I am from St. Paul Minnesota

Where do you shoot?

All over Minnesota, mostly urban spots. Shooting park is kind of lame in my book.

How old were you when you first started shooting?

I first got really interested in photography when I was 14. I was on a road trip from Minnesota to L.A. I took along with me my dads old canon AE-1 with the stock 50mm lens. Basically haven’t put a camera down since then.

Who is your inspiration?

That is a long list…. First off my photo mentor Molly Durkin who took me under her wing and taught me a ton. I look at tons of different peoples works which get me thinking, people like Ben Chrisman (wedding photog), Melissa Rodwell (fashion) Erik Seo, Dan Carr, the list goes on. I like looking at all types of work and try to incorporate aspects from them into my work.

What is the most moving picture/video you remember?

Lots! Some that come to mind are the shot of, I can’t remember the skier, but it was a s-box at Park City, black and white taken from the chairlift, it was the cover of Powder a few years back. The photo of the people running covered in ash/dust on 9/11. (WARNING: Graphic Content http://msnbcmedia4.msn.com/j/msnbc/Components/Photos/060424/060424_911Dust_vmed_2p.widec.jpg)

What sparked your passion to shoot?

Not really sure what got me going besides the road trip to LA.

Do you have any formal schooling?

Took one photo class my first semester of college. It was all about printing and film developing had nothing to do with the actual photos. When I figured that out I would go out and blast rolls of film to get the assignments done in 5 minutes. I feel that most photo degrees are somewhat of a joke most are film based still.

How did you get into the business?

Funny story, the first camera I bought was a Canon Elan 7e. I got it because it was 5 frames a second so I thought I would shoot a ton of skiing. That was over 6 years ago. I didn’t really get into shooting skiing until last spring.

What was your first paid gig?

First paid ski related gig was some shots of Willie Borm.

When did you realize you loved shooting on snow?

I realized I loved it when I stopped caring about being a sponsored skier.

What is your favorite picture/video you’ve taken?

Thats a really hard question. There are a couple shots of Austin Torvinen that I really like.

Can you describe your style? Hard light, soft light, fisheye, etc.

I wouldn’t say I stick with one style in terms of lighting. I tend to use longer lenses though I find wide shots are a bit played out most of the time.

Most fun/interesting people to shoot?

I love working with Hornbeck when he is in town. Super nice guy and kills it like no other. Willie Borm is a blast to shoot with. He is only 12 but absolutely kills it. Also Asian Allen, he is emo, but still fun to shoot with. Lastly Austin Torvinen, highly skilled, highly underrated. Watch out for his super unknown its going to blow minds.

What do you shoot in the off season?

What advice would you give someone who wants to start a career in action sports photography? shoot, shoot, and shoot some more. You don’t need the latest and greatest cameras and lenses to take awesome photos. Cameras are tools, it’s the photographer that makes the photo. Also (I am guilty of this as well) get off the computer and go shoot! There are tons of sites with photo info out there stop spending all your time reading about photography get out there and do it.

Favorite format, camera, lens?

I still love film but don’t shoot much of it at all. I have a Holga that I have been taking with me on urban shoots, getting more lifestyle shots with it. Favorite lens would be either the Canon 85 1.8 or the 70-200f/4. The 70-200 in the film days people didn’t like because it was “too sharp” which is a great “problem” if you ask me.

What’s in your bag?

Holy cow, ok here we go:

Bodies:

Canon 5d

Canon 7d

canon elan 7e(sometimes)

Holga

Lenses:

17-40L f/4

70-200L f/4

50mm f/1.8

85 f/1.8

Lighting:

Alien Bee 800

Canon 540ez

Canon 580ex

Nikon SB-80

4 Pocket wizard plusII

gels

8.5″ and 11″ reflectors for the Bee

tons of cords,memory cards and other odds and ends

What was your first camera?

I got an orange plastic 110 ninja turtles camera from my cousins when I was 6 I would like to say. It had a little screen thing with Donatello in the corner so every photo had him in it. I had my dad cut the screen out. I think I still have it somewhere.

Favorite place to shoot?

Minnesota has tons of sweet urban so I would have to say its my favorite.

Your scariest shoot?

We were going to shoot a fence gap but had to wait because someone’s dog tried to attack us. We ended up calling the cops to have them take the dog away.

Your funniest shoot?

Funniest would have to be with Austin Torvinen. He was having issues on a couple tricks that day. After a while I started to give him lil’ pep talks, each time I did he would drop in and stomp his trick. The pep talks even worked with our generator that decided it didn’t want to work that night.

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Make Copies of the Infringement
If you think that the use is likely an infringement, make copies of it – both in electronic and print forms. Once the infringer realizes that she is caught, she will do what she can to get rid of the evidence of the infringement. You may need that evidence later.

Make Sure That the Use Is an Infringement
Not all uses of your photographs are infringements. Do you use a licensing agency that may have authorized the use? Could the user be related to an entity to which you authorized the use? Is the use a fair use? While only a court can ultimately decide what fair use is, the law gives us guidelines as to what may qualify and an attorney can help you with the analysis.  You also may check Stanford’s Copyright and Fair Use website for explanation and examples.  While some uses by newspapers are fair use, others are not.  The NPPA reports on a case where CBS’ use of Christopher Fitzgerald’s photo was not fair use.

Research the Infringer
Next, find out what you can about the infringer. Research the infringer’s website to find his name and contact information. If the infringer is a corporation based in the United States, you can find information about it on the website of the Secretary of State for the state where the infringer is based.  You also may be able to find a contact name by searching the website’s “who is” information.

Option #1 – Do Nothing
Now that you’ve documented the infringement and have some information about the infringer, you always have the option of doing nothing. If the infringer is in a foreign country where infringements are rampant and difficult to enforce or is a small website with little traffic, you may decide that it’s not worth your time and effort to fight the infringement.

Option # 2 – Request a Photo Credit
If the website would provide a marketing outlet for you, you may only want the infringer to give you proper credit. If so, write the infringer a letter officially giving her the right to use the image. Be sure to designate the parameters of that use and include the condition that the infringer post a photo credit with a copyright notice on or adjacent to the use. You may also require the infringer to add a link to your website.

Option #3 – Prepare a DMCA Take-Down Notice
Pursuant to the U.S. Digital Millennium Copyright Act (”DMCA”) enacted in 1998, the Internet Service Provider (”ISP”) that hosts a website is not liable for transmitting information that infringes a copyright only if the ISP removes the infringing materials from a user’s website after receiving proper notice of the violation. The notice must: be in writing, be signed by the copyright owner or the owner’s agent, identify the copyrighted work claimed to be infringed (or list of infringements from the same site) and identify the material that is infringing the work. Additionally, the notice must include the complaining party’s contact information, a statement that the complaint is made in “good faith,” and a statement, under penalty of perjury, that the information contained in the notification is accurate and that the complainer has the right to proceed (because he is the copyright owner or agent). Use this great tool to stop an infringer whose ISP is in the U.S. from using your work.

Option #4 – Prepare a Cease and Desist/Demand Letter Yourself
When you don’t want to alienate the infringer (the infringer is a potential client and/or appears to be an innocent infringer), you may want to contact the infringer to explain that the use is not authorized and either request payment of an appropriate license fee, a photo credit with a link to your website (as discussed above), or that the infringer cease use of the image. It’s best to do this in writing – a letter by surface mail seems to have more clout than email correspondence.
Photographers sometimes send an infringer an invoice for three times their normal license fee in an attempt to resolve the infringement issue. While the 3x fee may be an industry standard and some courts have used it, is not a legal right given by any court of law or statute. Instead, U.S. law states that you are entitled to actual or statutory damages for infringement as provided by 17 U.S.C. Chapter 5, specifically section 504. The damages that you can receive from infringement – especially if you timely register your photographs – sometimes can amount to a lot more than three times your normal license fee.

There are some risks in sending the letter yourself. First, the infringer may attempt to preempt an infringement lawsuit and file a request for declaratory judgment that the use is authorized. This may involve you in a legal action for which you may need legal counsel in a jurisdiction (court location) where you don’t want to litigate. Second, your demand for payment may be admissible against you if an infringement case is filed. If you demand too little, then it may limit your ultimate recovery. To avoid this possibility, include in your demand letter that “these discussions and offer to settle are an attempt to compromise this dispute.”

Option #5 – Hire a Lawyer to Send a Demand Letter
When an attorney gets involved, the matter is escalated and tensions rise. While the infringer may be more defensive, the weight of your demand letter is dramatically increased if it comes from an attorney and the infringer generally takes the matter more seriously. Some attorneys charge a flat fee to send a letter; others may charge a “contingency fee” which is based on the percentage of recovery. Or the fee may be a combination of both.

Option #6 – File a Copyright Infringement Lawsuit
Your most aggressive option is to pursue your legal remedies by filing suit. Unless you created the work outside of the United States and in a country that is a signatory to the Berne Convention for the Protection of Literary and Artistic Works, you must register your copyright with the U.S. Copyright Office, hopefully before but at least after the infringement. (If you created the photo in a country that is a signatory to the Berne Convention, you do not have to register in the U.S. to protect your copyright or to file an infringement lawsuit in the U.S. However, if you do, then you may be entitled to statutory damages and attorneys’ fees.) If your photo was not timely registered for this infringement, you may want to register the photo for future possible infringements, as well, to be eligible for statutory damages of up to $150,000 per willful infringing use for each photograph. See 17 USC Section 504(b) and (c). Legal fees and costs also may be recovered from the infringer. See 17 USC Section 505.

In most jurisdictions you need to have received your registration certificate to file a complaint. Unless you have a breach of contract or some other state claim, you must file your infringement claim in a federal district court. To file suit, it is best to hire an attorney to help you because the legal procedures are complicated. Note that you have three years from the date of infringement to sue for copyright infringement.

When a photo is not registered with the U.S. Copyright Office prior to the infringement (or within three months of the first publication of the photo), a copyright owner may recover only “actual damages” for the infringement (pursuant to 17 U.S.C. 504 (b)), instead of statutory damages. Courts usually calculate actual damages based on your normal license fees and/or industry standard licensing fees.

Additional Claims
While many photographers place “watermarks” including their name and/or their copyright notice on their images or in the metadata of the file to prevent someone from infringing them, it’s fairly easy to crop or clone over the mark, or to remove metadata. Fortunately, the DMCA section of the Copyright Act provides a remedy in addition to the infringement claim when the infringer removes your CMI to hide the infringement.

Additionally, when you can prove that the infringement was done willfully, then you are entitled to enhanced statutory damages. “Willfulness” means that the infringer either had actual knowledge that it was infringing the owner’s copyrights or acted in reckless disregard of those rights. Evidence that the infringed works bore prominent copyright notices supports a finding of willfulness.

What You Can Do to Best Protect Your Images
To be eligible for maximum damages for copyright infringement and violation of your DMCA rights, put your copyright notice on each page of your website and put your copyright notice on or at least adjacent to each photo as well as in the metadata of your files.  Further, register your photos with the U.S. Copyright Office so that you will be eligible for statutory damages. It’s also important to put all of your licenses in writing, even if by email, and make the license contingent on payment of your invoice in full.

Where to Get Help
Legal help is expensive, but there are alternatives.  First, an attorney is more likely to be willing to help you on a contingency basis (for a share in the recovery) when you are eligible for statutory damages.  So be sure to register your copyrights timely.  Some photography organizations provide legal assistance, as well, with educational materials and/or personal assistance.

As mentioned, the Online Media Legal Network is an option.  In addition, most states have Volunteer Lawyers and/or Accountants for the Arts (”VLA” )organizations. As in New York, they serve “low-income artists and nonprofit arts organizations. VLA’s many other programs are more widely available to the entire arts community.”  Each VLA organization provides a variety of services, such as a lawyer referral service, free legal clinics, mediation and arbitration, wills drafting, and a speaker program in Georgia. St. Louis’ VLA’s website provides a list of helpful publications and other great links, including other states’ VLAs.  Find a VLA near you by searching on the Internet for “Volunteer Lawyers for the Arts” and your state. Some VLAs, such as those in Kansas City and Massachusetts also provide accounting services.

Also check with photographers in your area for recommendations for who they use.  Since infringements have increased, more photographers have retained legal assistance.

__________________________________________
NOTE: The information provided here is for educational purposes only. If you have legal concerns or need legal advice, be sure to consult with an attorney.

Copyright Carolyn E. Wright, Esq.
All Rights Reserved

Special thanks to Carolyn Wright for writing this. Make sure to check out her website for more information. www.photoattorney.com

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So can you tell us a little bit about yourself?
Relative to the company I have been taking images for about 12 years. About 7 years ago I started a magazine called Modest Bike, which featured a lot of my images and other generous photogs who believed in what the magazine was about. A few years later I began working for a large publication as an evil Editor, this was not the best experience and ironically all my experiences at that magazine were the original reasons I started Modest Bike. I guess money was behind my decision at the time. Now I work with F-Stop Gear developing product and keeping the company in touch with our customers. I am based in the Kita Alps in Japan although the company is located in St.Louis.

What do you photograph mostly?
Now a days I photograph snowboarding and the life that comes with it (as a hobby). Previously I mostly shot mountain biking.

What is your favorite thing to photograph? Skiing, snowboard, biking?
Snowboarding is an amazing sport to do and photograph, it is also what my life is revolves around, so it is natural for me to love shooting snowboarding. In the end any thing with style and creative riding gets me going.

What’s your favorite photo you’ve taken?
There are a few that have heart and memories that I might prefer over the technically sound images. This image of Dave Basterachea is likely my favorite combo of both. Mostly because Dave is a good friend and this is an area that our friends rode as much as we could when the conditions were on. It is in the Whistler area and called Morning Glory. I have had some of the best runs in my life on this face and watched my friends do the same. I have seen it slide in to a giant class 3 avalanche while digging a pit, watched the sunrise light the face up at 5:30 in the morning and left it as sun went down snowmobiling my way through tight trees in darkness. I have shared a lot of good and crazy moments with friends here and this picture sums those times up for me. This was Dave’s 1st run of the day. I remember Dan Treadway saying something along the lines of “What? That was his warm up run?”.

Do you have any formal schooling for photography?
I did the 16 year program at the School of Whistler for my eduction in photography.

How did you get into the business?
I tried the snowboard photo route but knew that I also loved snowboarding too much to sit and watch. So eventually I figured I should shoot Mountain Biking so I can actually ride and not just watch other people have all the fun. So I started Modest Bike magazine. I then realized that I also love mountain biking and that maybe I should have started a golf magazine.

What bag do you carry usually?
I am using the Loka almost everyday now. It is a smaller pack that is in prototype phase. It is smaller around 28L and has a tapered ICU to keep the profile of the pack down while holding an avalanche shovel. At the same time it still carries a pro body with 70-200L mounted in the ICU and has room to spare (also caries a 16-35L and Fish). It is kind of my baby and is the base for a couple of new packs that are in the works. A lot of people are going to be happy when this one hits the market. From pro-sumers to working pro’s to just everyday riders. The bags we are working are going to be a pleasure for folks who love the snow.

Can you tell us a little about F-Stop?
F-Stop is company dedicated to making gear for adventure sport photographers. Our main product is backpacks but we also make lens cases and hip and shoulder bags, basically anything that makes a photographers day more enjoyable while carrying gear. Our product is simple and designed to carry your gear but also allows you to enjoy the day beyond taking the photograph. It is important to me that our users are part of the experience, sometimes this means an 8 hour ski tour. We(photogs) are already carrying more gear then our friends who are having all the fun and getting there good times documented. So the last thing we need is a non functional and heavy pack. We should not be limiting our experiences because we can’t get there with our gear. Our company is here to help make those missions a reality and to let photogs have there moment in the snow too.

When was F-Stop started?
F-Stop has been around for the last 4 years.

Why go into the camera bag business?
There is a bit of hole in the market, as action sports grow the need to document them also has. A canvas backpack designed to be driven around in car doesn’t cut it in the outdoors. Our idea is simple and it is strange to think it took this long for someone to get on it.

What’s it like competing with larger companies?
I really don’t think we are competing with them. We offer a product that is unique and basically sells it self. We are a small group of photographers trying to make our own experience in the mountains that much better. Going further and bringing flash cards home full of images that the average person will never experience. Most photographers that catch wind of our line also realize this and see that we’re making gear to make there day easier and ambitious goals possible. I am not sure the others are doing that in relation to the action/adventure sport niche. We don’t structure our business like a typical photo pack company, we are creating our own path. A path that reflects the real world of action sports photography.

Any advice for someone trying to start a company in the action sports industry?
Research, preparation, commitment, money and follow through. But first you should have a good product.

Any previews of upcoming gear?
There is not to much media on the new Loka yet.

Anything else you think we should know?
If you email F-Stop Gear you will likely here back from me personally. We like to hear feedback from everyone as every user has a different and tailored use for our packs, so if you have something on your mind don’t hesitate to contact us. We take our teams input in the design phase but also our customers. We’re building packs for a community of like minded individuals and your one of them so if you want to be part of the process please don’t be shy. We will also have a contest coming out soon that will allow you to play an even bigger part in the development phase of our bags, so stay tuned to www.fstopgear.com for more on that.

Here are some images of both mine and product testing:

Photo Marc Durand (F-Stop Tilopa User) Rider Ian Millar (wearing Loka)

Loka product testing (fun video wearing Loka)

The Powder Miracle from deeplikepow on Vimeo.

Rider: Nick Kowal Photo: Ian Millar (Tilopa)

Company
www.fstopgear.com

Personal
www.modestbike.com/handsome (portfolio site)
www.deeplikepow.com (blog)

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Chip Kalback is an up and coming photographer in the ski and snowboard industry. Even if you haven’t heard of him before but you will in the future. He has a great shooting style and always keeps things fresh. Plus he’s always a pleasure to talk to.

Where do you reside?

Denver, Colorado

Where do you shoot?

This ski season I will be shooting in a number of spots throughout Colorado, Utah, and California. And Ohio.

How old were you when you first started shooting?

I was around 19 and started shooting when a friend of a friend approached me about shooting an AFI concert because he knew I was a big fan of their music. Long before blogging was a household term, he had started a website about music in Cleveland; show reviews, upcoming events, photo’s, etc. I had to rent a big Sony Mavica camera from the Kent State University library since I didn’t have my own yet, and it shot on to 3.5” floppy disks. The shots from the concert were awful but I remember how excited I was to be able to take shots of something I loved. I’d say that random opportunity to shoot that concert got the ball rolling. Thanks Joel! Before that, photography was a hobby and a skill I was always very envious of other people having.

What or who inspires you?

I’d say a little bit of everything. Music is really important to me. Both through playing drums for the past 18 years as well as just finding new music and also constantly digging through my older stuff. I actually have a Pennywise LiveStrong style wrist band around my telephoto lens for that exact reason; if I’m ever frustrated or just not stoked on how I’m shooting, it’s there to remind me of my goals. I love listening to stuff while I’m shooting too, and I’ve found that various styles of music can really affect how I shoot something.

I also pay alot of attention to street wear brands and their lookbook’s they put out each season. In my opinion 10.Deep puts out some of the most well thought out and clever lookbook’s in the street wear industry.

As far as who inspires me in the snow industry, some of my favorite photographers include Chris O’Connell, Erik Seo, Jay Michelfelder, Mattias Fredriksson, Cole Barash, and Grant Gunderson. Outside of snow, I really like John Keatley’s work, Dan Winters’ stuff is insane, and Tim Kemple’s work is really sick as well.

What sparked your passion to shoot?

I can’t really put my finger on any one thing that made me say “this is what I want to do for the rest of my life”. The challenge of bringing people into how I see the world through how I shoot just gets more and more exciting to me. The more I learn, the more I realize I’ve got lots more to learn.

Do you have any formal schooling?

I really wish I did but as far as photography goes I’ve just taught myself and listened to what others have told me. Looking back, I wish I had taken photo class in High School, but at that time I was heavily involved in music and being on drumline in our 300+ person school band. After High School I went to Kent State University in Ohio and got my Bachelor’s degree in Tourism Management based on my love of skiing and my interest in all things ski industry related. My ‘schooling‘ when it comes to photography consists of asking questions (thank you Seo!), spending countless hours on my computer reading photo blogs, studying portfolios, watching tutorial videos, etc. I’ve often wondered if my lack of education in photography is a good thing or a bad thing, because I don’t always know if I’m doing what’s “correct” or not.

How did you get into the business?

I don’t know, I’m still trying to get in! As far as who really gave me my first big opportunity, my friends Kyle Decker and Tyler Morant get all the credit. Let me back track a bit..

Kyle works with Level 1 Productions now, but he and I and our whole crew of friends started skiing together around 2000-2001 back home in Ohio on 200 vertical foot hills by the name of Boston Mills/Brandywine ski “resorts”. Around that time he started bringing his video camera out to the hill and filming us, because he thought he’d make his first ski movie, named Re-Edit.

Fast forward to 2006 when Kyle was filming for Rage Films at the time. He was doing a spring shoot at Winter Park and knew I was getting more and more into shooting skiing and snowboarding, so he asked me if I wanted to come up and shoot for a couple days with them, which I jumped at the opportunity to do. The only problem.. I had no camera. My Nikon Coolpix 4300 I had been shooting concerts with for the previous 5 years wasn’t going to cut it, so my friend Tyler hooked up his Nikon DSLR for the weekend in exchange for a 6 pack of beer. That was my first time ever using a DSLR, let alone on snow with various pro skiers as my subject. Looking back on that shoot, I’m confident I looked like a huge jackass, between getting in Erik Seo’s way, shooting in various Auto modes, missing shots of this “up and comer” from Pennsylvania by the name of Tom Wallisch… and numerous other instances. However, I had a blast and actually sold a photo from my first park shoot ever to Bern helmets of Ashley Battersby, which was used in their catalog that year. That was my first introduction to what it was like to shoot at a closed park shoot with incredible athletes, and it wouldn’t have happened if Kyle Decker hadn’t invited me along and Tyler Morant hadn’t loaned me his camera that weekend, so a BIG thanks to those guys!

When did you realize you loved shooting on snow?

I’m not sure it was one specific instance really as much as it has just grown over time. Obviously when you combine the fun of taking a photo with the act of skiing, anyone would love doing that. Getting to do it over and over in new places with very talented people only fuels how much I love to show people the skier/snowboarder lifestyle.

What is your favorite picture/video you’ve taken?

The first shot that came to mind when I read this question was a shot I got of Tanner Hall immediately following his SuperPipe win at the 2008 X Games. As usual it was Dumont vs. Tanner, and the excitement in the air of who would win was thick. Tanner went on to win the event but as soon as the judges announced his winning score, some people started boo’ing unhappy with the final scores, and I think a few snowballs were thrown. I snapped a shot of Tanner as he was conversing about the results from the event. He just has kind of a somewhat disappointed look to him in the photo, and I like it so much because it was the complete opposite of the extremely passionate and excited Tanner we’re so used to usually seeing. I felt like it was a very honest moment I was able to catch.

Can you describe your style? Hard light, soft light, fisheye, etc.

I’m not sure I can actually. I think my shooting and any semblance of my ‘own’ style are still very much in their infancy. Sometimes I shoot something a certain way and think it’s really sharp, then come back to those photos a while later and think they look pretty bad. Sometimes the opposite happens. I really like clean looking shots, be it action, lifestyle or otherwise. I feel like sometimes people have so much going on in their shots that the viewer loses focus or never even gets what the photographer was trying to convey in their shot. That being said, I like when shots make you think a little bit, like what was going through that person’s head at that time, or where they’re coming from or where they’re going. It really depends on what I’m shooting though. I wouldn’t shoot a park feature the same style I’d shoot a concert in, etc.

What do you shoot in the off season?

In the off season I shoot a lot of concerts of the bands I love. I live about 10 minutes away from Red Rocks Amphitheatre and they consistently get awesome shows there from about May through October. Last summer alone I shot Snoop, 311, Slightly Stoopid, Lee Perry, Ziggy Marley, and Rock The Bells there to name a few. It’s a great venue to shoot at and also just a really cool spot to see a concert in general.

Aside from music I also shoot other action sports like mountain biking and a little skate stuff. I shot a rally car event that Travis Pastrana and Ken Block raced in this past fall which was really cool. I also shoot various things for Jiberish Clothing and I’d like to get more into shooting streetwear and fashion related stuff down the road. I shot my first wedding this past fall as well, which was very stressful to shoot alone, but it was fun and I got some shots I was pretty pleased with.

I really enjoy skimboarding as well and I’d love to have the chance to shoot it sometime. Most people know about Laguna Beach, CA from Mtv, but it’s actually the mecca of skimboarding and there is some crazy amounts of talent out there. That, coupled with the beautiful landscape and the fact that I wouldn’t be giving myself frostbite while shooting, are two of the many reasons why I’d love to get out to the beaches there again this summer.

What advice would you give someone who wants to start a career in action sports photography?

Don’t trade your shots for product. Ask questions. Get used to hearing lots of ‘No thanks’. Don’t ask a photographer what their exposure settings are. Find your own angle, don’t steal someone else’s. Buy an external hard drive for routine backup’s. Lose the attitude, there’s always someone who is better than you. Say thanks. Say please. Be respectful of those who’ve been doing it longer, better, smarter, and more creative than you have. Be respectful of those who are just getting started. Do your homework. Parking lot attendant’s can be bribed with just about anything. If you get caught, play stupid and use the word sir, often. Remember your batteries. No one will see your work if you don’t put it in front of them. Take your vitamins. Private “industry parties” aren’t that cool. Event security are nothing more than grownup hall monitors. Get your camera sensor cleaned. Be honest. If someone is at a spot first, it’s their spot, don’t poach. Shake hands. No one likes a suck up, be genuine or leave the pro athlete/photographer/videographer alone. Learn from your mistakes. Get a second opinion. Learn to take criticism. Use an Apple. It doesn’t matter how much you paid for your camera gear if you have no idea how to use it. Nature Valley granola bars are your friend. Don’t give up, stay hungry. Baggy ski pants are cool, until you have to carry around 50+ lbs. of camera gear. If someone likes your shot enough to the point that they want to use it for something, they can PAY FOR IT. A nice camera doesn’t mean much if you’re using a crappy lens. Buying a Holga from Urban Outfitters doesn’t make you artsy or different. Camera equipment insurance, think about it. No one cares how much you drank last night if you’re too hungover to shoot the next day. Function over style. Simple, easy to read business cards. Simple, easy to navigate website. Hestra gloves are the warmest gloves you can buy, period. An air mattress can make any floor feel just a little bit better. Don’t show up empty handed when you spend the night at someone’s place. Always shooting on burst mode is kind of lame. Craigslist. Mi Zuppa. Talk less and do more. Give props when props are due. And probably the best tip I can think of.. have fun.

What’s in your bag?

In my bag I’ve got a Canon 5DmkII and a 40D for my backup body. My lenses consist of a Canon 70-200 f/4L IS, a Canon 50 f/1.8, a Canon 17-40 f/4L, and a Sigma 15 f/2.8 EX DG fish. I have a few PocketWizard Plus II remotes to trigger a Canon 580EX flash, and two AlienBee’s B400 strobes which are powered by a Vagabond II power unit. I’ve used AlienBee’s/Paul C. Buff strobes, power units, and light stands since I first got into off camera flash and have been nothing but 100% stoked on their build quality, ease of use, and their customer service. Aside from that stuff, I have an assortment of CF cards, various cables, extra batteries, some Starbursts, a Gary Fong lightsphere, some cough drops, a Leatherman tool, zip tie’s, a headlamp, Gorillapod, power strip, and some other stuff. All of that is carried in or on the outside of my F-Stop Satori bag with room to spare.

What was your first camera?

My first camera was a neon green film camera, the kind that were really flat and wide from the 80’s. I wish I could remember the brand, and I’m not sure if I even have it still, but I loved it. The next camera I got was a Nikon Coolpix 4300. I shot concerts with that for 5 years and I used to get lots of weird looks from the other photographers there shooting… camera envy I’m sure. Following that, once I started to borrow my friends cameras on a routine basis and my parents saw that I was serious and committed to learning more about photography, they helped me purchase my first DSLR body which was a Canon 40D. I shot with that and loved it for the past 3 years until this September when I was able to get a Canon 5DmkII which I love!

What was your favorite trip ever?

Last year I went down to Wolf Creek, CO to shoot Mike Hornbeck, Johnny Lipzker, and Mark Rauschenberger. It was just a day trip but we had a blast, and it was one of my best days of the season last year. Wolf Creek is an awesome place to ski and shoot. There are no stupid fake villages, Starbucks, or otherwise. Tickets are very reasonably priced, no one cares what you’re wearing, and you feel like you have the place to yourself no matter where on the mountain you are. We got down there midweek on a bluebird day just after some snow had hit. We ended up skiing literally until the lifts closed, and we were finding untouched steep powder merely a short skate off the main lift. Ski patrol there were really nice and told us about a spot guaranteed to be untouched at 2 in the afternoon. We shot there for a little bit, which produced a shot of Mark Rauschenberger that was just used in the new Hestra 2010-2011 product catalog.

Favorite place to shoot?

Anywhere in the spring. Warmer temps, longer days, and better colors, the spring is my favorite time to shoot skiing regardless of where I am. Typically if I feel like trying out a new idea or some new gear I just go to Keystone. Their park is amazing, the general vibe there is always good, and there’s always someone I know out riding.

Your scariest shoot?

This story is not scary in a frightening way, but scary in a ‘can’t believe I pulled it off’ kind of way. I was staying up in the mountains for the weekend but had to come down to Boulder that Friday night for my then girlfriend’s Crocs Christmas party. I knew I’d be coming right back up the following morning so I just left all of my photo gear at my friends place because surely I wouldn’t need my photo stuff for a Christmas party. So after attending this party and enjoying some holiday cocktails, I get a text from my friend Ben around 1 A.M. asking me if I’d like to shoot a snowboarder doing a huge bomb drop the following morning. Without thinking I replied “YES!”, when I remembered I had left all of my camera gear almost two hours away, because surely I wouldn’t need my stuff.. So after a few frantic phone calls and various rash decisions about what I should do, I arrive at my friend Ben’s house around 2 A.M. just as a party at his house is wrapping up and I go over the Olympus body he’s going to loan me so I can shoot this bomb drop. I pick it up and head back to said ex-girlfriend’s for about 2 hours of sleep, which is followed by an alarm at 4:30 in the morning to wake up and go meet the athlete I’m shooting. With all of my camera gear I also left all of my outerwear up in the mountains because surely I wouldn’t need any of my stuff for just one night.. So I show up to the gas station we’re supposed to meet at wearing the same dress clothes I was wearing a few hours ago at the party. A thin dress coat, thin dress socks, some slacks and a button down. And green Vans slip-on’s. The athlete I was shooting was nice enough to loan me a down jacket I could wear, but that didn’t change the foot of snow covering the football field I had to walk through to shoot. The sun starts to come up and after a few hesitations the snowboarder sends it off the roof of the school we were shooting at and I get a few shots. After some more shooting we go our separate ways, and I come home to upload and edit what will later turn into a full page ad that ran in numerous issues of Transworld Snowboarding and other North American magazines. Definitely the craziest circumstances I’ve experienced thus far but it all worked out in the end and I got the shot I was going for.

Don’t forget to tell Chip what you think. Leave a comment below!

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February 4th-7th

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Scottmarkewitz.com

Workshop Includes

• Three days of instruction on the mountain shooting
• Professional Skiers/Snowboarders
• Classroom instruction
• Three nights at the Cliff Lodge
• Lift tickets
• Early Trams
• and breakfast!

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Where do you reside?
Right now I have a place in Salt Lake City, Utah. Who knows where I will be after April when our lease is up.

Where do you shoot?
All over the place: pretty much wherever there is snow and enough gas money to get there. Shooting skiing has taken me from Oregon to Newfoundland.

How old were you when you first started shooting?
Ah, I think it was the winter of 10th grade in high school, so I was around 15.

Who is your idol/inspiration?
Probably my Dad, he is into 100-mile marathons and crazy three-day bike races in the Adirondacks. You have to respect anyone who sets hard goals for themselves. I made this about a year ago while I followed him on such a bike race:

What is the most moving picture/video you remember?
For skiing it would be MSP’s “Something About McConkey” – the first ski movie I saw growing up. It reinforced the ideas that skiing is fun and very goofy, which is something people tend to forget much to often.

What sparked your passion to shoot?
I sprained my ankle in high school and my parents bought me a Sony Hi8 camera that year for Christmas so I could go to ski hill and film my friends while taking it easy.

Shane filming Will at Togg, back in CNY

Do you have any formal schooling?
I didn’t go to film school in any sense.
I spent a year at North Country Community College in the Adirondacks. Don’t worry if you have never heard of it, nobody has. Growing up in Central New York I thought Whiteface Mountain was going to be the ideal ski-resort… But I did learn a ton of Photoshop and HTML skills there. Besides that it was a horrible experience. After that year I finished my Bachelors in Communication at SUNY Albany where I lived in an attic and ate bean burritos with my good friend Erik Olson.

How did you get into the business?
I met Erik (the one from the Attic in college) in high school. Through him I befriended the kids who made the I Hate NY movies. We are all still pretty close friends. I definitely would not be making ski movies today without ever meeting them. After that is just all about meeting and knowing the right people.

This is a trailer for a movie we never ended up finishing but was one of the most fun winters I have ever had filming:

What was your first paid gig?
The first time I got paid for filming was to shoot some random car video for my cousins for fifty bucks. But getting paid to shoot skiing all began with filming for Meathead Films (www.meatheadfilms.com), which I did for three years and still do on occasion.

When did you realize you loved shooting on snow?
Probably during the winter I got my first camera in high school. That’s when it was the most fun: No worries about time, light, or tricks.

What is your favorite picture/video you’ve taken?
I don’t think I could pick a favorite. I have been saving every tape since the Hi8 days in boxes that I keep at my parent’s house. When I am 70 years old I plan on making a crazy compilation of them all.

Can you describe your style? Hard light, soft light, fisheye, etc.
I love anything that resembles skateboard street lines so I try to emulate that a lot. I don’t get too techy with slow motion or fancy editing either. I like to keep it real.

Most fun/intersting people to shoot?
Will and Andy can be my most and least fun people to shoot with, depending on how long we have been in the car with each other. Besides them: Erik Olson, Ian Compton and Garrett Russell always make me laugh.

What do you shoot in the off season?
Not much. A little skateboarding and other random stuff. Most of my “off season” is spent treading the fine line of being broke. I was a school janitor for a few summers. That was a big motivator.

"I am also a huge fan of short shorts. They are super comfortable."

What advice would you give someone who wants to start a career in action sports photography/cinematography?
Having fun is better than having money. At least that’s what I have been telling myself these past few years and it seems to work.
Meet lots of people. Jump on any opportunity and don’t take it so seriously.

Favorite format, camera, lens?
Super 8mm is awesome. I would shoot that more if it weren’t such a process. I really like anything that combines imperfect grainy film and clean digital footage. Even though it sits on a shelf: I am still hanging onto my old VX and death lens too. I can’t part with that set up.

What’s in your bag?
A beat-up Sony FX-1 that we use for The Traveling Circus. A bunch of tapes and batteries. A mini shotgun, a camera light, and a wireless mic. Plus fireworks, brass knuckles, a skeleton key, petty cash and a “Deadly Spiders of North America” reference guide.

What happened to your first camera?
The Sony Hi8 Camcorder I traded it in college for something stupid.

What was your favorite trip ever?
Going to Newfoundland in 2004 with Meathead Films during my spring break.

Favorite place to shoot?
Mount Hood is great because its warm and you can usually count on getting a good amount of sun.

Eric Pollard, Shane and Erik Olson at Mt Hood this past summer. "It was pretty cool to be filming someone I have been watching on TV since I was 15."

Your scariest shoot?
Being in the Chic Choc Mountains in northeast Quebec with the Meatheads. I got caught in a small avalanche while we were filming. That freaked me out for the rest of the trip.

Your funniest shoot?
I laugh a lot whenever we film for the Traveling Circus. I find my laugh obnoxious and very annoying. Before I export any episode I make sure I go through and de-laugh the shots.

Great stuff. Can I post a couple episodes? Like your favorite 3?
For sure, I am pretty proud of how the first three TC of this season came out. So feel free to use those. They should be all good to embed from Vimeo.

LINE Traveling Circus Episode 1 – Summer Jobs, Ski Bums & Mt Hood

LINE Traveling Circus Episode 2 – No Snow? No Problem

LINE Traveling Circus Episode 3 – The Great Western Expansion

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Where do you reside?
Vancouver, BC

Where do you shoot?
Anywhere. I take some kind of camera pretty much everywhere.

How old were you when you first started shooting?
Probably 15 or 16? I was in high school and took a photography class and really liked it.

What or who inspires you?
I get inspiration just from seeing things. I’ll see something interesting and just start thinking about how I would make an image of it. As far as other photographers, specifically skiing, I like Chris O’Connell’s photography a lot, or really anyone who was in Freeze magazine regularly, because that was pretty much my only source for skiing info and photography for a while when I was younger.

What is the most moving picture/video you remember?
I don’t think I can name a specific one. Lots of images and movies are moving in their own way.

What sparked your passion to shoot?
I had a lot of fun doing it. It wasn’t anything more than that when I started.

Do you have any formal schooling?
Not in photography, haha. I’m about to graduate university with a B.Sc. in Environmental Chemistry though.

How did you get into the business?
Well, I wouldn’t necessarily say I’m “in the business”. I don’t think I’ve ever made money off of my skiing photography. I actually get paid for my painting, I do the graphics for ON3P skis, and photography is something I do for myself.

When did you realize you loved shooting on snow?
Well, I’ve loved skiing ever since I can remember. So when I started to get interested in photography, it naturally followed that I’d start shooting on the snow!

What is your favorite picture/video you’ve taken?
Skiing – A photo of my friend Eliel Hindert doing a handdrag through pristine pow on top of Mt. Seymour here in BC. Non-skiing – A portrait I took of a gentleman named Garfield on the street in Vancouver.

Can you describe your style? Hard light, soft light, fisheye, etc.
I like shooting skiing with a pretty wide lens (Sigma 10-20mm), and available light. I don’t have anything against off-camera lighting, I’m just not good at it (yet)! I would say that my photos are representational and non-stylized…I try to capture what’s going on and what it looks like without any exaggeration or distortion.

What do you shoot in the off season?
I like shooting in the city. I have a bag that attaches to my bike that’s just the right size for carrying some camera stuff, so I just bike around and shoot whatever I see.

What advice would you give someone who wants to start a career in action sports photography?
Practice as much as possible. Try to emulate shots you like of all different styles, just to learn how they’re done. And make friends with good athletes!

Favorite format, camera, lens?
Haha…I kind of have a problem with camera equipment. I have way too much…DSLR, digital point & shoot, film SLR, 35mm rangefinder, medium format rangefinder, medium format 6×6, medium format 6×7, medium format TLR, etc. I just see good deals on craigslist or ebay or what-have-you and can’t pass it up! The two cameras I use the most are my Canon EOS 10D and my Mamiya RB67. I really prefer the look of film over digital, but I usually shoot skiing digital, because it’s just a lot more practical.

What’s in your bag?
Mamiya RB67, 90mm f/3.8 lens, with 6×7, 6×4.5, and Polaroid backs, and Porta 160 (VC and NC) and Ilford HP5+ film. Or, if I’m carrying my digital stuff, EOS 10D, 50mm f/1.8, Sigma 10-20mm f/4-5.6, and Vivitar 285hv’s with cheap Cactus V4 triggers if I am shooting flashes.

What was your first camera?
My parents’ film SLR (a Rebel X I think it was) was the first camera I used. The first I actually owned was my 10D. I got it when it had just come out, and I’m still shooting on it. I really should upgrade, I just have never had the cash. Oh well.

What was your favorite trip ever?
Hmm…Probably spring in Mammoth two years ago. I was staying with some friends and just skiing and taking pictures every day. It was a lot of fun, I love spring park shredding. I’m gonna do it again this year hopefully.

Favorite place to shoot?
I like shooting in really nicely groomed parks, like the black park at Whistler/Blackcomb, or in the BC, just hanging out with friends. I can’t think of one specific place.

Your scariest shoot?
I do a lot of street and documentary photography in the rougher neighborhoods of Vancouver…I’ve been in some situations – threatened, yelled at, attempted robbery (I was on my bike so I got away), etc.

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I talked to numerous people before ordering the bag. Everyone has loved them so far. I went for the Tilopa because it was a tad bit taller than the dakine and much more comfortable to ski with (so I was told). It is about the same width as the Sequence but the straps are much closer together. It seems like it would make it much more comfortable to carry around. They are also curved which I assume provides better support.

Overall

It appears to be very high quality. The zippers are all covered and waterproofed, the material seems very waterproofed, the straps are strong and the buckles are nothing like I’ve ever seen before.

I love the side straps and the pouches to hold the bottom of the light stands. There are way more pockets than I will ever need. It may even be a burden because I love pockets and tend to fill them with things that I hardly ever use but could need one day. It’s a gift, and a curse. Monk anyone?

Inside

The pack is hugeeeeeee. There is tons of room. To give you an idea of how much bigger I’ll compare it to the Sequence. From the base to the top of the Sequence it held a lens, 285, d2h with 50mm. And outside the ICU, 555 and had a small pocket for tape. In the Tilopa it holds a lens, 285, d2h with 70-300mm (plus 3-4 more inches of empty space), 2″ pocket. And outside the ICU, AB800 and a very large pocket.

The ICU came with 4 small dividers, 2 large corners and a large flat piece. I still haven’t decided how I want to arrange them. There’s just so many options. The bottom of the ICU has a thick foam piece and a cover to open it and get to it if needed. The sides are heavily padded and have velcro to attach to the frame inside the pack itself. The only thing I didn’t like is the cover for the ICU is just a fabric cover. I would have thought it would have some sort of padding. I understand why they didn’t, because it would be annoying to have to open 2 covers to get to your gear but they could have at least done something like the Sequence where it slides behind the pockets. Other than that, I don’t have any gripes at all.

Specifications

(Straight from the www.fstopgear.com site)

UPDATE 1/10/10

I haven’t had a chance to ski with it yet but I took it out snowshoeing today. I loaded it up with all my camera gear plus a little extra to see how it felt. It was awesome. The straps are the perfect width and they support the weight almost perfectly. It felt like there was nothing there even with a loaded bag. I can’t wait to ski with it.

Grievances:

The straps make it difficult to get to the camera and tend to “flip” snow into it.  A tip: take the straps and turn them inside out, away from the backpack. This should keep them from getting in your way. The zipper is somewhat difficult to close and open the last little bit but that can be good if you don’t want your gear falling out. The top pocket for the main compartment is flimsy and I would like to see a little more rigidity when opening and closing. It also makes the stuff in the very top pocket difficult to get to if you have something large in the main compartment. All minor things.

Update 1/15

I love this backpack even more now that I’ve skied with it. I packed it with all my camera gear, extra gloves, goggles, food, cambleback pouch and fleece. It was still lighter than my old backpack. It doesn’t ride up when leaning forward, it doesn’t feel heavy and it’s easy to get on and off which is important when riding lifts all day. I’ll be in Washington for another 8 days so I will continue to update this.

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Condensation from going from cold to warm is one of the worst things for your camera not only because it can cause defects on your lens if you try to clean it but because it can get inside your camera and fry the electronics.

There are a few things you can do to prevent this from happening.

1. NEVER try to wipe your lens clean. It will just fog up again and the more you touch it, the great the chance it gets scratched.
2. Always use your lens caps. This should be obvious though.
3. NEVER turn your camera on until it has warmed up
4. If you’re really cautious, put your equipment in an air tight bag before you go inside

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