Category Archives: BMX

“Delayedit 3″

The third episode in Damian Racut‘s “Delayedit” series features a bunch of great street riding throughout Ohio with a focus on peg chinks, jibs, Jake Coulson and grimy spots, but really the most amazing clip doesn’t involve a bike and there’s no question that it deserved to be the ender. As crazy as that is, it could not have been any smoother.

Photo of the Week: Graham Howe

graham howe potw

This is a great example of what makes a photo of the week- the trick is a simple feeble grind on a small ledge but the way it’s shot makes it much more spectacular. The first thing I noticed was the composition- the rule-of-thirds is clearly adhered to and the way the sunlight is dividing the building almost makes a frame within a frame for the rider to be placed in. The subtle blue reflections in the windows really work with the red brick (also working with the rider’s outfit) and the even more subtle greens add a nice accent. The next thing I noticed was the strong rimlight (of course then I noticed the lightstand peeking out from under the rider’s left foot, but hey- that’s just me). That light pops him out amazingly from the dark brick background, in which he’s placed perfectly. The ratio of lighting (between fill and rim) is impeccable.

“The snow had just started melting here in Ontario, So me and some friends had been out riding most of the week testing some of my new flash equipment. It was mid day, the skatepark still had about a foot of snow so we went to find some street spots. This is a pretty well known ledge in Barrie’s downtown but it’s in an alley and on a fairly steep hill, so theres not a lot of footage or stills from the spot. Once we got to the spot I took a look around and picked my angle, I was feeling the half shade, half sun on the wall behind the ledge so I decided to shoot up the hill. Once I got my flashes setup, (yongnuo 500ex on 622c receivers) One behind facing toward the camera and one just right of Jordan on the ground just out of frame, Jordan did a few smiths that were cool but just weren’t working for the angle. As we were looking at the pictures a car came up behind us and I surely thought we were going to get kicked out, The man just rolled down his window and said “Oh sorry if I saw your flashes I would have gone the other way.” then happily carried on with his day. Which was a nice change from our usual meetings on private property, maybe it was the spring in the air. So I set my flash back up and Jordan and Landon started hitting the ledge again. I asked Jordan if he could try a feeble and it seemed to work good for the angle but my timing was a little off. It took a few tries to get the flash directly behind jordan as it kept being right between his legs, and we all know how shitty that looks. I moved my flash behind him a little bit to the right and he tried it again, and this was the outcome.

Rider – Jordan Gervais
Picture – Shot at ISO 100 1/500th f2.8 on a Canon 60D with a 50mm and Yongnuo flash setup.”

Check out more of Graham’s work here.

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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

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.

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.