Posts Tagged ‘surf culture’

Coastal Classics Are No Accidents

Monday, September 6th, 2010
Pierpont Bay, Ventura, Ca.

Pierpont Bay, Ventura, Ca.

A lot goes on in the creation of a commercial production shoot. This one developed over a relatively long period of time. Recently, almost by chance I had reconnected with an old colleague and friend, Glenn Gravett, who I had met when we both worked designing my own company apparel and surfboard art, decades ago.

Glenn and I share much in common, having been raised on the same stretch of coastline, and share similar passions for the Ocean and Art.

Over a period of months, I had been invited to sit in and contribute to a series of product development meetings, where I discovered that Glenn was at the helm of a fantastic crew of artists, all of whom I had admired for quite some time. People like Meegan Fiori, Ron Croci, Wade Koniakowski, Rietveld, etc….

One day Glenn casually asked me if I would like to be the featured Artist for the company he worked for, Coastal Classics, which is headed up by Thom Hill.  Not thinking anything other than I really like Glenn, and that we would get to be around each other, I said sure yea, in a very nonchalant fashion. I was so casual about it, (and somewhat clueless) that Glenn knew to take me aside and explained : “Dave, this is  sort of a Big Deal. People look and wait for years for this. Look at who we have in our lineup.”  I did. Gulp. “Wow and you guys want ME?”

I laughed. But inside, it was game on. I had a close look at the company and artists. A chat with my colleague and friend Robb Havassy, confirmed it all. Better pay attention. I would be engaging and creating imagery with some of the cream of popular culture’s Art crop.

Great artists are funny. I have found that frequently, they are so understated, that human nature causes them to be overlooked. Havassy is like that. So much so, that I almost did not get my work to him in time for his remarkable book, Surf Story.

Glenn is like that. So is Thom Hill. So are ALL of the Coastal Classics people. It seems that somehow, I was being drawn right back into the vortex from which my photography had arisen decades ago, that of drawing, painting and the traditional craft of the working Artist.

So when Thom casually asked if I would be interested in doing a little catalog work for them, I agreed with a simple: “Yeah that would be nice”, and began doing my homework. In a down economy Coastal Classics is growing. As a company grows, it has certain requirements to embrace it’s historic modus, (those things that created forward momentum in the first place), yet morph into what it needs to become, in order to compete in the marketplace.

This week, in a commercial space that is to be the Coastal Classics art production location in Ventura, California, I loaded in my production equipment, assembled a group of my own creatives under the direction of Thom, and Glenn, and Sarah Lubeck, the Coastal Classics artist director, and went at it. The shoot was originally scheduled to be for two days with an additional day safety if needed.

We completed principal photography in twelve hours. I did  16 different set ups.  We shot in three locations, and produced both catalog and branding imagery that featured many of the artist’s work, I had admired for so long.

Primarily using continuous lighting, and Canon’s 5D Mark 2 system, I was able to created a rich tableau of work in 1854 shutter actuations. We drove nowhere. This was shot in my home town. We walked from our studio (I jogged) to the beach and Thom, Donna, Glenn and I simply just had a nice little casual golden hour evening down on the pier and at Surfer’s Point, much as all of us do on any given day here in Ventura.

There is no place like home, and the charm and allure of a small town. Ventura has been wonderful that way. In spite of what appear to be some onerous changes to the nature of this place on the horizon, this shoot was all home town charm.

This once again illustrated the importance of planning, connection, friendship, trust and vision to me.

That is how forward occurs.

My fabulous crew were:

Chris Jensen, Photographer and first assistant, Donna Von Hoesslin, Stylist, Angela Izzo second assistant and production assistant with the super quiet and uber efficient, Rachel Evans doing principal hair and makeup.

Models were Gabe Witmer, Marie Avery, Jeanette Ortiz, Hailey Partridge, and the Hill kids. (Yep, Thom’s kids rock.)

Well, since it is Labor day and I am actually ( as is the tradition with many of us)  laboring,  I reckon that I should share Seth Godin’s take on the meaning of modern craftsmanship with you all.

The following image gallery is a small, unfinalized sample cull from the 360 image final file. Art defines culture. It is a privilege to be able to engage in that as a craft.

Jay Moriarty

Wednesday, June 2nd, 2010
Jay Moriarty

Jay Moriarty

Some people live in such a manner, that their exploits and attitudes define themselves, and become a part of History.

It is fortunate to be around that type of person. You learn a lot.

My fondest recollection of Jay Moriarty, is of him kick stalling in the barrel at Maverick’s, and smiling at me.

A peculiar and unsettling memory, was getting a phone call informing me that he had died by drowning. I was driving South through Half Moon Bay, and looked up to see the Radar Tower at Pillar Point.  The feeling of confusion I had felt when the call came, was identical to when, while shaping, the phone had rang with the news of Mark Foo dying at this same place.

Pillar Point, HMB

Pillar Point, HMB

An even more perplexing circumstance, was climbing into a boat in the Maldives and having my boat man tell me he had been worried about me. I had been on the bottom with my camera for awhile. In broken English he explained that the spot, was where Jay had died.

Maldives. Holly Beck

Maldives. Holly Beck

So now someone will capitalize the life of this man. A writer has penned and sold a screenplay about Jay. The question occurred to me: if a production company had called, would I take the job?

Probably not, I am guessing. I did turn down the opportunity to work on Blue Crush. I have standards for my self and what I will engage, that do not allow me much wiggle room.

I had helped the writer a bit with the Jay story, (assuming that it is the same one). I have it here somewhere. But I avoid the person for my own reasons. I hope the film turns out well. But I am glad that I do not need to engage it myself. I would feel sort of dirty.

Will I go see it? Probably. I did watch Blue Crush, and was pleasantly surprised at the difference between script and screen. John Stockwell as director, with Brian Grazer producing and the remarkable water work of Don King, transformed the weak storyline I had read. That is the fickle nature of production.

Some people become history by their life stance. Others write themselves into it.

I appreciate the former.

Jay went.

I shot this image in the Maldives as an illustration of hope. It is about rescue. Hannah Fraser and Bobby Friedman helped me to create it. Some people continue to inspire long after they are gone. I hope that Jay would like it.

Rescue

Rescue

Sacred Craft 2010: A Cultural Backmarker

Friday, April 23rd, 2010
Sacred Craft

Sacred Craft

This morning I woke up from a nightmare-dream at 3:30 am. In the dream I was glossing boards, and had lost the hot batch of finishing resin. I found it in the nick of time, and was just completing the last board as it went off. I even had the acrid smell of an over catalyzed hot batch in my nostrils as I hopped out of bed and felt my feet hit cool wood floor in the blackness. Yeesh, surfboard subliminals. I built surfboards for about 20 years. They have been on my mind a lot lately, obviously.

What makes a  thing sacred is found in the root meaning of the very word. Sacred refers to the setting apart of something for a special purpose. So it follows that Scott Bass would call his surf culture show which retains primary focus on the surfboard and it’s creators, Sacred Craft.

Yesterday I saw an un named shot of an old guy at the Sacred Craft tribute, which was held in Ventura at The Fairgrounds April 10th and 11th and that honored one of the surfboard industry’s founding Fathers, Rennie Yater,. The un named shot of the old guy in the shaping room was of Dennis Ryder, who along with Bill Hubbina, started one of the first surf shops in Ventura, (William-Dennis), which still exists today, as Ventura Surf shop.

Dennis Ryder

Dennis Ryder

Dennis shaped what is probably the first incarnation of the shortboard, when he worked production at Morey-Pope and was doing the McTavish split vee in the 60’s. Having him back in Ventura after living for many years in Hawaii is very cool. One of the best guys around, along with Gene Cooper, and Yater, in terms of craftsmanship. All three live here on California’s Golden Coast

Gold Rincon

Gold Rincon

The Tribute involved shaping a replica of a Yater spoon, which aside from a six channel bottom, is probably one of the more difficult designs to build.

Local shapers Todd Proctor, Matt Moore, Dennis Ryder, Wayne Rich and Michel Junod along with Nick Palandrini from Nor Cal, were the invitees.

The shaper who got the nod for doing the best replica of the Spoon was Wayne Rich. That was very cool, since he broke his neck surfing El Cap a few years ago, and almost did not make it back. An incredible come back, when you consider that he shapes surfboards for a living. Surfboard shaping is physically quite arduous, and demands a very high skill level and depth of experience. Master surfboard craftsmen are a dying breed. Quite literally, as the industry has changed so dramatically and the normal cottage industry apprenticeship chain, disappeared years ago.

Surf Art

Surf Art

There was a hall way formed by two rows of Yaters, and each board had a picture and date on it. Pretty remarkable that Rennie is able to document so much of his and surfing’s past. Just mind blowing. I shaped around 16k surfboards over a 20 year period, and could not even think about accomplishing that. The Surfing Heritage Museum played a large role in this fantastic back marker. The organization had both Curator Barry Haun and  head, Dick Metz, on hand the entire week end.

Dick Metz in the Surf Story Hall

Dick Metz in the Surf Story Hall

Surf Story by Rob Havassy (two different site links)

The  entire second hall at Sacred Craft was about the book Surf Story, and the book tells the story of its own existence pretty well. Most surfers, if they read about what happened, will probably get a bit pissed off. The actual tale goes all the way back to when Abercrombie purloined one of  the legendary Leroy Grannis’ images of a bunch of surf icons and used it in an ad campaign. And when the surfers took exception to that, and having their names and likenesses used to promote a company like A&F (and Hollister), were blown off, they sued A&F and forced the issue on an intellectual property rights violation basis.  A&F ran a nationwide ad campaign of a monkey holding a  surfboard, as their response to surfing and the people who had a large hand in making the sport what it is after the fact. (Got to admire having enough money and humor to do what they did, but it was a very obvious statement about what they really think of you all)

Then, when Rob’s art was taken, and duplicated in similar fashion, he went after them as well. Since A&F was buying somewhere around 10000 mags a month, the surf publishing industry ignored Rob as he sued A&F, not wanting to piss their vendor off. (It appeared as if surf publishing had sold out the sport, by not supporting one of their own, and instead, going with A&F by their silence, in some industry observers opinions)

So the book uses that as a catalyst. Everybody was invited to contribute, as this is the first of a likely series. So the people not IN the book this time around, are conspicuous in their absence. What that means, is they did not want to be in it, or like me, just did not really understand completely what the book was all about.( Rob would have included them.) I had been very busy when Mary Osborne first told me about the book project. I almost did not get my submission in.

Once again, surf publishing sort of ignored Rob, so he wound up self published the biggest, most comprehensive book on surf culture ever. It was both an independent creative statement to surf publishing, and his war to take back our culture from the people who had whored it out, and have a history of contributing little or nothing to the sport’s existence. (Commercial fashion and the rag business)

Rob's Salute to me for not manning my post

Rob's Salute to me for not manning my post

That is the gist of the story on Sacred Craft 2010, from where I stand. But the “lesser details” are rather fascinating.  I intend to write about it in greater detail. Or you can simply ask Rob Havassy or Scott Bass.

The Surf Story Hall housed shows-work, from twelve of the books 88 contributors, as well as a phenomenal selection of highest end Yaters, done as a collaboration between Kevin Ancell and Rennie. Many of the artists were on site plying their disciplines live. Pretty remarkable to watch.

Here are a few images from the show. The pleasant looking guy is Craig Peterson, who along with Kevin Naughton, was among the first surf photojournalists- adventurers from the US, and pioneered much at Surfer Magazine.  Rob Havassy, Craig and I were along the back wall, side by side. I consider that quite an honor. Glad I returned Rob’s call. I had a lot of stories to share with him.

Here is an addendum of sorts, as he just posted it. Seth Godin’s blog, that is a must read for every artist. Glad that Rob Havassy has this part down.

Craig Peterson: Pioneer

Craig Peterson: Pioneer

Get Surf Culture’s book. It is a very profound effort by all. Pure is in short supply these days, and Authenticity is something to be both lauded and supported.

Swell Five and the Marathon Man

Thursday, December 31st, 2009

Frame 1 Day 2

It was o dark thirty on the second day of swell event number five on the Gold Coast, in the middle of the El Nino 2009-2010 season. I was gingerly working my way down the spiral stairway which leads down from the aerie which is the loft bedroom that overlooks one of the beaches I shoot all of the time. Under my left arm was my Macbook Pro. In my right hand my cel phone. Quietly, carefully, I padded down the bamboo shod steps, and my right hand exploded in song.

Deftly I snapped the cel phone open. Chuck Patterson was on the line. “Hey Dave, headed your way. Whatcha doing?” I knew that it was cloudy out, having peered at the sky already, but knowing Chuck had already likely left home in OC very early, my answer was predictable: “Um, meeting you?”

By the time  I reached the kitchen, we had arranged a meeting place. In ten minutes I was in the car, a cup of coffee in my hand and full camera kit stowed. As the car rumbled to life the sexy female voice that is my bluetooth, told me I had another incoming call: Lars Rathje. Overhead the ominous dark clouds began to be tinged with the grey tone of an impending dawn, still an hour away. Well, looks like a crew shoot, I thought. Wonder what the day would offer?

The prior day had been grey with soft flat lighting and a beautiful 4-6 foot WNW swell. Looked like more of the same, except that swell on the buoys was a little bit larger.

Twenty minutes later, saw us all gathered under a brightening dawn sky. Chuck’s big ass truck, chock full of his water toy-tool collection was already waiting in the parking lot of a place we hoped to shoot. He was on the phone, so I meandered out and had a look. Hmm. 3-4 footers peaked and the wind looked to be slightly side shore. An indicator at this time of year, that the day would be Santa Ana. I knew that we would need to look around, to find a more suitable wave.

Chuck joined me, and nonchalantly mentioned that he had gotten off a boat at 3 am. He had been out at Cortes Bank. Said that it had been fun. Interesting. But we were focused. As Lars, Hans and a friend showed up, we all had a quick look, and before the sun was risen, were on our way out of the parking lot. The Chase had begun.

An hour later, having checked a few places, we wound up down the street from my house. Crisp edged blue lines strode down a long point, brushed by a 10 knot, cool offshore wind. My phone had been going off the entire time with messages from Tyler Chandler. Tyler is a budding 16 year old photographer. He and I had been having a tet a tet online for some months. He was camping nearby with his parents for the holidays, as his Dad commuted up to Santa Barbara for work. I told him where we would be, and he walked on down from their campsite.

I opted to long lens, as I had a lot of people to shoot, sans tripod. Hand holding my big Canon 600mm IS lens is not something I often do, but this spot is right on the freeway. It was empty and I did not particularly want to advertise what we were doing, and ruin the session for the few knowledgeable people that would show. But Tyler found me immediately, and we chatted, as I tutored on the nuances of our craft.

He and I clicked away, and frequently changed position as the boys drove through some spinning barrels at mach speed. It was perfect. And challenging. Chuck had opted to SUP the place on his 8′6″ Hobie stinger Quad. The boys were short boarding, their friend was body boarding. A few other people were scattered on the point.

Pretty amazing that Chuck could even stand, having just completed what I knew from personal experience, to be an incredible marathon out to Cortes. He had taken an 11 foot SUP to the wave. Chuck is a tripper. An elite athlete in so many sports, that it is sort of mind blowing. He is one of my favorite subjects due to his savvy and yet easy going nature. We have spent some amazing times together around the world. Here we were again, scoring within eyeshot of my house.

A few hours later, we grabbed a late breakfast at Cajun Kitchen in Downtown Ventura and after, headed immediately South in what had become a bluebird 75 degree Santa Ana day. A check of an infrequently surfed mysto spot, saw it vacant and somewhat fickle at 3-4 feet. Before I knew it, the boys had scrambled down the cliff and I struggled to catch up, as loading a water housing and getting into my 5  mil wetsuit, takes a little time.

This particular wave washes up a cliff and sends a backwash wave immediately out to sea, which sweeps sideways across the next, incoming blue sparkler. It is a high degree of difficulty wave to surf. Yet Chuck was somehow managing to stay astride his SUP board. I am sure he was the first to ride it on that sort of craft. Hmm, I pondered, as I slipped over the boulders, and out through the shore pound: two firsts for Chuck in 24 hours: Cortes, here.

It is complex pioneering a new sport. SUP is so young that it has not yet found stasis amongst the ocean going community. Many people hate the big boards. In similar fashion to what occurred with the advent of the birth of modern longboarding, there is extreme resistance and punishment aimed at its proponents. But people like Chuck are rare in any sport. He is so level, so polite. He reminds me a lot of Garrett MacNamara in his exercise of restraint when SUP surfing a break. As senior watermen, they have it down, and are diametrically opposite of the more novice surfers who use the board’s superior paddling power to dominate a break.

We picked off a few good ones, surfing alone for an hour and a half, before Fred Viela and Jake Kelley showed up. There not really being room for all of us, we opted to reliquish the wave to them as we had already gotten a good turn. I grabbed a couple images of the two before we left. I like the fact that Fred and I always seem to be in synch. I was stoked to get an image of him at his home break.

As the day waxed long, and afternoon waned, we all found ourselves at another seldom surfed, fickle spot. It was 3 PM and we had been going since 6 am. But Chuck he had been going since the day before. Hans and Lars opted out of the third surf and we said our goodbyes. Happy boys.

Chuck and I lolly gagged, hemming and hawing about whether we would shoot, in spite of seeing some really good, oily glass, golden green waves, roll perfectly through. A smallish group of guys plied the break. But off to the side, we kept seeing a  solitary peak pop up.

It hit us both simultaneously. The realization. We both saw the light go on and grinned. “What are we doing? You are here, I am here. Lets do it!” And we laughed. I hand held the 600 again, as I perched in the  rocky blind of a jetty that lay below Coast Hwy 1, and Chuck put on an amazing display of balls out SUP, alone on one of the more beautiful days that we will see this year.

Then up the beach as the light waned, I saw it. A beaut of a backlit swell, wandering into the reef, where a solo surfer paddled for it. I trained my lens on the surfer, as he dropped in and stumbled to his feet somewhat clumsily. Three frames clicked off as he slid through the barrel. Perfect. In many ways.

In surfing, many of us strive to be what we consider best, We do exploits which increase in difficulty as the years go by. Here was Chuck, a best case example of a waterman, surfing alone, while someone with  a  fraction of his ability, scored the wave, and likely shot, of the day.  I say that because I know that the wobbly surfer’s wave was obviously a peak moment. A high. While Chuck was just playing. It was the rarest of the emerald gems collected on that day as a result.

As sun set, and darkness settled, a dramatic frontal band darkened the horizon. Chuck and I parted. He to his wife, and me to a birthday party that my girlfriend Donna had organized for me. A long day, a good day. As the car’s turbo spooled and I swung into the sweeping turns up Coast highway, it occurred to me how blessed that I was. My friends define me. I am so lucky that they call.

That night, 60 or so, gathered at my house. An amazing collective of some of the most talented people I have ever seen gathered in one place.

Marathons can be a good thing.

You can find an account of Chuck’s excursion to Cortes at Hobie, right here. and on Chuck’s blog here.

Seth Godin has some interesting observations pertinent to this blog and our lives and careers here.

Donna Von Hoesslin posts something beautiful about the New Year, on the Betty Blog here.

On this eve of the start of a new decade, it is not just a wish for a happy New Year I offer, but one of encouragement, and a challenge to include yourself and your own talents in what goes on within your own community, what ever, and where ever, those may be.

Here is something sweet, sent along by Suzi Ryder. Well done!

Below is that sole surfer’s great wave and image.

Sole Peak Moment

Click on any images in the gallery below, for a larger view. 56 of 250 images from the final file.

Swell 4

Thursday, December 24th, 2009

Arrival

The latest in our wave makers arrived innocuously enough with a soft and barely perceptible pulse arriving late in the evening. I had watched the shoulder high lines stacking up at California Street at last light, under yet another masterpiece sunset. Yet not much pulse showed on the weather buoys.

The next morning at 3 am saw the East Channel buoy climb 3 feet in the interim before dawn. A straight West swell, and not too big. It was the proverbial Goldilocks and the Three Bears storybook combination of swell angle, size and weather for the Gold Coast’s multiple breaks. It would be “just right”.

Damn. I knew at that point I would be on the road. I knew all other aspects of life would have to come to a halt. But it is, just what it is, and I wandered, viewing with rapt wonder at the 14-15 second interval swell that featured sets with so many waves in them that each spot became a lineup dream of pulse, spoking  into, around, and down each break.

The abundance was such, that even at the more crowded spots I saw innumerable waves spin by unridden.

Swell 4 lit every place up and the perfect disposition made it fit a diverse number of ability levels as almost every place became a diorama of rolling perfection. A holiday gift for all of us.

Lars Rathje

Click on any of the images in the gallery below for a larger view.

© 2009 David Pu'u. All rights reserved.

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