Kevin Murray, Golfing Photographer
by Dan Wagner
All Photos © Kevin Murray 2023
While listening to Kevin Murray describe how he became a renowned golfing photographer, I couldn’t resist comparing it to the influence of blades of grass on a golf ball’s unerring journey toward the cup. Kevin’s story began with his childhood desire to do something creative. It was that simple. After art college, his career progressed from junior art director, to creative director, and to the founding of an ad agency. Thanks to discovering a love for golf in his early thirties, Kevin chose to specialize in golf advertising – a field in which he was to excel.
Unlike most photographers who study photography and work as assistants before opening their own studios, Kevin, much like that golf ball, let the winds of fate guide him. The years of serving as an intermediary between clients and photographers, had nurtured Kevin’s taste and vision. So it was no surprise that when the opportunity presented itself for Kevin to embark on a new career photographing the world’s best golf courses, he leapt at the chance. To appreciate the influence of each blade of grass on Kevin’s journey, we spoke with the man himself.
DW: Kevin, recently a friend of mine who loves to golf suggested I interview a photographer specializing in golfing. Picturing beautiful golf courses and golfers in mid-swing I decided to follow my friend’s advice. Naturally my first step was to search the words “golfing photographer” on Google. Lo and behold, the top result was your website. Ten seconds later, I knew I’d found a great golfing photographer who happens to be a great photographer. Did you do anything special to achieve such a high Google ranking? And besides your website, how do you promote your work?
KM: I don’t know the answer to this. I’m pretty active on social media such as LinkedIn, Twitter, and Instagram. I have over 3,500 connections on LinkedIn. And when I post, I try to make sure the metadata is relevant. I’ve never analyzed it, but I’ve been on the top since I started doing this in 2006. It’s more luck than judgment on my behalf, but whatever I’m doing, I must be doing something right.
DW: Before becoming a pro photographer you worked in advertising as a creative director and formed your own design firm, Bandit Design. How did your advertising background help you become a photographer? And how have your art directing, design, and advertising knowledge improved your photography? What led you to a career in advertising?
KM: I always knew I was going to go into something creative. I studied visual communication at West Sussex College of Art and Design. It was a four-year course that included all the elements that would set me on the path to becoming an art director. Originally I thought I was going to go into illustration, but I quickly found out that wasn’t for me.
In the foundation year, you spend six weeks on each part of the course – so I did a six-week photography course. That was back in the day when you shot black and white and developed your own film and prints. That kind of gave me a taste for it.
There was also a course on typography. Understanding how type might work with a specific photograph was part of the process.
We also studied cinematography. I knew that I wanted to art direct work that other people were contributing to. I went straight from college into a junior art director role in Soho Square, London that paved the way for me from a creative perspective.
DW: Sound like those were fun times. Being in London, was it like a scene from an Austin Powers movie?
KM: Oh yeah! I could tell you so many stories about growing up in advertising in Soho. I missed so many trains home. Back then I was commuting to work, from the south up to London, and if you missed your stop you could end up eighty miles from where you meant to be. It was really fun. And it was an eye-opener as well, because Soho, back in the day was a red-light district. Our ad agency on Carnaby Street was right in the thick of it! I’m glad you reminded me of it.
Kevin Murray in the 1970’s
DW: How did you learn the technical side of photography? Did you start your photo career shooting film, digital, or some combination of the two?
KM: I suppose some of the learning was from art directing photo shoots. We would come up with advertising campaigns and present them to clients. One of my strong points was that I could visualize the advert. I used magic markers and all the rest to produce comps. Then I’d collaborate with photographers to bring the comps to life. Working shoulder to shoulder with the photographers was very helpful.
Utilizing photographers with the correct skill sets was important. For example, if it was a big car shoot project – especially if it was shot in the studio with a painted backdrop – the whole process was a learning experience. The funny thing was that despite all this, being a photographer was never something I considered to be on my horizon.
When it actually came to making the transition to full time photographer in 2006, for me it was a baptism of fire. I just threw myself into it wholeheartedly.
The path was very circuitous in that I set up Bandit Design in 2002 to provide advertising services for the golf industry. One of my first clients was Callaway Golf. Most of the work I did for them was below the line – meaning services that didn’t involve many media buys. I did brochures, posters, and other work. It was very intense.
One day I had to do a packaging design for Callaway that involved a box of golf balls with a picture on top that wrapped around the box. They sent me a shot taken by a very well known photographer. I didn’t like the shot because it was too flat, and looked like it was shot through an orange filter. So I went out and took a shot of a nearby golf course, which I later worked on in Photoshop to add some drama. In those days, it was unusual to see interesting golf course shots.
St Andrews Links Trust Old Course © Kevin Murray 2020
Long story short, I got a call from the St Andrews Links Trust inviting me to come to Scotland to meet with their marketing director, Danny Campbell. I also met with their buying director, Kevin Liddle. They asked, “Did you take this photograph?” I replied, “Yes.” They said, “We’ve never seen anything like this. Could you photograph all of our golf courses in this style?” I said, “Yes, of course I can!” And the rest was history.
The funny thing was at that point I didn’t even own a camera. I had to borrow one from the ad agency. So it was a leap of faith. And it was one of those moments in life that was life changing for me.
DW: Please tell me more about this period in your life as a photographer.
KM: It was a lot of fun. I shot for a lot of golf magazines, including a magazine called Golf Punk edited by a chap named Tim Southwell. It was quite successful and different. They had a feature called Bunker Babes – pictures of girls in swimsuits on golf courses and such – it was crazy! About that time I got a nickname in the golf photography industry – Muzza.
Using my golf course images, Golf Punk coined the term golf porn – which was a way of complementing a golf course or equipment photo as being highly desirable. It’s since become a universal acknowledgement of a decent golf photograph.
DW: Your work involves a lot of travel. What cameras, lenses, and other gear do you normally shoot with? What bags and cases do you use to transport the gear?
KM: I use two Canon EOS 5D Mark IV cameras. I recently read that there probably won’t be a Mark V, which I think is a mistake because this Canon series has been getting better with each new version. I can’t work with smaller cameras. I find them too fiddly. My Canons, though heavy and difficult to carry around, provide me with the durability and stability I require. For lenses, I primarily use the Canon EF 24-70mm f/2.8L II USM and the Canon EF 100-400mm f/4.5-5.6L IS II USM.
Most of the time, I carry my gear in a roller. Sometimes I’ll carry additional photo gear in my golf bag. If you look at the state of my cameras, they’re bashed to buggers. When you’re traveling by golf cart, and moving around quickly, your cameras are constantly jostled and knocked about.
DW: What are some of the dos and don’ts in golfing photography? Are golfers superstitious?
KM: There’s no shooting before a golfer makes contact with the ball. And on top of that, it’s crucial that you turn off the camera’s in-focus auditory bleep. If you forget to do that you’re dead – you’re mincemeat!
The beauty of golf is that it’s a self-policing sport. By that I mean you stick to the rules, which are very strict. And anyone that’s seen to be outside of those rules is quickly found out. If someone gets labeled a cheat in golf it can ruin his or her career. The strongest element of the golfing community is that everyone sticks to the rules – and that includes photographers.
Some golfers are superstitious. They might only play with a specific numbered golf ball. If you get a sleeve of a dozen golf balls, there will be three one, two, three, and four numbered balls. In this case, a golfer will keep their favorites and dispose of the rest. They might have lucky ball markers, and golf club head covers as well. Golfers like consistency to their lives.
Rory McIlroy © Kevin Murray 2020
DW: How has being a golfer improved your abilities as a golf photographer?
KM: Well, I used to have a five handicap. Now it’s a ten. Working with golf pros helps you understand the dynamics of a perfect golf swing. So if you’re shooting for a golf course, and they supply non-golfer models, you can instruct them how to pose more convincingly. Being a golfer and working, as a photographer in the golf industry is definitely a plus.
DW: Every sport has its signature must-have moments. What are some of the shots you always need to get?
KM: For me the must get shot is the opening shot that introduces the golf course to the public on the course’s website. It’s the money shot. The shot has to have a wow factor with intrigue and drama that says enter and find out more about this place. If it doesn’t have that that, then you’ve failed. Often the shot is of a signature hole.
Equally with players, where there’s more time pressure – sometimes you’ll only get two or three minutes – and you’re often going through an agent – you have to be on your game. These can be shots that your editor wants for the front cover or a double-page spread.
DW: Please share a dramatic, scary, humorous, and inspiring moment you’ve experienced during your years photographing golf.
KM: There’s a story that if you’d filmed it and put it on social media it would’ve gone global. Best of all, I was on the receiving end of it. I was finishing up a shoot at the St Andrews Castle Course. I’d driven past the seventeenth hole, a spectacular par-three over-the-water hole. And on my way back I drove through a shortcut that took me down past a cliff and back up to the green. Unbeknownst to me it had been blocked off with three large wooden stumps. I couldn’t see the stumps from the buggy because I was driving directly into the sun. When I hit the stumps at full speed I flew forward and broke two ribs on the steering wheel.
At the same time my cameras bounced off the inside of the windshield, broke my nose, and knocked me out of the golf buggy! Not only was I bruised, battered and bloody, but also, on top of all this, I had to drive the golf buggy back with a broken axle. When I returned to the clubhouse, the look on the receptionist’s face was priceless. There was definitely a funny side to the whole experience.
DW: One of my favorite pages on your website, is the Locations page with links to photos of golf courses from around the world. There’s even a page with photos of golfing in Hanoi, Azerbaijan, and Dubai. I Do you have a favorite golf course?
KM: Because of my advertising background, I wanted to have something that was visually in your face, and also told a story about the locations of the golf courses. The first thing I asked my designer was if we could have a map with golf flags that showed we’re I’d been, and also that would enable viewers to click on the flags for additional information. I’m planning on breaking the map into sections such as open venues, links golf courses, park golf courses, and top 100 golf courses.
Lofoten Golf Course © Kevin Murray 2020
My favorite golf course is called Lofoten. It’s in Norway – in the Arctic Circle. Lofoten is the most northern links golf course in the world. You can see the northern lights from there. It’s a very spiritual place. There are 24 hours of daylight in the summer. It gets some fantastic light. The backdrop of the course is unbelievable. On top of all this, it’s built on top of an old Viking burial ground. If you’re staying there on your own – I had a little cabin I was staying in with nobody else around – it’s a little creepy. And when the winds blow, it’s quite an experience. The other thing is that it takes ages to get there. From the UK, it takes me just as long to get to Lofoten as it does to get to Hawaii.
Despite being there for twenty years, Lofoten is a relatively new golf course. There aren’t any tournaments there yet. The owner is an amazing man. Anyone who’s seen the photographs, and anyone who’s ever been there, falls in love with the place. It’s a real gem!
DW: What are some of the ways you deal with the challenges of photographing tournaments that attract huge crowds and tons of media? Is there some sort of photographer etiquette? Or is it a crazy free-for-all?
KM: One unwritten rule is that you should never take a photograph of a player until after impact on the golf ball. And that goes for shooting with silent cameras and using zoom lenses from far away. Some of the golfers are so in tune with their environment that it’s almost like they could hear a butterfly flying.
Another rule is to not be in a golfer’s line-of-sight. The way to address this issue is through planning where you’re going to shoot from in advance. This includes knowing where the light will be and when select players will be coming through.
There’s a reasoning process behind everything. It’s not like you just go out and take pictures of players. Sometimes you have a brief to get specific photos for different clients. You have to know which golfers are on the leader boards and if any side stories require coverage.
Paul Wearing © Kevin Murray 2020
Jason Scrivener © Kevin Murray 2020
Matt Fitzpatrick © Kevin Murray 2020
Pete Cowen © Kevin Murray 2020
DW: How has COVID-19 affected your day-to-day activities and golf photography?
KM: Well, it’s given me more time to catch up on my post-production chores. And in terms of photographing tournaments, spectators are no longer allowed to attend. We’ve got a tournament going on now in Wales, at the Celtic Manor, and although it’s a big venue, only essential people can go there.
DW: Does not having spectators improve the golfers game? Or do some thrive on being watched?
KM: That’s a great question. I guess you could only get that answer from the players. I know that certain players will enjoy the fact that there are no distractions around them – because it really is one of those very focused games, when you’re in the zone. And other players will play better with the momentum of the crowd behind them.
DW: What advice do you have for photographers interested in specializing in golf photography?
KM: I would say, find your own style. Try and be different. I’m not trying to blow myself up, but when I started doing this no one was really shooting golf courses in the UK the way I did. Now there are quite a few people that have adopted a similar style. I’d advise anyone coming into the industry now to come up with something different if you can.
Preparation is key. You need to do your research. You need to know what a course’s signature holes are. You need to know if it’s a morning or evening shot, and how the weather will affect things. And after all this work, you still have to go to the golf course and find the best angles and ways to get elevation. Elevation is key because otherwise the course will look too flat. You’re also looking for drama – for that extra bit that when you get it, you know it. When you see it, and the light’s right, you just know you nailed it. But you don’t know that until it actually happens.
One way to get elevation is with drones. I’ve invested in a high-quality drone for this purpose. However, rather than using drones exclusively to film the big picture — I use them to focus on a single hole. When you think about it, that’s where the drama lives.
Another way to get elevation is by hiring a cherry picker. In most cases you only need to get up twenty feet or less. It gives photos that extra bit of depth. Obviously you can’t use a cherry picker during a tournament. However, you may be able to use one for setting up shots of golfers at other times.
The player element can be helpful. One time I shot from the bucket of a digger in India. That was wild. Basically, you use whatever you can – even wobbly ladders.
DW: Please tell me about your limited edition prints. What’s one of the most popular photographs you’ve sold?
KM: At the moment, prints are more of a cottage industry. I literally picked up a print earlier today. And it’s an hour and a half process to get it done right. But I do number and sign them, and I’ve got my official St. Andrews embossing tool for stamping into prints of their courses. One of my best sellers is a photograph of the Swilcan Bridge – one of my earliest golf course photographs. It still stands the test of time.
I’ve also just produced a limited edition Cool Light Collection, which is exclusively for Evalu18 to promote and sell on their website. It’s a new spin on my normal work. This collection features a cooler palette. There are only 50 copies of each print available. Each photograph is presented as a fine art giclée print on museum grade paper, and will be accompanied with a numbered certificate of authenticity. I’m really pleased with the results.
Paige Spiranac Golf Swing Sequence © Kevin Murray 2020
DW: I enjoyed reading your blog about photographing Paige Spiranac at Mauna Lani Hawaii. The sequence photos of her swing are really cool. Please share your thoughts and experiences on photographing women’s golfing.
KM: Women’s golfing is gaining more momentum in the UK and elsewhere. The times I’ve worked with women golfers have always been nice experiences. One of the reasons for this is that you’re often dealing directly with them instead of through an agent. And this generally leads to having more photography time. I’d like to shoot more women’s tournaments. The fashion aspect is also very cool. Plus these are athletes, and to be photographed in that respect. I strive to show character and depth.
DW: The Up-in-Flames photos on your blog are a blast! What inspired you to create these photos?
KM: I saw a Photoshop plug-in for creating this effect that seemed interesting. I thought, wouldn’t that be fun to apply fire to a golf swing image? I did it purely for a bit of fun. Somewhat aside from these fire photos, photography for me is a way of life. It’s also my source of income. But at the same time I like to think that my work can cross over into fine art. That’s the beauty of where I try to pitch myself. Now whether or not everyone gets that, I don’t know. However, on certain photographs I say to myself, “That is a photograph I’d hang in my house.”
DW: Have you had the opportunity to become friends and socialize with some of the golfers you’ve photographed?
KM: In some cases the golfers get to know you as a photographer because you work together year in and year out. My association with golfers comes from working with the brands such as Titleist and FootJoy. I often work with their tour players, so they get to know you really well. And through this you build up relationships, because they trust you.
Rafa Cabrera-Bello, a top-50 player and I have become friends. Sometimes we’ll discuss photography and golfing equipment. It’s not just a golfer that you’re talking to, but also a friend.
DW: Do you have a favorite golf movie? What are some of your other interests and hobbies?
KM: The Greatest Game Ever Played is probably my favorite, followed by The Legend of Bagger Vance, Tin Cup, and Happy Gilmore.
Photo of Rafael Cabrera-Bello Swinging a Golf Club
Rafael Cabrera-Bello wearing a Titleist Golf Cap
Portrait of Rafael Cabrera-Bello wearing Golfing Attire.
In terms of hobbies, I’m living my hobby. People often say to me “You’ve got the best job in the world.” And I reply, “It’s not a job.”
DW: What are some of your plans and dreams for the future?
KM: Well right now with COVID-19, I’m not traveling much. There are courses I’m shooting in the UK. With luck, I might be traveling to France to shoot Les Bordes, one of the top ten courses in the world in the near future. This would be a great trip for me.
Dubai Hills Golf Course © Kevin Murray 2020
Dubai Hills Golf Course © Kevin Murray 2020
Abu Dhabi Golf Course © Kevin Murray 2020
Abu Dhabi Golf Course © Kevin Murray 2020
Jumeirah Golf Course © Kevin Murray 2020
Jumeirah Golf Course © Kevin Murray 2020
Saadiyat Beach Golf Course © Kevin Murray 2020
DW: Speaking of utilizing one’s COVID-19 time, do you have any plans for working on a book?
KM: Interesting that you should mention this, because I’m in talks with a company on this very subject at the moment. Coincidentally, I did a book in 2010, titled St Andrews: The Home of Golf. If I do another book, it won’t be for financial reasons. Although it would of course be nice to get something back from it. It’s hard to make money nowadays on books. But I think if I do one, it would have to be special. I’ve shot an awful lot of courses in the Middle East, and in Dubai, Abu Dhabi and around that area, and I think this could be a book on its own.
DW: Kevin, it’s been a pleasure interviewing you. I look forward to seeing more of your amazing photographs. Thank you!
KM: You’re welcome!
I hope this interview has inspired you. Thanks for visiting The Cranky Camera!