Aspect of the Production and Distribution of Surf Photography:

Case Study on Photographer Piping Irawan

Muhammad Fajar Ariyanto and Irwandi

Department of Photography, Indonesia Institute of the Arts Yogyakarta, Jl. Parangtritis KM 6,5, Yogyakarta, Indonesia

Keywords: Production, Distribution, Surf Photograph

Abstract: The abstract should summarize the contents of the paper Research on the production and distribution aspects

of surfing photography in Bali has never been done before. Actually, surf photography has the potential and

vast opportunities to be developed in Indonesia, given richness owned at shoreline. Formulation framework

surfing photography as a solution for prospective photographers that intend to enter the realm of surf

photography. This study focused on the production and distribution aspects of surfing photography by

Piping Irawan. Found that the necessary technical knowledge and a strong desire to enter the world of surf

photography. In addition, expertise in the consumer's personal approach is also an important factor to obtain

the ideal captured and economic value. When viewed more broadly, surf photography is an important part in

the surfing world. Representative ability of photography is to record a vital aspect in the pulse of life and

lifestyle of surfers.

1 INTRODUCTION

Bali Island is known as one of its natural tourist and

cultural areas. The beaches on the Bali Island are

among the more attractive locations tourists, both

domestic and foreign. Beaches in Bali offer unique

attractions and facilities that are rarely owned by

other beaches. Abundant sunlight, natural beauty,

adequate support facilities and beach games are

some of the features that attract tourists to visit

there. One of the great beach and sports activities in

Bali is surfing. The increasing in surf activity in Bali

is because most beaches in Bali are considered to

have ideal waves. Bali is often the destination of

sports enthusiasts from domestic and foreign,

hosting national and international events for surfing

competition. (http://warnawarnibali.wordpress.com,

accessed on June 29

, 2019).

The amount of surf activity in Bali is affecting

the life of local surfers and people around the beach.

A lot of local surfers make a living from this sport.

Through the partnership program between the

surfers and the surfboard producers, there has been a

mutually beneficial relationship. Because of this

partnership, local surfers get various contract of

funds, scholarships and surfing facilities and the

surfboard producers have been promoted in Bali.

Taking pictures of surfing is a combination of

photographer skills in understanding technical

aspects and photography genre. The surf activity

shoot requires technical mastery and various special

devices considering the extreme conditions on the

beach. Especially if the photos are close-up, where

the photographer is in the middle of the waves. From

the side of the photography genre, taking photos of

surf activities are categorized in sports

photography ”…capture participants’ skill, anguish

and tension, plus the dramatic excitement and

atmosphere, preferably all summed up in one shot”

(Langford, et. al., 2008). That combination makes

surf photography has a difficulties, challenges, and

different attractions from other forms of

photography.

One of the few surf photographers in Indonesia is

Piping Irawan. He's been in surf photography for 16

years. Sixteen years was a long time for Irawan to

gain experience in the surf photography. Irawan’s

experiences of surf photography are interesting and

good for study and research. And even more so on

the research of surfing photographic aspects on

academic and artistic implications has not been done

so far. It is very unfortunate. As a country with the

longest coastline in the world, Indonesia has no

more than 30 surf photographers (Irawan, Interview,

January 20

, 2009). That's relatively small when

Ariyanto, M. and Irwandi, .

Aspect of the Production and Distribution of Surf Photography: Case Study on Photographer Piping Irawan.

DOI: 10.5220/0008560401250130

In Proceedings of the 1st International Conference on Intermedia Arts and Creative Technology (CREATIVEARTS 2019), pages 125-130

ISBN: 978-989-758-430-5

125

compared to surf location in Indonesia that have

reached 330 locations.

This study will be looking for specific aspects of

the production lines and distribution of surfing

photos that piping has been done. Aspect of the

productions reffered here are include various

equipment, operational procedures, ideal conditions

to make a surf photograph, and relation between its

aspects. On the other hand the distribution aspects

will be directed to the marketing forms of the photos

to the audiences.

Research on the production and distribution

aspect of surf photography has never been done

specifically. Destyarini (2009) presents the surf

photo stages in the context of artistic creation. On

the side of the production, the discussion that

destyarini did has limited the photo stage from the

coastal lips, not the close-range photo shoot and has

yet to touch the distribution aspect of the work. Even

so, Destyarini’s exposure can provide an initial

foothold to address the production and distribution

of surf photography. Regarding surf photography,

the term used in English is surf photography that

defined as "an arena of photography that often

requires the photographer to be positioned in the

breaking wave in order to shoot the surfer coming

down or through" (Cralle, 2001). By that definition

it's clear that surfer action is the ultimate subject.

There is a tendency in this field where surfers should

be distinctly recorded, required a high-speed

cameras (grannis in noll and gabbard (Ed) are

needed.

The production aspects in photography are

basically part of the creative process. Soedjono

(2006) formulated the process of creation of

photography/artistic creation consisting of three

phases, photography, dark room processes, and the

presentation process. Soedjono’s theory will be the

foundation for examining aspects of the production

and distribution of surf photography. Operational

theory are believed to be detailed and developed

according to conditions on the ground. As a

discussion of the production aspects of surf

photography will technically be improved by

discussions in anthropological and sociology

framework. This is done as an effort to understand

the importance of aspects of production in a broader

perspective. In the context of art anthropology, study

of works is an attempt to answer questions related to

creators, locations, tools and materials, works

functions, and the meaning of works for the user

(Hatcher, 1999). Whereas socially speaking as to the

production and distribution of surf photography

aspects will be done by applying the theories Becker

formulated (1982), in which: “All artistic work, like

all human activity, involves the joint activity of a

number, often a large number of the people.

Through their cooperation, the see or hear comes to

be and continue to be. The work always shows signs

of that cooperation”. A combination of theories was

done to get a comprehensive analysis of the

production and distribution of surf photography. In

other words through the combination of theories, the

possibility of interaction, influence, interdependence

among individuals on the work team of how surf

photography can be produced and distribute.

Distribution of works of art for artists is a

mechanism of the reciprocal process between the

creator of works and the appreciator (Becker, 1982).

The appreciation meant here is the one who buys a

masterpiece by an artist. Within the scope of certain

artistic activities, distribution is usually arranged so

the sustainability of the art process can be

maintained. Becker differentiated a distribution

system from artists to five-ways which are self-

support, patronage, public sale, impresarios,

and culture industries (Becker, 1982). In this

research the production aspect analysis would be

based on Becker's opinion of self-support and

patronage distribution systems. The self-support

system according to is a form of creator's effort to

consolidate his ability outside the dominant

constellation of market to distribute the works

(Becker,1982).

Becker illustrated how litterateur who improved

his skills as a publisher to distribute his work, a

painter who also worked as a frame maker and other

examples. It appears here that the form of self-

support of each artist can be distinct from the other.

This was not the patronage system in which artists

were supported by a particular group of people or

organizations to create the work (Becker, 1982).

This study was intended for 1) to know every

aspect of how the production and distribute process

of surf photography in detail. 2) discovering features

of the technical, concepts, and manifestations of

photography in terms of social and marketing

aspects, and 3) formulated the foundation for surf

photography.

This study was conducted using a case study

method that orientation the unique qualities of those

units related to surf photography (Pawito, 2007).

Case studies can contain comprehensive discussions

on various aspects of a person, group, social

situation or a program (Mulyana, 2004). In the

context of this study the focus of discussion is aimed

at the production and distribution of surfing photos

by the photographer Piping Irawan. Data collection

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will be done by means of broad-scale observation

and in-depth interviews. The research results will be

presented in a strictly analytical description.

2 PIPING IRAWAN AND SURF

PHOTOGRAPHY

Piping irawan was born in Prawirotaman,

Yogyakarta on October 25, 1959, his parent is an

army that assigned from place to place, from Java,

Sumatra, and Irian island. At the age of 10, the 4th

grade of primary school piping moved and settled in

Tegal Badung, Denpasar. He spent his youth in Bali.

In 1981 he studied at the University of Udayana in

Civil Engineering, but he never finished it. His first

job was a taxi driver operating in the Denpasar and

Kuta Beach area. Living on the beach makes piping

have many friends, both local and foreign. It was

from that friendship that he became acquainted with

photography. In 1988 he got a borrowed SLR

camera from a friend named Isabella Lehmen from

Germany.

Figure 1: Piping Irawan

Currently Piping using digital camera of Canon

Mark II which is equipped with 300 mm and 600

mm lenses. The cheapest price today for one photo

is Rp. 100,000. Price fixing is determined by the

difficulty of shooting. Within a month, piping could

earn a net income in the range of Rp. 8.000.000, to

16.000.000. Most of Piping’s customers come from

Europe, where tourists from around the world are on

vacation in Bali. Because of his dedication to the

world of surf photography, he is now has a lot of

students scattered all over Bali's beaches. These days

they are independently work as surf photographers.

Even Piping went further, since 2006 he has been

running the Magic Wave and Magic Kidz magazine

that has information on how the new surf world is

developing in Indonesia. The initiative for the

establishment of these two free magazines was based

on a consciousness for which the Magic Wave and

Magic Kidz magazines were viewed as an attempt to

empower the local economic potential to create a job

for the local people. The spin of the Piping’s surf

magazine is exhilarating, even piping is negotiating

in the process of consulting for a Russian version of

the magazine. Currently Piping’s magazines are

financially supported by the sponsorship's income.

But the operational is operated by nine employees.

Figure 2: Examples of Piping Irawan's photos in Magic

Wave Magazine. An example of a surfing photos for the

sport and lifestyle of the people.

For

Piping

to become a surf photographer

requires the basics and the strong will to understand

the delights of surf world. It means a surfing

photographer has his heart set on being a surfer.

There is an emotional involvement of a

photographer when seeing and photograph others in

action on his surfboard. The photographer's

knowledge of the surfing world would certainly help

him to determine the best possible moments, actions,

and conditions he would do the shoot.

The

way

piping gets the customer a more

personal picture is generally distinguished in two,

which is:

a. Live Shooting

This shoot is done without the surfer even realizing

it. As a surfer performs his surfing, Piping shoots

from the ground with various angles and

composition so he gets the best action shots. After

getting the best photos, next he's waiting for the

surfer to rest on the beach. That's when he will try to

Aspect of the Production and Distribution of Surf Photography: Case Study on Photographer Piping Irawan

127

sell the surfer’s photos. Negotiations process are

done in a relaxed/informal situation. In that case

Piping is looking for information about the

customer. The most important information is the

customer’s hotel address for the customer’s target

and the agreement that the surfer has agreed to

purchase photos of themselves self during the wave.

b. Shoot After the Agreement.

This shoot was modeled after an agreement between

photographers and surfers. Technically this

photoshoot is the same as the first term. The

difference only in the deal reached before the

photoshoot. The deal accomplished primarily is that

the surfer willing to portrait and willing to be revisit

to handover the photos and to do the payment.

Figure 3: Approaching process to new customer

From those two approaches, the first approach

was viewed as more lucrative from the perceived

advantage. It was a surprise for the surfer when they

see their action in a wave caught in camera. The

shock often evokes the feeling of a surfer for having

a picture of themselves. They often to be as amazed

as saif as wow! Fantastic! Amazing! from the surfer

that gets capture. Relations between photographer

and customer are cultivated with familial approach.

A nice and friendly gesture should be pressed in

order to attract customers to the services offered.

With that approach, the chances of getting bigger

customers are so much bigger.

3 PHOTOGRAPHY IN SURF

DISCOURSE

The

economic

potential for surf photography

according to Piping is really great. Waves crash on

the beach when you realize it's an economic

potential for those around it. According to Piping,

the economic potential for surf photography in

Indonesia is great, since Indonesia has a huge

coastline and potential for surfing sport. Piping is

now trying to turn the surf to live on the beaches in

Java Island. Now Piping still consistent wrestling

with the surf world. Even now, he started picking the

results from his hard work. He is now the chief

editor of Magic Wave magazine and

the magigwave.org website. This media is said to be

a surf world barometer in Indonesia. The activity of

portraying a surfer’s life is still went on in his free

time.

3.1 Aspect of the Production of Surf

Photography

The process of production is a step up in

developing

surf photography related to equipment and how it

works. That requires accuracy to specify equipment

to be used.

3.1.1 Tools and Materials

a. DSLR Camera

The

picture shoot using a single system alens reflect.

18-55 mm lens. 3,5-5.6, 90-300 mm. 4.5-5.6 Canon

lens 70- 200 mm f. 5.6 Canon lens 50-500 mm f. 5.6

Canon lens 400 mm fix f. 5.6. The 18-50mm Canon

lens is a wide angle lens, which is useful for broad-

angle shooting to show the surroundings. Canon lens

70-200mm, 400 mm, 50-500mm it s a type of tele

lens very useful for long shoots and extreme

retrievals from objects, and a 15mm lens or a fisheye

lens and is commonly called a broad lens is used for

wide space shoots.

b. Tripod, used to support the camera and the lens to

be solid and stable.

c. Casing for under water, which serves to protect

cameras when shooting takes place under water or in

wet places.

d. A printing press, used to print out photo shoots in

various sizes. Two options are made for printing,

which is for photo-quality desktops and printers

provided by photo printing providers.

e. Recordable disc, used to save photo files.

In one photo shoot package the customer also has a

photo in soft copy and stored on CD/DVD.

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3.1.2 Shoot Technique

a. Shoot from the Land

Shoot

from

the land are relatively safer for

photographers. The main instrument in this photo is

a tele lens because of the distance between the

photographer and the subject. Also, the tripod would

be required to anticipate the appearance of a tele

lenses that could jiggly, so the photos are not vague.

In the process of surfing shoots, countinous shoot is

a helpful photographer to get to the surfer's moment

of action.

Figure 4: Result of the land shoot. This picture was done

using a tele lense and high shutter speed.

Figure 5: Shoot process from the land. Shooting support

tools like this is tripod that function as a support and

reinforcement of the camera.

b. Shoot in the Middle of the Wave

Shoot

in the middle of the wave is relatively

difficult, risky, and requires extra equipment. The

photographer's expertise was being tested in the

shoot in the middle of the surf because of the hard of

the shoot. The extra tool takes in this photo shoot is

casing underwater, a rubber boat, jet ski, and safety

tool like a safety life jacket. A photographer's

understanding of surf sports is needed to be able to

take photos at the right time. A commonly used lens

is a wide-angle lens. Beneath the degree of difficulty

and risk, a shot in the waves can point to dramatic

moments of surfing. Besides the beauty of the waves

and the land can also be seen in the photos.

Figure 6: Result shoot in the middle of the wave

Figure 7: Shoot process in the middle of the wave

3.1.3 Time to Shoot

The

photo

shoot can take place at any time if there

are waves and surfers. But the most ideal time for

the photoshoot was in the morning, at 7:30 WITA -

10.30 WITA. Morning time is the most ideal

because back then the wind blows and the waves

become even bigger. Moreover, time tends to be

favorable because of the sun's degree of contrast

ideal so that the details of the object are well

recorded and dimensional. In one month, the ideal

time for the photoshoot is after the full moon until

the loss sight of the moon.

3.1.4 Distribute the Surf Photos

The distribution of surfing photos made by

distinguished

photographers into two kinds of

personal distribution to private consumers and

distribution to the public. Distribution and

transactions to personal consumers are typically

done by photographers alone. Usually it's at the hotel

where the customer's staying. Before deciding on the

number of photos to buy, there is a discussion

process between photographers and consumers. The

result of the discussion is to be determined the

photos to be bought. In transactions photographers

bring a laptop equipped with the CD writer to

transfer the photo data bought into CD.

Digital

photo technology really does make

photographers work easier. In this regard, the web of

mass production of a surf photographer became

shorter and economical because of the need not to do

printing first. This kind of distribution is more of a

Aspect of the Production and Distribution of Surf Photography: Case Study on Photographer Piping Irawan

129

self support photographer's effort to market their

works.

The

second

form of distribution is through the

magazines run by Piping. Where they would have

preferred to accompany the articles in the

magazines. The effects of distribution through

magazines and other printing media are more

oriented toward long-term goals. This means the

distribution of surfing photos to the public is more

aimed at reviving markets and surfing talks in

Indonesia. Distribution of photos in magazines is

also part of drawing news plants as the surfing world

at the country, which manufacturers use surfing

equipment to channel the capital in the form of a

promotion. The relationship between magazine

publishers and producers is a mutually beneficial

relationship.

4 CONCLUSIONS

Surf photography certainly has a lot of economic

potential. That potential could be utilized for

interested photographers in entering the business,

both personally and collectively. The personal surf

photography

business

can be done by learning about

the characteristics of surfboards and their coping

styles. Knowledge of the surfing world sure beats

photographers. By knowing and recognizing the

surfing world, photographers can pinpoint technical

aspects at a photo shoot.

Efforts to make pictures of surfing valuable

economy are sure

be successful if photographers

understand surfing lines and developing trends.

Photographers also demand to be sensitive to what

their surfers love and dislike. The photographer's

approach to surfer customer is also important so that

the surfer will gladly buy the picture without being

disturbed by the presence of the photographer.

Technically, a camera needs to be quick or to

have a good continuous shot facility because of a

very dynamic surf character. Also, it needs a wide-

focal lens in

order

to capture detail from a distance.

For the photo shoot in the middle of the wave, the

photographer's safety and equipment must not be

forgotten. Surf photography is alive and well and

supports the development of sports and surf hobbies

in Bali. Photography certainly contributed in it.

The presence of photos that depict various

dynamics in

the

surfing world became an obligation.

A media presence that upholds the surfing theme as

a sport, a hobby, and a lifestyle seems to be the

official wheel movement terminal for people in Bali

to have a straight introduction. The main patron in

the photography and surf business movement was

the manufacturers of tools and accessories. The

relationship between producers and Piping as drivers

of drop activity shows a mutually beneficial

relationship. Within the broader scope, nature's

potential and the tourism activity in Bali were

important factors that got the economic pulse alive

in surfing photography. It's worth the two factor

maintained its existence and its continuity.

REFERENCES

Becker, Howard Saul. 1982. Art worlds, California:

University of California Press.

Cralle, Trevor. 2001. The surfin’ary: a dictionary of

surfing terms and surfspeak, California: Ten Speed

Press.

Destyarini, Heni. 2009. ”Olahraga selancar dalan foto

dokumenter”, (a thesis), Laporan Tugas Akhir Jurusan

Fotografi ISI Yogyakarta.

Erviani, Ni Komang, ”Mereka hidup dari gulungan

ombak”, (accessed from

http://warnawarnibali.wordpress.com, on 29

June,

2019).

Hatcher, Evelyn Pane. 1999. Art as culture: an

introduction to the anthropology of art, Connecticut:

Greenwood Publishing Group.

Langford, Michael John and Efthimia Bilissi. 2008.

Langford’s advance photography, Oxford: Focal

Press.

Piping Irawan (50tahun), a surf photographer and chief

editor of Magic Wave (interview was conducted on

Januari 20

, 2009)

Mulyana, Deddy. 2004. Metodologi penelitian kualitatif:

paradigma baru ilmu komunikasi dan ilmu sosial

lainnya, Bandung: ROSDA.

Pawito. 2007. Penelitian komunikasi kualitatif,

Yogyakarta: LKiS.

Soedjono, Soeprapto. 2006. Pot-pourri fotografi, Jakarta:

Penerbit Universitas Trisakti.

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