Published: Carve Issue 139


Back in November I took a trip up to North Cornwall with a couple of mates, we checked a few spots before hitting a little sheltered beach somewhere with surprisingly only a couple of other people in.

It was pretty small but nice and hollow so it was the perfect opportunity to get some shots with my water housing and the wide angle Sigma 10-20mm, I spent an hour or so shooting empties and the three guys in the water, got some good fun shots of the guys getting little tubes then when my friend went in I swapped my housing for his board and got a few waves myself.

I caught about three waves then the sun peaked through the clouds for a minute and another surfer came in, I thought I’d grab a few more shots seeing as the sun had come out and this sequence was the second wave local Dom Clarke caught.

Dom Clarke Sequence

You can see the whole sequence on Flickr, I explained in my e-mail to Carve that I had filled the buffer shooting the take-off and bottom turn and missed the money shot of the air, in a weird way this might have been a blessing as it gave the shot a bit of a back-story and has definitely taught me a lesson which I have already put into practice at a couple of sessions since.

This is shot on my Canon EOS 60D and there’s 20 shots in the sequence, that’s probably 16 shots without any delay so had I sparingly snapped three or four shots of the set-up and sprayed away as soon as he launched I would have got the real gold mentioned in the caption.

As luck would have it I had my GoPro HD Hero 2 on top of the housing shooting video so now you can see the shot I missed with the 60D, I definitely prefer it, not sure if it would have warranted any better treatment in the mag’, but it’s a shame not to have the full resolution version.

Dom Clarke Gold

At this stage I am learning something new pretty much every time I take photo’s, and I’m pretty stoked to have a shot published from one of my “practice” sessions.

Another interesting thing is the processing Carve used on the RAW image I supplied, the photo’s you see here use my processing, I used a bit more contrast to bring out the board outline and a blue-er white balance which I think looks better in the lead-up shots that weren’t in the magazine.

I submitted low res’ jpegs using my settings and then was asked to send in the RAW of the last frame, as per Sharpy’s useful guide to submitting photo’s to a magazine.

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