Kevin does a lot of the legwork for Fiend as well as shooting most of their photos. I had only met him a couple times before conducting this interview and I had no idea that he was so experienced and informed. Needless to say, a lot of important topics are touched and Kevin brought an insightful twist to everything mentioned. He talks about what it’s like to shoot with riders like Garrett Reynolds and what dealing with energy drink companies entails. As a veteran of the industry we commiserate over the decline of print but as active lensmen we discuss the best ways of dealing with this universal shift from paper to pixels. We discuss how (or if) someone could live off of shooting BMX photos alone. Thanks to him, a lot of us may be much more inclined to post our photos directly to Instagram… maybe.
The SoundCloud player is embedded below. Click here to listen on iTunes.
0:24 – Introduction and Kevin’s backstory
12:20 – The formation of Fiend in San Diego
15:28 – Thoughts on San Diego (vs. Los Angeles)
16:42 – Day-to-day operations, website, shooting a roll per week
20:04 – Video work / shooting weddings
20:48 – Valuing both photo and video
22:01 – Putting a price on photographs
23:20 – Thrasher Magazine’s segue into web
26:27 – “Why is everybody doing the same thing?”
27:36 – Can we survive as BMX photographers?
30:08 – “You can’t just do one thing as a photographer anymore”
32:52 – We check out Kevin’s backpack
41:39 – Full-frame vs. crop sensor
44:12 – Ty is outed as an exceptional photographer
45:53 – What film do you load up in your Bronica? (and the pains of shooting film)
48:24 – Shouts to skate photogs Ben Clemens and Brian Gaberman
50:30 – Sleeping in the field
51:52 – When riders pull it first try
53:20 – Two strobes is all you need
55:05 – Old school strobe sequences
57:04 – Shooting a bar crank bar and making sure Red Bull includes both barspins
1:00:01 – Having to shoot vs. wanting to shoot
1:01:26 – Kevin’s digital workflow
1:04:52 – Shouts to Josh McElwee
1:05:16 – “Whatever you take, you better be willing to put back into it”
1:07:12 – You can’t put extra pressure on the rider
1:07:38 – Shooting barspins
1:09:49 – Weekends
1:11:30 – Kevin confesses to having applied to be a Lyft driver
1:12:49 – The longevity of a photograph and Instagram
1:15:30 – Separating between inspiration and imitation
1:16:03 – Instagram is about convenience
1:19:48 – Shouts to Alex Donnachie and Fred Murray
1:20:59 – “What’s the oldest photo you’re sitting on?”
Tempe-based photographer Spenser Lee (or Loofa as he’s sometimes known) just updated his portfolio website with not only some amazing riding photos but also some really clean architectural/interior shots. Click around, get psyched.
Hit the Endless Mag site to check out some photos from this years Munich Mash shot by the man himself, Eisa Bakos. Don’t forget to watch the video highlights which you can find here.
Focalpoint just posted a gallery from Australian photographer Brodie Knox which includes some incredibly lit and composed photos. Check it out here.
Reagan Riley, toboggan
“I had been wanting to shoot something with Regan for some time. After a few failed attempts to shoot together, due mostly to my family/work schedule I made plans to meet with him at a ditch I had seen him post on his Instagram. This thing is not easy to ride at all, but its home turf for Regan plus it defiantly helps that the dude can shred. After several failed angles and waiting on the sun to get lower than f16 I finally found the angle I wanted and here is one of the few fun shots we got that day. Hope you enjoy!!
Shot specs were:
Sunpak 622 to camera left @ 1/2 power with Pocketwizard PLUS II Receiver
Sunpak 555 to camera right @ 1/2 power with Pocketwizard PLUS II Receiver
Both triggered by Pocketwizard Flex TT5 so since Regan was in the upper section I can boost up the shutter to 1/500th sec.”
Join the Flickr group (we just hit 5,000 photos!) and you could be next week’s spotlight!
This weeks photo of the week comes from the Hasselblad lens of Arizona’s finest photographer (and great rider),Derrick Riggs. With the beautiful colors Provia 100 offers tied together with a crazy trick and perfect lighting I knew this was the one. Keep reading to hear a bit more on how this photo went down.
“I first met Vance Trevino maybe about 2 years ago while on a trip to Tucson AZ, he and his cousin Andy “floyd” Erickson most definitely do there part to keep BMX raw in Tucson. Case in point, we actually went to this school cause Vance wanted to a just 360 the stair set which lies and the bottom of the rail/ledge. A few minutes after getting the clip on set, he told Andy “i wanna 60/40 the rail” and asked if id like to shoot it, i gave him a “hell yeah”, after a few tries he rolled away with a smile on his face. By the way he also did a hard 180 out to. And a “STILL” is better than sequence any day for me. KRIMZEN !!!!!!” – Derrick
Camera: Hasselblad 500c w/ 80mm 2.8 – 1/500th maybe f/8 or F/11
Film: Provia 100f
Lights: 1 Einstein 640 powered to 226.3 watts, flash duration of 1/3108th t2
Slaves: All triggered by pocket wizard plus 2’s
French photographer Vince Perraud was in town a few weeks ago working on some personal projects and dedicated a couple hours of his time (on his birthday, no less) to sit down and talk with us. When I say “us”, there were so many people that wanted to be a part of this interview while there are only so many seats and microphones. Oddly enough, I was the only one who hadn’t met Vince before and therefore had the least business being in there. We subbed between myself, Chris Mortenson and Jeremy Pavia while Gutstains held it down and Reed Stark was there to share some stories from a rider’s perspective. Vince was a bit nervous and unsure how everything would go having a less-than-perfect grasp of the English language so we implemented some brain softener and upheld a more relaxed environment (and an untraditional format) to make sure everything would go as smoothly as possible.
1:30 – The challenge of breaking into a new scene
2:29 – Reed’s introduction
3:00 – Starting in BMX
4:35 – Growing up in a small town in France
5:14 – Mortenson pops bottles
5:45 – From bikes to cameras via knee injury
7:11 – Inspired by Manu Sanz
8:41 – Dealing with shotty equipment
11:51 – THE LIGHT
13:14 – Having an Instagram photo on the cover of RideUK
14:13 – First cover (Soul Magazine)
15:30 – His latest cover (RideBMX)
18:39 – Vince’s take on the death of print
20:09 – The challenge of being French
25:45 – Mortenson steps in, talks about nude women
28:04 – Having an assistant then not having an assistant
29:23 – Shooting without flashes
32:05 – Shooting events (Simple Session)
33:18 – Moving on from BMX
35:54 – The many variables in photography
40:14 – More about the Instagram photo that made the cover of RideUK
42:04 – “Do you do any video work?”
42:20 – Guts’ favorite Vince photo
44:08 – The infamous fisheye pool photo on the cover of Soul
48:36 – Waiting to put out photos instead of posting online
53:42 – Pavia steps in
55:08 – “What drives you?”
56:41 – “What is your end goal in photography?”
58:27 – “Have you “made it”?”
1:00:45 – One camera and lens setup for life, what would you choose?
1:02:56 – “How much value do you place on social media?”
1:04:53 – “BMX is so small”
1:06:24 – Three pieces of advice for the emerging amateur photographer
1:08:30 – Where do you see photography going?
Posted in BMX, Gear, Photo, Podcast, Tech
Tagged Chris Mortenson, Gutstains, Jeremy Pavia, Push It A Stop, Reed Stark, Scott Marceau, TCU TV, Tristan Afre, Vince Perraud