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Color Landscape >
Lifeguard HQ - Leo Carillo

Lifeguard HQ - Leo Carillo

Price: $750.00

Lifeguard Headquarters at Leo Carillo State Beach with view of Malibu coast. California landscape photography. Expired color film.

Limited Edition Prints:

16 x 20 - 3 of 20

24 x 30 - 1 of 20

36 x 45 - 2 of 10


Fine art archival chromogenic print.

Signed, dated, numbered on verso.


see full description & specifications

LA County lifeguards are serious water men and women. I first got to know them when I worked as an assistant cameraman—for five seasons in the early 90s—on the Baywatch water unit. The experience did little to shape my artistic vision, but it introduced me to every nook and cranny of Southern California’s coastline. And it was fun.


Working on Baywatch gave me a special appreciation for the real-life men and women—who are nothing like Pamela Anderson and David Hasselhoff—that keep our beaches safe. Ocean rescues involve real peril, and demand vigilance and skill. Obviously, all ocean lifeguards are exceptional swimmers. Their personalities tend towards the ‘strong, silent type.’ They communicate through action, more like characters in John Ford westerns.


So for me a lifeguard tower is much more than a design curiosity, or reminder of a cheesy TV show. It’s emblematic of the laconic sentinels, who watch over us as we enjoy So. Cal’s sand and surf.



Gale force winds are unusual along the Los Angeles County coast. I suppose the ‘Santa Ana Winds’ that blow out of the deserts are technically ‘gale force,’ but I think of gales as winds that blow from the sea. So on the late autumn day when these gales blew in from the north, I knew I needed to get out and take some pictures. The rugged coastline around Leo Carillo Sate Beach seemed the best complement to the weather.


I made this landscape photograph with both expired color and black and white film. The pair would make an outstanding diptych. I under-exposed both to intensify the grain and make the dark areas more gritty. This photograph borders on ‘day-for-night.’ The expired negative has shifted the blues to a blend of indigo and ultramarine, and made the grasses raw umber tinged with green.


Camera: Mamiya RB67

Lens: Mamiya Sekor 250mm f/4.5

Film: Kodak Vericolor II - Type S, Exp. 1981

Process: Tetenal Colortec C-41

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