Have a mentioned I worked at a surf mag for 15 years? A dream job for a surfer, sort of. The catch was to shoot great surf and surfing you’re not actually surfing yourself. And after standing on the beach behind the tripod getting sizzled in the harsh Kiwi sun all you wanna do is get some shade. Yep, first world problems.
Two legends on covers there; Mikey Phillips and a grommet Ric Christie
I’m so grateful to David Hall for taking a punt on me in 1993 to start at the mag. It was daunting and amazing to be thrown into that world. Life changing stuff. The revolving team and I got to endure the tough times of putting ink on paper and be readied for the halcyon era of surf print media. 15 years is a long time at any job and the roles evolved over that time. I ended up running the magazine, had a fancy title; Editorial Director/Senior Photographer. Kind of code for the buck stops here, the jack of all, really it was being the foreman.
Speaking of foreman, this guy; Mike Spence, was a huge mentor on all things magazine and photographic, he was the mag Ed 1990-1993 and recommended me for the gig
But what happens when it stops? When you have to step off the perceived gravy train? PhotoCPL Media was started. My printer, Harley Davidson enthusiast, Paul Grey came up with the name. I liked it enough, it was vague to cover all the things. Freelance photography, photo print sales, writing, making books, merch, websites.
learning how to create big panos like Piha Layers, that would be robust enough to handle wall murals like this one at Auckland Hospital
I relearnt photography. As weird, to me at least, at that sounds I threw myself into becoming a better rounded photographer. Shooting surf action is so specialised and somewhat formulaic, my landscape and product shooting sucked. I found out I actually love learning, love challenging myself to master different camera formats. There was a very quick realisation that becoming proficient in other photographic mediums dovetailed into be a better surf photographer. Guilty of always hind sighting; the content of the mag could have been so much better if the step out of the formula had been sooner.
Where is all this going? Fuck knows, it’s a web log, it can go anywhere it wanders.
Today's grommets won't get a centrefold like this one of Jay Papworth
I’ve been away from magazine life longer than I was in. Sadly there is no surf magazine in NZ anymore, I would have loved to see the magazine thrive and build on the foundation we had created. To mature into a reflection of our rich NZ Surfing culture and heritage. These are conversations had a lot with peers and fellow surfers of a similar vintage. That the kids don’t get to have centrefolds on their bedroom walls, that they don’t get cover shots or profiles. It kind of sucks.
Maz Quinn on the cover of the first book, PhotoCPL
In a way creating the surf books that Photo CPL Media has, partly filled the gap of reflecting and celebrating our NZ Surf community. The first one Photo CPL was a way of clearing the decks. Then the South Seas and Revised Edition books, the 4 Warren Hawke NZ Surf series and now Rambo Estrada’s Unbound Vol 1 collectively provide a good snapshot into the Kiwi way of surfing.
Somewhat a sidebar; while feedback was welcomed and sought from the peer about surf mag issues, it was learnt early on that numbers mattered. The mag was a commercial entity, we were highly accountable to the publisher David Hall to make issues that sold. Hypothetically peer feedback and sales should go hand in glove. But they often didn’t. Becoming my own boss, this ethos was first and foremost, make something that sells. And NZ surfers are a very discerning bunch when it comes to parting with their fun dockets. The money talks, bullshit walks. There’s a good amount of satisfaction that every single book project has been a commercial success, in fact right now Rambo and I are waiting for the shipment of the Unbound reprint.
Book launches and exhibiting
Books; tick.
Making an E-Photo Gallery and Freelance Photography
It’s been a long standing dream to open a bricks and mortar Surf Gallery. It wouldn’t be a shrine to Photo CPL images or an ego stroke. It would be a venue where established and up’n’coming surf photographers and artists could showcase their wares. Monthly exhibitions and openings, swap meets, residencies and workshops. Create a venue that becomes the default hub for surf creatives. That commercial sensibility always kicks it in the guts; location, commercial rent, staffing and being tied to retail hours; all too tougher hurdles.
Whanga Bar Mono rolling off the printer, this one went to Melbourne this week
The e-photo galleries on PhotoCPL.co.nz serve as the stop gap. But viewing pixels online doesn’t compare in any way to seeing a large format print. It’s a big ask to hope a client can visualise what a screen grab will look like on their lounge wall. I get caught all the time, stuck screen side looking at line-up pixels, then finally seeing a large test print, it’s quite shocking how good prints are- this is not a sales pitch- legit I get a wonderful shock at how much detail there is in a printed image. That relearning of the craft kicks in here too, I needed every image available for print on PhotoCPL.co.nz to be technically robust to handle any usage.
Supertubes Dune, shot on Velvia 100 asa film on the 617 Panoramic camera
Same day but different angle and set shot on the digital camera and used around the world and the the books Big Little Beach Book and The South Seas
It’s a very strange transition going from being a salaried photographer to free agent. Instead of being paid a wage, you flip to paying it forward. This photo, Supertubes Dune, is a good case study of that; in 2015 I was standing on top of the Shippies Dunes as the much documented Mega Swell started to roll through Ahipara’s iconic points. I’d been camping for a few days at Supertubes waiting for the swell to hit, it was one of the last years that camping around the reef was still tolerated. There I am, alone, gasping for gas after lugging way too many cameras up the sand, and absolutely in the happy place. Frothing over the swell, relieved that I hadn’t had a cardiac arrest and about to burn through rolls of hyper expensive medium format film. Images from that tedious climb and beautiful swell were used all around the world, online and in print [including the South Seas and Big Little Beach books]. In fact just this week The ASB Kaitaia Branch had this installed as a full wall mural.
Sorry, iPhone squished photos, but you get the gist, fricken love that graphic in the sky, thanks to the legend Jimmy Phillips for championing the commission
I may have hoped, but would never expect the self funded drive from Piha to Shippies, the wonderful days of waiting with crew like Jesse Peters, Lindsay Butler and Luke Crouch, the excitement of being in the moment shooting, then the very real cost of processing the film would yield pay days. Probably for a photographer that’s always been freelance it’s easier to jump in the wagon and go.
That hindsight thing again; what would be done differently, shoot more, surf more, be where the waves are good more.
....AND DEEEEEEN.....
Yessss... the gentle prod... Have you checked out the PhotoCPL Piha Hoodie yet? They are ticking over really quite nicely
…and so has the PhotoCPL Whanga Hoodie not nervous about having 5 big boxes of these guys sitting in the office one bit... no not at all.