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Witzig’s photos would have been impossible if not for his profound familiarity with, and reverence for, the coastal waters of Australia. The principle of full engagement with the environment is reflected in his images, which never document action for the sake of action. Witzig was as interested in everything surrounding surfing as he was in surfing itself.
… A Golden Age is intended as more than another congratulatory trawl through sixties nostalgia… The book’s final shot is telling. It’s a wide view of the aquamarine waves at Sunset Beach—not during a contest but on a majestically mediocre day, with just a few surfers randomly bobbing beneath an immense sky. The open space Witzig includes in the frame suggests the unseen possibility that emerges only after one chooses to peer beyond the hype.
The New Yorker
[A Golden Age] documents a turning point in the history of the sport, both in and out of the water. To borrow a description from journalist Drew Kampion’s accompanying essay…this was a time when “a crew of like-minded young surfers began to experiment with their surfboards, and their approach to riding waves, and to life itself.”
…there’s an image of surfer Bob McTavish driving down a wave with what Australian surf journalist Nick Carroll describes…as “furious intent on his board’s rail line, straining and hunting for speed, lift, feeling.” This visceral, break-point intensity defines A Golden Age as a significant artifact from times a-changing.
Wall Street Journal