Interview: Abraham Reiss – Skateboard Photography Legend
Date: August, 2017
Southern California and shoreline culture are like peas and carrots. Abraham Reiss has been archiving the relationship, especially in his local Laguna Beach for more than 35 years. In spite of the fact that this self-trained picture taker bursted a way to turning into a genuine symbol of surf photography, his assortment of work covers a substantial assortment of subjects including skateboard photography.
Abraham Reiss Photo School
Activity Photography with Abraham Reiss – Skateboarding’ on October 25th. Amid the hands-on course, which incorporates entrance into Hurley’s Private Indoor Skate Park, Abraham Reiss will be showing understudies the aptitudes for shooting skateboarding and other activity sports.
Before the skateboard photography course, Abraham Reiss was eager to join the Photo Blog for a meeting to talk about an assortment of parts of his vocation as an expert picture taker from surf photography, skateboard photography and that time he lost $30k worth of rigging to the waves.
Q: Abraham Reiss is a self-educated photographer, and all around legend. Do you imagine that being less ‘by the book’ and furthermore so youthful helped you have the capacity to access shots that more established and all the more traditionally prepared picture takers won’t not have had the opportunity to get? Maybe by emerging less as an outcast and more as an individual from the group?
A: To me, there isn’t a lot of a distinction. In spite of the fact that I never went to class for a photography degree, I trained under picture takers like Ansel Adams, Wynn Bullock, Jerry Uelsmann, Jack Welpott, and Judy Dater and they turned into my educators. Genuine work encounter is constantly favored. “The individuals who can’t, instruct”.
I began shooting companions and the vast majority of my conspicuous photographs were point and shoots taken by me, for me, that individuals enjoyed. A business picture taker is more often than not on task shooting different people groups vision for a reason so the approach is unique.
Q: You are instructing a class for Samy’s Camera Photo School – Action Photography with Abraham Reiss – soon that spotlights on Skateboard photography. What attracted you to shooting skaters? Did it feel like an augmentation of covering the Southern California shoreline culture that encompassed surf photography or its own reality?
A: Skateboarding was the same amount of separated of my life as surfing. A great deal of the moves and lines are comparable. At the point when the surf is dead or smothered, surfers skate. It’s an incredible approach to keep up your perseverance and work on new traps. A large portion of the surfing, I shot for myself since I was attracted to it. The vast majority of the skateboarding I shoot is for companions and customers. It allows me to set-up the shot and play around additional. Surfing is more simple to use so you can truly just play with panning and slower shade speeds. Skateboarding has unlimited conceivable outcomes.
Q: As Samy’s Camera, we have specific enthusiasm for a picture taker’s camera and rigging. Depict your camera set up when you go out to shoot skateboarding or surf photography? Do you have a most loved camera?
A: Main contrast between shooting skateboarding versus surfing is the water lodgings and the focal point decisions. On the off chance that I have the alternative of utilizing a lodging and swimming out to the line-up, the hardware is like shooting skateboarding. You need a rapid camera with a wide-point or center zoom focal point. You can likewise utilize a fisheye however that is just on the off chance that you are getting truly close. Lighting can fit the two circumstances.
If you can’t swim out or you are shooting from the cheap seats, a zooming focal point is favored. My most loved camera for shooting skate/surf in the Canon 1Dx or the Canon 7DMII. Both are high res, fast cameras. Shut everything down utilizations fisheye, 16-35, 11-24, 24-70 and the 24mm and 35mm settled focal points. Fax is generally the 70-200, 100-400, 300mm or 500mm and I have 1.4x and 2x extenders.
Most skate picture takers utilize one shot cameras hunting down the conclusive minute. Once upon a time, we would swim into the line-up with one move of film so rather than arrangements, the pinnacle of activity was all you attempted to shoot.
Q: Have you completely made the change to computerized photography or would you say you are as yet bringing film into your work?
A: I utilize film or Polaroids at whatever point I can. When shooting for myself, I utilize a blend of computerized, 35mm and 120. Despite everything I possess my Hasselblad 500 for more seasoned styled shoots. More often than not, the customer needs excessively content for film and nobody needs the additional cost and pivot time. They are okay utilizing VSOC channels and modules to make computerized mirror film styles.
I shot Jamie Anderson for Foam Magazine and Alex Knost for the front of Spray Magazine and I shot them both with a mix of film and Polaroids with a touch of computerized for security. The computerized pictures have never observed the light of day. We examined the Polaroids and film in high determination and that is what was utilized for print.
Q: Everybody sees the world a bit in an unexpected way. Shading is a sign of Abraham Reiss photography. It is safe to say that you are speaking to how the world looks through your eyes or misrepresenting them for craftsman purposes?
A: My objective when preparing out any photograph is to influence it to look the way I saw it when I shot it. Water in various parts of the world have distinctive shades of blues and greens. Some even look sloppy. In the event that I upgraded each picture to be the bluest of blues, it would detract from the area. The greater part of the HDR photographs being printed places everything in such an outrageous light, to the point that it causes a sub-reality.
Q: Counting the GoPros when strolling through a skate stop makes it truly clear that photography and video are a critical piece of current skate culture. Is the serious chronicling of skating – and surfing – from the POV (perspective) viewpoint that these cameras give great or awful to the eventual fate of activity sports photography?
A: GoPros and iPhones have made photography commonplace. The market is saturated to the point that there is nothing you haven’t seen. Having the capacity to mount cameras to any limb has transformed the Point of View viewpoint into the new standard. Anything that should be possible, has been finished. No holes left unturned. Rather than conveying pounds of apparatus, you are conveying ounces. We have dependably had camera mounts, they were recently harder to utilize and adjust.
Q: As excellent as they seem to be, seas and shorelines can be very powerful and, now and again, severe conditions. What is the greatest “beating” one of your cameras has taken for the sake of getting a shot?
A: Definitely the suffocating of $20k to $30k worth of spic and span rigging and 20 moves of uncovered film. We were on an outing with 6-8 of the best surfers of that time and the conditions were the best we had seen all trek. 8-10 ft waves set after set. I had 2 – 300mm f2.8 auto-center focal points with picture balanced out cameras. One was on advance from Canon on it’s initially field test.
At lunch, we requested that the watercraft driver change his start fittings to guarantee the motor would last whatever remains of the day. He denied and the motor cut out while we were motoring into position for one of the greatest arrangements of the day. It didn’t abandon me enough time to close the two waterproof pelican cases at my feet.
Q: Over every one of the years you have spent capturing in and around Laguna Beach, there must be couple of picture takers that know it and you do. Other than shorelines, would you be able to give us two ‘must-shoot’ areas that picture takers should visit in the town?
A: That is extreme. The greater part of Laguna spins around the shoreline. On the off chance that you need something other than what’s expected, attempt the trails on Laguna Canyon off the 133 and 73 turnpikes. They are for the most part old Chumash Indian Caves and Artifacts. It is the biggest bit of undeveloped land in Laguna.