Guest Author: Erin Hogue
As an action sports photographer, I’ve spent my career chasing movement. In the beginning it was snowboarding—being in the mountains, exploring different terrain and working with the riders to turn that terrain into a feature that can be captured in a photo.
But the water has always been my first love. There’s a peace that comes with duck diving under a wave, slipping beneath the chaos into a quiet stillness. And so, surfing became a natural extension of my work. It’s similar to being in the mountains while being completely different at the same time.
Shooting In the Ocean
The ocean is constantly changing—every wave is unique, unpredictable and gone in seconds. Surfing lives inside that impermanence, and photographing it means stepping into the unpredictability.
You’re never in control—the waves, the current, the rips all move on their own terms. It is one of the most humbling things to shoot because getting a good shot requires everything magically coming together at the same time.
For me, surfing is more than sport—it’s an artistic collaboration. The ocean builds the stage, the athlete paints the line, and I get to frame the story. Every wave is impermanent: a sculpture that exists for seconds before it’s gone forever. Photography is the only way to hold onto that fleeting art.
Why the Sony A9 III
When everything around you is moving, you have to have gear that just works when you need it to. Out here, conditions shift in seconds and athletes are pushing at the edge of what’s possible. You don’t get a second take—if you miss the shot, the moment is gone.
Shooting with the Sony A9 III is a game changer. With the world’s first full-frame global shutter sensor, it can capture at 120 frames per second without distortion. Combined with real-time recognition autofocus there is a noticeable different in number and quality of shots your able to capture. The camera is able to find and focus on the subject even when their faces are hidden by spray, shadows, or neoprene. the ocean doesn’t wait for focus, so having a system that just finds and holds the subject is the difference between missing the story and preserving it.
More, five-axis image stabilization and Active Mode keep the frame steady, even when I’m moving through swell.
The Power of the 300mm f/2.8 G Master
The surf often breaks far from shore, and pairing the A9 III with the 300mm f/2.8 G Master takes everything to the next level. The lens compresses the scene—stacking waves, textures, even mountains into cinematic backdrops. Wide open at f/2.8, the surfer isolates from the scene drawing your eye directly to them.
Why I Keep Coming Back
Whether I’m getting smashed by waves in the ocean, standing on the beach with a long lens, or navigating the swell in a boat, I love every version of shooting surfing. It is a constant negotiation with the elements—but also a constant reminder of why I started. The ocean gives me peace in the chaos. It keeps me present. It keeps me creating.
Featured in this blog:
Sony a9 III Body
Sony FE 300mm f2.8 GM OSS
