Tag: Transworld Snowboarding

Do the Dew!

What a difference a week makes in the mountains. Last Monday I left a Melbourne warmed by winter sun and made it up to Falls Creek for the usual shenanigans of a Big Cup Monday at The Man Hotel. Tuesday and Wednesday were spent shredding the pristine Falls parks under sunny skies, and snapping a couple of shots of the local boys hitting the new jumps in Ruined Castle. All the forecasts were calling for storms to head our way, and we were fortunate to get a good day of riding in on Wednesday…but by Thursday the cloud, fog and damp had set in and I made a quick trip home to dry out before heading up to Mt Buller on Friday night.

I was back at Buller for the Dew Hut Jam, which was back on busy Bourke Street, but with more invited teams and a new big water tank feature this year. Mt Buller always manages to roll out the welcome mat for the comps…well, yes and no. I had thought that the weather for the 2009 Mtn Dew Hut Jam couldn’t get any worse – but I was wrong! Yep, it was the worst weather I have ever had to shoot in: thick dense fog obscuring the sun during the day, dampness soaking all surfaces, and then by night howling winds knocking over flash stands, seemingly thicker fog and more and more misty rain.

I was up at Buller to shoot for Aust-NZ Snowboarder’s website, and you can check out the Mtn Dew Hut Jam press release with a couple photos from their assigned photog and video here. And to compare the full gallery of shots taken by Rory, who was employed by Mtn Dew for the weekend, take a look here.

I had set up three Canon Speedlight flashes (because they are easier to transport and set up than my huge Elinchrom Ranger, and usually do the job for night shooting) with one behind the main jump, one yellow-cellophaned one to the left by the water tank, and a green one to the right by the rail (I wanted some Mountain Dew-type colours in the photos). But with the cold sapping the power of the 4xAA batteries, and the dampness soaking all electrical surfaces it was a little hit or miss to get all flashes firing at once. However, this actually created some interesting outcomes and some variety to the shots. And for the very brief moments that the fog cleared the photos came out pretty cool I think. But for the last half of the night session there was basically no break in the fog, despite the wind, and I spent more time watching and chatting on the sidelines than shooting. But I’m happy with the results, even if in tough conditions like this it’s easy to miss out on capturing a killer shot of the winning team and riders.

And of course the partying at Buller was second to none – the Hoo Har is always fun, even more so when it’s a chance to catch up with a bunch of snowboard mates you haven’t seen for a while. But the walk back up the hill to my media billet was torture! Mt Buller really is some freak-of-nature microclimate, being the first mountain that the warm, damp Southern Ocean air hits, getting forced up into the cold, high altitude as storms head north east. A storm front was on its way to the Aussie Alps, and every mountain was on the receiving end of some horrible weather on Saturday before the snow started falling that night. However, Buller has a monopoly on being the only place where you can simultaneously be smashed by a tropical-strength monsoonal rain downpour, mixed with some sort of half-ice-half-rain precipitation that somehow falls as liquid yet freezes upon you instantly, as well howling winds, and blinding fog. Walking home was like being caught on some gigantic satanic Slurpee machine. And so the headache I had when I got home was definitely not from the beers, but from the ice freezing my brain!

But I awoke late the next day to a sea of white out the window where a few hours before had been dirt, grass and asphalt! The snow had finally come to the High Country, and as I write it is still continuing…so a trip back to Falls to make the most of it will certainly be on the cards soon.

UPDATE 6/8/10: Transworld Snowboarding have put up some of the photos on their website. It’s not a feature, just a news item, but it’s still nice to get shots published on their site again. Check it here.

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Is a photo worth 1000 words…or just $43,000?

They say a picture is worth a 1000 words, but in this case is a $43,000 picture worth a 1000 new Navy recuits? The Herald Sun had an article about a new recruiting campaign photo commissioned by the Royal Australian Navy using up to 100 sailors in the shape of a warship. And this is costing you, the taxpayer, $43,000 for the photographer’s services, another $11,000 for the accompanying behind-the-scenes video, and there would be unspecified expenses for updating the website, not to mention the $20,000 or so to pay for the sailors 2 days of wages that the shoot occupied.

Here’s the article, and the video and website.

I actually think it’s a novel campaign and a pretty cool photo. But what I found most interesting is that we get to find out how much the “top fashion and advertising photographer” Andreas Smetana charges for a shoot. I wish snowboard photographers made 40 grand a shoot!

But really, why don’t we? Obviously market forces come into play, and the Australian Government has millions to spend on Defence Force recruiting. But from a technical point of view, snowboard photographers work probably harder than anyone else in the world to get a shot. Yep, big call, but think about it. To get a photo to be used in a snowboard ad, we have to fly to either North America or Europe (Aussie photos don’t really cut it anymore, plus the new gear isn’t ready the previous Aussie season), get to a location (either deep in the backcountry via sled, or hike, or some sketchy urban location in the middle of the night, dodging potential trespassing convictions), set up lighting, compose the scene, get the shot (which you might just get one attempt at before the landing is bombed), check that the rider’s style is acceptable and that the gear is visible, then photoshop the end result if needed (for colour correction or dust on the camera sensor). 

Take for example this shot I took of Darragh Walsh, which was bought by Destyn Via for their advertising campaign. We had shot on this chimney feature already, and showed Destyn Via a preview, but partly because Darragh had forgotten to wear his jacket, we had to go back and shoot it (and also so that I could try to get the dark glow of dusk sky to show the distant trees, instead of a big bob of black in the original). As Destyn Via wanted us to reshoot the image to be expressly used in an advertising campaign, it’s not alot different to a commercial photographer’s assignment…except in what we get paid.

By comparison, Smetana has come up with the unique concept, probably hired the cool white warhouse (or perhaps it is a Defence Force loaner?), executed the shots and Photoshopped the end result. And as far as I can gather, fashion photogs organise the whole shoot, paying for models, makeup artists, assistants and have to get to the location (usually some overseas exotic beach), and they charge an all-encompassing fee to proved Armani (or whoever) a series of finished photos. I wish I knew how much they charged! (Check my previous post about Terry Richardson and his Pirelli 2010 Calendar shoot to get an idea of how it works in fashion).

Unfortunately, in Australia, the market rate for a 12 month unlimited licence for a photo to be used in snowboarding advertising, posters, point-of-sale etc seems to be in the range ot $1000 to $1500. And it’s about half that if the image is bought for just a “once off” use. The situation is even more dire with magazines, who pay $130 for a full page shot! Yep, think of how few shots actually get run full page, and you can start to imagine the level of work you all have to undertake (photog and rider) to get a shot worthy of full, or double-page-spread. And it’s not much better overseas. I was sent the payment rates for Transworld Snowboarding a couple of years ago: Cover – US$900, Double page spread – $250, Full page – $200, and a sequence – 1.5x the listed (size) rate. And of course, you get proportionally less if the shots are smaller than full page.

So if you are an up-and-coming snow photographer, and you’ve sold a photo to a company for less than $1000 you are undervaluing yourself. But worse, you are also undervaluing the whole photographic industry – companies will expect that they can pay a couple hundred bucks for a photo, plus some free gear- you might be stoked to see you shot in print or on a poster, but by underselling yourself you are costing the rest of us who want to do this as a real career and charge higher prices accordingly.

While I inderstand that companies like Destyn Via can’t afford to pay $43,000 for a photo (but Billabong probably could), I’d like to see all the rates (for both private advertising sales and magazine publication) be at least double. Then maybe more photographers could justify the travelling expenses for a season overseas again. This year unfortunately I was just about the only Australian snowboard photographer who spent any length of time overseas to take photos of riders. As far as I can gather, it just got too expensive without the right level of financial return for all the other core photogs. And when companies can fork out $2 G’s  for a piece of paper (ie just a bit of blank space in a magazine to put their logo and photo – it costs on average around $2000 for a advertising spot in a snowboard mag), they should be able to pay more to the guys (and girls) that actually go out and get the shots for them: the rider who risks injury just to wear/use their gear, and the photog who gives them a commercial-grade advertising photo.

I guess all the Aussie snow companies will cry poor (we’re such a small industry, last year was so bad for us, blah blah blah) – but until things start to change, the quality of ads and photos in print will drop away as photographers stop bothering to travel and make the effort to get shots.

Please drop some comments if you have anything to say on this topic. Oh, in case you haven’t seen it yet – here’s the finished advertisement for DV. It came out pretty cool, I reckon.