go-Pros for trickier spots.

Below is a fly fishing shortie to wet your beak on the URSA’s image quality. The finished video edit Fly Fishing & Rock Climbing at Mammoth Lakes is now live. Too bad the URSA Mini wasn’t available at the time. Ugh!

For more images from this series, you can view the entire rock climbing photo gallery at Mammoth Lakes on the website. If you’re ready to eat avocado and hard boiled egg sandwiches from the back of a truck on location – then let’s go.

For the portrait set up with Pietro below, I used the grandstands of Sonoma Raceway as a backdrop, a Westcott Rapid Box XXL Octa as my key light (camera left), and the edge of sunlight piercing through the stands (camera right) to create some lens flare. In 10 minutes. Done! Thanks to Westcott for sharing the work.

You’ll notice superstar Nils Carlson behind a Black Magic Design URSA 4K cinema camera in the behind the scenes photos. We covered fly fishing, hiking, and rock climbing with the brothers at some world class locations in Mammoth Lakes and Bishop, CA, and a video from this 5 day travel series will be released shortly. We also partnered with a few companies to help make the shoot possible, and for it to get more visibility for everyone involved.

High fives to: Westcott – Lighting for the photos was supplemented with the Rapid Box XXL and provided courtesy of Westcott. The Rapid Box XXL is a 48″ octabox that set’s up incredibly quick, and was perfect for full length portraits on location. Lexar – Camera media cards were supplied by Lexar. Goal Zero – Power was a big concern for a 5 day shoot in back country, and we had a bug with our solar powered Yeti 400 generator. Goal Zero sent a replacement unit to a FedEx pick up spot in Mammoth just in time. Refueled Magazine – Photos from this series are featured in issue 16 of Refueled Magazine as an editorial piece and interview with the Forrer Brothers. Follow editor Chris Brown and his epic beard on IG.

You can view the entire fly fishing gallery at Mammoth Lakes with the Forrer Bros series here. Inspiration on the shoot came from the sounds of “New Speedway Boogie,” by The Grateful Dead. Let’s go on location, play hillbilly music at 4am, and drive down dusty forest service roads.

The editing was done by Michael Altino of Silver Style Pictures, a two person team from NY who have done commercials for Jaguar. They did a killer job, and we like how Michael added drama to the edit to show the intensity in racing without using excessive effects.

Video cameras: Nils Carlson, Jay Watson
Editor: Michael Altino | Silver Style Pictures
Driver: AP
Location: Sonoma Raceway Sonoma, CA. During the Jim Russell F3 Racing Series by Simraceway

This was a 1-2 punch job. Nils handled most of the video work while I provided coverage on the track. Highlights below:

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Model: Kelsey Ellis
Production: H2 Video

If there has every been a model who deserves the “I’m Tough And Won’t Complain Award” it was Kelsey. For this shoot she pounded pedals on a road bike, ran trails, jumped logs, worked a treadmill, jumped rope, got in some box jumps, and swam numerous laps. All by 3pm. I’ve never seen a model work so hard for a client.

Below is a sample of motorsports photography from ongoing assignments covering the Audi sportscar experience driving program. The locations include Weathertech Raceway Laguna Seca in Monterey, Sonoma Raceway, and Petaluma, CA. You can view more work from this series in the complete Audi motorsports gallery on my website.

A few highlights:

Crew:
Producer + Art Director: Judi Oyama | Maximum Impact Design
Talent: Hunter Gil, Katie Short, Katie Steidl, Ricardo Taboada, Annie Patusch of Santa Crew Brew Cruz
Assistant: Nils Carlson
Video: Steve Cassingham | Metastyle Films
Locations: Marina Beach, Moss Landing, Monterey, Pacific Grove

We drove around, shot several scenes, hung out in the rain, and drank coffee.

Highlights:

We shot this work several months ago during one of Northern California’s biggest winter storms. I couldn’t help but to feel burned as we drove south to Monterey, CA at 5am on the first day while hearing reports of flooding and road closures on the radio. Visibility was bullocks, but all the arrangements were booked and we had several indoor locations for back up. What looked like potentially an epic failure, turned out to be a fun adventure with a great crew.

Crew:
Producer + Art Director: Judi Oyama | Maximum Impact Design
Talent: Hunter Gil, Katie Short, Katie Steidl, Ricardo Taboada, Audrey Thomas, Annie Patusch of Santa Crew Brew Cruz
Assistant: Nils Carlson
Video: Steve Cassingham | Metastyle Films
Locations: Marina Beach, Moss Landing, Monterey, Pacific Grove

My motorsports kit is getting more streamlined. I’ve been sticking with (3) lenses, a monopod, and a single camera body to help reduce weight during the long day. For this work, I have a few camera preferences, but for this assignment I wanted to try the Nikon D750 to see if the buffer and FPS were fast enough for motorsports. Take a look at the images below, then see my summary at the end of this post.

Highlights from Laguna Seca

Pros and Cons of the D750 For Shooting Motorsports?

If you are new to shooting motorsports (for example), you’ll be figuring out the correct shutter speed and lens combinations. A standard goal is: blurry wheels, movement in the background, and a sharp car in focus. There are some unpredictable factors here since each turn has it’s sweet spot.

When shooting cars you need to hold down the shutter release button, track focus throughout the pass, and then choose the best image when behind the computer. This requires a camera body with a decent amount of frames per second. The D750 is only 6.5 fps (not the 11 fps of a “pro” sports body). That’s 41% less forgiving which could be a bummer for some. Your margin for error is smaller, but 6.5 fps is definitely do-able!

The bigger issue with the D750 is the reduced spread of focus points. Compared a pro level camera body, the D750 groups the focus points toward the center. If the subject is outside this area you have to pre focus and then recompose. This is not a big deal if you are on a tripod, or if the subject isn’t moving. However this close to a deal breaker when tracking moving targets like athletes or race cars.

Is The Nikon D750 Fast Enough For Motorsports?

Normally I’m shooting ALL day, so I try to minimize over shooting to cut back on excessive computer time culling images. For sports, you only need enough fps to capture short sequences of action, and a buffer large enough to hold those bursts. With practice this can be done with a D750 when shooting sports.

The D750 almost cancels out the smaller buffer and slower fps by giving you a camera that is one of the fastest focusing bodies Nikon has ever made. This compensates for the reduced margin for error mentioned above, and it actually increases your hit rate. The focus is just that good. Its performance in this regard is on par with the Nikon D4s, but with 50% more megapixels. When it comes to speed, just don’t forget to factor in the slower processing times that would accompany larger MPs in high volume.

Here are some tear sheets, outtakes, and behind the scenes shots from an advertising campaign to run in Northern California and Reno for Whole Foods Market. The subjects for the series were from the Whole Foods Market Local Producer Program which includes butchers, bakers, farmers, dairy producers, and chocolatiers to name a few. It was a rewarding day in the studio working with proud business owners, and it ended with a chocolate tasting session.

Behind the scenes and crew:

Crew: (71% surfers/skaters)
Judi Oyama: producer + wardrobe + props
Angelina Reed: wardrobe + props assistant
Renee Rael: hair + makeup stylist
Nils Carlson: photo assistant
Mike Forrer: set builder
Jake Forrer: set builder
Sintak Studios San Francisco, CA

Some of the locations included Dolores Park, Mission St, and Valencia St in San Francisco. For lighting I used stuck with a single light kit and 6ft reflector panels. Since we were moving around to many locations and had a long list of socks to shoot, we kept the gear selection fairly light.

Crew:

Video: Steve Cassingham | Metastyle Films
Creative Direction: Judi Oyama | Maximum Impact Design
Talent: Audrey Thomas, Katie Short, Rex Honda, Hunter Gil
Assistant: Nils Carlson

Best surprise: When a security guard lights you up with a flashlight at 1am as you’re backed up to a building while loading computers and camera equipment into your truck.

These weekends involved a few +100º days, some F3 car crashes, a new workflow using (2) computers networked together, extremely late nights editing, many aesthetic adjustments, and roughly 20K images shot in total. Most jobs are one-and-done. I seldom get to revisit a location or reshoot the same subject. This assignment challenged me to improve on the work from the previous race. It forced me to explore, choose the best spots on the track, look for new subjects, and to really dial in my equipment.

A few highlights:

Best quote overheard on the track: “I had his lunch money coming into turn 8 but then…uh…uh…”

The biggest challenge was the workflow. Although the series isn’t broadcast or covered by motorsports news outlets, Simraceway did a very cool thing for the drivers. They published an online race report after each race with an image gallery of highlights from the day’s events. We edited in semi real time using Lightroom on (2) machines synced to a central drive. Thanks to Nils, images were getting cataloged, sorted, and backed up throughout the day. However since there was a hard deadline for the race report, 5hr energy drinks and chocolate peanut butter cups were our best friends after the race as we processed the top selects well past midnight.

Best audio to listen to during late night edits: Comedian Lewis Black

There were (5) weekends of races between April and August. We tweaked the workflow after each race. We got faster, more efficient, more streamlined, but we were never “fast.” There is nothing fast about editing several thousand images and individually processing three hundred of the top selects. It can only be fast, if you don’t care or if you sacrifice control. When you are inspired by your subject, there is never enough time. The 2014 series may be over, but the assignment has turned into the next project. Now I have the task of narrowing the entire race series down to 50-70 of the best images. A few more 5hr energy drinks, late nights, and podcasts until the finish line.

If you are a fan of Audi cars, check out my Audi sportscar experience automotive gallery. Thanks for the peek.

To see the entire project go to: jay.gprojectgear.com

Below are the banner images used to promote each photo series.

Skateboarding with Jen Valenzuela and Devin Scott at a classic pool in Northern California.

Travels with Ed Fladung of Quality Peoples in Punta Burros, Mexico.

Surfing with Justin Knowles and Tommy Romero at Waddell Creek, CA

Self portrait.

I get excited making images, collaborating with subjects, and using different tools. Some of the gear used for this project has included the Fuji X100s, Nikon D700, D800, GoPro Hero3+, iPhone 5s, and several new software apps. It’s been an incredibly fun experience so far, and one of my most rewarding assignments to date. These shoots represent some of my favorite days with a camera.

Some highlights from the project:

Note: An extended photo gallery of my surf travels for G-Project titled “Quality Peoples In Nayarit, Mexico“ is now on my main website.  If you have any favorite reggae songs please post them here. For a great sounding Bluetooth wireless speaker that is kind to your wallet, visit G-Project Gear. Thanks for viewing.

 

Long live the 2002 Sacramento Kings. They could have won it all that year if it weren’t for a dozen bullshit “questionable” calls.

Tearsheet: Canadian Cycling Magazine. “Ride In The Redwoods”

The May issue of Canadian Cycling Magazine features the work of a long time cyclist and Bay Area photographer (me). Included is a series feature on cycling in Palo Alto, CA. In addition, the issue includes outtakes for a piece on nutrition. No word on whether I get to shoot (or ride) in Canada for the next assignment. The images include some classic Bay Area climbs starting in downtown Palo Alto, through the redwoods of Old La Honda, a descent down highway 84, over Haskins to Pescadero (not “Haskins the hard way” which is the same road going the other direction), and along the coast past the Pigeon Point Lighthouse.

There is a huge symbiosis between photography and cycling, because there are two objects in this world that connect everyone together. Cameras and bikes. Everyone has a story involving one of those two things. “My father gave me a great camera but I lost it,” or “I wish I still had my first BMX bike.” Or… you may wish you didn’t go over the guard rail in the Marin Headlines while your rims were wet because it was raining and you just installed new break shoes on your bike.

An Editorial Shoot with the Reverend Horton Heat. San Francisco, CA

The March issue of Inked Magazine includes a spread I shot of the Texas rockabilly/psychobilly legend Reverend Horton Heat. These were shot in a very dark room called The Chapel, a venue for live music in San Francisco’s Mission district. I’ve seen the Reverend live several times so this was a great assignment. Everything went smooth, but I forgot one thing. I forgot to thank Jim Heath for creating an original world with his music. The guitar work and lyrics will take you to a place you have never visited before, yet a place that feels familiar, wild, and fun. You get to drink martinis, drive fast cars, hang out at a roadside bar, or take a ride on an electric spaceship fueled by the glow of neon lights from a remote liquor store in the desert.

Top 10 favorite songs by Reverend Horton Heat:

1) Where In The Hell Did You Go With My Toothbrush
2) Big Red Rocket of Love
3) Liquor, Beer, & Wine
4) I’m Your Pet Rock
5) Loco Gringos Like A Party
6) Reverend Horton Heat’s Big Blue Car
7) Galaxy 500
8) Pride of San Jacinto
9) Duel at the Two O’Clock Bell
10) Let Me Teach You How To Eat.

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1 of 2. Grant “Twiggy” Baker going to work on a +50ft day. Notice he isn’t plucking this one off on the shoulder.

2 of 2. “The Reaction.” Grant Twiggy Baker at Mavericks. We all appreciate a little bit of recognition from our peers.

Note: You can see my entire coverage of the Mavericks 2010 surfing contest for Drift Surfing here.

Shooting Mavericks
Mavericks requires preparation prior to the shoot and you could be exhausted before you even start. Since public interest of a sporting event only has a 24 hour shelf life, after a long day of shooting you have to edit quickly and/or pull a late night working on the content. Add to this the cost of your equipment (purchased + rented) and expense for a spot on a boat. If a client isn’t fronting the bill – expect to pay $300-$700 to cover the event. So if you are not there on assignment would you do this for free? It’s a thrill. It’s rewarding. It’s a lifetime experience. However it’s also a risk. What if the conditions bring small waves like they did in 2013? You could be out a decent chunk of change without many images of surfing.

It’s Not 2010
Today, an official “media pass” from the organizers will grant you access to “The Mavericks Festival” not the contest. It’s basically a parking lot with a jumbotron and food vendors. No beach access (1 mile from the action). No cliff access (requires a 400mm lens). No boat access ($$). However getting on a boat does not necessarily provide good access. Boaters have to fall in line with orders from the harbor patrol and coast guard. They keep everyone safe, but in doing so they require boaters to continuously troll in a counter clockwise rotation to keep traffic moving. In 2013 it seemed like the sets only appeared when our boat was on the wrong side of the circle. An expensive happy place too far from the action.

Cue The Live Webcast + GoPros
This year the live webcast had excellent coverage and I watched it from the comforts of my office with hot coffee. It was nice to finally know who was surfing and when the heats ended. Basic info like this is often just a guess when you are shooting from a boat, and it’s the reason why I’ve seen many images posted online with an incorrect surfer credited for a wave. The webcast also mixed in video footage from cameras mounted to the surfer’s boards. Man does that change the game for live coverage. You can’t beat it! No photographer can safely place themselves in the impact zone during a big wave contest, but a GoPro can.

See the clip below of Mark Healey caught inside with a 25ft sneaker wave coming at him during Heat 1 of the 2014 Mavericks contest. The video was edited. Healey was held under for 2 waves which is much longer than it appears here. The expression on his face leading up to the hold down shows the weight of the moment. A photographer could only get closer to the action if they were selected as one of the 24 contestants. Good luck with that.

Don’t get me wrong. Shooting the contest in person is still better than viewing it as a spectator from a computer. I’ve done both.

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Dwell Magazine Dec/Jan (cover by Jill Paider)

I shot this in my studio set-up at Lake Cunningham Skatepark in San Jose, CA during the Tim Brauch Memorial Contest. In Mark’s last run in the contest, he yells out to the crowd “This is for Tom Sims” – referring to his first sponsor who had recently passed. I hear a fully supportive roar from the crowd. Moments later – in walks Partain. Words are expressed out of breath. Emotions still running. It was beautiful. It was right in front of my camera.

This is only half of the story.

A large framed 20X24 portrait of this photo was auctioned off at the Board Rescue art show in Santa Cruz, CA last month. Proceeds from the auction went to Board Rescue, a non profit that provides skateboards and safety equipment to organizations that work with underprivileged and at-risk youth.

The second half of my Partain story deserves to be told another day. It’s about the good things in skateboarding, and what’s still important about photography. I thank people like Mark Partain for reminding me.

If you dig this portrait, please visit this link to see more from my series Roots, History, & Concrete – a portrait series on skateboarders. Good karma for likes. Chest bumps for shares.

director + photography: Jay Watson
producer: Judi Oyama of Maximum Impact Design
video camera: Nils Carlson
1st assistant: Lance Yamamoto
editor: Denise Gallant + Kevin Monahan
talent: Eric Clarkson, Allison Twisselman, Emmanuel Guzman, Julian Sunn, Vicky Jones, Logan Halliwell, Katie Steidl, Naomi Kelley, Sara Johnson, Michelle Mathews, Michael + Wynn Webb and kids.

Behind The Scenes
Images below are from the Instagram feed of producer Judi Oyama of Maximum Impact Design

Working On An Eton Product Shoot

Since shooting photography and video requires a few extra hands, I asked some people from the crew to share their experience about working on this project.

Lance Yamamoto (assistant):

“My job on the Eton shoot was to be the first assistant to the photographer and to assist the videographer (Nils) when needed. I unloaded gear from the truck, set up lights that I knew Jay would use, and did everything I could to make Jay’s workflow go as smoothly as possible.

I had a copy of the shot list so after each shot I would double check with Jay, cross off a shot from the list, and would move the equipment to the next spot while he worked with the art directors. When you’re the assistant, your job is to work just as hard as the photographer and to make sure everything runs smoothly. It’s the equivalent to how Robin is to Batman.

Jay always knew what to do for each shot to get it done as efficiently as possible. He adapted to every obstacle that came our way and had everything under control the entire time. This job taught me a lot about being able to problem solve under constant pressure. Having a great team that has your back is nice to have as well. Everyone worked really hard on this project and it was inspiring to see a group of creative individuals working together to create something great.”

Judi Oyama (producer):

“Finding fit talent in Santa Cruz is easy, but having everything available on the shoot days was a challenge due to changes with the schedule. Thankfully we have great connections with local surf, skate, and outdoors store owners for wardrobe. I tried to choose colors that provided the best contrast for each location.

For props I borrowed my kids’ backpacks, boogie boards, and other items from our camp gear. When I needed the latest and greatest I relied on my contacts at NHS, Jam Collective PR, and other companies. Many of our models have worked with us in the past on other shoots and were willing to be available for this shoot.

Working with a tight crew of people that got along well paid off big time. Plus everyone was excited to be involved with Eton. The end result comes from the camerawork, but I help to package it up, add what I know, and bring everything to the table so it all comes together.”

Some Not-So-Technical Info About This Shoot:

• Day 1 was a +17 hour round trip work day that made me punch drunk on occasion.
• When I was directing I wanted to be behind the camera. When I was behind the camera I wanted to be the director.
• For video we used the Kessler Pocket Dolly, Cinevate Pegasus Slider, and a Glidecam for tracking motion.
• Most challenging – developing the shot list. Eton products are packed with features so we never ran out of ideas.
• Most rewarding – working outdoors with fun people

My friend Justin makes his way down the cliff to the surf at Waddell Creek, CA just north of Santa Cruz. This was shot for G-Project Gear as part of an on-going photography assignment that includes my California lifestyle work. G-Project Gear makes a variety of wired and Bluetooth wireless speakers. I have one with me on every shoot.

1) Conceptual. This is a composite of two images. I stitched together a very rough version at the location to see if it was worth the time and to get feedback from Nir on the concept. The high res version submitted to the magazine has pixels selectively painted onto the portrait inside the laptop screen to make parts of it look low fi when it is printed.

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2) Straight. At work/in action/in environment.

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3) Risk. Several options were covered that showed Nir clearly (not all posted here), so this version which doesn’t show his face was also sent to the magazine. His eyes are dark, but that’s not important. It builds mystery and gives the mag something to play with for page layouts. It reminds me of subjects seen through the back of a focusing screen on a 4×5 view camera except the image isn’t upside down and backwards. It would only need a few grid lines added in Photoshop to help that idea register.  – JW

See more photos here: Lifestyle, and Fitness campaign for Magellan GPS.

 Cycling up Old La Honda, a classic climb in Palo Alto, CA.

My first bike was a yard sale gem. It had 20″ wheels and the forks were raked out like a motorcycle chopper. I was crushed when the cranks broke. It was a repair that cost as much as a new bike. The only problem was I didn’t want a new one.

If you are a cyclist you have ridden or read about the epic road rides that start, loop, or end in Palo Alto, CA. A decent cyclist can be out of town and in the country within 30-60 minutes of saddle time. Once you make it over the first climb – you’ll be in the rolling hills of Northern California. A little bit farther – you’re at the coast. Palo Alto is a Bay Area cycling mecca. It’s also the home of Palo Alto Bicycles which is one of the oldest bike shops on the west coast. Below are some outtakes from a photo shoot with the staff of Palo Alto Bicycles. The Northern California roads look pretty good and so does the shop’s new apparel.

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Things seen in Palo Alto:

1) Let’s just ignore the weekend traffic in town.

2) On the roads you’ll see large group rides, pros training, retired racers rolling at the same speed as in their prime, and a random kid on an old 10-speed that’s too big for him gunning it up Old La Honda.

3) A man standing on University Ave with large Foldger’s coffee cans around each ankle. You know – for protection.

4) Cyclists can be spotted wearing full fingered gloves and earmuffs in 95° heat, or riding with nothing but shorts and a cotton t-shirt on early morning winter rides in the rain.

5) Robin Williams once did some impromptu stand-up in the repair shop of Palo Alto Bicycles, and I once met Steve Jobs there. We talked about bike technology and wheel designs.

Suits and ties. I often photograph people who wear them for assignments. Sometimes it’s for corporate portraits and head shots of executives in the Bay Area. Other times it could be a sharp fellow like Andrew Spokes (above) for the cover of a NY investment magazine. Later this week I’ll be working on a lifestyle apparel shoot for a sock company. The day after that, a few more suits and ties. The day after that I’m skating.

Additional Surf Photography Tips (some not included in the Nikon post)

1) Focus tips. I start with AF-C with shutter priority set to “focus.” The modern DSLR has infinite focusing options. It’s overwhelming enough to make a person not even try action photography, but practice is the key. Learn all of the focus features inside and out. Memorize them, and don’t skip the manual. Master the focus seeings so you can react quickly to the action without fumbling with a camera. I like to shoot with continuous focus (focus tracking) and make use of the focus lock buttons when needed. This minimizes the risk of loosing focus from body movement or if shooting from a moving boat. Auto focus capabilities decrease as the camera’s batteries drain. Start fully charged.

3) Exposure modes. I almost always start with the exposure mode set to shutter priority. Then I’ll use exposure compensation (-/+) to make sure the white water is not clipped in the histogram. A healthy depth of field is needed to get good focus with lenses longer than 200mm. So start with ISO 400 – 640 and increase if needed.

2) Start local. You don’t need to be at world class breaks to get great photos. Don’t be afraid to make a road trip, but make the most of your local spots first. Surfing is primarily on the coasts and not accessible to everyone, but you can practice shooting action sports within your area to prepare for a future surfing trip.

3) Camera bodies. You don’t necessarily need 11fps. Nearly every modern DSLR shoots with enough speed to grab action shots in short bursts. Start with what you have.

4) Lens choices. Put your money in the glass. Fast zooms have faster focus and better optics. The 70-200 F2.8 is a sports standard. However you need a 300mm or longer lens to fill the frame with action when shooting from the beach. Adding a 1.4x or 1.7x teleconverters can help you gain extra reach, TC lenses gobble up light, reduce contrast, and lower the image quality. You can get good results when a TC lens in optimal conditions when it’s paired with a quality telephoto lens. Use it as a backup option or rent a super telephoto lens to get you through the day.

5) Safety. Don’t drop your camera in the drink and be safe. Each year people get swept up in rough business along the California coast. The stories are horrible. Wear a camera starp. Stick to the high ground. Take your photo blinders off, and live to tell the story.

6) Water housing options. Pro level waterproof camera housing for a DSLR is +$$$$, but there are some inexpensive options. If you are already a surfer with an interest in photography, you can get wet, shoot photos, and spend less than $10 a day. See: GoPro camera rentals at LensPro. Staff photographer for Surfer Magazine Zac Noyle posts great looking work on Instagram shot with water housing on an iPhone. For decent water housing that doesn’t break the bank check the base model by Liquid Eye. For more info on gear, here’s an in-depth buyer’s guide for water housing.

7) Follow other surf photographers. Sometimes they share their surf photography tips on IG.

8) More safety. The biggest and most important…don’t get in the way of other surfers.

Featured surfers in the link: Carlos Burle, Kenny Collins, Greg Long, Peter Mel, and Zach Wormhoudt.

Thanks to Nikon, and to all the surfers for their support.

Finished portrait. Made up of 35 individual captures. Portrait of Bay Area artist Kevin Kearney for an editorial magazine photo shoot.

This image is made up of 35 individual images stitched together. Yes 35! It is a panorama portrait of Bay Area artist Kevin Kearney photographed at his home in Sebastopol, CA. Kevin is writer, successful entrepreneur, painter, business executive, wine aficionado, and probably more.  The assignment was an editorial feature for Maryland Institute College of Art. Once the 35 captures were assembled, the new high res master version of the scene was retouched, color adjusted, and perspective corrected in Photoshop (final image above).

• • •

Proof image. Stitched panorama portrait of executive Kevin Kearney at his home in Sebastopol, CA.

Why 35 images?
There are technical and creative reasons for shooting a panorama portrait for this assignment. Shooting with a wide angle lens in this massive space would put too much of the scene in focus and draw attention away from the subject. Enter Ryan Brenizer. He developed a method of capturing multiple individual images with a long lens, and then stitching them together in Photoshop . The results are portraits with a shallower depth of field that could not be created otherwise. It’s genius! However instead of using the technique to create hyper bokeh, I use it to construct a wider angle of view for certain scenes. Wider scenes now have less perspective distortion, and extreme detail. Panning the den photo above, required (35) captures with a 70mm lens on a full frame sensor. That is a lot of pixels! (2-3 gigabytes before sizing it down).

 • • •

Full frame capture. Image 1 of 35 for panorama portrait of Bay Area executive Kevin Kearney at his home in Sebastopol, CA.

Kevin Kearney is a Renaissance man who knows how to live the good life. Conceptually his life is much bigger than one single image. The massive upstairs den filled with books, guns, swords, and artwork was the location winner. It’s a room where “the world’s most interesting man” would keep company, and that is the room I want to be in as well. A single image portrait in this space wouldn’t have carried the weight.

Tearsheet | Editorial portrait of hip hop artist A.B.S in XXL Magazine.

The hip hop music and entertainment magazine XXL Mag got in touch for a piece on Philly born rapper Chris “A.B.S.” Schaefer in San Francisco. He was the winner of a rap battle sponsored by Corona, so XXL assigned me to photograph A.B.S for a full page feature. Ahh….. the full page editorial portrait. This is the holy grail of editorial photography and a highly coveted space for any portrait photographer. God bless print.

• • •

Portrait of A.B.S. | XXL Magazine. My version of the final image.

• • •

A.B.S. on location in San Francisco, CA. Not knowing if the feature would be a single page or a double page spread, we shot the location options in both landscape and portrait formats.

• • •

Portraits and outtakes of hip hop artist A.B.S. from the studio set up.

• • •

BTS. A behind the scenes shot of the location set up. Yeah we were working right next to a live train line, and we were trespassing. So what. It’s for hip hop.

• • •

BTS. A behind the scenes shot of the “studio” set up.

There was no smoke and mirrors. The photo editor asked for a location scene plus a studio shot, so  we took the studio to the location to save time. Besides getting a full page in the mag, the best part of this gig was getting kicked off the train tracks by the transit police, plus jawing with Chris over hoops and family life. He’s solid. We share an East Coast connection, respect for old school rhymes, and love for Allen Iverson. Plus I dig the humor in his music.

Check out A.B.S.
A.B.S. on Twitter
Youtube/skullneckrecords

Here is the Palatov D4 race car designed by Dennis Palatov being track tested at Infineon Raceway in Sonoma, Ca. One goal for this outing was to compare the results against a race simulator by Simraceway. These are some of the images which ran in the British car magazine EVO, and in Sympatico Autos (Canada). Above is Brian Makse, an auto racer and automotive journalist driving the Palatov D4. Makse lives a life of constant travel test driving new production models and exotics for various publications. Tough life huh? One of the highlights of this job was shooting on the track from the back of an open SUV while the Palatov zigzagged alongside. It was just an SUV, but the driver was a racing instructor who knows the course inside and out.

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Brian Makse with his GoPro helmet cam at Infineon Raceway. At one point there were more cameras mounted to the Palatov than tires.

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Auto racing expert and journalist Leo Parente was also called in to get behind the wheel of the Palatov. Leo provides great insight with is knowledge of racing. It was fun to watch him play back his video clips from the car mounted cameras. He was a kid in a candy store. Racing heads might appreciate the full report of the Palatov D4 on Leo Parenete’s YouTube channel. Some of my photo gear shows up in the background on a few clips.

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Behind the scenes of Brian Makse at the wheel and my Nikon DSLR with a wide angle lens double suction cup mounted to the Palatov. Image shot with my iPhone.

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Results from the DSLR suction cup mounted to the Palatov body. Shooting with in-camera blur (panning) is risky. It takes multiple attempts which is not always possible while on assignment. With too much blur the driver and car will blur into the background. Too little blur causes the car to look like it is parked which is the opposite goal of auto racing! This image was triggered with the in-camera intervalometer set to fire every 2 seconds. That gave me coverage of the entire course and allowed me to pick the best lighting/background combo later when behind the computer.

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Here’s Brian Makse heading out for a lap via my Nikon DSLR. This image was processed through both the Snapseed iPhone app and Photoshop. Just because and just to experiment.

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The Palatov D4 race car shot in the studio after it’s track session. Dennis Palatov is an amazing designer.

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Under the shell of the Palatov race car. Two D4 models were brought down from Seattle just for this special closed day at the track.

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Behind the scenes set up for the car studio shots. 8 lights and 2 power packs, 13-14 light stands. A new technique for shooting cars has involved walking around the set and hitting each wheel with a gridded strobe while the camera is on a tripod. The images are then combined in Photoshop. It saves time on the set and reduces the amount of equipment needed.

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Opening tearsheet spread in EVO Magazine, a British performance car publication.

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Center tearsheet spread in EVO Magazine.

You are invited to a California themed art show by Jay and Jamie Watson at the Gleeson Gallery in San Francisco. The show is a mash up of our favorite things about this place.

Opening reception:
Saturday, September 8, 2012
4:00pm until 6:00pm

Closing:
Saturday, November 17, 2012
12:00pm until 2:00pm

Directions:
Gleeson Gallery – 148 Precita Ave., San Francisco, CA 94110 (between Folsom & Mission)
This is a unique gallery in a great neighborhood. Enjoy dinner or drinks afterward at one of these places nearby. http://goo.gl/maps/uy3i0

We look forward to seeing you!

Jay Watson: www.jaywatson.com/
Jamie Watson: www.cocobohemia.com

More photos of the show can be seen at: https://pineappleluv.blogspot.com – San Francisco art show

This isn’t an “old guys rule” or “look out for the groms” post. It’s just a high five to skaters Bob Burnquist (age 35) and Mitchie Brusco (age 15) for showing everyone that skills are more important than age when it comes to clearing a 70 foot gap and getting 45 feet of air off the ground. Or maybe it just doesn’t matter at that height when all you have are 4 wheels and a piece of wood under your feet? Check out ALL of the links below. What do you think?

Skater Mitchie Brusco, at age 15 won silver at the X Games Big Air contest on the mega ramp in LA. After I photographed Mitchie someone nudges me and says,”Hey that kid does 900s on mega ramps.” My reaction – “You’re kidding me. He’s not much bigger than his skateboard. How does he get the speed?”

Well he rips, and this is how: (video of Brusco 2012 x-games).

Bob Burnquist, a skateboarding veteran of big air still raises the bar at age 35. Naturally I was thrilled to finally meet him in person and he didn’t disappoint. Bob is wearing knee high rubber boots in this photo and the only skateboard with him this day was bolted to a surfboard. Here’s Bob in action in one of the best skateboarding films of all times – Bob Burnquist’s Dreamland A Backyard Progression.

Long live the Scorpion King!

Ammunition, a design group in SF, celebrated their 5 year anniversary with a very impressive private party at the de Young Museum in San Francisco. As with most event photography, it involved walking around with a camera and blending in with guests eating, drinking, in conversation, and enjoying themselves. We normally don’t look our best while eating and drinking, so I just tried to look invisible documenting the event. These folks sure like to party. Cheers to them for the gig, and to another 5 years in SF.

Our work in the show is for sale. If you are interested in anything please send an email and I’ll let you know about prices. Jamie has (11) framed 11X14 original monotype prints. Each of my (13) photography prints are 16X24 C-prints, flush mounted on gator board, and protected with a transparent clear coat. We put a lot of love into all of it.

Art Show Announcement:
The Little House Gallery in Menlo Park, CA is currently showing California themed work by the husband and wife team of lifestyle photographer Jay Watson and monotype print maker Jamie Watson. The show will be on display until July 9th.

Directions
Little House Community Center
800 Middle Ave
Menlo Park, CA 94025
(650) 326-2025

Hours
Monday-Thursday: 8:00am – 9:00pm
Friday: 8:00am – 5:00pm
Sat & Sun: closed

Overheard at the gallery: “When I was in Hawaii for my wedding, the minister’s son was surfing. The waves weren’t as big as that and I don’t think he knew what he was doing.”

Shooting An Editorial Portrait In One Hour

The window of opportunity to shoot Dr. Lalezari was very narrow. We had less than an hour before he had to catch a flight at SFO and within that window he was busy. Shooting inside his office was a good start (obvious choice), but it didn’t yield a heroic portrait plus it wasted a little bit of time. The roof top was our second option. The images from that set up were decent and very usable, but they still didn’t grab the attention that Dr. Lalezari deserved. Time was running out, but on the way back inside the building I noticed the stairwell leading to the roof had interesting architectural lines. Four minutes later with 1 light, 1 shoot through umbrella, a few test shots, and only 10 captured frames – we get it.

Getting to photograph people who are able to change the world help make my efforts feel more worth while. Dr. Lalezari would have been fine with the portraits from his office, yet he saw how the extra set up had paid off without making him late. I learned a lesson on this shoot to not cave in early just because of time. Four extra minutes can really make a difference.

Franchitti Facts

• 4x Indycar Series Champion: 2007, 2009, 2010, 2011
• 3x Indianapolis 500 Winner: 2007, 2010, 2012
• 239 starts under his belt between the CART and IZOD IndyCar Series
• 151 top-10 finishes
• 108 top‐five
• 26 poles
• 31 wins
• Has raced: CART, NASCAR Truck, NASCAR Sprint Cup, AMLS, Indycar
• Born in Scotland
• Once married to actress Ashley Judd

Tips For Shooting Motorsports Events

1. Don’t even think about bothering the pit crew, drivers, and definitely stay out of the way.
2. Bring plenty of media storage cards. You’ll be shooting/editing more than usual. Maybe a few thousand images.
3. If you take a souvenir home with you from the track, just consider yourself uninvited to ever shoot there again.
4. Better have some liability insurance if you want access. $2,000,000 in coverage should do. This isn’t your local pinewood derby race.
5. Carry everything you need via backpack or speed belt. Chapstick, sunblock, earplugs, Advil, hat, energy drinks, and snacks are just as important as your camera.
6. Study the course the week before the race. Scout early to learn how to access the best spots before the race begins.
7. If you have access codes to locked gates – lock them when you are shooting, and make sure they are locked when you leave. You could get pulled from the track if someone unauthorized slips in because of your mistake.
8. Be nice to the flag workers. They might show you a good spot.

Bucky Lasek

The April issue of The Skateboard Mag ran a double page spread with 16 of my portraits in their editorial section called “Exposed.” They asked me to write a few words about this ongoing series that includes portraits of both pro and amateur skateboarders, but I forgot to mention the obvious. This work is extremely rewarding! The 14 year old kid inside is extremely thankful to have these opportunities and friendships. This is not just “photography” – it’s part of my life. These images were photographed in San Jose, Santa Cruz, and Encinitas over the course of 6 different photo sessions. They are a small slice from what I have already shot, and I will continue to shoot more when I can.

Ironically there has been some internal pressure building inside over these portraits. I feel like I owe it to everyone who has been photographed to turn this project into something worthwhile. A book? A gallery show? I am not sure. For now I just want to skate and keep shooting, then figure out what to do later. If you have any suggestions, I’d love to hear them.

Gallery link to: Roots, History & Concrete – a skateboarding portrait series including: Grant Brittain, Bob Burnquist, Steve Caballero, Eddie Elguera, Bennett Harada, Christian Hosoi, Daren Jenkins, Jason Jessee, Bucky Lasek, Keith Meek, Darren Navarrette, Pat Ngoho, Zach Miller, Duane Peters, Dave Swift, Sergie Ventura, and more.

Duane Peters

Words from The Skateboard Mag:

It’s hard to photograph skaters when I’d rather be skating myself, so shooting portrait set ups instead of action has been my way around the problem. This series began with the idea to document skateboarding friends in Northern California, but the project unexpectedly evolved into a collection of something bigger. It’s about roots, history, and concrete. Groms and legends. I’m grateful for everyone who has been so willing to participate. I attribute it to skateboarding’s brotherhood and for the shared love of a grind. People appreciate the admiration that comes with spending even just a few minutes to be photographed. I just want that respect to come out in the photos, or at the very least show a glimpse of what each person’s skating style is like through their portrait. Thank you skateboarding.

– Jay Watson

Christian Hosoi

Three facts about these skaters:
1) Duane Peters would make an excellent boy scout leader.
2) The first time I saw Bucky Lasek skate was at a street skate contest at Patterson Park in Baltimore, MD roughly 25 years ago. He won first place. I was disqualified for jumping off the judge’s table.
3) The portrait of Dave Swift (in the gallery) is one of the last photos of him before he got his front tooth fixed.

A big thanks to Grant Brittain, Steve Caballero, Steve Potwin, Bucky Lasek, Judi Oyama, and Pineappleluv for the support.

Royal Jokers Car Club in Auto Cult Magazine

In a few months the second issue of Auto Cult Magazine will be released. Inside will be an editorial feature on the Royal Jokers Car Club that I photographed. We shot each car with it’s owner at different spots in Hayward, CA – a great town for shooting lowriders and customs. The ride above is RJ’s 1973 Riviera and lit with 3 strobes at dusk. The photo does not do the paint justice. The Jokers don’t clown around when it comes to paint.

One of the things I’m most looking forward to seeing is Patrick Cheatham’s 360 spherical panoramas of the Royal Jokers for Auto Cult’s website. It looks like a nice way to blend photography into interactive pieces for online magazines. Big thanks to Jokers RJ, Javier, Jimmy, Carlos, Ben, Jose, and Freddy. I also want to thank the town of Hayward for staying inside to watch the super bowl. That allowed us to shoot at several spots without getting noticed or kicked out. Thanks!

Athletes in these photos: Eric Clarkson, Tommy Zaferes, Josh Bjornstad, Stephanie Hocom, Elle Washburn.

Fact or Fiction?
Did two seagulls really steal our sandwiches while Nils and I were working during our lunch break? Yeah it really happened. Those birds are like wolverines with wings and a license to do whatever they want. Sad, but very funny. “There goes our lunch!”

See more from this shoot here: Cyling Running and Fitness Shoot for Magellan GPS

These images are from the Petit Le Mans Race at Road Atlanta. They are outtakes from a shoot for the online gaming company Simraceway. If you are a gamer or race fan check out their product. They are very passionate about auto racing and have worked with some of the best drivers in the world in order to develop their game.

The camera work for Petit Le Mans involved hiking with an overloaded backpack full of gear over the race course for 12 hours. It’s another example of how some of my assignments are more similar to a construction worker’s job as opposed to the preconceived vision of a photographer working in a plush studio. Photography always seems to involve some level of sweat. If I am not building a studio set on location then I’m probably lying in the dirt somewhere with a camera. It’s not always pretty. Shooting auto racing is loud and somewhat physical work. It has given me a glimpse into the sleep deprived world of sports journalists. The air travel, early location scouting, and race schedule lead to a full weekend of work, but a few preparations can help make it more comfortable.

click to enlarge images

Entering turn 2 at Road Atlanta. Petit Le Mans

How To Survive Long Shooting Days On Location. What’s In My Camera Bag?

Items that get me through long shooting days include: trail mix, chap stick, suntan lotion, Cliff bars, ear plugs, Tic Tacs (has to be mint flavor), Advil, and 5-Hour Energy drinks. All this stuff goes in my camera bag and I wouldn’t be caught without these life savers. If it’s over 85 degrees, skip the sandwich.

A Tank Worth Carrying:

The Nikon 400mm F2.8 lens. This monster weighs 16lbs and requires an extra carrying case, designated backpack, or it has to be carried over your shoulder while mounted to a monopod. Well worth the haul. Even with good access to the course the 400 opened up some creative doors.

In the image below of cars racing in a line, the Nikon 400mm F2.8 allowed me to shoot directly through a fence without it being noticeable in the final image. The fence is still there, but it so blurred out that it becomes invisible. This would not have been possible with a standard 70-200 F2.8 zoom lens.

Turn 4. Petit Le Mans at Road Atlanta

Dusk laps at Petit Le Mans race at Road Atlanta

Since Le Mans races are either 12 or 24 hour sporting events, I had the opportunity to shoot motor sport racing at dusk. This is also a time when the track is considered faster for several reasons. Tires have good traction since the course is still warm, visibility is better than overhead mid day sun, drivers are familiar with their lines, and as the air cools engines run a little quicker. The headlights also became highly noticeable. They’re moving at laser speed. This unexpected light show overtop of the pounding engines was not a sensory overload. It was Petit Le Mans, and unlike any other experience I’ve had on the job.

Porsche Teams. Petit Le Mans at Road Atlanta

The “Esses” at Road Atlanta

Shooting Skateboarders and Artists

Board Rescue is a non-profit corporation. They partner with companies within the skateboard industry to supply decks, trucks, wheels and safety equipment to organizations that work with children while targeting low-income and at risk youth. A fund raiser art show to benefit Board Rescue was held at The Santa Cruz Boardroom Skate Shop and turned out to be an incredible event. It not only helped raise money for the organization, but it was a gathering of many Northern California legends, pros, artists, skaters, parents, and groms from within the sport.

Portrait gallery for Board Rescue

Below is a gallery of portraits I photographed of those who were in attendance. I built a 8’X8′ background wall inside the space with wood paneling, some heavy duty light stands, and about 10 pony clamps. The wood background was a last minute decision to play off the Board Rescue name. It was well worth the effort. I photographed some friends who I normally skate with, made some new friends, ate Sushi from one of my favorite places, and had a blast while working.

View the Full Gallery of skateboarding portraits in Santa Cruz, CA for Board Rescue

Included in the gallery: Camillo Arana, Eli Atkins, Rick Blackhart, Don Bostick, Danielle Bostick, Steve Caballero, Terry Campion, Michael Chantry, Chasen Christensen, Mikey Donnelly, Joe Fong, Scott Foss, Joel Gomez, Gary Holl, Andrew Huberman, Jake Jeffers, Jason Jessee, Gary Myall, Keith Meek, Richard Novak, Judi Oyama, Jimbo Philips, Eli Roe, Ray Stevens, Kori Thompson, Ryan Wade, Cameron Weaver, Mark Whiteley.

Thanks to Judi Oyama of Maximum Impact Design and TC of The Santa Cruz Boardroom Skate Shop for inviting me to be part of the event. An extra special thanks to everyone who stepped in front of the camera for a visit. If you dig this work please give a like. Chest bump for a share.

The second image is from a studio set up we built inside a garage bay not far from the racetrack. The coolest thing about shooting the 2x Indy winner was seeing his professionalism on set. He was all business! However once the shoot was wrapped up he was personable, humble, and incredibly thankful. I dig that.

I currently use Capture One to shoot tethered for most of my commerical and editorial jobs. There is no reason why you shouldn’t be shooting tethered for studio work, and if you have a laptop it’s almost just as easy when working on location. This is a tutorial on how to shoot with a DSLR camera tethered to an Apple Macbook Pro (MBP) laptop (or Mac running OSX) using either Adobe Lightroom or Adobe Bridge.

– Bummers of Shooting Tethered

At one time I avoided shooting tethered. It seemed like one more thing to troubleshoot, and for location work I didn’t want to bring more items to a shoot. More equipment can mean less interaction with your subjects. Software for tethered shooting was another barrier. I didn’t want to purchase another piece of software. Connections in early versions of Lightroom were unstable. It really sucked. Mainly, I just didn’t want a crowd hoovered around a computer screen making comments and slowing down the pace of a photo shoot. 

+ Benefits of Shooting Tethered

Tethered shooting became easier when Lightroom 3 (LR3) was released. Most of the bugs disappeared, and is now even better in the current version of LR Classic. Having more eyeballs on a monitor is better than having them over my shoulder. Small problems appear bigger and are easy to identify on a larger screen. Subjects are more relaxed because they can see themselves. They are more aware of the mistakes (seeing them as normal), able to see the hero images that become top selections, and are more engaged in the process which allows them to feel more comfortable. Shooting tethered only requires a few extra minutes of prep, but it makes the images better. Plus, at the end of the shoot you don’t have to download images. It’s already done while on set. On to the tutorials . . .

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Option 1: Shooting Teethered in Adobe Lightroom (LR3 – LR6, LRC CC)

LR is the easiest solution for shooting tethered. Go here for the Adobe list of cameras supported for tethered capture.

Step 1) Make sure you are using the latest version by going to Lightroom–>Help–>Check for updates.

Step 2) Start with an empty reformatted memory storage card in your camera. Set the camera’s USB settings in the Menu to “MTP/PTP” (Nikon) or “Communication: PC Connect” (Canon). Turn camera “Off.”

Step 3) Connect the camera cable to your camera body and the other end to your computer’s USB port.

Step 4) Go to LR–>File–>Tethered Capture–>Start Tethered Capture

Step 5) Choose your settings in the “Tethered Capture Settings” dialog box. Notice you can create presets that allow you to batch rename, append your contact info (also usage, caption, description, etc…) to the metadata, and apply keywords. This happens automatically to all new images shot and imported via tether. Does this slow down the flow of data. Nope! Set them up and click “Ok.”

Step 6) Turn camera “on” and start shooting! You’ll see your camera visible in the upper left corner of the “Tethered Capture Window.” Savvy photographers will create a develop preset to apply to each new imported image.

Tips: To avoid any confusion between tethered shooting sessions, shoot a test image, process it in the Develop module, then go back to the Tethered Capture Window and choose “Same as previous” for the Develop setting. Choose the “Auto Advance Selection” so that LR will preview each new image as it is captured.

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Option 2: Shooting Teethered in Adobe Bridge

Yes Adobe Bridge can be used for shooting tethered, but Adobe removed the option to “Auto Preview Latest File” so you’ll have to click on each new capture to see a large preview. So it’s not as seamless as Lightroom but it’s a free option available to anyone with Photoshop. 

Step 1) Create a new folder on your hard drive for the tethered photo session.

Step 2) Start with an empty reformatted memory storage card in your camera. Set the camera’s USB settings in the Menu to “MTP/PTP” (Nikon) or “Communication: PC Connect” (Canon).

Step 3) Connect the camera cable to your camera body and the other end to your computer’s USB port.

Step 4) Go to Applications. Launch Image Capture. From the dialog box select your tethered camera under Devices, then create or select a destination folder by going to Import To–>Other. Choose the new folder you created in step 1. 

Step 5) From Image Capture go to: File–>Take Picture. Choose “Manual,” check “Download new images to,” then choose the same destination folder from step 5.

Step 6) Go to  Adobe Bridge. “View” menu, Sort, choose “By Date Created.”  Uncheck “ascending order.” You are now telling Image Capture to send each new capture to a destination folder, using Bridge to watch that same folder.

Tips: Every time the camera is turned “off,” you’ll have to repeat step 6 when you turn it “on.” Close the unnecessary panels in Bridge. Decrease the Content panel (thumbnail views) size and increase the Preview panel to allow images to be viewed as large as possible.

Note: There is no auto advance setting to view each new capture at a large size in the Preview panel. Use the arrow keys to navigate to each new capture. No biggie for a small volume shoot, but a deal breaker for a commercial job.

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Equipment For Tethered Shooting:

16′ or 25′ USB Booster Extension Cable
This is a must! Standard USB camera connection cables are too short for practical work. Since transfer speeds are slower over distance, typical USB extension cables are a poor choice. An “active” USB extension cable or “booster” cable is self powered through the connection, allows a cleaner signal, decreases the risk of corrupted files, and maintains a steady download speed. Active USB extension cables can be daisy chained up to 75.’

IOGEAR USB Extension at Amazon

www.tethertools.com: Tether cables, platforms, grip, & accessories

www.seaportdigital.com: Laptop cases, platforms, and laptop shades

www.thinktankphoto.com: ThinkTank’s Sun Screen (laptop shade)

www.monoprice.com: USB extension cables. Great prices for any type of cables.

For those starting out – here is a list of basic photographic terms.

The very cool folks in Brazil at Alma Surf Magazine posted an interview and image gallery of my work. They included their choices of some of my surfing images and surf related portraits. A big thanks goes out to Alexandra Iarussi for the interview. It is definitely an honor to get a little attention from Brazil. It is just too bad I can’t read the interview. It’s in Portuguese!

Link: Jay Watson full interview with images.

interview by Alexandra Iarussi

Where were you born?
I was born in Baltimore, Maryland. In 99′ I moved to California, but since I still have a lot of friends and family in Baltimore it is still a big part of my life.

You live now in SF, right? Are you married? Have children?
My wife Jamie and I live just south of San Francisco by 20 miles. It is a good little spot close to the city and not terribly far from the coast. We have a baby boy named Duke Everest Watson. We have both been very busy finding out what this parenting business is all about. So far so good.

How is your relationship with California? What are the things you love and hate most?
California has been an influence on me for my entire life. It is kind of like my mentor and there is enough here to keep me inspired forever. Baltimore is in my blood but California is part of my soul. The only thing that bums me out are the clusters of crowded towns and traffic everywhere. It must have been perfect here at one point. A friend once said it would be paradise if 50% of the population moved somewhere else. Maybe so.

How did you start shooting? I read you went to a college that was more “conceptual” and that it placed the importance on having concepts in images. What was it like learning to construct concepts when shooting? Or was it something that came naturally to you?
I was always painting and drawing growing up and gravitated to photography probably due an obsession with magazines. My instructors in college would never say “oh that image looks cool.” It was more “what does this image mean?” That question really challenges you and forces you to drop the cliche stuff. At first, I had a hard time working in that direction. It was not natural until I started learning art history. Eventually I figured out how to put myself into the work. Now, I mix it up but mainly shoot subjects that are “cool” to me.

What do you strive for the most in photography?
Ultimately I’d like to have prints in the hands of collectors and galleries. If an image is not worthy of hanging on a wall then who cares if it was published or printed in a magazine. It’s nice when an image works for both and fortunately it happens sometimes.

What is your relation to surfing? And skating? Do you practice any of these sports?
Oh most definitely! They are both very addictive. Surfing satisfies that primitive instinct to be connected to nature, and skating is like being chased while someone is yelling at you! It rules.

You told Refueled Mag that the beautiful thing about skating is the friendship among the skaters. In surf, you mentioned the heavy crowd and individuality. Maybe skating gives you more freedom, since it can be done at any place, anytime. Do you think these aspects are transmitted in your photography?
Wow! You are getting conceptual on me with this question. I’m impressed. Well I do see those connections. Photography is like skating in the sense that you can practice a trick and eventually be rewarded for your own effort. However just like surfing, if the conditions are good you’re going to have a much better experience. A good surfer or good photographer can make due in any situation, but poor conditions make the days tougher.

I realized you do a lot of portraits. What characteristics attracts you to people?
People who have accomplished a goal or who are making a difference in the world in their own unique way are inspiring. That makes for a good story or a good photo. I like the heroes and antiheroes. We are all here for who knows how long, so I like being around people who are making the most of it. I also dig the art of portrait work and how the final image can honor the subject.

Who would you like to photograph?
Oh man, there are too many people, but I’d like to shoot anybody with the last name Fletcher or anyone with a mustache.

Do you have an image(s) that you consider your best image?
I like to think those images have not yet been made, but I do have some favorites. It really changes every few months. Sometimes I find something I forgot about or it appears from a group of images I didn’t have time to edit. A few months ago I made a poster of a groom scaling down a cliff with his surfboard. It’s probably a normal day for him, but this kid looks like a crab clinging to a rock. It is nice to see that poster hanging everyday in my kitchen. I just hope that kid is having the time of his life growing up surfing.

Who are your inspirations (idols) in photography?
Sir John Herschel, Thomas Wedgwood, Talbot, and Hippolyte Bayard. They are some of the early pioneers who hardly get recognized. Eadweard Muybridge was a true genius, but it’s too bad he was a murderer.

I read that Costa Rica (Pavones) and Baja Califórnia are places you’d like to visit. What about Brasil? Would you like to visit here someday?
Of course! There would be so much to photograph. You live in an important place on this planet and I’d dig seeing everything from villages in the rainforests to the cities on the coast. I’d get to meet the staff at Alma Surf in person as well as those bandits you have down there named Ciro Bicudo and Jair Bortoleto! Plus I could leave my 4/3 wetsuit at home.

 

One of the best things about the San Francisco Bay Area is being close to 36° 57′ 18″ N x 122° 1′ 28″ W (Latitude: 36.95521, Longitude: -122.02458). There are many spots to visit in Northern California but none of them quite like Steamer Lane. It’s a great place to watch pros, kooks, hot heads, legends, groms, hippies, Uncles, campers, pirates, paddlers, and seals. That is the magic of SC. It has something for all of us.

After a late evening session at the inside peak earlier this summer, I decided to photograph the moving water instead of the surfers. Due to the slow shutter speed in the last image above, the 5-10 guys scrambling in the water are invisible after being caught by one of the larger 8ft+ sets. You can’t see them, but they are there.

Northern California skater Roger Mihalko has one of the most unique styles of anyone I’ve ever seen. He truly brings creativity and soul to the sport and rides as if he is making a piece of art in the process. Here is a video of Roger getting nice with ripper Bob Lake, and a barefoot adventure Roger filmed for Lowcard Magazine. RM is also a former rider for Gravity Skateboards and Solitary Arts.

I donated a photo print to Surfindian’s art show to benefit Japan this weekend in San Diego. My wife Jamie sent one of her monotypes in the middle of teaching our 2 month old son how to rule. Looks like a great show with some really cool artists. We’d love to be there in person, but our hands are a little full. Thanks to Masa and Chris for the invite!

On Saturday, April 2, from 6 p.m.-10 p.m., Surfindian in Pacific Beach, CA will host a special event to benefit earthquake and tsunami-ravaged Japan. The fundraiser will include live and silent auctions, live music from The Red Fox Tails, food, drinks and other surprises. Surfboards, art and other items will be auctioned off from shapers, artists and businesses including: Skip Frye, Michael Miller, Steven Mast, Jim Phillips, Manuel C. Caro, Mike Hynson, Koji Toyoda, Yusuke Hanai, Damian Fulton, Devon Howard, Julie Cox, Skye Walker, Jay Watson, Jamie Watson, Cher Pendarvis, Elise Kirkpatrick, Meegan Feori, Seitaku ”Tak” Aoyama, Susan Wickstrand, Christine Brailsford, Kassia Meador, Tyler Warren, Taylor Dunfee, Sam Cody and many more.

All money raised from the auctions or otherwise donated will be given to the U.S. Japan Council, a 501(c)(3) charitable organization. Surfindian is a surf shop and gallery located in Pacific Beach, California. Surfindian features art-driven, small batch products that reflect an individualized approach to the art of surfing.

More information can be found at www.surfindian.com

These images were shot in the hallway. After the shoot, HP’s vice president of corporate marketing said, “we have a lot of shoots here and this is the first time anyone has ever used that wall as a background.” ANA Mag chose a few shots of Gary smiling for their editorial piece, but I preferred the outtakes below.

4 light set up
• Overhead main light on a boom – small softbox
• Camera right – large softbox
• Camera left – large white reflector for fill
• Background – (2) lights. No diffusion.

click to enlarge

 Zach Wormhoudt represents Santa Cruz well. His father Ken Wormhoudt, built the legendary Derby skatepark in 1976 that has been featured in classic skate videos and magazines. The park still stands today as a mecca for skaters visiting Santa Cruz and is a landmark to local residents.  Zach is also a humble and well respected surfer in the lineup at Mavericks and has won a Billabong XXL Award for the biggest paddle-in wave one winter.

California skate culture owes a big thanks to the Wormhoudt family. Not just for Derby but for all of the amazing skateparks Wormhoudt Inc has built up and down the state. It has made a huge impact in the lives of skaters young and old with me being one of them. I’ve worn out plenty of shoes, gone through numerous decks and wheels, and had some great times with friends riding these parks. So what do you do when you get to photograph a person who has played a role in your life by building bowls and pools that you previously only dreamed about? You come with gifts, a handshake, and gratitude.

Cold Water Souls, by UK author Chris Nelson will be published world-wide will be available at select book shops, surf shops, and on Amazon.com

update:
Cold Water Souls (1 of 4)
Cold Water Souls (2 of 4)
Cold Water Souls (3 of 4)

Richard Schmidt has been a dedicated big wave surfer, competitor, professional, and surf instructor for decades. Though most of his time now is focused on his surfing school in Santa Cruz, Richard was a regular in the line up at the North Shore every winter for 15 years. A multi year invitee at the Eddie, many people are not aware of Richard’s role in the history of Mavericks. He too was one of the early pioneers along with Jeff Clark who helped figure out how Half Moon Bay’s behemoth could be ridden. I have a deep respect for Richard and his presence commands attention. This comes from either his heroic stature among Santa Cruz locals or from his reputation and list of accomplishments. However I like to think it comes from his quiet manner that gradually diffuses any preconceived ideas that go along with a legendary status. That to me is cooler than charging monsters and slaying giants.

Cold Water Souls, by UK author Chris Nelson will be published world-wide will be available at select book shops, surf shops, and on Amazon.com

update:
Cold Water Souls (1 of 4)
Cold Water Souls (2 of 4)
Cold Water Souls (4 of 4)

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John Hunter is one of the product designers at O’Neill Wetsuits. In fact he created the exact same wetsuit that I use – the O’Neill Mutant. For that same reason, I can say that John has made a significant contribution to not just me but to many other surfers. He makes the cold stuff much more tolerable. John is extremely dedicated to his job, his love of surfing, his love for Santa Cruz, and he has an insane quiver that I am dying to see.

The O’Neill R&D department is old school and legit! It consists of the Pacific Ocean right in their own back yard. Non surfers see a wetsuit as a weird neoprene monkey suit, but once someone points out all the features they’ll be surprised at how much technology is used just to provide warmth and freedom of movement to surfers. As for genius product design, take a look at the Zen Zip on the O’Neill Psycho wetsuit – yup another Hunter design.

• • •

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Darryl “Flea” Virostko at Mavericks in Half Moon Bay, CA.

Darryl Virostko is a cold water legend. I have not had the privilege of meeting him, but will hopefully someday get the chance. This cat has definitely lived an epic life. There have been some injuries and demons, but the three time winner of Mavericks should never be counted out as long as he is in the line up. This image of Flea was taken at the 2010 Mavericks contest. He took a terrible spill in the first heat, but here he is in the first heat of the semi finals with a few tricks up his sleeve.

Cold Water Souls, by UK author Chris Nelson will be published world-wide will be available at select book shops, surf shops, and on Amazon.com

update:
Cold Water Souls (1 of 4)
Cold Water Souls (3 of 4)
Cold Water Souls (4 of 4)

Cold Water Souls will be published world-wide and available at select book shops, surf shops, and on Amazon.com

from Approaching Lines:
Cold Water Souls: In Search of Surfing’s Cold Water Pioneers is the ultimate journey of discovery. It has seen author Chris Nelson embark on an epic exploration of surfing’s most frigid outposts to track down those pioneering souls who call the world’s coldest and least hospitable line ups ‘home’. From Iceland, Thurso and Hokkaido to Nova Scotia, Alaska and beyond he has journeyed into the heart of surf culture to tell the story of each destination through its surf community, exploring how the landscape and harsh environments have shaped their lifestyles and surfing experiences. Never before seen archive images and photography contributed by some of the world’s leading surf and documentary lensemen, including Brian Nevins, Jeremy Koreski, Jay Watson, Nick LaVecchia, Richie Hopson and Tim Nunn help capture the essence of these regions. In celebrating this underground seam in surfing’s rich culture, Cold Water Souls goes to the very boundaries of modern surfing, exploring waveriding’s final frontiers thorough fresh perspectives and stunning imagery.

British author Chris Nelson was recently interviewed in Huck Magazine. He surfs all the cold stuff and has published several travel books on surfing in Europe. Too bad I didn’t get to shoot Chris or the bearded Wayne Vliet from Vancouver Island. Thanks to Chris and Demi for the gig.

Over the next few days, I will be posting more images and outtakes I shot for the book.

update:
Cold Water Souls (2 of 4)
Cold Water Souls (3 of 4)
Cold Water Souls (4 of 4)

Originally this post was a book review of my friend Dan Moughamian’s 100 Essential Techniques for Lightroom, Photoshop and Adobe Camera Raw. It offered a unique way to learn, but much has changed since it was published. We are now in the cloud, and we have mobile workflows. Dan hasn’t published an update to his book, but if he does I’ll mention it here. Otherwise, here are some suggested options in order with updated links.

PhotoShop and Lightroom can be learned in several ways:

1) Adobe Learn & Support tutorials
Great place to start for the essentials! Choose your software, pick a category, and dive in.

2) Get a 400 page PhotoShop bible.
These books cover everything! It requires a lot of self discipline and a year of Sundays BUT you can become a master. My Photoshop bible is Adobe Photoshop for Photographers by Martin Evening. Now that Photoshop is updating it’s software often through the cloud, new versions of the book are released each year. Get it once, then just stay on top of new features as they are added. Dog ear the pages, and add Post-It notes for quick reference.

3) Videos subscriptions
If you prefer video tutorials try these pay to subscribe options: Lynda.com photography software tutorials or Kelby One videos

4) Take a class
A good balance between 2 and 5. Your time is well spent if you have goals, but it’s an on going time commitment.

5) Go to a workshop
Events are fun, however you’ll be upsold on DVDs and books. Naturally you’ll buy them because the workshop went by so fast.

6) Experiment and learn through trial and error.
You are probably going to destroy a few images, and will need to redo them once you learn the correct methods. There really are no shortcuts to learning so enjoy the process along the way. This can work well, but only if you combine 1 or 2 options from this list.

7) Youtube
People love to show off, and Youtube is a good place to learn special effects in Photoshop.

Note: I once took a class that only encouraged option #6. True. After years of screwing everything up, I tried option #5 which convinced me that I needed several versions of option #2.

Book review below (from 2011)
Recently friend and author Dan Moughamian came up with another option in his release of: Adobe Digital Imaging How-To’s: 100 Essential Techniques For PhotoShop CS5, Lightroom 3, and Camera RAW 6.

This text is geared toward beginners and intermediate users, but somehow Dan managed to include nearly something for everyone. For Lightroom, all the crucial info on importing, organizing, collections, developing, local tweaking with adjustment brushes, and exporting is covered. If you are new to LR this book will get you started! PhotoShop newbies get a run down on essentials like: preferences, Bridge (and mini Bridge), navigating inside PS, brushes, layers, and retouching techniques. They’ll also be able to jump right into the nuts and bolts of masking, selecting, HDR, brush textures with bristle tips/mixture brushes, creating lens blur, and stitching panoramas. Beginners will love the easy layout. The format of tips encourages you to jump in without overloading your brain and eating away your precious weekends.

Both CS5 and LR3 have been out for a while and it is easy to forget all the new things included with their release. Dan shows you the good stuff without slowing you down with a history and background of what life was like in the Dark Ages. He cuts right to the chase. Advanced users may even enjoy looking over the book as a guide to see what they don’t know or have forgotten. If you are a photographer, I’m sure you get asked all the time about what camera to buy. Do you ever get asked for help with software? If so, add some of the links below to your bookmarks.

4 Tips That May Have Slipped Past Your Radar (also in Adobe Digital Imaging How-To’s)

#44 Exporting Slideshows as Video in Lightroom.
Once your slideshow is set up in the Slideshow module, go to “Export Video Button” and choose a video preset according to your needs. The Develop module is so powerful that I wonder how many people overlook the Slideshow module? LR 3 has added the ability to export a slideshow into a self contained video complete with and intro, transitions, and ending page.

#54 Mini Bridge
If you are used to Bridge, you’ll have to remind yourself to try Mini Bridge. It behaves like a palette window inside PhotoShop allowing you to visually find files quickly. Click the icon panel that displays “Mb” on it to use Mini Bridge.

#80 Sharpening tool in PhotoShop CS5.
With the sharpen tool, check protect detail” in the options bar. Finally the sharpen tool becomes useful without causing the same nuclear pixel melting session that occurred in previous versions of PS.

#100 Image Processor
An oldie but goodie that is often overlooked. The Image Processor allows you to convert a group of images to JPEG, TIFF, or PSD format and/or resize them if needed. However instead of doing this through Adobe PhotoShop, I suggest selecting the images you want to address in Adobe Bridge then go to Tools–>PhotoShop–>Image Processor.

Overall: I would recommend this book to anyone getting started in Lightroom or PhotoShop and for seasoned vets who have skipped a version of LR or PS. Advanced users may thirst for more guru techniques, yet appreciate brushing up on tools that snuck past their radar. Dan is cool enough to recommend where to go next for anyone looking for more skills. For additional info about the book and author Dan Moughamian:

Adobe Digital Imaging How-To’s:
http://www.amazon.com

For last month’s fundraiser art auction hosted by the Hell’s Bells Car Club at 941 Geary in San Francisco, I was lucky enough to test out the services of BumbleJax in Seattle, WA. BumbleJax is a digital printing company that mounts finished photographs on either 1/2″ gatorboard, 1/8″ acrylic (with dibond aluminum composite backing), 1/8″ aluminum, or 3/4″ bamboo. Their quality is absolutely top notch and completed work shows up ready to hang immediately out of the box. All mounting hardware is included and attached to the back.

A Few Important Facts:

1. Finished pieces are flush mounted for a frameless display. So this is great alternative to traditional matting and framing. BumbleJax does the grunt work of cleanly bonding (2) 1′ x 2″ Douglas-fir slats to float the work away from the wall. Hanging wire is attached and drywall hooks are included.
2. Images are printed on Ilford 10mil professional satin photobase paper (acid free) on a HP 6100 large format printer with HP Vivera pigment inks that are rated to last an excess of 100 years without fading if kept out of direct sunlight. Metallic paper is also available.
3. Bumblejax has a return policy and satisfaction is 100% guaranteed.
4. After choosing an image, I uploaded it to the BumbleJax website, selected my size, and substrate material. The online interface is simple and the FAQ is laid out well for finding answers to any questions. Shipping time was as predicted according to BumbleJax’s website. As with most online printing companies, they support color spaces sRGB, Adobe RGB 1998, and accept JPEG files only. Not at all a problem if you embed either color space into your files and save at a JPEG quality level of 10 before uploading.

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Photo Mounting options from Bumblejax include (clockwise from upper left): acrylic, aluminum, gator board, or bamboo.

Interview with Corey Dwinnell of Bumblejax about the process.

JW: How do the adhesives used to mount the prints effect the archival quality of the prints?
Corey: The adhesive is PH neutral so they will not compromise the print at all.

JW: Do the laminates protect against UV rays?
Corey: Yes, they have built in UV inhibitors (but keep out of direct sunlight)

JW: How does the satin finish (for prints mounted to aluminum, bamboo, gatorboard) and acrylic laminates effect archival properties?
Corey: The satin laminate and the adhesive used during the face-mounting process both have UV inhibitors to further protect the print from UV damage. Technically, when a print is pressure mounted to a substrate it is no longer truly archival. However, these prints will last decades without fading as long as they are kept out of direct sunlight and high humidity. It is also recommended that all artwork, no matter how it is framed or displayed, be rotated every other year so that it is not in the same light environment year after year.

JW: I assume the acrylic laminate is more clear and less noticeable than the satin finish. True?
Corey: Yes, the acrylic mounting is a completely different process. It is called face-mounting. Here is a link explaining this process further: https://www.bumblejax.com/content/what-is-face-mounting/

So What Do I Think Of BumbleJax?
I choose to mount a photograph on 15″x20″ aluminum which includes a satin finish. The printing, mounting, finishing, and construction quality it terrific. For frameless mounting of a photo I would be hard pressed to find better materials or a more convenient service. I was blown away at the results. This type of presentation will take your work to a completely different level. The photos above do not give the final product justice. It looks much more high-end in real life. The perfectly flat 1/8″ aluminum feels solid and definitive. It’s weight alone makes you feel like you are holding something important and of substance. The satin finish is a great protective surface that does not catch reflections from interior lights. The only downfall is that whites in the image are less reflective and will appear closer to 5% gray.

Conclusion: I’ll be using them again, and I can’t wait! Thanks to BumbleJax and Corey Dwinnell for providing a great service. Check out BumbleJax for more info on prices and services.

• • • • •

RELATED POST:
Mounting and Hanging Photos Without A Frame:

This Sat I will have a piece in a group art show at 941 Geary in San Francisco. The Hell’s Belles Car Club will be hosting the 5th Annual Pinewood Derby Car Races & Art Auction Saturday, Sept 25th. Proceeds will benefit the SF Bay Area Women & Children’s Center. The piece I am showing, “Sinners & Jammers” (15″ X 20″) is mounted on aluminum courtesy of BumbleJax who kindly donated their services. A full review of BumbleJax will be posted here in the near future. The short answer is they are killer! Thanks to Jamie O’Keefe for the invite, and Corey Dwinnell from BumbleJax for the hook up.

• Free admission
• Silent Art Auction
• Pinewood Derby races
• Awards for fastest car & best in show
• REFRESHMENTS : Bring your own!

Saturday, September 25th: doors at 6 p.m, races at 8 pm

941 Geary
San Francisco, CA 94103
(415) 931-2500

Other artists include: Amandalynn, Ben Collison, Talbot DeVil, Josh Ellingson, Jeremy Fish, Frank Kozik, Michael Murphy, Jeremy Natividad, Jamie O’Keefe, TJ Rappel, Nicole Steen, Jeff Stevens, Sherwin Viray, and others. The auction artwork will be up during the entire event so come and check it out. You might be going home with something cool.

Last week Gadgetwise, a blog by The New York Times wrote a piece titled “Ten Photo Editing Tips From A Pro” using Adobe LightRoom. The Internet is a library of tips and tutorials on photography, and I’ve learned a significant amount of info from many of them, but this post by the NYT was almost as predictable as it gets. I guessed 5 of the tips before I read the post, and the other 5 were decent. But why is this even on the radar of the NYT?

If I had only one tip to share on this subject it would be this: Try to find your own way in this infinite world of processing and adjusting your images and try to avoid making it so obvious.

Your work should be about you and your subjects, not border effects and processing gimmicks. Have I not used some of these effects myself ? Sure I have, and I still play with them. At one time I was obsessed with sloppy borders in the darkroom, I currently use PhotoShop and LightRoom for much of my work, and I am completely blown away by some of the point and click effects from iPhone camera apps. However when are we part of the process instead of these machines?

I do get it. These effects are fun. They take “normal” looking images and make them more interesting. However, if we all used the same automatic one click effects, are we coming back full circle and making these processed images our new “normal?”

So what is not normal? Your tastes are unlike everyone else’s and nobody is exactly like you. So try to find your own mixture of shooting and processing techniques. Try to avoid the obvious. Work on your own techniques and develop concepts to set yourself apart. Otherwise if we don’t have time for that, we are just pointing and clicking, then clicking again to make it “cool.” Maybe that is all we have time for on some occasions, but if photography is your gig then try to create your own clicks and avoid everyone else’s.

– A friend who wouldn’t let another friend spend money on presets.

The above image was shot in Half Moon Bay, CA with a 15 second exposure while painting with a flashlight and processed with only one tip mentioned in the NYT article.

There are a few mentions in the podcast to some of my online publishing friends, but a few were left out. So I wanted to thank Autoculture, Drift Surfing, Liquid Salt, KorduryTV, and to Dave and his crew at Lensflare35. Hope you dig the podcast. Dave puts a lot of work into these shows. A like or share is greatly appreciated!

FULL INTERVIEW

From Lensflare35: “In this episode, Jay talks about his artistic style, tintype portraits, social media, his most challenging project, the perfect assignment, and whether he sees the demand for video outpacing static images in the future.“

SHORT VERSION. Slideshow and discussion of portfolio images on Vimeo:

Publisher Chris Brown of Refueled Magazine hooked me up with a 12 page spread and interview in the newly released #05 summer issue. You can check out issue #05 from the beginning, or just the Jay Watson interview in Refueled Mag #05 here.

You’ll never guess who did the interview. Wait for it….my wife! Chris asked Jamie, who spent at least two weeks developing her questions, to interview me for a feature. She avoided the typical stuff and asked questions I never thought about before. Jamie impresses me in everything she does and Chris did a killer job with the layout. He added graphical elements that complement the images without causing distractions. That is smart design and Chris does this with every single page of each issue.

Refueled Magazine exemplifies the creative possibilities of online publishing. Editor Chris Brown is drawing a wider audience and has ventured into book publishing. He’s good at making his content available. Mags are available digitally as well as for print purchase including back issues. Too bad I can’t get some Thrasher Magazine reprints. 

Links:
www.refueledmagazine.com
Follow Refueled on: Twitter ,  Facebook ,  Instagram

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One of the most rewarding experiences in photography comes from receiving a print order. Here are some recent gems that came in this week that were mounted on sintra and gatorboard. Go to the bottom to learn how to hang photos without a frame and without looking like a complete cheapskate by mounting your work.

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The mailman brings goodness.

Who gets what?

10″ X 15″ of Ion Banner goes to a lucky guy in New Jersey, mounted on 3mm sintra.

New Jersey is also getting a 10″ X 15″ piece of San Onofre, CA, mounted on 3mm sintra.

10″ X 15″ of Peter Mel is heading to Maine, mounted on 3mm sintra.

Prints for Habilitat in Oahu

Two 12″ X 18″ prints are being sent to Kaneohe, Hawaii for the 10th Annual Habilitat Luau & Art Benefit. Each year I donate work to Habilitat which is a long term residential drug addiction treatment center on the island of Oahu. This year I asked one of the residents of the program to select an image from my website to be included in the benefit. He excitedly chose this image below of Zach Wormhoudt charging down the face of a wave at Mavericks in Half Moon Bay, CA. This year’s luau will be on May 22nd at Windward Community College.

12″ X 18″ of Zach Wormhoudt is going to an art auction in Oahu, mounted on 1/2″ gatorboard.

Habilitat Art Auction in Oahu also gets a 12″ X 18″ print of Capitola, CA, mounted on 1/2″ gatorboard.

Frameless Presentation

A traditional way to hang photography is to mount the prints to a hinged 8-ply window mat board under UV glass with a custom frame. This offers the best protection but it is exceptionally expensive. I have been getting photos dry mounted to Sintra (a 3mm thick durable lightweight PVC material) and gatorboard (similar to foam core but much stronger due to the wood pulp fibers).  Dry mounting allows artwork to lay completely flat when framed under glass and is almost always required for pieces 11X14 and larger. Once mounted, you can also hang your work without a frame without using clothespins, binder clips, or thumb tacks. Your work does not deserve such injustice.

This 10″ X 15″ of Mavericks printed on metallic paper stays here, mounted on 3mm sintra and “floated” off the wall.

• • • • •

How To Go Frameless:

If done correctly frameless photography can look as nice as a framed piece and offer similar protection. You need to do (4) things.

1) Dry mount the photo to a substrate that will not flex. Materials can include: artboard, masonite, metal, plexiglass, and gatorboard, Foam core will not work and will warp over time. There is also a law of physics that states as soon as you mount a photo to foam core you will drop the photo and dent the corners. Don’t do it!

2) Have the artwork UV coated. This also protects the print from moisture, dust, and the color will not self destruct under normal viewing conditions. UV coatings can be either: clear, luster, gloss, or high gloss. These are extremely thin protective sheets that are completely invisible. Friends don’t let other friends emboss textured coatings like linen or canvas onto their photos. Keep it classy and go clear.

3) Place a self-adhesive hanger on the back of the mounting material. These are very strong due to the large surface area, but for larger pieces go with (2) adhesive hangers and a piece of wire.

4) “Float” the mounting material away from the wall. Many framers and labs mount a smaller piece of 1/2 gatorboard behind the dry mounted photo. The easiest solution is to use thick self-adhesive rubber bumpers found on Amazon and Home Depot. Place one at each corner of the print about 4 inches toward the center to hide their appearance.

Place the bumpers 4″ from the outside edge so they are less visible.

Additional info and resources:

Unless you don’t mind doing the whole thing over again in a few years because the color has shifted, don’t skip the UV coating in order to save a few dollars. Most labs and some framers can do this for you. The biggest concern for archival properties is from the heat and adhesives used in the dry mounting process. Shop around and ask questions, or do it yourself. To save a few steps take a look at the self-adhesive gatorboards and other materials at www.artsupply.com. Gatorboard is very rigid and will have to be cut by saw. You can do it yourself or job it out to save a few steps.

Here are two recommended and inexpensive online printing labs that offer color controlled printing (ICC profiles), dry mounting, and UV coating:

• Oscars Photo Lab

• White House Custom Color

Get your work outside of the computer and make some prints! Then hang em!

• • • • •

RELATED POST:
Photo On Aluminum: BumbleJax A Photo Printing + Mounting Service

My goal was to extract Freddy from the original image and apply a graphic treatment while still maintaining the purpose of a portrait. Last year I started converting images into line art and overlaying them on wood. When you convert a photo to line art you have to reconstruct elements of the image that get lost in the process. Below is the result of the cleaned up line art conversion applied to a wood texture source image.

The version above was fairly simple due to all the surrounding space which helps maintain the portrait, but it felt a little unfinished. A week later I added opaque white to the subject and a drop shadow which added more dimension.

At this point I felt like I was applying effects to an image without building new content. So I sent an email version to Brian Bounds for some advice and he sent back a mock up that took it to a whole new level. A collaboration ensued and after a few emails Brian came up with the image you see below. He added the bleeding heart and hand lettered text that is a combination of Old English and vintage West Coast graffiti lettering. The passage comes from a 1887 book on sea chanteys which services the subject well since sailing plays a role in the history of tattooing. The finished piece was printed one time and mounted on wood. It was sold at the Hell’s Belles Car Club art auction to benefit the Bay Area Women’s And Children’s Center in San Francisco.

“The entire Mavericks experience was both awesome and horrible at the same time. On the 13th of February 2010, there was no place I would rather have been. Conditions were good. I heard thunder all day long and fans hooted even when waves went unridden. It was also the most physically demanding thing I have ever done with a camera. With all of that power tossing and turning the boat, my body wondered early on, “what did you get yourself into?”

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1AM Still Packing

The Build Up
As epic as the words may sound, it is really only half of the story that surrounded the day. Contestants voted on Wed Feb 10th to compete on Sat and the announcement was made public on Thursday Feb 11. I was shooting assignments on both Thursday and Friday leaving less than 2 hectic filled days to prepare for the waves. This included selecting my lenses, picking up rental gear, packing, researching more info on the surfers, picking up the media pass in Half Moon Bay, and lining up two back-up plans for boat access. I slept less than 3 hours the night before the event and was at the docks early Saturday morning at 6am. There was also the uncertainty I would even get a spot on the media boat the morning of the contest. The waiting list was 5 times longer than available spots, yet I had to prepare as if it was going to happen.

Maybe I was lucky to get a seat on the boat, but I really worked “it” to get there. If I didn’t prepare and was granted a spot, it would have shown in the images. It was better to play it safe than to be sorry for it later. This doesn’t happen everyday and the last contest was 2 years ago.

Queen Of Hearts

Darryl “Flea” Virostko in person.

Western swell with light winds from the south.

Ion Banner robbing trains.

The Aftermath
I was hung over on Valentines day from the shoot. It lasted for 2 weeks, but not from the motion sickness. It was due to late nights processing well over 1200 images, making selections, writing captions, and working on a layout and sequence for the piece. The writing alone included 5 edits in total. Then came the unexpected side of the story.

As I was working, I witnessed numerous journalists, papers, bloggers, and fans post their take on the event. Some of which were very good and similar to my own images. Why was I spending all this time on something already well covered? It was becoming ancient in today’s live status and real time world. Nobody wants to see images of President Obama’s inauguration 1 year later. True. Unless there is a unique perspective.

I can’t complete with news media outlets. They are more efficient and can bust out a story in hours. My goals are different and spending 2 weeks on the Mavs project forced me to choose some less typical images, and tell a less obvious story. Drift’s presentation for an online editorial publication is very original. They create both multi page features and short daily blog entries. As a feature, they ran all 28 of my selections FULL SCREEN which is a refreshing way for Mavs fans to view the waves online. So it was rewarding to read the promoter of the Mavericks contest say my piece for Drift Surfing was “one of the coolest contest-day perspectives we’ve seen, great stuff.”

That was the intention.

Special thanks to Glen Sakamoto and Joe Conway for the support. You can see the entire post of Mavericks on Drift Surfing. More effort went into it than simply pressing a button on a black box. Hope you enjoy it.

• • • • •

UPDATE: Select images from “Incoming: The Biggest Mavs Yet” for Drift Surfing won an honorable mention at the 2010 International Photography Awards in the editorial category.

I grew up with Grant’s images so naturally he was an influence on my desire to become a photographer. Since he is both an image maker and a publisher, I got in touch with Grant last year to talk about today’s publishing biz with a Q&A here. Recently I was able to visit him at “The Mag” for a portrait shoot outside his office in Encinitas, CA. It was the shortest hour I have ever spent with anyone on a shoot. I was stoked to say the least.

There is a saying that you are not supposed to meet your heroes. It is sometimes true, but not always.

Interview by Glenn Sakamoto

What was it like growing up in Baltimore?
It wasn’t California. Baltimore is a blue collar sports town. So I gravitated to skateboarding and riding freestyle BMX bikes. There weren’t many other riders at my school, but my friends and I got to know guys in other parts of town. We rode when it was -20 below in the winter and 100 in the summer. The ramps and parks were always getting torn down so I was more into riding street. Baltimore also has some very creative criminals.  

What attracted you to go surfing?
Growing up I bought surfing mags because of the photography. Skateboarding got me interested in surfing. Outside of summer vacations, I was 3 hours from the ocean. When I moved to California and saw people surfing 70 yards away from where I was standing, it was time to start. Plus I was dating my wife Jamie at the time. She was a surfer and gave me the extra push.

What was the feeling you had when you first stood on a surfboard?
Standing up wasn’t a big deal, but dropping in on a small wave felt better than riding down a vert ramp. I suffered for 2 months getting into paddle shape so the hard work is what I remember the most.

Who did you look up to and admire when you were young?
Grizzly Adams, Evil Knievel, Muhammad Ali, Bruce Lee, Johnny Unitas, Tinker Juarez, Eddie Fiola, Alva, Natas, Caballero, Rodney Mullen, Ken Bradshaw, Andy Warhol. 

What inspired you to be a photographer?
It was all because of magazines. Bob Osborn started several BMX and Freestyle magazines and he also shot for them. There were also skate photographers Mo Fo, Bryce Kanights, and Grant Brittain. Their work was delivered to my house in mags every month. Warhol was into film making and photography so the camera also felt like a natural artistic choice. 

What is your process for creating a great photo?
I research and plan out ideas for my portrait work, and my photo essays are usually inspired by a theme. Action sports requires knowing your gear well and being in the right place at the right time. You can have all the luck in the world, but it won’t matter if you are not prepared. 

Of all the places you have traveled to, what stands out? And why?
Harpers Ferry, WV is a special place due to its history. I have hiked trails in that area several times and it feels like it is still occupied by the spirits of native American Indians. The North Shore of Oahu is my favorite surf place. With all those historic spots stacked next to each other, it feels like Manhattan. 

Who/what inspires you?
I was floored to see Duane Peters at age 48 rip at a skate contest one year. Clyde Aikau competed in the Eddie at age 60. They make me want to be a better photographer, because we should never stop progressing. California inspires me because it has been a big part of my life before I even got here, and my wife Jamie helps make everything look so natural and easy.

What is the greatest thing you have learned in your life?
1) You can’t pick and choose your friends.  2) A wrestling match only lasts 6 minutes (you can pick any sport). 

Do you have any regrets or wish you had done something differently?
I had a nice looking silver 85’ VW Jetta that was always in the shop. I worked like a dog to keep it running, but I regret not launching that pig off a cliff instead. It owned me.  

What are you most proud of?
That things I am most ashamed of are really not that big of a deal.

What meaning does surfing hold for you? How has it changed your life?
I am not a spiritual surfer at all. I just like riding waves. Surfing is incredibly challenging and humbling. Conditions are always changing, so it becomes obvious that it parallels some of the lessons in life. I appreciate the few moments during a surf session when I turn my back to a wall of water coming at me. When do you ever get to do this in real life? If I am stressed out in the water because I am not catching waves, it usually means I am not doing something right in my life. We should never be stressed walking away from the ocean. 

What brings you the most happiness?
Hot coffee. The feeling after skating, surfing or riding bikes. I love doing a good job on an assignment and seeing it in print or making my own prints. All of these things are addictive. 

Who are some of the people you feel are shaping the path for surfing today?
Danny Hess, Tom and Jon Wegener, Cyrus Sutton. These guys are raising the awareness to make surfing more environmentally friendly. I would love to photograph Christian Wach and Alex Knost. They rip. Greg Long is on a roll. 

What is in your current quiver? What is your favorite board? Your favorite surf spot?
9′ Bob Miller, 6’4″ twin-fin fish, 9’4″ single fin shaped by Ted Gallup. The 9′ Miller is a horse that can catch waves in almost any condition, but I am trying to get better on the fish. My favorite surf spot is Pleasure Point in Santa Cruz when it is not crowded, but that is rare. 

What’s your favorite meal?
I crush sushi like Godzilla and pasta like Vito Corleone. 

What music are you listening to lately?
Howlin Wolf, Bobby Blue Bland, Raekwon. KEXP radio out of Seattle. 

What’s next?
Currently I am working on promo posters that I might also offer for sale. My to-do list looks like cryptic chicken scratch. There are people I want to photograph in the North Shore, San Diego, LA, and in my own backyard. I’ll be doing some video work and heading more in that direction in the coming years.