In 1970, Johnny Cash received an invite to the White House to perform some tunes. This historic “gesture” did not sit well with Cash, however, after he discovered Richard Nixon’s true intentions to use Cash…
Born in Southern California and raised from what he calls “humble beginnings,” Tim Davis has built an enviable career as a photographer. First starting out in graphic design, an internship at Patagonia eventually led him to shift his focus behind the lens. Now, 13 years into his tenure as a staff photographer at Patagonia, Davis spends the chunk of his time in the field, shooting gear in action, with refreshing reprieves in the studio and editing deskside.
By nature, most of Davis’ work in the outdoor space has required him to be somewhat removed, an observer documenting as a photojournalist. But in his free time, Davis has been taken by the more intimate nature of portraiture. He’s studied the work of the masters of the craft, recreating classic set-ups and dialing-in studio lighting. His go-to has been the Leica M10, favoring its history, timeless craftsmanship and slender design. Davis took us along on some of his recent portrait shoots, behind the curtain at Patagonia’s creative studios and into his own home workshop to share more about this nuanced form of photography and how he approaches it. Read on for a look into his world.
On becoming a photographer:
“I’ve had an affinity for still photography since I was a kid. My uncle was a special effects photographer in the film days back in the ‘70s-’80s in New York City. I remember being 7- or 8-years-old and visiting his studio, being really impressed. My grandfather also owned a little camera store. My first camera was a little Kodak; I can’t even remember what it was called. It had discs of film and I would blast through them. By the time I was 16 or 17, my mom got me my first SLR, which was a Minolta with three lenses. It wasn’t a quality camera but I thought it was amazing.
Initially, in college, I was a fine art major. But I came from pretty humble beginnings so I had to figure out how to make a little money. I knew I wanted to do something in the arts. But I knew being a fine art major and making fine art was a really sketchy gamble. At first, getting into graphic design was amazing because you start making a little bit of money, but it was too much computer time. When I was at UCSB in the Graphic Design Department, I freelanced at Patagonia doing graphic design. While I was freelancing as a graphic designer, I switched [disciplines] and went to Brooks Institute of Photography back when it was located in Santa Barbara. Photography and filmmaking was a really neat way to see the world and be out and shooting amazing stuff. You do still get some technical stuff. You work really hard and then you get back in the office and have a more civilized environment with a cup of coffee at 8:30 in the morning and you get to process.”
On portraiture:
“The drawback to outdoor photojournalistic photography, at least for me, is that it’s a lonelier experience. You’re not involved, ideally, in the making of a photo. You’re just there to document it. That’s a neat experience, but the advantage to portraiture is that you’re involved in creating the photo. Portraiture is a lot more intimate in that sense. You get to work with the subject. If you look at the Henri Cartier-Bresson approach to it, he looked at the camera as a tool. In a way, it could encumber the process if you let it. It was about you and me and if I did my job right, I really captured the moment. It’s as simple as that.
When you’re taking someone’s portrait, it’s case by case. When working with a professional athlete or model, someone who has been photographed a lot, it’s a really easy process. They do what they do and I do what I do, and hopefully, we make something really great. If you get someone that’s nervous in front of the camera, the direction becomes more nuanced. You want to evoke the right look but you don’t want to make them feel more nervous. It’s a delicate balance. We have a finite limit to how long we can be photographed; I think a human can be photographed for maybe 8 minutes.”
On shooting with the Leica M:
“For photojournalism, it’s really nice to show up with something small and lightweight and unobtrusive. If you show up with a big SLR, and you’re trying to be stealthy, it’s just not going to happen. If you show up with the Leica M with a small 50mm on it, they might not know you’re shooting amazing photos on it. And the beauty of a manual camera like the M is that it makes a different photo.
There is something really special about a camera that’s been relatively unchanged for 100 years. These really teeny beautiful lenses are handmade and these camera bodies still look the same. There’s something tactile. They’re heavy. It’s handmade with brass and glass and someone is making each one.”
Leica took its expertise from more than 60 years since launching the M Series — 11 making digital M Cameras — to create the Leica M10. It is the slimmest digital M ever made with dimensions as slender as analogue M-Cameras. Combining heritage with technology, the slim and elegant camera uses a specially developed 24 MP, full-frame CMOS sensor and a Maestro II image processor, delivering extended dynamic range as well as ISO values up to 50,000. Learn More
On photographic legends:
“I have a slight obsession with black and white portrait photographers. We don’t use a ton of portraiture here [at Patagonia], even less black and white, so developing those ideas happens outside of work. Researching the old images and techniques of the legends (like Avedon, Newton, Elgort, Demarchelier, Lindberg and so on) is so rewarding: a Bob Marley portrait shot on auto with Kodak film bought at the local drug store; Avedon teasing his subjects or his 8×10 wooden camera with a white seamless taped to a barn; Bresson’s 50mm that he shot his entire career; Nachtwey’s focusing techniques and Tri-X film; Capa and Gerda Taro and love, war and death; Mark Seliger’s brick studio stairwell; Leibovitz and box studios. There is so much to learn: the techniques, the mistakes, the complexities, simple solutions, love of the medium and their subjects, the heartbreak, drugs, death, insecurities or regrets. It’s all so amazing and so human. I’m fascinated with the old legends and their lore.
Everything that’s happening in photography has been done and has maybe been done 100 years ago. It’s at least been done 50 years ago. We’re almost 70 years past when Richard Avedon was at his prime and Irving Penn was at his prime — and the fashion magazines on every shelf today are clearly influenced by these guys. I’m just trying to pay homage to the legends.” — Tim Davis, Senior Photographer, Patagonia
This fall, avenging angel and world-class hacker Lisbeth Salander returns to the screen for the The Girl in the Spider’s Web, the next film in the Dragon Tattoo series. We’ll be the first to admit…
Two of our all-time favorite actors, Jake Gyllenhaal and Joaquin Phoenix, co-star in what looks like it’s gonna be a helluva western movie, ‘The Sisters Brothers’.
Set in the Wild West, in 1850’s Oregon, the story follows Eli and Charlie Sisters, two hitmen brothers hunting a prospector who has stolen from their boss. The action-packed dark comedy is directed by acclaimed director Jacques Audiard and it also features three other greats: John C. Reilly, Riz Ahmed, and Rutger Hauer. Arriving in theaters October 12, 2018.
“You should be extremely afraid.” Arriving in theaters October 5, 2018, Venom is the fourth film released this year by Marvel. With Tom Hardy starring as the main character embodying one of the most infamous villains in the comic universe, it looks like we’re in for a hell of a ride.
The movie follows the origins of Spider-Man’s archenemy, Venom Symbiote– a sentient alien with an amorphous, liquid-like form, who finds its human host in journalist Eddie Brock (Hardy). They call it “one of Marvel’s most enigmatic, complex and badass characters”. We’re sold.
If someone made a ’90s teen movie starring only chickens (please bear with us), the Ayam Cemani could easily play the role of goth kid. The Indonesian chicken is entirely black. We’re not just talking…
The world’s favorite foul-mouthed superhero is back in another trailer for the upcoming Deadpool 2, giving us a better idea of what to expect from this movie–and it’s dynamite!
In order to defeat his an arch-enemy, Cable (played by Josh Brolin), the Regenerating Degenerate realizes he needs some help, so he’s gathering his own “super duper f*#%ing group,” called the X-Force. And guess who’s in it? The awesome Terry Crews! Poweeerrr! In Theaters May 18, 2018.
It’s the end of an era. Lamborghini finally confirmed the rumors that the Gallardo, which has been going strong since the 2004 model year, will disappear after 2013. The Gallardo going out of production coincides with Lamborghini celebrating their 50th anniversary in 2013.
The Gallardo will go out with a bang though. The 2013 model year coupe and open-air Spyder variants will see a face lift that features an angular restyled front end, additional rear engine cooling vents, and a Style Package that includes gloss black paint on the front spoiler lower, front and rear grilles and rear trim. The Edizion Technica option will add a new rear wing, carbon ceramic brakes and unique paintwork with contrasting roof arches and intakes.
We still don’t know much about the Gallardo successor except for a few design details. No name has been confirmed yet but it is speculated that the Gallardo successor will share details with the next-gen Audi R8 across the same Volkswagon platform.
The platform was developed for Porsche and will be lighter than the previous Gallardo.
The Gallardo successor is expected to have the trademark normally-aspirated V-10, and a paddle-shifted, dual-clutch automatic. RIP manual transmission.
The Gallardo’s successor is scheduled to debut in late 2013 or early 2014.
BMW fans rejoice, 2012 marks 40 years of BMW M Power! Back in 1972, BMW brought together all of the company’s motor racing under one company and BMW Motorsport GmbH was born. The BMW subsidiary was built into a powerful race team by former driver and team boss, Jochen Neerpasch.
In 1978, a legend was introduced, the BMW M1 supercar, laying the foundation for M cars today.
In 1993, a new company name was needed to reflect upon the wider scopes of activity that the BMW subsidiary was exploring, including BMW M cars, BMW Individual vehicle customization and BMW Driver Training, birthing BMW M GmbH.
The M line has come a long way since then and now more than ever, the BMW has increased its performance and accessories and made M Power accessible to a wider audience. The future of the BMW M is something we can’t wait for!
Prototypes of the Mercedes-Benz SLS AMG Black Series has been spied here and there, but we’ve finally caught some video of the hardest SLS AMG the street-legal world will soon get to know.
No specifications have been leaked yet, but it is speculated to have a 6.2-liter V8, uprated to something beyond 600 horsepower from its current 563 through engineering and not forced induction. Car and Driver predicts the Black Series will lose 100 pounds or so.
Presented by the Hennessey Performance team, the beat downs are quite comical in this instance. Even with head starts the Mercedes-Benz SLS AMG Roadster gets eaten alive.
Jethro Bovington recently took out a 458 Spider up and down Italy’s 180-year-old Stelvio Pass. The pass consists of 60 hairpin turns and long, narrow straights over 9,045 feet of elevation baring every kind of weather imaginable, couple that with the 4.5-liter V8, 562 horsepower mid-engined convertible supercar and you have a total win.
For most people who purchase a pricey supercar, they love to show off their cars at events such as Cars & Coffee, or take it out of their garage every now and again for a drive. Not Justice Reed. The Lamborghini Aventador owner believes “…if you’re just taking this car to Cars & Coffee, or you sit home and shine it up in your garage, you’re not living up to the potential of a car like this.” and he’s got the dings and dead bugs on his front fascia to prove it.
Nine months and 4,000 miles later, Reed has given his bull some hard use on race tracks including Laguna Seca, Infineon Raceway and Thunderhill.
According to the YouTube video description, the car was pulled over due to the lack of a front license plate.
The upcoming Audi R8 e-tron set the fastest lap time of the Nürburgring-Nordschleife for a produced-based electric car back in June. With German race car driver Markus Winkelhock behind the wheel, the electric supercar’s final time was 8:09.099 and here’s the video highlighting the glorious moment.
The Audi R8 e-tron’s power comes from two electric motors, one at each axle with a combined output of 308 horsepower and 604 pound-feet of torque giving it a 0-60 mph time of just 4.6 seconds and limited top speed of 124 mph – to achieve the fastest lap time, however, the R8 e-tron needed to have its speed limit raised to 155 mph.
The Audi R8 e-tron is still in the prototype testing phase but is set to go on sale at the end of this year. Production will be limited and produced in a small facility at Audi’s main plant in Neckarsulm, in the south of Germany. Because of limited production, the electric supercars will most likely be pricey – rumor is suggesting they could be the most expensive model in Audi’s portfolio to date.
Argentinean soccer player Ever Banega, the midfielder for Spanish club Valencia CF, recently acquired and was driving for the first time, a Ferrari 360 Modena when it caught fire and burned.
Plain and simple, you don’t mess around with a Gumpert. The supercar is not very forgiving of mistakes and British Touring Car Championship driver, Tony Gilham, found this out first hand at this year’s Goodwood Festival of Speed.
An exhibition run – up the Goodwood hill – gone wrong, automotive and fashion blogger Nancy Atkinson-Turner who was riding shotgun felt the brunt of it when Gilham gave the Apollo a bit too much speed into a right-hand corner, sliding off the track and straight into the hay bales lining the track.
Nancy Atkinson-Turner explained on YouTube that the run was never supposed to be at high-speed, which is why she was wearing “silly shoes” and not properly strapped down into her seat. She suffered whiplash, cuts and bruises from the accident, and is expected to make a full recovery. Atkinson-Turner praises the efforts of both marshals and first responders, who she credits with keeping her calm (with the help of drugs) following the crash. As well as the support received from Gumpert U.K., the Goodwood Festival of Speed and even Lord March.
