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Patrick Trefz Interview Beyond that, there are technical processes plane, train, car or on foot from land. could only go 10 to 12 knots, which is the and earn their trust. There are situations filmmaking is that you can tell the whole By Margaret Cohen that provide an extended knowledge of Does your experience as a surfer help speed at which large waves travel. There when it's uncool to break out a camera story and not be at the mercy of a photo intricate details. I am still always on the you anticipate? were 25 or 30 people on board and I don't and there are times when it works. There editor, who may run a few randomly laid- How did you get into photography? lookout for old, out of date techniques Several things play a part. You need think the captain had ever been out there are certain places you can't even take out images in a magazine. That is part of My Dad was a commercial still life that someone like Muybridge, Adams technical knowledge as a photographer on a big day. Going out wasn't so bad a camera. That's part of my process, the reason I got into doing books. I like photographer and I was raised in a photo or Strand came up with. It really opens about how to handle conditions. Knowing because the tide was still high, but after going surfing and catching part of it, not the challenge of the different disciplines studio. It was attached to the small up your mind and helps you to be more the ocean from a surfer's perspective is we were out there for about a couple of all of it. Being respectful and keeping you have to master in filmmaking, from apartment where we lived when I was critical of what's out there when important. So, too, is knowing the surfers hours, the swell was picking up and the it low-key can lead you somewhere conceptualizing the film to script writing, young. We'd go to the studio and take you understand the analog process and who are your subjects, knowing what tide was dropping out fast. On the way unexpected. An example would be when story telling, and cinematography. funny pictures of me with different per- the history of photography. kind of lines they draw. back, we were riding in between swells, I was spending time with Greg Noll and There's linking it all together too: sonalities, like a rock musician, a bum, or How would you characterize the photos Do you have a favorite kind of line with 20 to 30 foot whitewater closeouts his son, Jed. He took me to visit Buffalo editing, creating the soundtrack, a boxer. When I was twelve, I bought an in Surfers' Blood? in surfing? in front of us, closeouts behind us. It was Keaulana in Oahu with one of his replica designing the cover and title credits, and old Minolta from a second hand shop, an The photographs are raw, real, and I think the best surfers draw clean lines; sketchy. Somehow, we squeezed through. Olos, the boards of the Hawaiian kings. so on. Right now, I am in pre-production old SLR with a 50mm lens. My friends and unpretentious. A blend of action, they take a purist approach. It can work It's funny, thinking back to it… There We drove over to the West Side, where for a documentary about Brazil. The I started to shoot each other skateboar- oceanscapes, and portraits showcasing for any kind of surfing, whether it's were a lot of waves coming through that we surfed, hung out with the Keaulanas, focus is on the country's people and ding in these funny carnival costumes, the world I live in. radical aerial surfing, longboarding, or day that had no takers – big, wide-open, and were invited to their Luau. Later that culture, oil, the skyrocketing economy, launching over quarterpipes we built, as a What's your approach to action tube riding; anything from someone chundering south wind barrels that were afternoon, I got and its new crew of competitive surfers pirate or wearing some silly Sinbad outfit. photography? riding a one-foot wave to guys pulling contorting and twisting on the reef. the shot of Buff with the Olo. who are giving the established ASP It was a hilarious time. The next phase I like to pull back and show the entire into Teahupo'o or Maverick's. Apparently, only a couple of people were What cameras do you use? surfers a run for their money. was traveling and documenting. I took environment. Pulling back gives the shot What's it like to shoot a huge wave like out right before dark when the tide was I mostly use my trusty Rolleiflex for That sounds like anthropology. my first solo trip to Tunisia at 16, taking a mystical, adventurous quality. You can Maverick's? pushing back in, and a 100-foot wave portraits. It is a twin lens camera that my I think of this book, too, as anthropology. I trains and busses cross country, cruising put yourself in the shot — you just might You take a boat or jet ski from Half Moon came through. That's why it's dubbed dad got in 1966. A lot of times, people are never went to college, but I always thought through the souks and shooting a lot. I be the person in the green, backlit barrel. Bay Harbor, negotiate a shallow channel, “the 100-foot Wednesday.” The ocean interested in the camera and it becomes it would be cool to study anthropology. was totally fascinated by it all: berbers, I agree those barrels are dreamy, but in a and you're a mile out, right next to this definitely had one up on people that day. a conversation piece. That breaks the ice. That makes sense. Surfing is a sport, mosques, and decapitated goat heads. pulled-back shot like Cheyne Magnusson giant wave, looking into the eye of What effects are you going for in I also have some Canon equipment that but as your photos show, it's also an art I was in my element and at that point, doing a backflip, I'm in awe before the the beast. your portraits? I use for action. I have analog and digital form and a consuming lifestyle, with its I knew exactly what I wanted to do for drama of the scene. Your cover shot for Surfers' Blood is The portraits are straightforward. bodies and a few lenses: a telephoto lens, kinships and clans: surfers' blood. the rest of my life. Then in my early 20s, I The choice of perspective involves of Maverick's. For the subject-centered portraits, a medium range lens and a wide-angle That intrigues me about surfing. It's put in my time in the darkroom learning balance. I like to compose a dynamic That was from the “100-foot Wednesday.” I focus on the facial features and lens. I try to stay away from a fisheye this "out there" activity; pretty esoteric analog techniques. I'm glad I did that. landscape shot and let the action take It was raining and there was a south expressions. Other portraits are lens; it's too distorted — I also have a knowledge. I mean, how do you glide on When I look at kids now who only grew its course within it. wind; a spooky, misty day. The outer environmental; they introduce a sense couple of medium format cameras, like a a moving surface of water, on a piece of up with digital photography, they snap a How do you handle the fact that you buoys were reading a big swell with long of place that tells a back-story. 67 Pentax and a 612 Linhoff. I try to keep styrofoam? But then, it also opens up a ton of frames but they don't really know can't really plan an action shot? intervals and the tide was going to be How do you approach the people in it simple and not get slowed down by new world. As a surfer, you make friends what they're going for. It's good to know You develop knowledge about the extremely low in the late afternoon. I your portraits? having to much equipment. all over the world and you find things that the basics. It's good to be restricted. different conditions of the ocean and showed up late to wait out the squalls I worked on an assignment shooting Mos Where do you see yourself going aren't in guidebooks. It doesn't have to Know the technical stuff, and then you the light so you can anticipate what is and the boat I usually go on had left Def and I just let him do his thing in the from here? be a surf spot; it could be a swimming can start experimenting. It's like surfing to come. It depends what you are going already. Somehow, I ended up on this backstage area before and after his gig Over the past ten years, I've become hole, food, a winery, or a party. You make — you've got to learn how to bottom turn for, but first of all, you have to choose screwed up party liner, a giant, slow boat and snapped pictures in his comfort zone increasingly interested in the moving lifelong friends and discover great things before you start doing airs. your approach, which involves deciding made for fish n' booze tours. In order to – a fly on the wall approach. Working image. I made a few shorts, some in a lifetime of exploring the world's By technical things, what do you mean? if you shoot from the water, swim with a outrun swells, you need to be able to go with some underground surf legends commercials, and two feature-length surf coastlines. It doesn't really get any better Aperture, shutter speed, kind of film? housing, from a kayak, boat, helicopter, at least 18 or 20 knots, and this boat is similar. You have to put your time in documentaries. One thing I like about then that. Surfers' Blood. 126 127
Patrick Trefz was born in the industrial city of Dusseldorf, Germany. Patrick is an award winning art, documentary, and action photographer and filmmaker. He has worked internationally with publications including Surfer, Big, Geo, and The New York Times, and is the author of Santa Cruz: Visions of Surf City (Solid Publishing, 2002) and Thread (powerHouse, 2009). He has also directed multiple commercials, music videos and shorts, as well as two feature-length documentary films, Thread (2007) and Idiosyncrasies (2010). Trefz lives and works in Santa Cruz, California. Joel Patterson grew up surfing and skateboarding in Newport Beach, California. In 1994, he was hired as an assistant editor at Transworld Skateboarding magazine where he worked for over six years, ultimately becoming its editor. In 2000, he became editor in chief at Transworld Surf, and spent the next seven years there. In 2008, he jumped ship and took the helm at Surfer magazine. Patterson now lives in Los Angeles and works as both Surfer's editor-at-large and as a staff writer for the public radio show Marketplace… when he's not obsessing with Malibu's First Point, that is. Rusty Long's home break is Trestles in San Clemente, California. For the past 10 years, his passions for adventure and “elevated sensation” have led him all over the world—often to the outer fringes. He searches out extraordinarily large waves of power and beauty, and rides them with a close-knit, international group of friends who are widely considered this brand of surfing's elite. He recognizes the good fortune he's been afforded through this life as a professional surfer and uses his camera and words to share his unique visions and thoughts. Much of Rusty's work has been published in major surf media outlets. He enjoys life in the moment and appreciates the wonderful connections he makes with people and nature every day. Margaret Cohen hails from New York City. She teaches in the Department of Comparative Literature at Stanford University and holds the Andrew B. Hammond Chair of French Language, Literature and Civilization. She is the author of multiple books, including Profane Illumination (University of California Press, 1993) and most recently, The Novel and the Sea (Princeton University Press, 2010). When she is not teaching or writing, she spends her time in and around Monterey Bay. Surfers' Blood Photographs © 2011 Patrick Trefz All rights reserved. No part of this book may be reproduced in any manner in any media, or transmitted by any means whatsoever, electronic or mechanical (including photocopy, film or video recording, Internet posting, or any other information storage and retrieval system), without the prior written permission of the publisher. Published in the United States by powerHouse Books, a division of powerHouse Cultural Entertainment, Inc. 37 Main Street, Brooklyn, ny 11201-1021 t 212.604.9074 f 212.366.5247 newyorknewyork@powerhousebooks.com www.powerhousebooks.com First edition, 2012 Library of Congress Control Number: Hardcover isbn Book design by Jim Newitt Copy Editors Casey Butler & Christian Beamish Post by G10 Capture A complete catalog of powerHouse Books and Limited Editions is available upon request; please call, write, or visit our website. 10 9 8 7 6 5 4 3 2 1 Printed and bound in
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