Daily Image - February - Karen Wilson

 
Karen Wilson
Shane Dorian, Teahupoo, Tahiti 2005. I was privileged enough to be in Tahiti when this huge, amazing swell hit just before the contest. The wave looks so incredibly perfect and beautiful in this shot, but to be in the boat just a few meters away, you get to see how heavy, powerful, scary, loud and totally mind blowing it really is.
Shane Dorian, Teahupoo, Tahiti 2005. I was privileged enough to be in Tahiti when this huge, amazing swell hit just before the contest. The wave looks so incredibly perfect and beautiful in this shot, but to be in the boat just a few meters away, you get to see how heavy, powerful, scary, loud and totally mind blowing it really is.
Chelsea Georgeson, Roxy Pro, Cloud Break, Fiji 2005. Chelsea dropped into this gnarly wave during a free surf at Cloudbreak. She made the drop, then wiped out at the bottom. Super heavy and was pretty amazing to see her charging so hard.
Chelsea Georgeson, Roxy Pro, Cloud Break, Fiji 2005. Chelsea dropped into this gnarly wave during a free surf at Cloudbreak. She made the drop, then wiped out at the bottom. Super heavy and was pretty amazing to see her charging so hard.
CJ Hobgood, Teahupoo, Tahiti 2005. The same swell as the Dorian shot. At the time this was the biggest wave anyone had ever paddled into at Teahupoo. Everyone was towing in during this swell. CJ made the wave and it was an iconic moment in surfing. I was lucky enough to be using a standard 28-105mm lens and was able to get the entire wave in the shot, where most other photographers were using their 70-200mm lenses and were not able to get the shot as pulled back. I fortunate enough to be in the perfect position with the correct lens choice.
CJ Hobgood, Teahupoo, Tahiti 2005. The same swell as the Dorian shot. At the time this was the biggest wave anyone had ever paddled into at Teahupoo. Everyone was towing in during this swell. CJ made the wave and it was an iconic moment in surfing. I was lucky enough to be using a standard 28-105mm lens and was able to get the entire wave in the shot, where most other photographers were using their 70-200mm lenses and were not able to get the shot as pulled back. I fortunate enough to be in the perfect position with the correct lens choice.
I was fortunate enough to cover Kelly’s historic 7th ASP World Title, which he claimed at Mundaka, Spain in 2005. One of the aspects I like about this shot is that you can see Kelly, the crowd and the other photographers reflected in his trophy.
I was fortunate enough to cover Kelly’s historic 7th ASP World Title, which he claimed at Mundaka, Spain in 2005. One of the aspects I like about this shot is that you can see Kelly, the crowd and the other photographers reflected in his trophy.
Andy Irons, Pipeline, Hawaii, 2004. I was privileged enough to cover Andy’s rise to the top and his first 3 world titles. During my time on tour, I got to know Andy and his wife Lyndie pretty well. Andy was an amazing guy, he always made me feel welcome, always smiled or posed for me when I pointed my camera and I am really stoked that I was able to share a part of this amazing surfers life and career.
Andy Irons, Pipeline, Hawaii, 2004. I was privileged enough to cover Andy’s rise to the top and his first 3 world titles. During my time on tour, I got to know Andy and his wife Lyndie pretty well. Andy was an amazing guy, he always made me feel welcome, always smiled or posed for me when I pointed my camera and I am really stoked that I was able to share a part of this amazing surfers life and career.
Keala Kennelly, Teahupoo, Tahiti 2005. This was also during the same 2005 swell. This was one of the first waves that Keala ever towed into at Teahupoo and this was round about the time she started her career in big wave surfing. This was an incredible moment in women’s surfing.
Keala Kennelly, Teahupoo, Tahiti 2005. This was also during the same 2005 swell. This was one of the first waves that Keala ever towed into at Teahupoo and this was round about the time she started her career in big wave surfing. This was an incredible moment in women’s surfing.
Kalani Rob, Cloud Break, Fiji 2001. This is one of my all time favorite shots, taken from a boat in the lineup at Cloudbreak, when Kalani was still part of the elite Top 44. IT was probably the first time I got to shoot off a boat and my first trip to Fiji. A huge swell pulled in during the Quiksilver Pro, too big to run the contest. Digital photography was still in its infancy, but you can see so much detail in the wave itself. For me, this shot encapsulates beauty and perfection of Cloudbreak.
Kalani Rob, Cloud Break, Fiji 2001. This is one of my all time favorite shots, taken from a boat in the lineup at Cloudbreak, when Kalani was still part of the elite Top 44. IT was probably the first time I got to shoot off a boat and my first trip to Fiji. A huge swell pulled in during the Quiksilver Pro, too big to run the contest. Digital photography was still in its infancy, but you can see so much detail in the wave itself. For me, this shot encapsulates beauty and perfection of Cloudbreak.
Mick Fanning, Teahupoo, Tahiti 2007. This was a massive, wild and stormy swell that pulled in during the Billabong Pro. The swell destroyed the small photographers tower on the reef. It was pretty wild being in the lineup on a boat shooting this. The energy and adrenaline that was pumping through everyone was almost tangible.
Mick Fanning, Teahupoo, Tahiti 2007. This was a massive, wild and stormy swell that pulled in during the Billabong Pro. The swell destroyed the small photographers tower on the reef. It was pretty wild being in the lineup on a boat shooting this. The energy and adrenaline that was pumping through everyone was almost tangible.
Bruce Irons, Teahupoo, Tahiti 2007. This is a classic wipeout shot.
Bruce Irons, Teahupoo, Tahiti 2007. This is a classic wipeout shot.
Teahupoo, kids frolicking at sunset. I love this shot because it illustrates the uncomplicated lifestyle of the locals.
Teahupoo, kids frolicking at sunset. I love this shot because it illustrates the uncomplicated lifestyle of the locals.
It’s impossible not to shoot beautiful sunsets in Tahiti.
It’s impossible not to shoot beautiful sunsets in Tahiti.
Taj Burrow claiming the Rip Curl Pro Bells Beach title in 2007. One of the most challenging aspects of being an ASP World Tour Photographer is getting the ‘victory shot’. You have to fight amongst about 100 other photographers and thousands of frenzied fans to get the perfect, newsworthy shot. You have decide where to take the shot from, if you should position yourself above the crowd (if there is a tower or scaffolding to shoot off), what lens to use or whether you should be directly in front of the winner, you need to be pretty fit especially when you have to run along the sand to keep in front of the subject at all times. There are so many variables and it is always so satisfying when you nail it.
Taj Burrow claiming the Rip Curl Pro Bells Beach title in 2007. One of the most challenging aspects of being an ASP World Tour Photographer is getting the ‘victory shot’. You have to fight amongst about 100 other photographers and thousands of frenzied fans to get the perfect, newsworthy shot. You have decide where to take the shot from, if you should position yourself above the crowd (if there is a tower or scaffolding to shoot off), what lens to use or whether you should be directly in front of the winner, you need to be pretty fit especially when you have to run along the sand to keep in front of the subject at all times. There are so many variables and it is always so satisfying when you nail it.
Josh Kerr, Rip Curl Pro, Bells Beach 2007. This shot was taken at Johanna. Part of creating great surf image, is looking for angles where you can get backdrop to give the photo a perspective and sense of place. Part of what I love about surf photography, is looking for new and interesting angles. That way, all your shots don’t look the same.
Josh Kerr, Rip Curl Pro, Bells Beach 2007. This shot was taken at Johanna. Part of creating great surf image, is looking for angles where you can get backdrop to give the photo a perspective and sense of place. Part of what I love about surf photography, is looking for new and interesting angles. That way, all your shots don’t look the same.
Mundaka, Spain.
Mundaka, Spain.
Teahupoo, Tahiti 2005. A perfect unridden bomb.
Teahupoo, Tahiti 2005. A perfect unridden bomb.
A church in Mundaka, Spain. One of the things I love about Europe is all the beautiful old historic buildings. They make for great photography.
A church in Mundaka, Spain. One of the things I love about Europe is all the beautiful old historic buildings. They make for great photography.
Toby Martin, Quiksilver Pro France 2006. This shot was taken at Hossegor, one of my favorite shots of the contest. I love the perspective that the people in the foreground give this shot and the beautiful evening light and colours.
Toby Martin, Quiksilver Pro France 2006. This shot was taken at Hossegor, one of my favorite shots of the contest. I love the perspective that the people in the foreground give this shot and the beautiful evening light and colours.
Billabong Pro 2011, Jbay. Jbay is one of my favorite locations to shoot. The early morning light gives you the opportunity to get creative.
Billabong Pro 2011, Jbay. Jbay is one of my favorite locations to shoot. The early morning light gives you the opportunity to get creative.
Andy Irons, Billabong Pro Jbay 2005. I have this shot framed and on my wall.
Andy Irons, Billabong Pro Jbay 2005. I have this shot framed and on my wall.
Kelly Slater, Billabong Pro Jbay 2004.
Kelly Slater, Billabong Pro Jbay 2004.
Mark Occhilupo, Billabong Pro Jbay 2005. A classic bottom turn shot of Occy.
Mark Occhilupo, Billabong Pro Jbay 2005. A classic bottom turn shot of Occy.
Kieran Perrow, Brazil 2004.
Kieran Perrow, Brazil 2004.
A sleepy fishing village in Praia Do Forte, Brazil. I love the moody feel of this shot.
A sleepy fishing village in Praia Do Forte, Brazil. I love the moody feel of this shot.
Bruces Beauties, St Francis Bay. A rare lineup that you don’t often get to see if you don’t live there.
Bruces Beauties, St Francis Bay. A rare lineup that you don’t often get to see if you don’t live there.
One of the many moods of Supertubes, Jeffreys Bay.
One of the many moods of Supertubes, Jeffreys Bay.
Shaun Cansdell, Billabong Pro, Mundaka, Spain. This is a great spot to shoot from the boat because of the unique old world Europe backdrop.
Shaun Cansdell, Billabong Pro, Mundaka, Spain. This is a great spot to shoot from the boat because of the unique old world Europe backdrop.
Ben Dunn, Billabong Pipe Masters 2006.
Ben Dunn, Billabong Pipe Masters 2006.
Andy Irons winning the Pipe Masters in 2006.
Andy Irons winning the Pipe Masters in 2006.
 Karen Wilson

“Karen’s passion for surfing and the ocean, her journalistic integrity and eye for beauty has helped her to create mind-blowing imagery of the world’s best surfers in the world’s most exotic locations such as Tahiti, Fiji, Australia and Hawaii. Karen captured Kelly Slater’s historic seventh and eighth world titles as well as numerous other memorable moments in surfing. Her images have been published globally in newspapers, magazines and websites. She has had numerous magazine covers and graced the front pages of newspapers such as the New York Times, The Australian and Sports Illustrated to name a few.
In 2007, Karen set up her own freelance photography business - D-Vine Images. Her business now encompasses photography of weddings, portraits, events, parties, extreme sports, lifestyle & travel. She also provides a media service for sporting events.”
 
I started surfing after I graduated from Tech with a Diploma in Video Technology in 1997. I’ve grown up on the beaches of Durban and the North Coast and surfing was like love at first sight for me so naturally I decided I had to pursue a career that kept me as close to the ocean and my first love as possible.

Surf Photography was a natural choice and I began my steady climb up the male dominated ladder of professional surf photography in the late nineties. When I set about on this path, I didn’t have a camera so my training began by literally studying all the surf mags I could get my hands on. I examined every photo trying to learn as much as I could about what makes a great surf shot, I read every single word from cover to cover and basically used the local surf magazines as my ‘university’. At this time I was working as a freelancer at SABC in the local news studio as a camera and sound operator and also waitressing part time. My spare time was spent surfing as much as possible. I managed to land a waitressing job at the New Pier Coffee Shop where I met all the who’s who of the surf industry. I was also going to Glenridge Church and it was here where I met John Whittle. He sold me his old Minolta camera equipment and I started shooting as much as possible. This was all before the advent of digital photography so surf shoots were really expensive because you had to buy slide film (R60 a roll), then pay for it to be developed (R25) and since I was still learning, most of my photos were rubbish. It was a great learning curve though, as there is very little room for error when shooting on slide film, unlike digital photography which allows you to see your shot instantly. I read books on photography and I spoke to all the other surf photographers so that I could learn as much as possible. Guys like Barry Tuck, Doug Cockwell and Chris Van Lennup were helpful, generous with their wisdom and a great inspiration to me. But it was meeting Pierre Tostee that changed my life and after a few years of harassing him with emails, he hired me as his assistant on the ASP World Tour and the rest, as they say, is history.

View Karens website for more of her photography.