Sean Davey

Adventure - - Backchat -

Water­man Hawaii is the adopted home of Sean Davey, widely re­spected as one of the world’s top surf pho­tog­ra­phers. Sean is a surf spe­cial­ist but his unique pho­to­graphic style is ap­plied to all the sub­jects he likes to shoot, and is driven by a pro­found artis­tic sen­si­tiv­ity. His award win­ning work has been widely ex­hib­ited and his book ‘Oceans’ is a su­perb col­lec­tion of beau­ti­ful images that are a tes­ta­ment to his creative vi­sion. “My main in­ter­est has al­ways been not only to doc­u­ment but also to cap­ture ar­tis­ti­cally what I see, re­gard­less of whether it is surf, por­traits, or sun­rises”. As a surfer him­self, Sean is well qual­i­fied to shoot surf­ing sub­jects, and is in a good po­si­tion to know what it takes to get the best shots. “I had no real in­ter­est in pho­tog­ra­phy till I took that first pic­ture. I’d say that shoot­ing wa­ter shots at big Pipe­line and Back­door with a fish­eye lens is prob­a­bly the most ex­treme of all when it comes to rad­i­cal places to put your­self and your equip­ment, and all for the sake of a pic­ture. It re­ally is quite amaz­ing what lengths peo­ple now go to, in or­der to get that ex­tra spe­cial pic­ture. For ex­am­ple, in Tahiti this year there were surfers us­ing jet-skis to tow-in to the largest, most dan­ger­ous tubes ever rid­den at one of the worlds most dan­ger­ous surf breaks, Teahupoo. Ev­ery­body who was there that day, said that it was a mir­a­cle that no-one died or at the very least was se­ri­ously in­jured. It was pretty ridicu­lous to see how far they pushed their luck that day. Even the pho­tog­ra­phers were in great dan­ger just be­cause of the size of the waves and the un­pre­dictable na­ture of the surf break. One boat nearly got trashed and its pho­tog­ra­pher was thrown over­board, los­ing a $7,000 cam­era rig. Travel is also a ma­jor theme run­ning through Seans’s work, and he has had as­sign­ments in a wide range of lo­ca­tions all over the Pa­cific re­gion, as well as in Europe. “I re­ally en­joy the travel as­pect of my work too, not so much the trav­el­ling it­self, but shoot­ing new lo­ca­tions is al­ways of great in­ter­est, es­pe­cially rugged out of the way lo­ca­tions with ex­pan­sive moun­tain back­drops. To me, the back­drops are of­ten more im­por­tant than the wave it­self, as they ul­ti­mately de­ter­mine the in­di­vid­u­al­ity of the im­age, way more than any wave can on it’s own. With his wide rang­ing in­ter­ests in the world around him, as well as a pas­sion for surf­ing, Sean con­tin­ues to have the fresh en­thu­si­asm and creative ideas that are the mark of all great pho­tog­ra­phers, who recog­nise that their work is like an on­go­ing jour­ney, with no fi­nal des­ti­na­tion. “I’ve al­ways said that pho­tog­ra­phy truly is an end­less can­vas. There are al­ways many dif­fer­ent ways with which to trans­late an idea into an im­age on film. Pho­tog­ra­phy is just as alive, vi­brant and re­fresh­ing as it’s ever been. It’s good to see. There are so many ideas in my head that I’m yet to go af­ter. It’s re­ally a mat­ter of think­ing of some­thing and ap­ply­ing it phys­i­cally, which isn’t al­ways so easy, but then that’s beauty of it”.

Newspapers in English

Newspapers from New Zealand

© PressReader. All rights reserved.