CHRIS GURNEY
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We'll get that annoying "What do you do with yourself" question out of the way first... and go!
I'm 24 and I live here in Perth. I work as a photographer and also do some freelance journalism, filming and other media work on the side. How would you sum up a great image that will end up in a magazine or used for an advertisement and the lengths one must go to create one? I think a great image is one that strikes a chord with people but remains true to your personal style and vision. I think great images are iconic and timeless and will be recognised on their merits for a long time. I guess you tend to have more creative freedom on editorial jobs but a great image can certainly come from an advertising brief too. Either way, great images are a real representation of a subject and tell a story on their own. |
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Lets start at the beginning, when did your relationship with the ocean start?
The beach was always a part of my life growing up, but I was super scared of the ocean and waves. Most of my childhood I was more into sports like soccer and AFL and whatever. It wasn't until high school (maybe 13 years old) that I really developed an interest with the ocean and got hooked on it. I got really into bodyboarding with you and a few of the other guys at school and going to the beach pretty much took over my life.
The beach was always a part of my life growing up, but I was super scared of the ocean and waves. Most of my childhood I was more into sports like soccer and AFL and whatever. It wasn't until high school (maybe 13 years old) that I really developed an interest with the ocean and got hooked on it. I got really into bodyboarding with you and a few of the other guys at school and going to the beach pretty much took over my life.
"I think documenting that and telling the whole story is important, not just shooting the surfing."
"I got a call from their editor Vaughan Blakey and he told me I was getting the cover. I was tripping."
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Early on in high school, the like minded guys who realised going surfing might actually be more important than year 8 maths and science all kind of grouped together. How important was it developing relationships and going to different places together with where you are at now, travelling far and wide?
That played a big part in shaping me to be who I am now. If it wasn't for the surf/beach culture we were part of, I don't know if I would've become interested in photography. Hanging out with our group of friends, I was exposed to surf movies and magazines and the realisation there was a bigger world outside of our little bubble. I gravitated more and more towards photography from there and those early days set me on that path. Also, I really enjoyed the experience of going on road trips with friends, getting up before the sun and spending all day at the beach. I think documenting that and telling the whole story is important, not just shooting the surfing. Do you still have the roll of film from that first disposable underwater camera you took out to City Beach? Do you remember what it felt like the first time you shot photos in the water? I'm not sure I have the very first roll but I found a bunch of the first ones stashed away in a cupboard the other day, they're classic to look back on. The thing I remember most was how hard it seemed to get a nice, clean image that did justice to reality, and how good it felt to get one that did. |
I forgot what year it was, maybe grade 10 or 11, but we were in the demountable science class room and you had something top secret to tell me. "Man, I think I'm getting the cover of Surfing World magazine...", and I'm sitting there just collecting my jaw up off the floor. Tell us about that that whole thing. Must have been such a crazy experience for someone at that age.
I can remember that exact moment in the science class too. That was crazy, to get the cover of a really respected publication when I was 16, it was a real eye opener for me. SW is still one of the best magazines out there and back then it was a quarterly so every issue was full of so much great content. I mailed them a CD of photos I shot in Margaret River on school holidays and couldn't believe it when I got a response. A few weeks later I got a call from their editor Vaughan Blakey and he told me I was getting the cover. I was tripping. It's a great memory to look back on.
You've seen quite a lot of the world by chasing the surf, where are your favourite places to go on the globe?
I really love Tahiti. It's a pretty obvious choice, I don't think anyone has ever gone to Tahiti and not enjoyed it. I've been three times now and have a lot of friends over there. It's an incredible place to travel as a photographer but the people, the food and the culture make it really special. I also love Western Australia so much, especially Esperance and the North-West. They're a long way from Perth but close enough to drop everything and go on a whim. Really vibrant, dramatic landscapes and seascapes.
I can remember that exact moment in the science class too. That was crazy, to get the cover of a really respected publication when I was 16, it was a real eye opener for me. SW is still one of the best magazines out there and back then it was a quarterly so every issue was full of so much great content. I mailed them a CD of photos I shot in Margaret River on school holidays and couldn't believe it when I got a response. A few weeks later I got a call from their editor Vaughan Blakey and he told me I was getting the cover. I was tripping. It's a great memory to look back on.
You've seen quite a lot of the world by chasing the surf, where are your favourite places to go on the globe?
I really love Tahiti. It's a pretty obvious choice, I don't think anyone has ever gone to Tahiti and not enjoyed it. I've been three times now and have a lot of friends over there. It's an incredible place to travel as a photographer but the people, the food and the culture make it really special. I also love Western Australia so much, especially Esperance and the North-West. They're a long way from Perth but close enough to drop everything and go on a whim. Really vibrant, dramatic landscapes and seascapes.
"Those swells don't happen that often which is kind of fortunate because if they did I think there'd be plenty of injuries and accidents."
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What is one of the craziest experiences you've encountered on the road?
Seeing a guy chase another guy around the beach with a machete in Mexico, haha. That was pretty wild. But seriously, mostly the natural beauty of the world out there in different places I've visited. Seeing somewhere new that blows your mind never gets old. Big wave surfing is getting really gnarly now and you've been documenting a lot of the forefront. Has there been any close calls and what would the most rewarding experience have been chasing these swells? Just the usual caught insides and jetski mishaps really, nothing too crazy yet. I've been more than happy to sit on the ski for the most part but I've pushed myself to swim more in really big surf lately. Those swells don't happen that often which is kind of fortunate because if they did I think there'd be plenty of injuries and accidents. The most rewarding thing is watching waves like that with no one else around. Some of the locations are pretty spectacular. |
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Who's pushing it the hardest in surf photography at the moment in your eyes?
There's so much good work out there it's hard to keep track of it all. I really enjoy seeing different perspectives, things that make you stop and think. Anyone who is doing that is pushing it in my eyes.
You became good friends with the very talented photographer and visual artist Morgan Maassen over Flickr and eventually started working with him on some projects, what it like hanging out and showing him around your neck of the woods here in W.A.?
Yeah it's been cool to watch how successful he has become, firstly in surfing and now outside the surf world, working with many of the largest and most respected companies in the world. He's always had a great eye and a very strong personal style with his work. I met him over here years ago, before either of us had much work published, then in 2012 we worked on a video together. It's always great to work with talented, driven individuals who are at the top of their game.
There's so much good work out there it's hard to keep track of it all. I really enjoy seeing different perspectives, things that make you stop and think. Anyone who is doing that is pushing it in my eyes.
You became good friends with the very talented photographer and visual artist Morgan Maassen over Flickr and eventually started working with him on some projects, what it like hanging out and showing him around your neck of the woods here in W.A.?
Yeah it's been cool to watch how successful he has become, firstly in surfing and now outside the surf world, working with many of the largest and most respected companies in the world. He's always had a great eye and a very strong personal style with his work. I met him over here years ago, before either of us had much work published, then in 2012 we worked on a video together. It's always great to work with talented, driven individuals who are at the top of their game.
"I think you've got to make room for personal work that stokes the fire and keeps you driven. "
I found a photo of you and I on the beach throwing some shakas with Chris White and Chad Jackson the other day haha, do you spin out thinking now you're working (sometimes from a helicopter) with these dudes who we used to watch on video tapes every morning before school?
Yeah I know that shot! That's so funny, but those guys were a massive influence on me and I'm sure a lot of other kids like us at the time. Seeing them out there working on projects and doing it independently too. The creative community inside bodyboarding was insane. You had the No Friends and Tension videos, Movement and Le Boogie Magazines and a bunch of great photographers, filmmakers and writers. A lot of these guys have moved on and applied their talents to other fields and been really successful. That underground, grass roots vibe meant there weren't really any limits on anyone. It was definitely a spin out working with those guys early on though, yeah.
Give us 5 photographers who's work you keep an eye on.
Jon Frank - Been my favourite photographer since way back and still is out there keeping it real. His Frankology profiles in Surfing World are legendary.
Cole Barash - One of the best young photographers out there, who also started out in action sports. Shoots a lot of film and has some great interviews online. Raw, honest and super passionate about his craft.
William Claxton - I just bought two of his books and haven't been able to put them down. Amazing documentary work of personalities and sub-cultures.
Richard Freeman - I worked with Rich on a recent trip and learnt a lot from his approach. Mixes it up with all sorts of formats, shoots insane studio and portraiture and can also produce a unique surf image. Also a solid human being.
Trent Mitchell - Another longtime favourite of mine. His surf and documentary work from a few years ago is still way ahead of the curve and he's been doing some interesting personal work of late too.
Yeah I know that shot! That's so funny, but those guys were a massive influence on me and I'm sure a lot of other kids like us at the time. Seeing them out there working on projects and doing it independently too. The creative community inside bodyboarding was insane. You had the No Friends and Tension videos, Movement and Le Boogie Magazines and a bunch of great photographers, filmmakers and writers. A lot of these guys have moved on and applied their talents to other fields and been really successful. That underground, grass roots vibe meant there weren't really any limits on anyone. It was definitely a spin out working with those guys early on though, yeah.
Give us 5 photographers who's work you keep an eye on.
Jon Frank - Been my favourite photographer since way back and still is out there keeping it real. His Frankology profiles in Surfing World are legendary.
Cole Barash - One of the best young photographers out there, who also started out in action sports. Shoots a lot of film and has some great interviews online. Raw, honest and super passionate about his craft.
William Claxton - I just bought two of his books and haven't been able to put them down. Amazing documentary work of personalities and sub-cultures.
Richard Freeman - I worked with Rich on a recent trip and learnt a lot from his approach. Mixes it up with all sorts of formats, shoots insane studio and portraiture and can also produce a unique surf image. Also a solid human being.
Trent Mitchell - Another longtime favourite of mine. His surf and documentary work from a few years ago is still way ahead of the curve and he's been doing some interesting personal work of late too.
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What was it like reaching that point and realising how important the business side of what you are doing is?
Yeah that's been a tough one for me, trying to separate work for work and work for passion. I think you've got to make room for personal work that stokes the fire and keeps you driven. There's also the whole running a business aspect to it - being on top of your records, tax, networking.. all that stuff. It's not inspiring to talk or think about, but it's a reality and if you keep on top of it you make your life a lot easier. Have you indulged in shooting on film? If it wasn't so expensive to buy, process and scan, what would the contents of your camera bag be looking like? I've dabbled with it on and off but last year I got more into it. Back when I started taking photos, the images I was inspired by were usually surf photos shot on really vivid slide film like Fuji Velvia so I bought a bunch of that and got busy. Next year I'm going to do a bunch of trips where I don't take a digital camera, I'm really excited about that, slowing things down and leaving the laptop at home. I just bought a Mamiya RZ67 so I'm looking forward to using that for portraits especially. If I had the cash right now I'd get a 35mm rangefinder like a Contax G2 or Leica M6. I'd also love a Blad as a more travel friendly medium format setup because the RZ67 is big and heavy. An Xpan would be nice, also. |
Water and electronic gadgets don't often get along, have you had any camera gear go down the drain (mind the pun)?
More times than I'd like to admit. Nothing worse than looking at the inside of your water-housing and realising it's half full up with salt water. Right now I've got two cameras being looked at because of a trip to Tahiti a month ago. The humidity was crazy and we were in this little shack right on the water. Everyones electronic equipment was getting zapped.
Give us a quick timeline of the thought/emotion process before/during/after this happens.
Usually it's a leak in the housing seal but it can be other things too. In Mexico I had a wave wash over me while I was sitting on the beach completely clothed holding a camera. I've been sucked over the falls and driven housing-first into the reef. Freakish bad luck moments but they happen. Usually you have the moment of realisation, then a desperate rush to get the camera dry, then you stand with your hands on your hips and accept the inevitable. Really it's best if the camera just dies straight up because even if they survive initially the corrosion will start messing with them pretty soon. Get insurance.
More times than I'd like to admit. Nothing worse than looking at the inside of your water-housing and realising it's half full up with salt water. Right now I've got two cameras being looked at because of a trip to Tahiti a month ago. The humidity was crazy and we were in this little shack right on the water. Everyones electronic equipment was getting zapped.
Give us a quick timeline of the thought/emotion process before/during/after this happens.
Usually it's a leak in the housing seal but it can be other things too. In Mexico I had a wave wash over me while I was sitting on the beach completely clothed holding a camera. I've been sucked over the falls and driven housing-first into the reef. Freakish bad luck moments but they happen. Usually you have the moment of realisation, then a desperate rush to get the camera dry, then you stand with your hands on your hips and accept the inevitable. Really it's best if the camera just dies straight up because even if they survive initially the corrosion will start messing with them pretty soon. Get insurance.
"It's not easy at all, it's not cheap, I'm still attempting to do it"
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How do you think social media has helped artists over the last few years?
It is a great way to promote your work, connect with people and find inspiration. It's immediate and easily accessible but I think it's a double edged sword. I feel there are many people shooting a certain way because they're seeking approval from the audience on there. All these images are really similiar and they have a VSCO filter on them and you forget them as soon as you scroll past to the next shot that looks the same. In 5 - 10 years time I'm not sure these images are going to be looked at as a representation of the photographer but more as a representation of Instagram. I mean photos of open roads, people standing on the edge of cliffs, people with their arms up underneath a waterfall... I see those same images over and over. I say that from experience because I felt myself getting sucked into it a while ago. I don't want to sound negative or like I'm writing anyone off. It's just something I thought a lot about this year. I think working on a body of original work and presenting it in an exhibit, a book, a zine, even a web series, is more honest and rewarding. It's not easy at all, it's not cheap, I'm still attempting to do it, but I'd rather put my energy towards that than jump onboard a trend. |
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What other areas of photography have you worked in outside of surfing?
I've shot a fairly wide variety of images but for the most part they have been on contract for surfing brands or surf trips. Last year I did some work up in the Pilbara region of West Australia with an organisation called Tarruru, spending time with Aboriginal Elders. We camped out and listened to these guys talk about their connection with the land up there. It's crazy how well they know these areas that are basically just desert for miles. That was really interesting and I'd love to go back and burn a few rolls of film on those guys.
Lets wrap this up, if you were stuck in a forrest with all the objects surrounding you (at the time of reading) what would you build?
I'm in the kitchen so I'd be pretty set. Use the table and cloth for shelter, take a chair, grab some knives and go full castaway style.
