If you've been with farkin.net for a while, you'll remember we did an interview with professional MTB photographer Shawn Spomer a while ago. The interview went down so well, we've decided to carry on with the idea and our latest subject is the man who kindly provided us with all the images that grace our lovely frontpage, Jeremiah Dylan Dean.
Jeremiah has been photographing mountain biking for around 2 years now and has been published in magazines and catalogues around the world. He also runs a successful custom helmet painting business, which counts the winningest BMX rider in X-Games history, Dave "Miracle Boy" Mirra amongst it's clientele.
So read on for our interview with Jeremiah, which includes plenty of tips to help us hack photographers take better photos, then head on over and check out Jeremiah's website, DylanDeanDesigns.com.
Name: Jeremiah Dylan Dean
DOB: November 21, 1977 (I'm 25)
Currently Residing: just outside of San Diego, California USA
Years Riding: 24 (riding since I could walk)
Years Shooting: dabbling on and off, but I'd say about 2 yrs
Bikes you own: Intense M1, Intense Tazer HT, Intense Tazer FS, GT Box Series BMX, Bontrager Road Lite, (working on a XC bike), and of course Suzuki RM 125
Disciplines you ride: (race) DH, MtnX/Slalom (ride) everything - including
XC, Road, Bmx, etc.and let's not forget MOTO!
Farkin.net: How did you first get into photography?
Jeremiah Dylan Dean: I've always been a "gifted" artist (mainly in the fine arts - drawing, painting, sculpting, etc); photography just seemed to be the next style of media to work with. I took a class in school and was hooked. From then on, I started shooting anything and everything. After a few years racing DH, I started to shoot the pro's for my own personal pleasure. Person after person, that saw my photos, said the photos were better than most of the photos in the MTB magazines; and that I should submit them to the magazines.
During the off-season I checked around to find out as much info on MTB photography that I could. I figured what the hell and took a shot at shooting MTB as a "freelance" photographer.
F: What elements are important to you in a good photograph?
JDD: Composition is #1 to me. Whether or not the shot actually comes out, you need to set up the shot in your mind, and then through the lens. I have an advantage over many of my peers since I have an artistic background. When you take a photograph, you need to set some kind of story. That's extremely hard to do in a singe photograph. That's the difference between a photograph and a snapshot. From there, the basic elements of photography are next in line.
F: If I'm looking at a photo, what's the thing that's going to make me say "Jeremiah Dylan Dean took that shot" (ie: What's a defining feature of your photographs)?
JDD: Surprisingly to me, several people have come up to me and said they saw a certain photograph in a magazine ad and knew it was mine before they saw the credits. I'm super stoked on that! I'd say the defining feature of my photograph is again - composition. I try to get a unique angle that no one else would think to shoot. Most photographers on the circuit simply stand to the side, and shoot the rider - a la "snapshot" but they sell the photograph, so they don't try any harder. You'll typically see me lying down, behind a rock, or whatnot. I want to get the shot that no one else does. I want people to think, "Damn! That's a sic shot!" or "How the hell did he take that shot!" I don't want a shot that 100 other people have.
F: What tips can you offer the average weekend snapper for improving their mountain biking photos?
JDD: Keep on snapping! The only way to get better is by practicing. Don't just keep the same style, settings, or scenario - mix things up. Try something new, whether it's simply getting a different angle, changing up your shutter speed or aperture, or even different film. Even if they don't work out for you, at least you'll know. And knowing is half the battle! And take notes!!!
Another good idea is to look through your bike magazines or websites and check out the photographs. If you see a picture that you like, try shooting it yourself. You'll learn what techniques are required to get that "special" shot first hand.
F: High quality consumer digital cameras (3+ megapixel) are getting cheaper and in many cases now cost less than an entry level SLR, is digital now a better medium for the average photographer to learn to shoot with, or is film still the way to go?
JDD: Great question! There is a lot of debate whether or not a digital or film camera is better way (to learn). In reality you actually learn the same information (on shooting) from both styles. It's just that digital is "instant;" where as film you have to wait for the processing. For that reason, a digital camera is better. You're able to try different settings (shutter speed, aperture, etc) and make your adjustments almost instantaneously. You can't go wrong either way. The advantages/disadvantages are more prominent the more you "become" a photographer. Most "true" photographers will work with film and use digital as the side effort..but again it depends on what your shooting and for what reason.
F: What cameras do you own and what situations do you use each one for?
JDD: I currently own a Canon Eos 1 and a Canon A2e. I use the Eos 1 as my primary camera and the A2 as a backup…however with the fast pace action, and the quick changing scenery, I typically carry both cameras around my neck and have a different lens on each. That way I can switch from lens to lens without the hassle of changing and possibly missing a shot. The Eos 1 also has a powerbooster/vertical grip on it, so I am able to shoot continuously at a higher rate than the A2, and it has an additional grip option.
Although I will keep these cameras, I might switch to digital cameras for my professional work.
F: What are your film reccommendations for different lighting / action situations?
JDD: I primarily use professional grade 100 speed slide (transparency) film for my action shots. You'll find a variety of film in my bag, but you'll always find either Fuji Provia 100F or Kodak e100. They offer a superior picture (fine grain, great colour saturation) in a variety of lighting scenarios (remember to use a flash.especially in the low light conditions). I also use a variety of other films Fuji Velvia 50, Fuji Provia 400f, and faster films 1600 spd, and Agfa black and white films. The best thing to do is try different film out and see what you like the best.
F: Do you think camera gear makes a lot of difference to photographs, or can anyone take a good photo on any camera?
JDD: Yes and no. Typically better equipment will offer a superior picture otherwise most photographers wouldn't have all that crap to carry around! It's like riding a bike. An Intense would ride a lot better than a department store bike! Same goes for cameras.
I have seen cool pictures (even some published in magazines) that were taken by "cheap cameras." I even saw a great photo that was published in "OUTSIDE" magazine of Marla Streb that was taken by a disposable camera. However, that usually comes down to luck. Better equipment will offer better picture overall - lenses have better optics, flashes work better, etc. there are countless avenues you can explore with the right equipment. But you have to have a good shot first.
F: What would you reccommend as a body / lens combo for someone who wants to start taking better / more serious photographs?
JDD: The best camera to look for is a SLR with a full Manual mode function (shutter speed/aperture). There are a lot of great companies/brands out there. I'd probably stay with the major companies - Canon, Nikon, Minolta, etc. That way, you'll have an easier time getting the equipment and parts for it. You don't need the top of the line - just one that fits in your budget. You can find great offers online, or in magazines. Used is a great way to go, just don't get the "used up" versions - test before you buy! You can also rent equipment form your local camera shop - that way you can see
what you like the best.
My first year on the mtb circuit, I felt ashamed about the equipment I had because it was "low to mid-level", when everyone around me had top of the line $3000 plus cameras and countless other equipment. I felt great when I sold my first photo. Remember, people who see your photograph don't know what you're using, nor do they care!
F: How important is a good subject to you? I find just about all my good photos are of good riders, can a less able rider be made to look good in a photo, or are we all destined to look like hacks?
JDD: I always have this argument (as a joke of course) with a good friend of mine, Phil Tinstman [DH/MtnX pro]. SPY Optic (who he now works for) made this big poster of him when he was one of their athletes. It was a pretty sick photo regardless, but he always says that it's the rider (himself of course) that made it a sick photo. I always say it's the photographer that made this lousy rider look good!
Anyway, a good subject is definitely key to a good photograph. It makes the job a lot easier. But it also depends on what you're shooting. If you're shooting your friends and some of them are hacks, it'll take a lot more work to make them look good.otherwise get new friends! (just kidding). Regardless, I'm sure they'd be stoked to have any photo of themselves riding. If you're shooting a good rider, they're usually easier to shoot since their style is typically better and they're typically doing something that the "less able" rider isn't.
F: Have you ever had photos published in magazines? If so, what have you learnt over the years about approaching publications with your photos?
JDD: Yes, I've been published in a variety of magazines: Dirt, Bike Mag, etc…Although magazines have published me, I typically don't approach them as much as I do with manufacturers. However the style is the same for me. Simply send them what you have. I of course sort through all of my photographs several times and discard the crap. Anything that I think is cool, neat, unique, sharp, etc. I keep. I then send these photographs to the magazines/manufacturers to see if they have any interest in them. Every photographer is different when it comes to this. Some send their absolute best work, others (myself included) send just about everything. The reason for this is because you'll never know what people will use. The first photograph I ever sold was a blurred shot of Brian Lopes (which I personally thought was crap) but the company dug it! Huh.go figure. And who am I to tell them not to pay me for it! Haha. In the past, due to financial limitations, I send the companies the actual slide. The problem here was that I could only send them to a limited number of clients and there was a potential problem of losing the slides. Today, I scan the slides onto a CD and send the CD to the comapies. If they're interested in using the photograph, they can contact me to get the actual slide.
F: How hard is it for a good photographer to make a living in the mountain bike industry? Do any photographers make a living from MTB for that matter?
JDD: Unfortunately you can't use the words "mountain bike photographer" and "make a living" in the same sentence. Especially the way the industry is today, it's hard to make a living off of MTB photography. Most photographers shoot other sports, or other subjects completely. The only exception is those photographers who work for a magazine. Even then, they still shoot other sports. I honestly think I'm the only idiot out there who shoots MTB exclusively. (Although I have added custom painting to my biz)
A lot of companies (magazines and manufacturers alike are extremely CHEAP!!!!!! when it comes to paying for a photograph. They don't seem to realise the amount of work required to produce a photograph for them. There have been several occasions where I had to say no to a company because they would not meet my price. I have also counted numerous times that I have thought about quitting MTB photography altogether and changing sports. But I stick around for the love of the sport. However next year, I plan to add Motocross photography to my portfolio.
F: In addition to photography, have you ever entertained the idea of creating a downhill video? Do you think photography and filming are in anyway similiar?
JDD: Yes. Every time I'm shooting film, I think about shooting film. (does that make sense!?!?) Sometimes you can't capture the same intensity or idea on a photograh as you can on a movie. Times like this, I wish I could shoot a movie while I'm taking a picture.
Yes, I believe photography and cinematography go hand in hand in many ways. In fact, many cinematographers take photography classes to learn about lighting and other information that would be useful in shooing a movie. Although you're using different equipment, they are based on the same concept (so they are in certain ways similar). Although I'd have to learn a lot about using a video camera, editing, and producing a movie, I think my knowledge in composition (yes I used that word again) would be a great transition into the world of movies. Maybe someday I'll try my hand at it.
Other photographers have and had success (The Circus by Warwick Patterson). Unfortunately like photography, there isn't a whole lot of financial return in a MTB movie. There isn't a big market for a DH video, and you're lucky if you actually make money off of it. There have been a few big budget successes (that have been sponsored by large companies like FOX Racing), but for the most part it's people like Warwick who pay out of their own pocket to produce the movie. They do it for the love and entertainment.
F: Anything you'd like to say to aspiring lensmen and women out there?
JDD: Shoot, shoot, shoot. The best way to learn is to practice, ask questions and did I mention shoot? When I first entered the realm of MTB photography, I asked a hell of a lot of questions (I still do). Find someone who is in the biz and discuss anything and everything with them. Although they are your competition, they're also your allies. Actually when I started to shoot MTB, I met Warwick Patterson (Dhrace.com, Formula Photographic, MTB films) and grabbed onto his sleeve and learned a lot from him. To this day I keep in contact with Warwick and we help each other out consistently.
It's also a good idea to have full knowledge and even participation of the sport/subject you're shooting. I was a MTB rider before I was a MTB photographer. From this I knew how people react, where the best shots would be, and who people are. Which is yet another good idea - know the rider. It makes life a lot easier. Whether you're doing a photo shoot, or just kickin back. There's a lot less tension, and you're there to help each other out. You make your money off of them, and they make money by being published in a magazine. It's a win-win scenario.
Thanks for the interivew. It was great! I hope this sheds a little light on the wild world of "sitting your arse in the dirt/mud/poison ivy/mosquito infested forest waiting for a lousy bike rider (named Jared) in tights to ride by so you can make a buck or two!" (nah, it's great!)
Discuss this interview here.
All images used in this article are Copyright - Jeremiah Dylan Dean and may not be copied or reproduced with out the explicit written permission of the copyright holder. Steal them and Jeremiah will most likely kick your ass.
