Alex Jeynes is a Scottish photographer based in Edinburgh, known for his work across snow and surf. His father surfed the cold waters of Porthcawl, and that early connection to board sports led to a natural interest in documenting them. Over the years, Alex has developed a style that’s focused on atmosphere, movement, and a sense of place. His photography often puts him in challenging conditions — from frozen backcountry to wind-blown shorelines — where access and timing matter as much as technical skill. In this feature for WavePoolMag, we look at how the emerging surf scene at Lost Shore is influencing his approach behind the lens.
Where are you from, and how did you get interested in surf photography?
I’m from Edinburgh, Scotland, although my dad’s from Wales and grew up surfing in Porthcawl, so he’s definitely been a big influence on my connection to the sport. There were always surf books and magazines lying around the house, so seeing images and reading stories of famous lineups and secret spots from some of the best surfers and photographers never felt far away.
As I got older, my focus shifted more towards skiing, which has taken me all over the world chasing deep powder and dream lines. My time off snow would usually leave me looking for other opportunities to tell stories through photography, combining sports photography with lifestyle and adventure. It didn’t take long for me to start looking at swells hitting the coast the same way I look at weather passing through the mountains. Surf photography seemed like a natural fit.
What camera gear and settings do you typically use for shooting in a wave pool?
I mostly shoot on Sony, and my go-to lens for land-based images is the 200–600mm. It gives me loads of flexibility to move around and still grab tight, high-res shots even from a few hundred metres away, allowing me to get all sorts of unique angles. If I’m shooting from the wall or want to be right up beside the pool, I’ll switch to my 24–240mm — the quiver killer of lenses.
I usually shoot around 1/1250 sec at f/6, depending on the light, with autofocus on but not tracking. I’ve found tracking can sometimes pick up the wrong subject (moving water, lifeguards, or another surfer mid-pan). I’ve missed shots in the past relying too much on the camera to pick up subjects, so I’ve been using Expand Flexible Spot for most of my images where there’s lots of movement to make sure I get what I want in focus. I’m sure there are more advanced tracking systems out there, but this setup’s working well for me right now.
Do you prefer land-based, water, or drone shots in the wave pool environment and why?
This is a tough one. Initially, land-based — I’m able to skate around the pool and get lots of angles throughout the session while still being able to see what’s going on from afar. That’s been huge when I’m shooting both sides of the pool. That said, the last few times I’ve been in the water, I’ve felt way more connected to the images I’m creating. Being in the lineup gives me the same point of view as the surfer and offers a more intimate perspective of what it’s like to be in the water, as opposed to bystanders watching from the shore or tucked away in the bushes.
Drone shots? Sure, I can fly them and grab a few stills, but they can be so invasive. For that reason, I try to avoid using a drone unless it’s for something really specific and everyone is okay with me putting one up. Plus, one heavy spray and there’s a good chance the drone will go into ‘hydro mode’…
Is the predictability of wave pools a creative asset or limitation?
I actually love the predictability; it pushes me to get more creative and try new things. It’d be easy to stand in the middle of the pool, get a few frames, and call it a day once I’ve got what I need — but I like moving around and mixing it up. Knowing exactly where and when the wave breaks every time gives me space to experiment. I can think about different angles, new camera settings, or ways to compose surfing outside of the classic “money shot.”
Having that level of consistency means I can take creative risks without worrying I’m going to miss the one wave of the day that rolls through after hours of waiting. When I’m shooting in the ocean, the pressure’s way higher. You might only get one chance, so trying something experimental feels like a much bigger gamble.
What are the biggest challenges when photographing artificial waves?
I’m no architect, but one of the biggest challenges I’ve found is working around all the infrastructure that makes these waves possible. Generators, cables, and chemicals aren’t exactly easy on the eyes when you’re trying to highlight a sport that’s so often tied to wild coastlines and a deep connection to nature.
That said, I don’t think the answer is always to hide it. I try to be intentional with how I frame the purpose-built wave pool. Sometimes, including the machinery or structures can actually tell more of the story — especially when you want to show the other amenities in the resort or the technology that’s creating these perfect waves. There are definitely moments where I’m going through selects thinking, Why did they put that there? or How do I shoot around this next time? I guess it comes down to being aware of the angles that work and using them appropriately.
Are there safety or logistical issues that are unique to Scottish wave pool shoots?
At Lost Shore, it’s the light that tends to throw me the most. Scottish weather loves to keep you guessing — they say if you don’t like the weather, wait five minutes. I can certainly testify to that. You can have blazing sun one minute, then sideways rain the next. It’s not just seasonal, it’s hourly. Winter brings pretty short days where I’m craving good natural light for months on end, and in summer, it barely gets properly dark. It’s more of a white night, where the sun dips for a few hours before doing its thing again for the next 18.
Getting good light can be hit or miss too. The quarry walls and grass banks surrounding Lost Shore often swallow the best of it before it has a chance to reach the pool. In the summer, the sun sits high in the sky — it can be pretty harsh, giving everything that middle-of-the-day look as it beats down on the pool from directly above. Whereas in winter, it often feels like shooting inside a ping pong ball; kind of like we’re living in a cloud with the (very) occasional shower, causing light to feel flat and sap colour from anything it comes close to.
We still have epic days when the sun does come out — that’s when it feels like a photographer’s paradise, but those days just don’t seem to be that frequent. It can get pretty cold, too. Luckily, we don’t mind getting chilly when waves are in the mix. I’ve not had the chance to shoot the pool in autumn yet, so I’m hoping it brings those crisp days with long shadows and low light that actually hangs about. Fingers crossed it makes its way into the water.
Can you share with us a favourite session that you shot?
There are so many, but the first that comes to mind has to be one of the staff sessions in May, when they pushed barrels for an hour after everyone had finished their lessons and the pool was officially closed to the public. There was a small crew out surfing the left, so I started off shooting from the pier before jumping in the water for the latter half of the session.
The light was epic, the crew was hyped, and there were whoops on every wave as I watched my colleagues getting pitted in backlit barrels, one after the other. Each set that rolled through, I’d see friends and founder Andy Hadden pulling in deeper with every wave, grinning ear to ear as they flew past me — all hoping to get that one shot to remember the session by. We were all chasing the same thing, without anyone needing to say it. That short shoot eventually led me to start a personal project that I’m planning to share later in the year.
