Standerd Slides

Subject: Chris Oshea
Photo: Joey Meddock
TSQ Location: Book 2.1, Photo Essay, Page 74-75

We had one day of good weather while we were there in Australia, and that day was the first day we shot. Every other day on Lake Conjola this past January looked like this–cloudy, choppy and threatening to rain. Our options were limited this day, right from the start.

I knew the sun wouldn’t be popping any time soon, so I opted to go with the artificial flash route. I wasn’t really feeling a tube set, so I sent each boat off on a scavenger hunt for obstacles to ollie. Chris-O and I found this tree that stuck out into the water about 20 feet. My right hand man, Flash Gordon, a.k.a. Daniel Watkins, got off the boat and went up on shore with me where we would post up for the shot.

I took a few test shots to make sure my flash was hitting the end of the branch. After I made a few adjustments, Chris-O came flying into the frame. There’s not much to the “trick” other than making the ollie, so a few passes into it we quickly had something to work with. Chris-O went back and fourth until his arms nearly fell off.

- Meddock

Subject: Sands Of Arabia
Photo: Joey Meddock
TSQ Location: Book 2.1, Critique, Page 84

Check out Collin Harrington’s new video Box of Fun. Sometimes there is video footage that can do more justice than a photo and vice versa. The video footage of all of us packed into this Hummer “tour” is hilarious. Getting out to this spot where I took this photo was half the battle. Crank up the music would ya? (That’s all I got to say about that…check out the video.)

If you don’t like sand in your shoes (and socks) then don’t go on the safari tour while you are in Abu Dhabi. It is, however, an opportunity of a lifetime and I highly suggest doing it if you get the chance.

Walking through a “real” desert is something you’ll never forget. Once we finally got the Hummers parked, and before I nearly puked, I ran up to the top of the hill where I could catch the last part of the sunset.

I say “ran” like it happened fast, but that was not the case. It was more of a controlled fall.

The sand is so loose, it’s hard to get traction, much less climb a hill. Finally, I gave up and took my shoes and socks off. There was no fighting the sand at this point. You might as well scoop some in your mouth and get used to it.

The wind that blows through the desert creates these tiny little shelves in the sand. Surprisingly, it was hard to get a shot without any tourist’s foot prints in the frame.

I wanted to capture a decent “desert” shot to take home and thought this one would do. By the time I made it to the top of the hill, I only had a few seconds to take the shot before the rest of of the herd behind me followed.

You’d think with that much sand out there it would be easy. I did too. You just have to be quick I guess. Seconds later, all these innocent patterns in the sand were no longer.

–Meddock

Subject: Aaron Reed
Photo: Josh Letchworth
TSQ Location: Book 2.1, Contents spread, Pages 14-15

This was obviously the same day as the Cover shot. We all know the program with winching…you finish one and then walk it out.
Yes…Walk It Out. Sing it.

This was a shot of Reed as he was heading back to the starting creek. I’ve always wanted to nail a good over/under shot in the water. It can be tricky with focus and water magnification. This one happened to work nice.

The water line went right across the frame and his leg and shoe are sharp. That is still the best thing about photography…trying something for the hell of it and getting it to work.

It always reminds me to think like a kid out there and experiment with ideas even if I’ve already tried them.

- Josh Letchworth

Subject: Josh Palma
Photo: Joey Meddock
TSQ Location: Book 2.1, Critique, Page 85

Everything in Abu Dhabi and Dubai is about size. From street signs to malls to hotels, everything about their structure is meant to leave you breathless.

Near the place where we were staying, we came across this massive hotel right next to the water’s edge. As soon as I saw it, I knew I had to get a shot somehow with it in the background.

The biggest problem were the water conditions and the roller feedback off all the concrete walls that surrounded us.

I gave the boat driver a two-way radio while I waited around the corner in another boat floating still.

We got two tricks per attempt. Then, we had to let the water roll out and calm down again. Each time Palma would do a trick, I’d tell him “a little sooner/later” as he passed by so could get the angle right. We had to wait about five minutes between each attempt.

I this with my 300mm lens because it has an incredible depth of field on it. The hard part is that it’s super tricky and technical to focus. Floating in rough water didn’t do me any favors either.

I framed it up vertical so I could see the top of the hotel, yet keep the boat and rider toward the bottom of the frame. I wasn’t quite sure what trick Palma was going to do either. That made a huge difference in this photo. After I saw him try a big HS 180, I told him to keep doing it over and over again on each attempt.

From my angle, it was important for the rider to go big enough to “separate” from the boat. Anything smaller, and he would blend in behind the tower or obstruct the view from my shot/angle.

It’s important to communicate with the rider/subject when shooting from these distances. It really makes a difference when you can explain to them what you are looking for and why. Sometimes it takes a while to see it, but when it does, you’ve got to speak up. Tell them to try it again and again until they feel happy with the trick. As a shooter, you’ll get several attempts to nail the shot just right too.

–Meddock

Subject: Flight of Tranquility
Photo: Joey Meddock
TSQ Location: Book 2.1, Critique, Page 86

If only photos had odor! Damn, this spot stunk!
I was in Acapulco, Mexico with Darin Shapiro and Jeff Weatherall.

It was late morning and we had just finished up some early sunrise photos. After circling this island all morning, I finally saw some white rocks that looked like I could climb up to shoot from.

I didn’t think anything of a “white rock” from a distance, but as I got closer I quickly realized why they were white. There were birds EVERYWHERE on this island.

I felt like I was getting dropped off in a bird sanctuary breeding facility. As soon as I stepped foot on the rock, birds went flying all around me. I had to cover my equipment in case any more droppings fell from above.

The boat pulled away and idled down the lake as I searched around for a higher perch. When I finally found a height that I liked, I set up shop with my new flying friends and snapped a few shots.

They were squawking at me and buzzing my head the whole time. I was hard NOT to get a bird in the photo. Maybe they were secretly taking photos of me? After all, I was sitting on their toilet.

–Meddock

Subject: Chad Sharpe
Photo: Josh Letchworth
TSQ Location: Book 2.1, Juice section, Pages 4-5

It was really good seeing Chad that day. It had been awhile since we shot together, so it was great catching up.

I was actually out there to shoot a Quiksilver ad of Randall Harris, but we had to wait our turn in the boat full of riders there to shoot with Kilgus for his upcoming release, DRIVE. That was fine by me. I got a chance to shoot some other stuff.

Ben’s boat was having some battery issues, so we all crammed into one boat and made due with the situation. Chad hit it first and went straight into double indy backrolls off the double up. It was pretty insane.

I saw a video of one that he landed, but never an attempt in person. He came so damn close that day. He actually landed one and bobbled enough to drop the handle.

Anyways…I sat back and let Kilgus take the lead on this b/c I knew he really wanted to get it. I just sat in the seat and shot thought the window of the boat.

That’s Randall in the right of the frame, driving our chase boat.
You see, we all like to work together. One big happy family.

- Josh Letchworth

Subject: Shane Bonifay
Photo: Joey Meddock
TSQ Location: Book 2.1, Critique, Page 97

The whole time we were on this road, everything felt weird. It was oddly quiet.

Our whole trip to Dubai this past December felt like we were being “watched,” I guess. Really, a weird feeling. But, I’m sure there was nobody there, right? Why would there be?

I think it’s the case of an “insecure American on foreign turf” feeling. There is a constant “looking back over your shoulder” type of vibe in my head the whole time I was there. I don’t know, maybe it was just me. Ok, I’m weird.

Shane, Collin and I got dropped off on shore as the wakeboard boat was setting up to do some runs past us. It was really windy that day. The forecast called for a 30% chance of good wakeboard conditions and 70% chance of getting really frustrated and not getting any footage. Damn, were they right for once.

In between passes (when the boat ran out of sight), Shane and I kept walking up and down this desolate road. The end of it went to the Coast Guard’s dock, along with some other Military-istic looking/scary stuff you could call it.

There was barb-wire on top of a 12-foot wall to keep us on one side of the otherwise unknown side of the fence. Just weird and spooky, like I said before. To see the actual wakeboard footage from this shore side, you might just have to go check out Collin’s new video, Box of Fun.

– Meddock

Subject: Darin Shapiro
Photo: Joey Meddock
TSQ Location: Book 2.1, Profile, Page 60-61

With one shot in mind, Darin, Jeff Weatherall and myself headed for the beach in the early morning. We were in Mexico visiting some friends at Acapulco Getaways. We got up at sunrise and were just fed a hearty Mexican breakfast. As we were eating, we couldn’t help but notice the increased thumping sounds of the waves crashing on shore.

Originally we wanted to get some tow in shots but the surf was too big. Tow ins, with the Jeep, that is. Depending on the break and how big the surf is, as well as the time of tide, usually you can hook the rope up to the hitch and just drive down the beach. It wasn’t in the cards that morning but using the Sea Doo to whip the rider in to the wave was.

Jeff went out first and Darin drove for him. I was perched out on the sand, shooting beneath my sombrero on shore. Being the first one to go, and to get a good feel for the size of the waves, Jeff stuck to his comfort zone by grabbing the surf board first. Darin, however, saw the potential and grabbed a wakeboard.

We wanted to get a “tube” shot but didn’t exactly know how it was going to happen. The break was inconsistent and the lip was heavy. Darin loosened up his bindings so it would encourage a faster exit after the wave dumped on his head. He pulled into this one as I sat on the trigger from shore. I don’t think he nor I realized how quick it was going to take shape. The few frames after this one, you can still see the bindings and edge of the rail as the wave closed in around him.

Between Jeff and Darin, I sat there on shore for about three hours while they caught wave after wave. Surf, then to the wakeboard, then to the surfboard again. It was an endless rotation of board swapping and hollowed fun.

- Meddock

Subject: Brett Eisenhauer
Photo: Joey Meddock
TSQ Location: Book 2.1, Photo Essay, Page 73

Good ‘ol Ike! The first morning we got to finally shoot in Australia was one of the best-lit mornings we had on the whole trip.

After a long, drawn out delay in my camera baggage arrival, we were all anxious to get out on the water and start shooting for the Photo Essay story in book 2.1.

At the crack of dawn, we headed out for the lake. Ike took honors riding first and got some really cool light.

Every time there is light on the subject against a darker, unlit backdrop, the subject pops like crazy.

There was only one little short run before the sun lit up the entire background. Ike got in a few tricks right before that spot.

I saw him do this front half and immediately had him do it again. A few more front flips later, we had a few to choose from.
This one took the cake.

- Meddock

Subject: Aaron Reed
Photo: Josh Letchworth
TSQ Location: Book 2.1, Cover photo

We’ve been talking about an underwater shot for the cover for quite a while. So, with consideration to water clarity, it’s not always the easiest to pull off.

I told Reed about the idea and our brains collided. Bo Burton chimed in with a spot that he new of up in Ocala that was a crystal clear spring out in the middle of the woods. Seriously…this place was literally in the middle of the Ocala forest.

One cloudy afternoon, we drove up there in my truck with the winch and Ophelia (Reed’s dog). It was raining off and on, and I remember thinking that we picked the absolute worst day to do this.

I really wanted to see the clarity of the water and the bright blue sky. Clouds = B&W film. We must have made a dozen left and right turns down dirt roads to get to this place. Our last right turn took us through a “no trespassing” sign and onto a trailhead. “This is it,” Bo said.

We dragged all of our gear and the winch down the trail for about 20 minutes and popped out at this beautiful, natural spring in the woods.

It had a perfect place to put the winch and a creek that led into it that worked well to start in. We felt like the Native Americans, discovering something for the first time. (Reed always feels like a Native, because he is one.)

We played on the rope swing, held our breath in the spring, swam with the dog and then decided we should try out this photo idea.

I had a housing for the digi with me, but every time I took it in the water, it would leak. The film gods were definitely speaking to me. I went with ye ‘ol standard F5, fisheye and Ilford FP4.

I gave Reed the signal, dove deep and pointed the camera up. You should have seen these ridiculous goggles we all bought at Sports Authority. They were awful. Leaky. Distorting. Painful. But we looked like badass swimmers.

Anyways…we shot two rolls of film and felt confident that we got something.
This is one of them. Thanks Reed. Thanks Bo. Thanks for company, Ophelia.

- Josh Letchworth