Whether it’s the explosive eruption of a volcano or the swirling chaos of a tornado, one can sense this Texas based photographer’s deep connection to nature. There’s an undeniable thrill in witnessing the intensity of nature’s most powerful moments through Mike Mezeul II’s lens. Yet, amidst the excitement, there’s also a sense of refinement and skill in his compositions and technical execution. Each image is meticulously crafted to convey not just the raw energy of the scene, but also its underlying beauty and complexity.
Which such a breathtaking portfolio, we jumped at the chance to ask this remarkable photographer some of our burning questions. So get ready for some inspiring insights and spectacular images!
Los Angeles Post Production Group: Much of your photography includes the raw power of nature, such as active volcanos and the sheer force of atmospheric conditions, like tornadoes. Do you need to have nerves of steel to be doing what you do and how much risk is involved?
Mike Mezeul II: So I think there are several factors at play in regards to what I do. There is 100% a risk involved with photographing any sort of natural disaster / severe event. No matter how much you know, or think you know, nature is in control. I’m not going into these environments with no knowledge of what I am shooting. Several years of education, mentorship and experience with other experienced individuals within the field have allowed me to access these moments as safely as possible. In some instances, the only way to access them is to be escorted by the military or search-and-rescue crews. But yes nerves do play a role, haha. In fact, I get asked every year if I ever get scared while documenting storms, and the answer is indeed yes. Now I’m not terrified, but a bit scared in a way though because I respect what I’m looking at, and I understand the power it has. The moment you lose respect for what it is you’re dealing with, that’s the moment you start setting yourself up for a really bad day.
LAPPG: Obviously skill plays a major role but after that, how much of your photographic success is based on “right place at the right time” vs. “patience and taking your time?”
MMII: I’d say it’s a 70/30 split there. I love the saying, “If you’re not there, you’re only going to hear about it” and that’s so true. You have to put yourself out there into the elements to get the shot…if it happens. Patience is key, perseverance is key, and understanding that you’re not in control is key. I’ve failed many times. Too many to count. But, I’m stubborn and I go for the shots I want. This has allowed me to capture some great moments, and I still have many moments to capture.
LAPPG: Can you detail your workflow on an average shoot day?
MMII: So my workflow starts before I even pull the camera out of the bag. As most of my shooting and editing is done on the road, I always make sure I have what I need with me. This will consist of two 4 TB OWC Envoy Pro or Elektron SSD hard drives for redundancy, as well as several OWC Atlas Pro & Ultra CFexpress cards, with the Pro cards being for still imagery and timelapses, and the Ultra’s for 4K and 8K video work. Once I’m done shooting, I download the images from my cards via an OWC USB4 card reader, directly to my harddrives where they are labeled and organized. Content is then created and saved as well to the harddrives. Once I’m home from the road, I offload everything from my portable drives to my ThunderBay 8.
LAPPG: I’ve read that storytelling plays an important role in your work. What makes a good story to you?
MMII: I think a good story is one that can bring your audience into the moment, from wherever in the world they may be. They experience the big details, the little details. The big moments, the small moments. They can feel the environment around the scene and understand the significance of the moment. I like to create content that immerses the viewer to the point where they forget where they may be right there and then.
LAPPG: What has teaching photography brought to your personal photography practice?
MMII: Teaching has really embedded two things into my mind. First off, it’s to never forget that we all are always learning and growing. No matter how long you’ve been doing this for, don’t ever allow yourself to stop growing in your creativity. I love when I take participants to locations that I’ve shot dozens of times, and they show me a new composition I never thought of. Secondly, photography is great. I mean, we all know that but what I’m saying is how fortunate we are to have an artistic way to connect so many individual people from so many different places in the world, through one medium. It doesn’t matter what your race, religion, sexual orientation, political views, etc., photography connects us as one. That sticks me when I’m shooting and just allows me to see differently during some of my work. I hope that makes sense.
LAPPG: What would surprise people most about how you, as a professional photographer, spend much of your time?
MMII: I think people don’t realize how doing photography for a living is a blessing and a curse in a way, haha. I love what I do. 100%. I am so incredibly grateful for the moments I’ve been able to experience, places I’ve seen and people I’ve met. But at the same time, my mind doesn’t shut off. I see the world in a different way. I see the world in light, color, patterns, moments, and so on. Sometimes I wish I could just shut it off and maybe lay on a beach and relax, but instead I’m thinking about how that last wave probably looked, how the light was, and how maybe I wish I was in the barrel shooting it, haha. So yeah, I don’t think people realize how 24/7 my mind is in regards to creating an image.
LAPPG: I understand you actually storyboard your shoots down to the gear you will need.
What might that look like, for example, if you were shooting a volcano in Hawaii?
MMII: So I’d first list out all of my gear that I plan on bringing depending on the conditions involved in the eruption. For example, how close of access will I have? Will I be doing aerials from a helicopter? If so, are there any TFR’s in place and how does that impact my gear selection? What’s the story involved? Am I doing any environmental portraits where I may want prime lenses for? Or am I focusing all on volcanic landscapes? Once I understand the conditions and limitations, I will start to either write out detailed scenes I want to capture or even sketch them out. All of these storyboards will help me shoot more efficiently in the field and make the most out of every second I’m there. So for example, one scene I storyboarded out for the most recent Icelandic eruption was for a drone shot. It involved detailing the approximate height I wanted the drone at, the angle looking back on the fissure to include the eruption and town of Grindavik, the focal length of the lens to create the compression I wanted and also the time of day so I had the right light on the landscape.
LAPPG: What advice do you give to people who say, “I want to do what you do?”
MMII: Simple, don’t take no for an answer. If I had listened to all the people who said, “Mike, be real.” I’d be doing a job I hated. But at the same time, you have to be realistic. This industry is competitive and it takes so much hard work, drive, and patience to make it. You have to work, and work hard. It is completely doable, but you have to understand it doesn’t come easy. Educate yourself, push your creativity, network like crazy, and don’t forget to have fun while doing it.
LAPPG: How do you insure that your work is safe, organized and future-proofed? What is the benefit of using an archiving solution rather than just leaving your photos on an SSD?
MMII: So my workflow over the years has definitely evolved. It used to involve dozens of small harddrives, scattered about, horribly labeled, haha. Now I have everything organized on my ThunderBay 8 and in one spot, easily and quickly accessible, as well backed up.
LAPPG:How do you balance your work life with your personal life? What things do you enjoy doing after the photos are delivered and the bills are paid?
MMII: It is a bit challenging, as I mentioned before, turning off my photographic mind is beyond difficult. But, when I can step away from the camera, I enjoy playing hockey, rock climbing and going to the gym. Every now and then, you can find me on the couch watching a good movie…of course, critiquing the lighting.
LAPPG: What is the most stressful part of the job and what do you enjoy most?
MMII: I think the most stressful part of my job is missing the big moment. So many of these moments with volcanoes and storms are so quick and temporary, that there is a lot of pressure to be there right at the optimal moment. Just a few seconds late, and the shot doesn’t exist. And the most enjoyable part is getting to share the beauty and awesomeness of the world with everyone. Cliche, yes? True, absolutely.
