Let Us Roam: Arto Saari

Arto speaks the truth about a career in front of the lens coming full-circle to a passion behind the lens.

Probmxmag #11

probmxmag11

It sucks (for me) that it’s all written in Russian but Probmxmag #11 has some really, really good photos in it. Also an interview with Diogo Santos and one with some dude named Adam22

Photo of the Week: Brendan Mulrooney

Paul Horan wallride

I chose this photo mostly because of the precise composition, with the vertical columns pretty much exactly vertical and the amount of geometry in the frame. The vents that he is wallriding over mimic the lights on the inside of the building almost perfectly and the palm tree is a great balance for the edge of the car on the right side of the frame. The riders blue bike sticks out amazingly as it is the only object in the photo of that color.

“I shot this photo of Paul Horan in Daytona Beach, FL while on a spring break trip we took a few weeks back. I knew exactly how I wanted to shoot this when we pulled up to it but in order to get back far enough to frame the shot how I wanted I had to go down a hill a bit which then put a big ass hedge right in my way. I was getting all pissed off because I didn’t have my tripod or any type of ladder so my friend actually volunteered to be a human step stool. I wasn’t about to break my home boys back so I just stood my bike and framed it the best I could. It was an amazing trip and I was so happy with the way this one turned out.

Nikon D3100

Nikon 24-70 lens

1/200 @ f/6.3

ISO 800

1 Nikon SB-800 to the left (triggered by pocket wizard)

1 Nikon SB-24 to the right (triggered by pocket wizard)”

Check out more of Brendan’s work here.

See Paul’s riding here.

Join the Flickr group for a chance to be next week’s photo.

Rich Forne Subrosa Edit

Rich Forne, the man behind the camera for such classics as Bruno Hoffman’s White City and the SOSH Urban Motion first place winning Alex Kennedy video (filmed entirely on a smartphone), is easily in the top ten greatest filmer-riders (or rider-filmers) (shouts to Mastroni and Rigal) and this edit is simply incredible.

Vince Perraud West Coast Photo Gallery

Screen Shot 2014-04-08 at 10.17.58 AM

I had the pleasure of hanging out with Vince Perraud last week while working on a little something for Push It A Stop (stay tuned). But he just dropped a pretty dope gallery from his 20 day trip through the west. You can check it out here.

Photo of the Week: Łukasz Suszczenko

luk potw

You might recognize the name as the winner of the Hop Photo Contest. Łukasz has a pretty impressive portfolio and this moody 180 caught my eye in the Flickr feed immediately. A cloudy day is a photographer’s dream because it’s so easy to create your own lighting when the sun isn’t there to interfere. Łukasz took full advantage of the conditions and created this dramatic 180 with just one borrowed flash.

“The photo was taken quite spontaneously. I bought my first professional camera in May 2013 and as soon as the weather got better, together with a few guys we visited one of our favorite spots – California Pool Bemowo, an old irrigation pool situated in a military-owned area. I brought with me a camera and a lamp that I borrowed from a fellow Slovenian photographer (Uros Rojc). After a few hours of riding, when I got tired, I decided to take some pictures, accompanied by Skater, who is always eager to participate in such projects. I set the lamp intuitively and we got down to the business. Skater made a turndown, a onefoot table and a 180 barspin. After one ore two attempts we were perfectly satisfied with the outcomes. Finally, I asked Skater to jump over an old tire that we’d found in a pile of trash. We dragged it all the way up to the slope, Skater made some bunny hops and said that he was able to make a 180. The first few attempts were quite painful – Skater injured his knee in a fall the previous day, so our shots were accompanied by great amounts of “FUCK, my kneeeeeeee”s. I thought that we were finished, since we didn’t want to risk any serious injury. But when I showed Skater the pictures I took, despite his condition, he decided to try once again. After only 3 more attempts I finally found what I had been looking for. I quickly returned home and for the first time decided to use Lightroom. After an hour or so I learned all the tools, made some adjustments and the photo was ready.



Rider: Łukasz „Skater” Wysokiński
Location: California Pool Bemowo, Warsaw, Poland
Time of day: Around 3PM
Gear: Nikon D600, Nikon 24-70mm 2.8, 1 x Nikon SB-900, Pixel King Trigger
Settings: 1/640s, f3,5, ISO 640

Website: www.suszczen.tumblr.com
Instagram: @suszczen

Join the Flickr group for a chance to be next week’s photo!

Through The Lens: Inside BMX Media

I’m not really sure who the intended audience of this mini “documentary” actually is, but it gives you a little behind the scenes look at what its like to be a BMX photographer/filmer. Despite being severely cringeworthy at several points, there are a few bits of good information sprinkled throughout. If you’re an aspiring lensman, check out the video and read below for a little friendly advice of my own.

I’ve only been in the game for a few years now and some could make the argument that I’m no more qualified to offer advice on this subject than the people in this video, but I couldn’t just have you guys ingesting a bunch of vague pointers. In my years of paying dues and finally getting my foot and my camera bag in the door of the BMX industry, this is the best advice I could give you if you’re looking to do the same.

-Do it for the right reasons.
I feel like I read this in every interview with any BMX photographer ever, but if you’re trying to make a million dollars from shooting/filming BMX, go to the nearest pawn shop and sell all your shit because its not going to happen. Shooting BMX should be, above all else, a labor of love. You should love this shit so much to begin with that getting paid for it shouldn’t matter until you can do what you do with one arm tied behind your back and security breathing down your neck. If you get no genuine thrill from pedaling miles on end while lugging a 50lb camera bag, you’re in the wrong business, friend.

-Know your craft.
This goes beyond reading your camera’s manual cover to cover and knowing what every function does. This is about shooting so many photos or filming so many clips that you can see what its going to look like before you even pull the camera out. This is about closing the gap between what your photos/footage looks like and what you want your stuff to look like. Not by going out and buying a bunch of expensive gear, but by knowing how to squeeze every ounce of capability out of the tools and the light you’re given. Some of the best advice I’ve ever come across is, don’t practice til you get it right, practice til you can’t get it wrong.

-Its not about gear.
As much as you think having a VX1k, 1Dx and Einsteins or a Panasonic with the whale eye will miraculously make your shit look like Jeff Z or Navaz’s, you’re sadly mistaken. Unless you’ve got tens of thousands of dollars to run through B&H like Supermarket Sweep, you should be more worried about doing what you can with what you have instead of worrying about what you could do with what you don’t. Always try to keep in mind that there’s someone out there doing better with less.

-Be your own worst critic, not your number one fan.
No one likes a dude who’s feeling himself to the max. And its even worse when their photos/filming aren’t quite up to par. If you somehow think you’ve arrived or are more worried about your Instagram followers than continually improving the quality of your work, you’re doing yourself a huge disservice and you probably look like a douchebag. Don’t buy into your friends telling you you’re the shit, you gotta see the things that you could’ve done better. Its easy to let a hundred likes go to your head, but if you think that shit matters in real life, I honestly feel bad for you.

-Network, network, network.
Social media has made it easier than ever to meet and communicate with riders from your town all the way up to your favorite pros. In most industries, networking is a bunch of shaking hands and trading business cards, but in BMX it can be anything as simple as saying “whats up, let’s shoot sometime” on Instagram to just sharing a blunt at the skatepark. But be cautious of your hunger level when it comes to stuff like this though, most people can spot a weirdo from a mile away. Which brings us to our next topic…

-Don’t be a weirdo.
In the modern BMX climate, you might be surprised how far being a normal, level-headed person could take you. You could shoot the best photos ever, film the crispiest clips, but if you’re a pain in the ass, next to no one is going to want to deal with you. Don’t be the guy poaching photos/clips of people you don’t know at the skatepark. Don’t be the guy bugging your one and only local pro to shoot on every social network every day. Just try not to be “that guy”.

-Do good work and things will happen.
Same as when it comes to riding, the longer you’re out there doing you and making it look good, people will eventually notice. There’s no better feeling than being the go-to guy for riders or companies, but the only way to get there is to be consistently dialed and reliable. As soon as you start wondering why you’re not getting the recognition you deserve or why people aren’t fucking with you, your mind is in the wrong place and you should stop and re-evaluate why you’re doing what you’re doing. You shouldn’t have to speak for your work, your work should speak for you.