An Interview with Phoblographer.com

A few months ago, the popular photography website Phoblographer.com posted an interview with yours truly entitled, “Getting into the Action with Sports Photographer Michael Clark.” I was traveling non-stop for five weeks when this interview went live but here it is just in case you missed it. To read the entire interview head on over to the Phoblographer.com website.

This interview covers a variety of topics including: how I got started, how shooting adventure sports is different than shooting “normal” sports, how I prepare for shoots, my favorite sports to shoot, what gear I use and also how I work with video. The interview starts out with the following:

“In sports and action photography, it’s almost always the subject themselves – the athletes – that get all the glory. Rarely do the men behind lens, who in actuality get into the action themselves, get any recognition for the exhilerating shots they capture. So for this month, we here at the Phoblographer are seeking to give the floor to the sports photographers, without whom the best and greatest moments in sports would never be documented.

We recently chatted with sports photographer Michael Clark, whose work has been featured in several photography magazines including Outdoor Photographer and Digital Photo Pro, to get  insights on what it’s like to be an adventure photographer.”

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My thanks to Phoblographer and Michelle Rae Uy for the interview and for featuring me on the website.

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2015 Surfing Photography Workshop in Hawaii

Dates: February 19-22, 2015

Workshop Leaders: Brian Bielmann and Michael Clark

Location: Turtle Bay Hilton Resort, Oahu North Shore, Hawaii

About The Workshop

Join legendary surfing photographer Brian Bielman and adventure sports photographer Michael Clark for an exciting one-of-a-kind workshop that delves into the world of surfing photography. Brian is a top surfing photographer who has been shooting the sport for more than 25 years. Michael brings his adventure photography skills and knowledge as well as his in-depth experience with digital workflow to round out the workshop.

This 4-day workshop combines daily photo shoots at world-class surfing locations and classroom instruction. We will be spending half of our time shooting in the early mornings and in the late afternoon and evenings when the waves and the light are at their best. The other half of our time will be spent in the classroom. All of the classroom instruction will be centered around image critiques, discussions on gear, strategies and the business of photography as well as in-depth discussions on shooting surfing. We’ll also cover digital workflow in detail using Adobe Photoshop Lightroom Version 5.X.

The workshop is scheduled during a period where large waves hit the north shore frequently. Though we cannot predict or guarantee the wave size or surfing conditions, the north shore of Oahu serves up sizable waves on a nearly daily basis.

Workshop Schedule

Day 1 – Morning
Introduction to surfing photography, gear selection, camera setup and shooting options.

Day 1 – Afternoon/Evening
Cover basic digital workflow and then head out to shoot at the world-famous Pipeline on the north shore of Oahu.

Day 2 – Morning
Dawn Patrol: Early morning surfing shoot on the north shore of Oahu – actual surf break to be determined depending on conditions.

Day 2 – Afternoon/Evening
Group critique of previous days images, discussion of underwater photography and shooting from the water. Evening shoot with strobes on the north shore of Oahu – actual surf break to be determined depending on conditions.

Day 3 – All Day
Dawn Patrol: Early morning surfing shoot on the north shore of Oahu – actual surf break to be determined depending on conditions.

Day 3 – Afternoon/Evening
Group critique of previous days images, portrait shoot on the beach with male and female surfers.

Day 4 – Morning
Dawn Patrol: Early morning surfing shoot on the north shore of Oahu – actual surf break to be determined depending on conditions.

Day 4 – Afternoon
Group critique of previous days images, wrap up and discussions on the art of surfing photography.

Please note that locations may change depending on conditions.

About the Instructors

Brian Bielman is a legendary surfing photographer. He has shot everything from fashion, to rock stars, to surf. From world champ surfers Mark Richards to Andy Irons, he has captured them all and just about everything else important that has happened on Hawaii’s North Shore since 1975. He was there to document the early days of Teahupo’o (Tahiti) and put a fresh perspective on it ten years later with his underwater images. He is well known for not only his above water surfing images but even more for his stunning underwater images of surfing. Able to shoot more than just the action Brian also captures the spirit and faces of surfing. You can see more of Brian’s work at www.brianbielmann.com.

Michael Clark is an internationally published outdoor photographer specializing in adventure sports, travel and landscape photography. He produces intense, raw image of athletes pushing their sports to the limit and has risked life and limb on a variety of assignments to bring back stunning images of rock climbers, mountaineers, kayakers and mountain bikers in remote locations around the world. He contributes to National Geographic, Sports Illustrated, Outside, Men’s Journal, Backpacker, Outdoor Photographer, Digital Photo Pro, Climbing, Alpinist, Rock and Ice, Bike Magazine and The New York Times among many others. You can see Michael’s work at www.michaelclarkphoto.com.

The Cost
The cost of this workshop is $1,295.00 per person. The same rate applies for each participant regardless of whether they are doing photography and participating in the workshop, or not. A deposit of $500 is required to secure your spot on the workshop. Final balance will be due no later than January 15, 2015.

Please note: We will attempt to adhere to this itinerary as much as possible. However, certain conditions, such as bad weather, may necessitate changes in the itinerary. We reserve the right to alter any itinerary at any time, if necessary.

Accommodations
The classroom portion of the workshop will be held at the Turtle Bay Resort on the north shore of Oahu. We have negotiated a group rate that is discounted from their advertised prices. To receive the discounted rate, please mention the Surfing Photography Workshop. Please note that there are few if any other hotels on this side of the island. If you would prefer to stay elsewhere there are also hotels in Haleiwa, which is 12 miles south of the hotel and approximately a 30 minute commute.

Transportation
Most major airlines service the island of Oahu, Hawaii. Honolulu, the major city on the island is approximately one hour south of the north shore and our hotel. The Turtle Bay Reset is located on the northern tip of Oahu and is somewhat remote. The hotel has a restaurant, golf course, tennis courts and of course is located right next to the beach.

We do not provide transportation during the workshop. Please plan ahead and reserve a rental car. Rental cars are available in Honolulu. Of course, we will share vehicles and car pool to make life easier for all of us. We are not responsible for reimbursement of non-refundable airline tickets in the event of a workshop cancellation.

Workshop Materials
All participants will be given a copy of Michael’s e-book entitled Adobe Photoshop Lightroom:
 A Professional Photographer’s Workflow, which details his complete workflow from start to finish.

You will need to bring the following equipment with you:
• a 35mm digital SLR camera with interchangeable lenses
• a laptop computer with a USB memory key, DVD or external hard drive. Instructors will be using Apple Computers.
• Adobe Photoshop Lightroom software installed on your computer (you can download the 30-day trial version of Lightroom before the workshop if you don’t already have the software.)
• Digital memory cards with a card reader (preferably CompactFlash or Secure Digital Cards)
• power adapters and cables for laptop and digital camera
• camera manual
• batteries and charger for rechargeable batteries

It is expected that you know how to download images from your camera to the laptop, know basic editing techniques using your software, and are able to organize the edited images for critique.

Telephoto Lenses and Underwater Camera Housings
Also since surfing photography relies on large telephoto lenses, each participant will need to bring a telephoto lens that is at least 400mm. A 500mm or 600mm lens is preferred. If you don’t own one of these lenses please rent or borrow one to bring with you. Please contact Michael or Brian with any questions about lens selection and rental options. Both B&H and Samy’s Camera in the USA have rental houses that can rent these lenses. We also have a special deal with Hawaii Photo Rental Oahu who have 500mm and 600mm lenses for both Canon and Nikon and will be renting these to workshop participants at discounted rates ranging from $323 to $550. Call Josh Strickland at Hawaii Photo Rental Oahu at (808) 735-3838 for more information on renting one of these lenses.

Also, if you plan to shoot in the water please bring your underwater camera housing. Brian has several underwater housings for Canon cameras and will have these available for those that want to try them out.

Registration
If you’ve always wanted to shoot the amazing sport of surfing, then now is the time to register. Remember, there will be limited space available for this workshop. When they’re spoken for, that’s it. If you have any questions before registering, send us an e-mail with any inquiries to info@michaelclarkphoto.com. To register for the workshop send me an email and I’ll send you a payment request for the deposit and a packet of information about the workshop.

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The PDN 2014 Great Outdoors Photography Competition

I am honored to announce that one of my images, shown above, was recognized in the 2014 Photo District News (PDN) Great Outdoors Photography Contest as one of the top adventure images of 2014. The image was the runner up in the “Outdoor Sports & Activities” category. It was created in January 2013 in Ouray, Colorado at the Ouray Ice Park with ice climber Dawn Glanc.

My thanks to the judges including Amy Silverman (Outside), Gaston Lacombe (ILCP), Keith Jenkins (National Geographic), Grant Ellis (Surfer Magazine) and Jon-Paul Harrison (Tandem Stills + Motion) for choosing to include my image alongside those from my peers Keith Ladzinski and Jimmy Chin. And of course, my thanks to PDN for putting on this photo competition and including my image in the latest issue of PDN and on their website.

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The Nikon D810

With the introduction of the Nikon D810, I have gotten quite a few emails from folks wondering what my thoughts are on the new camera. Having taught several workshops on “how to get the most out of your Nikon D800,” and having written a glowing review of the D800 in my Spring 2012 Newsletter a few years ago, I am not surprised by the emails. Hence, to save me time responding to quite a few e-mails I thought I would work up this blog post and go on the record.

Since I haven’t actually shot with this camera, please keep in mind that my thoughts on the new D810 are sheer speculation. One thing I am sure about is that the D810 is going to be a stellar camera and includes some excellent updates to the already phenomenal D800 and D800E. Should you upgrade to the D810? Well, I am not going to advise anyone on this question here. The D800 and the D800E are still excellent cameras and will be for some time to come. The D800-series cameras, in my mind, were future-proof to some degree when they came out. Hence, I will leave the question of whether or not you need to upgrade your camera to you and your wallet.

The D810 definitely has some new features that make it a more useful camera than the D800. I won’t list the full specs here in this blog post as there are plenty of sites [check out DP Review’s hands-on preview] that have given a full description of the new camera. Among the new capabilities that interest me the most are the faster framing rates for still photography: 5 fps in full frame (FX mode) and 7 fps in DX crop mode. As a sports photographer, the framing rate was always a sticking point for me with the D800, which is why I also own the Nikon D4. Seven frames-per-second in DX mode is respectable. That framing rate along with the DX mode would be very useful when shooting surfing, where having a longer reach with my Nikkor 200-400mm f/4 VRII lens, without having to use a tele-convertor, would be a bonus. If there is a compelling reason for me to upgrade, the framing rate alone might push me over the edge.

Other new features that grabbed my attention are the new Group Area AF, the flat picture control for video, the zebra stripes feature in Live View for video, and the redesigned shutter and mirror mechanism. There are also some very useful video features that have been upgraded in the D810, like being able to use Auto-ISO to smooth out lighting changes while recording. All of these new features are notable upgrades that will help make a great camera even better. Image quality wise, I am sure the new D810 is slightly better than the D800E, but from what I can tell, and reading what others have said, this is a matter of splitting hairs. The D800 and D800E still have stellar image quality. I am sure the D810 will set a new standard but the image quality difference isn’t enough to make me upgrade sight unseen. Don’t get me wrong, even though this is an incremental upgrade to the Nikon D800-series, there is a lot more here to get excited about than there was with the D4s.

As of yet, I have not placed a pre-order for the D810. My D800 is working just fine for most of what I do. If anything, at some point I will add a D810 to my kit and hold onto my D800 and D4. The D4 is still my main camera for low-light situations and sports photography. It is an incredible camera. I only wish it was a 24 MP camera that shot at 8 or 9 fps. As for the D800-series, no matter which D800 version you have, it is still the best camera I have ever used in my entire career. It is unmatched by any other DSLR on the market, for now. If Nikon had included 4K video in the D810 I would have already placed a pre-order. We’ll have to wait for 4K video in the D900 down the road. Here’s hoping it includes raw video capture in full 4k.

For more information on the Nikon D810 check out the full specs and sample photos and videos on the Nikon website. You can pre-order the Nikon D810 through B&H Photo & Video.

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A recent shoot at the Disney Concert Hall

While teaching a photography workshop in Los Angeles recently, I photographed the Walt Disney Concert Hall, along with the workshop participants, on a cloudy morning in downtown LA. As it turns out, the optimum conditions for photographing the concert hall are dark, cloudy days, as can be seen by the images in this blog post. I felt like a kid in a candy store while photographing this incredible building. As many of you know, I don’t fancy myself as an architectural photographer, but with this building it was incredibly easy to get phenomenal images, especially abstract architectural images.

I will say that these images were heavily processed. I created a dark and eerie mood with the processing, which is a bit darker than it actually was when I photographed these buildings but the tone I set in the processing seemed fitting for the building. The concert hall has to be one of the most interesting architectural wonders in the United States. It has been photographed a lot, and many of the images created of this concert hall have won awards in the photo industry. My images were nothing more than a personal experiment. I have wanted to photograph the Disney Concert Hall in Los Angeles for a long time, and I have even shot it before this excursion, but never with the right conditions.

Taking the time to create photos for myself is always a luxury. I am usually on deadline and under pressure to come up with images the client needs, or what I really aim for are images that leave the client speechless. The hour and a half I spent in downtown Los Angeles photographing this building, along with the participants, was just sheer fun and they all got stellar images as well. To see more images visit the Disney Concert Hall web gallery on my website.

All of these images were shot with a Nikon D800 so that they can be blown up as enormous prints. If you would like a print of any of these images please contact me.

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2014 PDN Photo Annual Website Design Award

I am honored to announce that my website was recognized in the 2014 Photo District News (PDN) Photo Annual as one of the top photography websites. In 2013, I updated my website using the Design X template from APhotoFolio.com and kept the same design aesthetic as the previous version of my website, which also won a PDN Photo Annual award for website design in 2011. My thanks to the folks over at APhotoFolio for all of their help in making this come together and of course, my thanks to PDN for including my website in the Photo Annual.

Below are a few more screenshots of the award winning website. Check out the website at www.michaelclarkphoto.com.

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Book Review: The Rise of Superman

Disclaimer: This is kind of a long-winded book review but stick with it to the end and you’ll see why I am so excited about this book and why I highly recommend it to everyone!

About a month ago, I had lunch with New York Times bestselling author Steve Kotler here in Santa Fe, New Mexico. Steven lives just outside of Santa Fe and we met up at a local pub. Since we are both into adventure sports we hit it off immediately and talked passionately about a variety of topics including his latest book, the freelance life, some of our mutual friends (of which there were many) and the latest ski conditions, to name just a few. Earlier this year, Steven released his latest book, The Rise of Superman: Decoding the Science of Ultimate Human Performance.

Before meeting with Steven, I had seen quite a few videos and Facebook posts about The Rise of Superman, since it details the arc of adventure sports over the last few decades, but I hadn’t actually read the book. After our meeting, I was very curious about “flow” and ordered the book right away. I must admit that I was a bit skeptical. The theory of “flow” sounded like a “new age” movement more than a science term. As I quickly found out in the first few chapters of the book, there are more than fifty years of science and research behind this term.

Let’s just put it this way, once I got the book, I couldn’t put it down. I read the entire book in two days and I had to force myself to put it down to get some actual work done. The book uses adventure sports to show the rise in athletic prowess that has been accomplished in the last three decades because of athletes accessing this “flow state.” Reading the stories about the athletes in itself was quite entertaining, especially since I have worked with about half the athletes in the book and have heard many of those same stories directly from them. Of note, the Red Bull Air Force, who regularly pushes the envelope of what is humanly possible, figures prominently in the book, as do quite a few other Red Bull athletes. Red Bull in fact has been working with several neuroscientists on flow for over a decade now to help their athletes’ progress in their sports. Amazingly, as someone who has documented adventure sports for the last eighteen years I have never heard an athlete talk about flow.

Beyond the entertaining stories, Steven goes into great detail describing flow and how both adventure athletes and everyday folks can access this state to improve their performance and reach a whole other level. This book is essentially the answer to why we adventure athletes do what we do. I have never fully understood why my passion for these sports was so deeply rooted and why creating images of these athletes is so ultimately thrilling for me, but this book answers that question and then some—like nothing else I have ever read. If you have a girlfriend, a spouse, or a family that wonders why you do these risky adventure sports do yourself a favor and just hand them this book. After reading it they will understand everything.

“I have never fully understood why my passion for these sports was so deeply rooted and why creating images of these athletes is so ultimately thrilling for me, but this book answers that question and then some—like nothing else I have ever read.”

While reading the book, I realized that I have accessed a “flow state” since I was fairly young, mostly while creating art. Once I got into adventure sports, I was able to access it on a whole other level and have been for quite some time now. In fact, I feel like I can access micro-flow (a lower level flow state) quite easily. While working on an interview about my work just a few days I read through the introduction to my book Exposed: Inside the Life and Images of a Pro Photographer. In that introduction, I basically described an addiction to this “flow state” in terms that seem apropos for someone who had never heard the term. I even detailed five of the ten signs of flow in the first four paragraphs. So you can see what I am talking about, below are those four paragraphs from the introduction to Exposed. I have underlined those sections that relate directly to flow.

Ever since I was a child I have had a feeling of utter enlightenment when I created something. It didn’t matter if it was a drawing, a painting, or a sculpture. When I knew it was good, my whole being kicked into high gear. My concentration became laser focused, and the rest of the world faded away. Hours would fly by and I would barely notice. I was in a bubble that was all consuming. That creative spark was a lightning bolt for me.

I knew I had some artistic skills early on. As with many children with skills that come to them easily, I took my skills for granted. At an early age, I was able to draw just about anything with very near photographic realism. With the help of my parents, I dabbled in just about every genre of art. Photography was just one of the forms I “tried out.” The more I worked at art, the more exhausted I was by “perfect” drawings. As a result, I became very interested in abstractions and quick renderings. Part of that was a curiosity to see what would happen. Hence, an interest in photography wasn’t that big of a leap.

Often, I’m asked how I made it as a professional photographer. The short answer is that I’ve worked extremely hard with the help of many photo editors, mentors, and athletes. Alternatively, I don’t feel like I’ve made it at all. I still have a long, long way to go before I can ever think I’ve “made it.” But at the base level, I am an addict. I am addicted to the high that I get when I am creating an image I know is extraordinary. And being able to share that with the world, through my clients, is a supreme pleasure. That addiction to the creative high is the reason for my obsession with photography. It is the reason I am a photographer, and it explains why I work so hard.

This creative spark and the gratification I get from sharing it is the essence of this book and the reason I’m willing to share the entire process from start to finish. Reading about the entire process removes the mystery of how certain images were created. Hearing the complete story of an image makes the process logical and understandable. Seeing the whole process laid out makes these images accessible for all so that they can create similar processes of their own to further their photography.

In short, The Rise of Superman helped explain my passion for adventure sports and documenting them, and it has opened my eyes to exactly what is going on when I am in a “flow state.” The science behind flow is compelling. Neuroscience has come a long, long ways in the last few decades and that has allowed the scientists interviewed in this book to really dive deep into what is actually happening in the brain that allows for flow. After reading this book, I did a 180-degree about face from my previous skepticism.

The beauty of this book is that it teaches you how to hack into this flow state and access it for yourself. It gives an all-encompassing view of the state, the upsides and the downsides and everything in-between. And for those of you not into adventure sports, not to worry, most creative people, whether they are artists, musicians, scientists or programmers all access the flow state from time to time. Do yourself a favor and order this book. I can’t recommend this book highly enough.

To find out more about the book visit www.riseofsuperman.com. You can order the book online at Amazon.com.

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