Through the lens: Extreme Sailing Series photographer Mark Lloyd
Mark Lloyd is arguably one of the best sailing photographers out there, capturing the Extreme Sailing Series™ in snapshots that tell its story to the world. In his own words Lloyd take us through the wild path that brought him to the Series.
Friday 13th November 2015
“I used to race sand yachts on the beach and do crazy things when I was younger. I got a bit of a reputation within the industry for being the guy who was “up for anything”, the guy you call when the job’s a little off the wall and I guess that fits with the Series.
I started off in a Midlands agency as a whippersnapper in a darkroom - you have to fight your way out. At that time we were using film but I was working for one of the biggest agencies in the country and the digital movement was just starting to take off. I remember taking film at football and cricket matches, scanning it and sending it down the phone-line to the newsroom.
The real pivotal moment that pushed me into the world of sailing was in 2001 at Downing Street. I was on a shoot for the Daily Mail and whilst standing outside I met Mark Pepper and the team from BT Global Challenge . We got chatting and clicked, a few weeks later he commissioned me to covering the homecoming of Mike Golding’s Group4 IMOCA and Ellen MacArthur Kingfisher post the Vendee Globe.
I would probably have to also thank Paul Larsson; he championed me in the early days when SailRocket first came out. I guess it was a case of: “who’s this weird guy, let’s give him a go.”
The first time I photographed the Extremes was at Portsmouth in 2005. Randy Smyth was on the helm of Tommy Hilfiger, a cracking boat with a giant zip up the mainsail. I had a waterproof surf housing for my camera and asked the guys to sail near me in the water.
He sailed this monster of a 40-foot catamaran full speed, flying-a-hull, straight over my head – that was the first and last time I will do that.
In 2008 I chartered a RIB with Paul Larsson one Saturday during the Cowes Act. It was utter carnage, six boats capsized, Franck Cammas T-boned Alinghi. Honestly, we couldn’t keep up.
We cleaned up that day. The Sunday Times used it, everyone used it, the photos spread like wildfire.
I think it was at that point that the Communications Manager for the Extremes introduced herself: ‘so you’re Mark Lloyd, do you want to go up in a heli?’ And from there I started working with the Omani Extreme 40 teams.
I look back on those years really fondly; it was like I was part of a family. Everyone was just pushing the boundaries and I was part of that movement; there was so much flexibility to experiment.
I remember going sailing with Loick Peyron, with me at the top of the mast rattling around. Then there was a shoot from this crazy – Vietnam-style - heli that the Omani government provided for us. The pilot didn’t speak any English and it was completely inappropriate for the task but so much fun – I think we almost blew Shirley Robertson over at one point.
What makes the Extremes special is you know you are doing something you shouldn’t; it’s like racing a car that goes 100mph in a confined space. It’s the exhilaration and the competitiveness that defines it.
When you see boats capsize or crash there are two thoughts that run through your head. The first is thinking ‘this is gold’. The second is ‘what do I need to do to make this image work visually to have biggest impact?’
Cowes 2008 was incredible for raw action but visually for me Venice was much more impressive. Wondering around the streets you could turn a corner and there was “the shot.” The Extreme 40 through a lovely archway with washing lines hanging in the foreground.
For me photographing the Series has always been about the people. The sport is great but there is always someone in control, there is always someone driving it forward and that’s what is important to capture. I took what I had learnt in the studios of London and New York and mixed it up with the sport.
For 2016 everything will be new. I create shapes and tell stories, so a completely new fleet of flying boats means I can come at it with fresh eyes. The GC32s will start this whole cycle again - they are really fast, right up there with the latest developments in the sailing industry and there’s a real buzz about them. I’m going to have one hell of a job to show just how exciting it is that without trashing my gear, myself or falling off!”
Wondering around the streets of Venice you could turn a corner and there was “the shot.” The Extreme 40 through a lovely archway with washing lines hanging in the foreground.
The old days are still my favourite. Chris Draper, Mark Bulkeley, Pete Cumming and Freddie Carr. It was a family more than a team all dedicated to the cause.
When you see boats capsize or crash there are two thoughts that run through your head. The first is thinking ‘this is gold’. The second is ‘what do I need to do to make this image work visually to have biggest impact?’
