A self-portrait of the artist, Myles McGuinness.
To end 2013, we wrapped up with the second annual Portfolio Challenge which featured 18 of the best portfolios we ran over the past 12 months. The site, for a few weeks’ time, was more chock full than usual of incredible images–a garden of eye candy from all over the world. As 2013 turned the corner to 2014, the public chose Bobby Siliato as the 2013 Portfolio Challenge winner. The Inertia Editorial Team also selected a winner–The Editors’ Pick–San Diego’s Myles McGuinness. Myles pulled it out due to numerous striking shots–the shot at Blacks Beach of the kneeling surfer gives viewers a sense of what the light can do at that place. Another one he seared into our mind’s eyes features Colin Whitbread hanging (almost) ten on a golden wave. Both incredible.
See Myles’ winning portfolio here.
How do you feel about winning The Inertia’s Portfolio Challenge Editors’ Pick?
I was kind of a long shot and I didn’t see it coming, really. There’s a good mix of people there. Good company. I definitely did a couple posts to boost it up but beyond that, I’m definitely surprised and stoked.
When did you realize photography could be a career? What brought about that realization?
When I was a kid, both my parents shot a lot of photography and I had a step dad who did documentary films so I was always around a camera. And then in college, I was doing a major in graphic design and took a photography class and was surprised how everything sorta clicked. From then, I signed up to do a double major and since then, I’ve been shooting.
At SCAD (Savannah College of Art and Design), what was the biggest thing you learned about photography? How did it help mold your career?
I think just being around other creative people and seeing all the different things that they do helps you grow so much faster. You’re learning what they’re doing wrong and right and picking up on that. The creative environment was good. When I was in school, it was pre-digital. Everything was darkroom. I learned the process start to finish–printing, chemicals, the whole deal. I think that gave me a lot of the foundation of how I work today. Even digitally. I think it’s great for the younger generation to learn to shoot film. You gotta slow down and you don’t get instantaneous gratisfaction (a word Myles just made up combining gratification and satisfaction). In the modern day, shooting digital, you look down and are like, “Hey, I got it or I didn’t get it.” Film has that sense of surprise, which is cool. I definitely miss that, but I definitely don’t miss working with chemicals and breathing fumes and working in the dark.
Photography influences?
I look to the ad industry, the editorial industry and what they’re doing too. The influences abound and it’s no longer just photography–it’s art, galleries and people you meet and all those things make up the whole. This as opposed to there’s one driving person who goes, “This is who I want to be.” It’s kind of a mix of all that.
When you’re shooting surf, when do you know that you have “it?” What makes that memorable surf photo?
Ohh (sighs) sometimes it happens when you’re in the water, you look down and you think you have it, but you come in and there’s a water droplet on the guy’s head. Sometimes it’s in post (production) when you’re going through and the shot that you didn’t even think was the one is the one and it’s out of focus or overexposed or whatever happened that you didn’t plan. Those are the ones that you’re like, “Wow, I got it. Nailed it.” I kind of shoot with more of a fine art eye and my stuff doesn’t get run as much in the mags as I’d like but, for me, it’s all about that moment in time as opposed to giant action, big air, whatever. If I traveled around with Joel Parkinson, Kelly Slater or some one like that, I’d go for that too, but I don’t have them knocking at my door.
Favorite place you’ve shot?
It’d have to be Blacks Beach. It’s the most challenging because it moves around, the light changes and there’s always people in the way or not in the way. I still haven’t nailed that Holy Grail shot there. I keep working for it though. It would be a water shot, in the barrel, looking out with the cliffs reflecting. One day I’ll nail that one. I’ve come close, but not there yet.
Your favorite image you’ve shot?
There are a few and it changes, but the one of the girl by the pier stands out. It was one of those days where it was May gray, June gloom and it didn’t look like much at first, but everything worked out great. I think if it was a blue sky day, it wouldn’t have been half as interesting. I also get tired of them after I look at em for a while too. Sometimes you come back from a trip all pumped on one and then three weeks later, you’re like, “Ah, that one’s okay.” Actually, let me show you my new favorite one…
Myles’ current favorite shot from his portfolio in the 2013 Portfolio Challenge.
Myles shows me two more photos that have just replaced the previous on his list of favorites. His endearing and fleeting sense of favoritism among his images reminds me of my young cousin who can’t decide which is his favorite toy. He’s definitely a big fan of photography as well as a professional.
One place, one person and one event that you’d most like to shoot.
It’s me, self-shot (laughs), at a secret right barrel with no one around. It’s the self-perspective of me looking out of this perfect barrel. It would be the ultimate selfie (laughs).
What are your goals or resolutions for the new year? Any for your photography specifically?
Do a trip with one of the big three. I’d love to do a surf trip with one of the big three surf companies. More travel, of course. Last year, I did Bali, Java, Puerto Rico, Nicaragua and got to travel all over Cal(ifornia) so if I can top that, I’ll be happy.
See Nate Smith’s gallery, winner of the 2012 Editors’ Pick, here.
