J. Grant Brittain

Capturing an Artform

By Brian Brannon

11.10.08

If you’ve seen a skateboarding photograph in the past twenty years, chances are the work of J. Grant Brittain has touched you in some way, either through his photographic influence, editing or lensmanship. Perhaps more than any other person, Grant deserves credit for advancing skate photography to the place it is today – not just the split-second capture of incredible moves by talented athletes, but as an artform in itself – combining lighting, perspective and ingenuity; resorting to no small amount of dodging cops, security guards and self-appointed authority figures to get the job done. What follows is a look at the man behind both the lens and the light table during the glory years of TransWorld Skateboarding and now, The Skateboard Mag.

Grant, everyone knows you as a photographer. Tell us a little bit about Grant Brittain, the skateboarder: How did you start skating?

My brother and I both received clay-wheeled boards for Xmas around 1965. We just skated down hills and rode on our butts and had fun. When Cadillac wheels came out, my friends and I would just cruise around like we were surfing. We rode ditches and rezys and a few pools. In 1978 Tom Inouye was my neighbor and got me a job at the Del Mar Skate Ranch the first week they opened. I started out as a worker drone and ended up managing the park and the pro shop. I worked there until 1984.

What was/is your favorite place to skate?

The VC Reservoir was my favorite spot. The Del Mar Skate Ranch, too.

Where have you been skating lately?

I cruise down to the end of my street now and then.

On to the photography. I’ve seen early images you took at Del Mar. That was definitely a magical time and place for skateboarding. Can you describe that era and talk about a few of your favorite subjects from that time?

I started shooting photos when I was working at Del Mar Skate Ranch. Got a couple of shots in Thrasher and then helped get Transworld started. It’s kind of hard to explain to kids now about how parks of the ’70s and ’80s were. Anyone who had one and frequented their local park back in those days has a special place in their heart for it, even now. Parks now aren’t the same. The parks back then were the clubhouse, they weren’t just the skate spot; the locals were there all of the time. We all met up there first to go other places. Del Mar held on till 1987 – it just kept staying open. They dozed it when I was in Europe. I was pretty upset. I slept on the pool table for eight months, it was home. As far as shooting there, I had a steady stream of talent coming through. I learned by doing. I had no one to ask back then, there were three photogs and no one was sharing info. I shot the locals and visitors; Nieder, Eckles, Gator, Blender, Strople, Inouye, Hawk, Kasai, Ruff, Swank, Swift, etc.

When did you feel like you really made it as a photographer?

I guess when I helped the other guys start Transworld and when I went on my first trip in an airplane to Kona. I was basically in the right place at the right time. Skating was small then, you knew everyone and they knew you. There were two mags and maybe eight photogs. I would hate to be starting out now.

You spent quite a tenure at Transworld as photo editor during a time when it was known as the best magazine for skating photos. How were you able to obtain and maintain their level of excellence?

I was at Transworld for 20 years. I could already shoot a passable skate photo in 1983 and the photo classes I started taking a year or so into shooting really helped me with the portraits, artsy-fartsy stuff, landscapes, architecture, travel, etc.
I just wanted to do a mag that made great skateboarding look even better. I was surrounded by talented skaters, writers, photogs, artists and art directors. The photo editors at non-skate mags don’t usually shoot photos. I am a photographer first and foremost, I am all about quality.

What was the hardest thing you ever had to shoot?

Shoots aren’t that difficult. The stress comes from not wanting to blow the shot. You can only blame the lab or the digital flash card now and then. When people are killing themselves for your camera, you don’t want to blow it.

Favorite story of skateboard photography?

I don’t know if there’s any one story. I have had so many fun times with so many rad dudes in skating. I have traveled the world and I can’t believe my good fortune, amazingly lucky.

What’s your favorite thing to shoot?

I love pools and full pipes when the light is just right, the golden hour or a nice sunset in the background. When you’re shooting Miller or Tony or someone like them, you get giddy with excitement.

How are things going over at The Skateboard Mag?

We are doing great at The Skateboard Mag. It’s just great to be involved in every little detail of doing a magazine. I am the Production Manager also, so I am pretty busy. It’s a small crew and not too much stress – it’s like coming to play, not to work. It reminds me of when we first started TW. It feels very rewarding too, doing things for the right reasons, not just to make money.

What would you tell a beginning photographer are some of the most important things to keep in mind?

I get a lot of e-mails from kids and I do career days at schools and mentoring programs and things like that. I tell kids to do it because they love it and one other thing – perseverance. Don’t give up and don’t take “no”; keep with it. Everyone starts at the bottom, no one starts at the top. Corny, but true!

What else do you like to do?

Photography is my love. I still take workshops, go to photo shows, museums, read photo books, take non-skating photos. I spend most of my time with my wife and two teenagers, we chill a lot. Surfing too.

Any shout outs?

Hey Swift, get back to work!

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