Surf @ Night Surf @ Night 09/12/2011 created by Red Bull Illume Surf photography has always been innovative regarding making the most of a location. It’s notoriously hard to find a fresh location or a new angle. Since flash rigs have become powerful and portable enough to be brought to the beach a few years ago, a whole new genre of surf photography emerged – night shoots. Just look at Jimmy Wilson’s category winning shot from Red Bull Illume 2007, which really caught the imagination of surf photographers everywhere.As more night-time events have emerged – just take the Red Bull Night Riders and Red Bull Night Shift events at Bali in June, Cape Town in January and Florida last November as recent examples – photographers have faced new challenges, especially regarding flashing the action. New styles and techniques have developed.Some photographers focused more on capturing the moodiness of the ocean setting as opposed to the extreme action shots. Between the ranging styles and the different lighting of the locations, photographers approach night-time photography very differently to overcome the limitations of being too far from the action or lighting issues. An interesting innovation also came from Dom Daher for example who used a heli-cam to flash a surfer in order to shoot from the beach at dusk.An altogether different approach was the use of artificial wave pools that allowed photographers to shoot good waves and tricks at close distances.Just look at Jimmy Wilson’s “Grabs” story for Stab Magazine (Issue 47) shot at Siam Park in Tenerife featuring photography by Sergio Villalba and Richard Freeman. Silhouette shots against a white screen backdrop were used to give beautiful text-book examples of grab-techniques.To find out more about nighttime surf photographer and the choice of artificial wave parks, Red Bull Illume spoke to action sports photographer Robert Snow about his spectacular shoot at Typhoon Lagoon which made a big impression on surf photography over the last year. The results were stunning. Unlike the ocean setting, the artificial waves are illuminated in an azure glow, with the white spray contrasting strongly against a dark background. The color of the waves is responsible for completely transforming the ambience of the shot and the setting produces a studio-like result, as if the shot was meticulously planned and frozen and not just a second of freeze-framed action.Read on to find out about his shoot with Red Bull's top emerging surfers Evan Geiselman, Kolohe Andino and Cristobal De Col. Q: Tell us about the location at Typhoon Lagoon.Typhoon Lagoon is a Disney water park in Orlando, FL. The wave pool is located in the middle of the water park and can be rented out for surf parties. Typhoon Lagoon’s surf pool provided an environment that was relatively controlled. I thought of it as a studio to photograph surfing.Q: It might not be real sea-water or real waves, but the photos have a great aesthetic. What was your vision for the shoot? Who was the shoot for?In 2007 I did a test shoot at the wave pool using strobes at night with amateur surfers. In 2008 I shot with professional surfers Jesse and Markus Heilman at the wave pool with a crew and battery powered strobe packs. The production was smaller and the lights used on those shoots only allowed for one frame per wave. My vision for this shoot was to keep the lighting similar but have the ability to shoot sequences. I pitched the idea to Red Bull earlier in 2010 and they gave me opportunity to photograph their arsenal of emerging surfers.Q: What instructions did you give to the surfers? Just do your thing or any special requests to get those shots you had in mind?The best advice I could give the surfers was to go out there and have fun. Evan Geiselman, Kolohe Andino and Cristobal De Col are arguably some of the best young surfers in the world. They were training with surf coach Sean Hayes all week prior to the shoot. Sean was helping the surfers with aerial awareness. This was the final leg of the training camp and the wave pool gave the surfers an equal opportunity to display what they had learned during the camp.Q: Were most of the final shots from the nighttime shoot? How much post-production was involved in getting the final ‘look’ of the pictures.Most of the final images were from the first part of the shoot. It’s hard to tell in the stills/video but we had a nasty thunderstorm which rained out three quarters of the shoot. It rained 4 inches that night! Once we saw the rain coming, we had to quickly pack up all of the strobes and get them undercover. There was a bit of stress on set but the crew and I managed to get all of the lighting gear undercover before it got too wet. Luckily all of the gear still works and we nailed a few images before the rain. Not much was done in postproduction. A little color correcting, burning/dodging and sharpening was needed to polish the images.Q: There seems like a serious amount of lighting involved in the production. Did you set everything up yourself or was there a crew? Explain the lighting set-up and the positioning.I hired three photo assistants to come in and help setup the strobes. Without their help this type of production would not be possible in the amount of time we had at the pool. We used the Broncolor A4s packs, which ran off Honda 7k Generators. The lighting setup was two backlights two sidelights and one front fill. Five lights total, firing at 8 frames per second.Q: What’s the advantage of shooting at an “artificial” location rather than on the beach?Both the surfer and myself benefit from working at the wave pool. The waves are consistent and that helps determine the distance and placement of where our lights need to be. After the lights are positioned and the air section is established we can meter out a ratio. It also gives us the opportunity to setup lighting from behind the wave. The wave pool offers an advantage for the surfers because they can work on airs knowing that every wave is going to produce an air section.Q: What lens settings and camera equipment did you use? Did you use any waterhousing and spend much time in the water at all?I shot with the Canon 7d using 70-200mm f/2.8 and the Canon Mark III 1ds with the 300mm f/2.8. I was able to hyper sync by using the Pocket Wizard TT5 Flex to drop the ambient out. We planned on shooting with the water housing but never got the opportunity due to the rain. Next time.Q: I’ve read that you’ve been shooting surfing for a long time and you now describe yourself as an “advertising photographer” after assisting for a long time. It seems like you’ve definitely found your feet. How are you trying to stand out as a photographer?While in college I started surfing and photographing surfing. I really love the sport and enjoy the challenges that come with photographing it. After a while I started to realize that I really loved the sport but didn’t want to be pigeon holed as a “surf photographer”.I decided that I would shoot what I know and have a passion for. I determined over time sports/action, all things in and around the water and working with people would be my focus. Over time these niches in my work translated into advertising work.Q: Tell us a little about your projects “Project X” and “Southern Mud”.It’s really important for a photographer to be able to do whatever the hell they want. That’s why personal projects are so important. Project X started years ago while playing around with Kino Flos for the first time in studio. I remember being inspired by an illustration where the character was dead or drunk and the illustrator translated that by drawing X’s for eyes. This lead to Project X, which is a series of portraits of action, sports athletes.Southern Mud was inspired by a unique sub culture found primarily in the southern states of the US. It features a group of motor sports enthusiasts that like to build and drive big trucks in the mud. I spent a couple of years documenting the culture and sport of mud bogging.