the
Photography SPECIAL
KNOW?MAG 1
[ L I F E A F T E R S K ATE]
KNOW?MAG 2
2010
We A c t i v i s t s C H R I S PA S T R A S & S A G E VA U G H N SHOT BY C H E RY L D U N N w w w. w e s c . c o m
KNOW?MAG 3
KNOW?MAG 4
KNOW?MAG 5
www.tigerdistribution.com KNOW?MAG 6 + (514) 938-2345
KNOW?MAG 7
T H E
B A L A N C E
O F
O P P O S I T E S
RVCA.COM • TIMEBOMBTRADING.COM STICKERS@TIMEBOMB.BC.CA AUSTIN STEPHENS JULIAN DAVIDSON
CAIRO FOSTER
KEEGAN SAUDER
DAVID REYES
ED TEMPLETON
K E V I N “ S PA N K Y ” LO N G
KNOW?MAG 8
JOSH HARMONY
LEO ROMERO
NESTOR JUDKINS
KNOW?MAG 9
Back Tail - September 14, 2009 - Oceanside, California - Photo by Rhoades
timebombtrading.com stickers@timebomb.bc.ca
KNOW?MAG 10
Photo: Judah Oakes
russ morland for timebomb trading inc. timebombtrading.com russart.blogspot.com
Arik Roper
Culture Squad is a celebration of relationships. Some new,
W W W.ARIKROPE R .C O M
the Arik Roper signature collection, available Spring 2010.
some going on ten years. C1RCA Select is proud to introduce Please visit www.C1RCASELECT.com for more information.
LIBERTY
FALL 2010
Four Star Distribution (Canada) 500 – 329 Railway Street Vancouver BC V6A 1A4 Phone: 604.253.5611 or Toll Free: 1.877.938.0888
Backside 360
PHOTOG:
FRANKIE
KEVIN TAYLOR axionbrand.com
‘ A N G E L
B E R B E R ’ P H O T O _
Photographed by Q
P 1 - Q
B O O T H
D R O P
# 2 3 7
C I T Y 2 0 1 0 T R A _ CAPSULE
Drop City was introduced to attract like–minded creative people to the comune artist community and collaboarte on special projects through COMUNE’S clothing brand. With participating artists including Hunter Longe, Jason Lee Parry, Noah and Nathan Rice, Shelby Menzel, Jimmy Fontaine and Gareth Stehr over time Drop City will continue to evolve its’ community, creative platform and influence.
www.thecomune.com/blog/drop-city
F A 1 0
C O L L E C T I O N
Angel wears his the Dean jacket, Howard woven and carries the Taylor bag.
D I S T R I B U T E D
B Y
W I C K W I N D E R
W W W . T H E C O M U N E . C O M C O M U N E @ W I C K W I N D E R . C O M A Spring 2010 collection by COMUNE.
T
6 0 4
2 7 6
9 4 2 5
2 0 1 0
www.thecomune.com
©
9 4 9 . 5 7 4 . 9 1 4 2
P U R P O S E Our goal is to provide clothing that reflects this lifestyle of carefree idealism and to support the people that choose to live it.
C O P Y R I G H T
P
COMUNE was formed from the idea that there will always be people out there who not only embrace the rawness and imperfections of every day life but use it to creatively push the boundaries of what’s possible in skateboarding, fashion, art, and music their own way, with complete disregard of the consequences.
KNOW?MAG 16
ISSUE #8 FALL / WINTER 2010
PHOTO SPECIAL 20 On the cover: portrait of Hugo by André Pinces, Vancouver, 2009
PORTFOLIO 1:
Photographers’ submissions Colin Adair Scott Pomier Scott Surface Jeremy Jansen Douglas Ludwig Jeff Petry Brian Cassie
44 64 74 KNOW?MAG 17
PORTFOLIO 2:
Industry submissions In this order: Roddy Ouano, Sarah Murray, Chris Taylor, Trevor Flemming, Kyle Bastien, Doug Haddow, Ben Couves, Tenille Magnuson, Paul Higgins, Renee Graham, Ryan Reynolds, The Dark, Jesse Bowden, Tom Higgins, Mike Carter, Jennilee Marigomen, George Diamond, Rob Williamson, Scott Haddow, Ellise Warkentin, Gordon Nicholas
OBJECTIF REALITY: Fashion Editorial by André Pinces
ARTIST FEATURE: Gentleman of the Road, André Pinces
ISSUE #8 FALL / WINTER 2010
SEEING THINGS Not since Kodak issued the first Brownie camera has there been such a revolution in the way we see our world. Just as when the first Brownies came to market, now everyone can be a photographer, sharing the things we see and experiences we feel. Kodak’s breakthrough came in a little brown box loaded with fresh film from the factory, ready to start snapping. When the end of the roll was reached, one would simply send the camera with its exposed film back to Kodak, and a few weeks later the postcard-sized prints would be returned with the camera reloaded, ready to go again. Photography went from being a curious scientific endeavor to something everyone could do and now have fun with. Polaroid again revolutionized how we see by giving us instant gratification, and of course with today’s revolution the results are even more immediate.
Editorial
Editorial Director Paul Higgins megadestroyer.com Editor-in-Chief Ben Couves ob1enterprises.com Executive Editor Douglas Haddow pblks.com Fashion Editor Tanus Lewis tanuslewis.com
Now that everyone is taking so many photos, sooner or later some great pictures will be taken for no other reason than by accident. During WW II they strapped cameras to pigeons to use as spy planes and ended up with some great photos. Some of the most famous photos we all know have nothing to do with the art of photography other than someone was standing there at the right place and time to record what happened for a fraction of a second. There’s no consideration of composition, lighting or any other quality except for the subject doing its thing. The aim is to be able to make this happen more than once, and on purpose.
Production Controller Nick Brown lifetimecollective.com Advertising Director Perry Pugh ob1enterprises.com Features Editor Douglas Haddow pblks.com
Photography is getting faster and cheaper, but is it getting any better? By way of inviting our friends to share their perspectives in this issue, we too are invited into their lives to see how they see...
Contact Know?Mag 130 - 49 Dunlevy Avenue Vancouver BC, Canada V6B 4E3 www.knowmag.net / www.knowshow.ca info@knowshow.ca
Welcome to issue number 8 of KNOW?MAG.
No part of this publication may be produced in any manner, either in whole, or in part without the written permission of the publisher. © Know?Show 2010
KNOW?MAG 18
photos by: collective member Jeff Petry
2010 SHOW DATES
Agenda Tradeshow Huntington Beach, CA January 8-9 2010 agendashow.com
KNOW?SHOW
Calgary, Ab Canada January 20-22 2010 knowshow.ca
Project
Las Vegas, NV February 16-18 2010 projectshow.com
lifetimecollective.com
KNOW?MAG 20
KNOW?MAG 21
KNOW?MAG 22
KNOW?MAG 23
KNOW?MAG 24
KNOW?MAG 25
KNOW?MAG 26
KNOW?MAG 27
KNOW?MAG 28
KNOW?MAG 29
KNOW?MAG 30
KNOW?MAG 31
KNOW?MAG 32
KNOW?MAG 33
KNOW?MAG 34
KNOW?MAG 35
KNOW?MAG 36
KNOW?MAG 37
KNOW?MAG 38
KNOW?MAG 39
KNOW?MAG 40
KNOW?MAG 41
KNOW?MAG 42
KNOW?MAG 43
KNOW?MAG 44
KNOW?MAG 45
KNOW?MAG 46
KNOW?MAG 47
KNOW?MAG 48
KNOW?MAG 49
KNOW?MAG 50
KNOW?MAG 51
KNOW?MAG 52
KNOW?MAG 53
KNOW?MAG 54
KNOW?MAG 55
KNOW?MAG 56
KNOW?MAG 57
KNOW?MAG 58
KNOW?MAG 59
KNOW?MAG 60
KNOW?MAG 61
KNOW?MAG 62
KNOW?MAG 63
Objectif Reality Photographed by AndrĂŠ Pinces
Fashion Editor Tanus Lewis Make-up and hair: Dana Mooney; MAC Cosmetics; Judyinc Models Aleisha and Rory; Lizbell Agency
KNOW?MAG 64
Es denim shirt Cheap Monday khaki trousers Generic Surplus grey canvas shoes Freeway by Shuron frames, The Hillside tie, Ken Diamond belt – all from Mr. Lee’s Haberdashery and General Store WeSC black dress Body chains and hand piece by The Woodland Designs Earring by Aileen Bryant Cesare Paciotti platform shoes – from Brown’s
KNOW?MAG 65
B.B. Dakota black dress The Woodland designs bracelet Stewart Weitzman patent stilettos - from Brown's
KNOW?MAG 66
Emerica grey henley Comune scarf Etnies grey roll-collar cardigan Lifetime black cords Frye black boots – from Gravity Pope
KNOW?MAG 67
Numph silk dress Bench black pants
KNOW?MAG 68
Alternative Apparel cropped t-shirt B.B. Dakota black mini skirt Cesare Paciotti platform shoes – from Brown's Le Monde Gris (by Some Product Apparel) white v-neck sweater Alternative Apparel white long sleeve t-shirt Cheap Monday striped pleated trousers Peter Grimm black hat Generic Surplus black canvas shoes
KNOW?MAG 69
Alternative Apparel white tank Cheap Monday check skirt Super sunglasses Volatile black motorcycle boots The Woodland Designs necklace and bracelet Lifetime black blazer Cheap Monday jean vest Penfield blue sweater vest Circa jeans Quoddy boots – from Gravity Pope White henley- model's own Freeway by Shuron frames - Mr. Lee's Haberdashery and General Store
KNOW?MAG 70
Lifetime blue plaid shirt and tie set Lifetime black cords Comune belt
KNOW?MAG 71
B.B. Dakota black dress Le Monde Gris (by Some Product Apparel) grey shirt Emerica white jeans Ken Diamond belt – from Mr. Lee's Generic Surplus grey shoes Brixton hat
KNOW?MAG 72
KNOW?MAG 73
KNOW?MAG 74
Gentleman OF THE Road An Edmonton-to-Vancouver via Brooklyn transplant, André Paul Pinces is a photographer with true grit and an appropriately cinematic style. Having a crossdisciplinary background in printmaking and visual communications, Pinces’ career as a photographer is an exercise in highway-ramblin’ auto-didacticism. His work ranges from soft-focus erotic daydreams and delicate fashionista sojourns to hardcore death metal motor-bike apocalyptica. Winding through a diverse range of social and aesthetic terrain, his is the road less traveled, but expertly documented. Interview by Douglas Haddow
DH: You initially got into the photography industry when you were living in New York - what drew you out there? AP: Well, I was already doing model portfolios and shooting fashion for the local papers in Edmonton, when all my friends were about to graduate from university and I still hadn’t decided on what the hell I was doing in life. Photography had always been a hobby and it was around then I decided to dive-in and take it seriously. After doing some model shots for a friend headed to work in New York City, his portfolio was noticed by Warhol photographer Chris Makos, who I was a fan of. Ultimately that led to my opportunity to apprentice with him in New York, but having grown up in a downtown, urban environment watching Sesame Street and reading Spiderman, like many kids, I was always fascinated with the mystique of the City. And still today, whether it’s art, music, photography, advertising, and so-forth, NYC is the centre. I was interested in New York for the same reasons anybody is - being there, and making it. DH: What was the scene like when you lived there? AP: When I moved there in the mid-90’s, the city was in one of its hey-days. New aesthetics in fashion photography from heroin-chic to point & shoot, the end of golden age hip-hop, the
supermodels, Giuliani-Time - all in full effect. I lived there for just over three years and it was one hundred percent hard grinding. I was living in Brooklyn, the artist’s lifestyle, eating crackers with apple-sauce for breakfast, lunch and supper. Nights I’d go to the opening of an envelope if I thought there’d be some cold-cuts and melons in it for me, and thankfully there usually was. The scenesterism-for-food approach worked out well also because I got to meet a lot of artists and photographers, and find out where the next opening was at.
proach comes from techniques I learned from filmmaking. After three years of hard work, I had finally broken through and was starting to get some serious fashion work and had just got my foot in the door with some real magazines like Surface and aRude. That was the impetus for me to take a little rest. I had real ‘big break’ type fashion and documentary editorials lined up with some serious art directors and felt like everything was coming together - like, ‘this just might be the time’. DH: And then...?
DH: What kind of work were you doing for the most part? AP: In the summers I worked part-time as a bike messenger for an outfit that had the accounts for most of the model agencies in Manhattan. This was a guarantee to visit all the big photographers’ studios as well as pull recon on the model agencies and magazines. When I’d go back there as a photographer they felt like they knew me, which they kind of did, and I was never recognized! Then I was also shooting head shots, little commercial jobs and stills on indie film features. That part of the work was a great learning experience as I was usually involved closely with the production. The producers and directors gave me carte blanche to shoot anyone, anywhere, anytime, so I was glued to the camera crew and directors on set, and was really into the process. Today I think much of my apKNOW?MAG 75
AP: I went back to Edmonton and sold off all the stuff I had in my mom’s garage. I got my motorbike, a ‘72 honda CB 750, out of storage, tuned it up to the best condition it had seen since Trudeau was in office, and headed back to New York on it. I was so hyped to get back and do my thing. I had done that ride, from west coast to east coast and back twice before, and this time it was just about doing the miles and getting back to work. I was riding at a bad time in the late afternoon, the sun was low in the sky, the shadows were really long and the light was kind of purplish. Maybe the guy didn’t see me, maybe the sun was in his eyes. He pulled out in front of me, right in the middle of the Trans-Canada highway. I was doing highway speed and cold T-boned him, launching myself into the air superman-style! I came down, rolling, helmet bouncing, jeans and leather skid-
ding all over, and realized after I tried to get up to strangle the driver of the car, that my right foot was pointing the wrong way. The MCL of my right leg was nearly severed. DH: And can you remember flying through the air? AP: Oh yeah, I never passed out, so I remember everything vividly. I’ll never forget the sound of my tires locking up and skidding, or the sound of the bike hitting the car, but especially the sound of my helmet skipping along with my coconut in there, what a rush. Lying in a pool of gasoline, the ambulance ride, operating room, surgery. I was awake for the whole party. I spent the next couple of nights with a honeydew-sized puss bag in my knee, sharing a room with a couple of wonderful elderly ladies at the Swift Current Regional Hospital and Convalescence Home. A few days later I flew back to Edmonton, with the RCMP arranging for my camping gear and bike parts to be shipped back on a flatbed truck. I completely dosed on codeine, muscle relaxants, anti-inflammatories, aspirin, nyquil - whatever I could get to numb the pain for the next few weeks. Weeks which turned into months of physio, rehab and wait-and-see until finally, nine months later, I was good to go. By that time I had another new life and decided not to go back to my fifth floor walk-up in Brooklyn. When I finally did get back there to grab my stuff, I found that even though I had paid rent for those nine months, my roommates had been renting out my room and most of my stuff was missing. Mix tapes, NYC-vintage wardrobe, black-market photo book collection, replica North Face gear and all. DH: So you never went back? AP: I never went back to live there, the months turned into years, and this was when digital (photography) was just starting to happen. I figured since I was stuck in a wheelchair at my mom’s house in the middle of Edmonton winter I could learn about Photoshop and how to scan negatives, all that. After a while I was back on my feet but still kind of down-and-out. My girlfriend at the time, who was in visual communications at University, was pushing me to get my ass back in gear, so I totally blagged my way into a job with this Yellow pages advertising shop. I borrowed a buddy’s design portfolio and passed it off as my work, and they stuck me in the poster department, making gig posters for community college event nights. It was hilarious, the nature of the work was a joke and I was so bad at it, it was crap. But I learned some design and production and it was a natural progression. Within a year I was running the department, plus supplying my crew with the illest mix tape covers in town, for free. DH: Like how bad...Comic Sans bad? AP: Comic sans, impact, faux bold, literally... rainbows, real psychedelic man. But this was for like, NAIT Medical Tech Fundraiser Night at Ezmerelda’s, for instance, or the Hertz Rentals West End Staff Christmas Hoo-Haw. Also this was during the Floss’n’Gloss heyday, so KNOW?MAG 76
KNOW?MAG 77
New York City, Autumn 2009
it seemed normal to me at the time. As many fonts and colours as possible, 3-D bevels, lens flares, drop shadows, I had a real time. And they were paying me and it was hilarious. I guess they loved it because I was hired out of there to go in-house for the ‘big’ guys in town, basically the Donnelly group of the Prairies. I stuck with it and ended up picking up some real cool gigs after breaking off on my own. I think the best memories from that work might be the year I had straight free-reign of the Black Dog Pub’s marketing campaign. Some serious ‘through the looking glass’ type work happened there. Through that I hooked up with some artists and promoters and the next thing I was doing gig posters for Snoop Dogg, Fugazi, even James Brown, and these all came with comps to the shows so I was stoked. I started to realize all kinds of different ways to see the world relative to what I had already practiced in photography, so it was an easy, lateral step for me to phase into graphic design. I built up the portfolio and got a nice little home-based design company going, and eventually moved it out to Vancouver where it kind of blew up. A year later I was heading-up a couple of dozen artists and computer engineers at this online casino outfit. More cheese but it was a sweet gig for a couple of years. The whole thing was just supposed to be a hold-over until I started shooting again, and I realized it had been like, four years... DH: And that’s when you got back into photography? AP: I missed photography so much, and as much as I still love design and those aspects of visual communication - I dropped everything to start doing photography again. One of the reasons I decided on being a photographer in the first place was that I thought it was something I could do until I die, so if I don’t ever get to retire, which it’s starting to look like I actually might one day, then it’ll be jokes. Most of my heroes in photography have worked well into their twilight years. Richard Avedon died at 81 and had signed a 10-book deal ten years earlier. DH: And now that you’re full-on doing commercial photography as a career, is there a certain look or aesthetic you go for? AP: The more I try to develop a style, the more I realize I’m inclined to just doing what feels right to me at the time. I like fashion aesthetic, so I end up bringing that approach to the table most of the time. I try my best to share an experience, evoke a feeling. What and how I shoot is aimed at communicating the things that I see and feel from life. I stopped buying magazines a
few years ago, but of course I’m still a member of society, I haven’t owned a TV since 90210 but I know what’s happening in art and pop culture. I would love to think I find inspiration in things other than ‘mood-boards’ compiled from Nigo’s last blog entry, though sometimes that happens. If I do have a style, hopefully it’s something analogue, organic. Staring at the computer screen clicking away the day in Photoshop isn’t really my thing, so I do as little of that as I need to. Back in the day, using only film, the stuff had to be bang on in-camera. ‘Fixing it later in Photoshop’ was not really happening yet, so the ultra-keen, over-attention to detail with lighting, styling, make-up and so-on had to done right there on the spot, and I still try to work this way today. On the other hand, I always loved the darkroom because it was when the rest of the magic happened. The tranquility in there really lets you get into the final print, really the ultimate vision of the photographer. Today it’s the ‘Lightroom’, but I try to approach it with the same techniques, only with the lights on and the water off. DH: How do you approach your subjects? AP: With commercial work, I’m collaborating with art directors, advertising agencies, and I’m often the producer as well as the director. In the end, everybody is in it basically to shift some product, whether it’s dresses or shoes, real estate, whatever. The approach is somewhat predetermined based on the concept we come up with, which is also where I get to have some influence due to my other experience. My clients will often bring me just a rough idea, which will eventually develop into a concept, then a ‘backstory’, storyboard, or series of sketches and finally I produce and shoot it. DH: How do you remain creative in that situation? AP: It’s easy for me because I’m just trying to be a photographer, happy to do the work. I’m not trying to explore some truth about the human condition in my commercial work. Pushing the button is less than five percent of the flow, when the period leading up to the shoot is where most of the work is done. Once the message is decided upon, the easiest part is the technical execution. The real art goes into gestating and expanding on a concept. Ever got welled-up at the end of a 30-second commercial? Ever bought a magazine just because of one photo shoot? To me these are like haikus and sonnets, a real form. I’m striving to convey a simple message - there’s nothing more boring than another slick fashion shoot with a bunch KNOW?MAG 78
of rubber-skinned looking droids staring into the void of commodified commercial emptiness. Wake me when that’s over and then give me a basic human story, with the feeling executed perfectly. I shoot with expired polaroids and disposable film cameras and get the processing done at the drugstore, I try to only use photoshop to fix real zits, and put everything I can muster into every shot I take. Of course I use digital too, when the project demands it. I most often am approached by potential clients because of my style, and they could know or care nothing about my process. I have a great little camera collection and love to grab whichever one feels right that day. The right camera is like the right music for a mood you’re in, or your favorite boots. I only ever wanted to be cool and have fun, and do cool projects with fun people, and I try to keep this in mind when hired to take catalogue photos of burritos. Mostly though, and this is by design, my clients are friends in the creative industry, so getting to work with my friends and doing what I love is pretty bloody rewarding! Remaining creative can be as simple as mentioning next season’s collection while we’re out together having a time. DH: Of your personal work, I really dig the series of portraits you did of dogs, what was that about? AP: The dogs project began out of exploring something I felt strongly about, which at that time was a perspective of life and culture in the city of Vancouver. The dogs are really cool to look at, especially at 5 feet x 5 feet which is the size I print them at, but they are not only about cuteness and phodography. I’m actually a bit allergic, although I love dogs, so being in the studio with a pack of them for a day can exasperating. The project is a social commentary - I am not available for hire to shoot your little fluffy or whatever, although many of my friends have dogs I love, and of course I love to photograph them. I have a list of dogs that keeps growing and am always looking for the time to do more personal work like that. DH: What was your last project? AP: Outside the day-to-day, the last project was a collaboration with MegaDestroyer for a limited edition of skate decks. We’re planning a show with an opening night event coming early in the new year. Also I directed a couple of 30-second web commercials last year that I’m really proud of. This is something else I love doing and feel it’s another easy lateral jump to get more serious about.
KNOW?MAG 79
New York City, Autumn 2009
New York City, Autumn 2009
KNOW?MAG 80
KNOW?MAG 81
New York City, Autumn 2009
New York City, Autumn 2009
KNOW?MAG 82
KNOW?MAG 83
New NewYork YorkCity, City,Autumn Winter 2009
New York City, Autumn 2009
KNOW?MAG 84
KNOW?MAG 85
New York City, Autumn 2009
DH: And what else is coming up next? AP: Lately I’ve been printing these little 24page limited-run books, like the series of the last motorcycle trip I did from the summer, and they sell out too quick so I need to figure out a better way to do bigger runs while still keeping it limited. More of these mini-editions are to come, but the most exciting work lately has been collaborating with artist Raif Adelberg. In London he just launched part of a series he’s been working on that deals with the state of the American Dream, or questioning if there even is one left. I photographed the piece on 4” x 5” Polaroid negatives so we can make some immense prints. Raif conceptualizes, together we develop an idea and then I shoot and process the work. It’s a really great experience and also a way for me to see things through different eyes, and I feel we share much of the same aesthetic so it’s an easy process. That show opened at a Notting Hill gallery in London last month and got shut down by police. It even made BBC news! Photography is great for communicating truth but the thing is, a photograph most likely has truth in it, just maybe not be the original truth the artist had in mind when making the image. No matter to me as long as the viewer feels something from it. Raif and I just finished a commissioned artwork for Red Bull, and are in pre-production for a personal series of images that we’ll be making over the next year. Another aspect of this work is that we are going big, the largest printing I’ve done to date. The red bull piece is 6 feet x 12 feet, and we’re working on a series of serigraphs that will be even larger. The production for this kind of work is also really enjoyable, and because of artists like Jeff Wall, Rodney Graham, Stephen Shearer and Stan Douglas, Vancouver has a world-class infrastructure to make it happen. I’m not comparing myself to these cats in any way, other than the fact we share some of the same service bureaus, but the scale and quality of the work we’re doing is high-calibre, so for 2010 we’re going bigger and planning to get shut down by cops all over. André Paul Pinces is currently based in Vancouver, Canada but can also be found at various truck stops between Venice, California and Venice, Italy. www.pincesphoto.com KNOW?MAG 86
KNOW?MAG 87
Squamish Forest District, Autumn 2008
KNOW?MAG 88
KNOW?MAG 89
Squamish Forest District, Autumn 2008
Squamish Forest District, Autumn 2008
KNOW?MAG 90
KNOW?MAG 91
New York City, Winter 2009
KNOW?MAG 92
KNOW?MAG 93
KNOW?MAG 94
KNOW?MAG 95
New York City, Winter 2009
Vancouver dogs, 2009
KNOW?MAG 96
KNOW?MAG 97
Vancouver dogs, 2009
Vancouver dogs, 2009
KNOW?MAG 98
KNOW?MAG 99
Vancouver dogs, 2009
“Freedom is scary. It’s a blast of cool wind that burns your face to wake you up.”
Cascadia, Summer 2009
KNOW?MAG 100
KNOW?MAG 101
Cascadia, Summer 2009
Cascadia, Summer 2009
KNOW?MAG 102
KNOW?MAG 103
Cascadia, Summer 2009
Cascadia, Summer 2009
KNOW?MAG 104
KNOW?MAG 105
Cascadia, Summer 2009
R U O Y P U PICK ODAY T Y P CO
W E I V R E T N I N O T R U B E K A J IEW V E E V R I P S E U O L H S C L X FAL INSIDE: E URVEY / 2010 OP S H S OOK D B R K A R O O B W W ' O S R N E S 2010 D BUY R A O B W O N S 2011 KNOW?MAG 106
KNOW?MAG 107
KNOW?MAG 108
KNOW?MAG 109
w w w.wick winder.com
KNOW?MAG 110
KNOW?MAG 111
EMAN / BACKSIDE FLIP / LISBON, PORTUGAL / PHOTO: RHINO / SEE MORE AT: WWW.VOXFOOTWEAR.COM
KNOW?MAG 112
WWW.WICKWINDER.COM
KNOW?MAG 113
Freemark Apparel Brands
Michel Menard Agency (604) 688-3765
www.fabinc.ca
T. 604.681.7900 | TF. 1.800.994.7999 | E. contact@diversegroup.com KNOW?MAG 115
.com
KNOW?MAG 116
KNOW?MAG 117
KNOW?MAG 118
KNOW?MAG 119
Launching d n a s r e d i r brands
ography 2009
Geoff Andruik Phot
...since the beginning
THE OFFICIAL KNOWSHOW PARTY
JAN 21, 2010 - 9 PM
Free admission with KNOWSHOW badge.
KNOW?MAG 122
KNOW?MAG 123
mag.com
for years now The snowboarding world has been overrun wiTh lame and predicTable shiT. iT sTill is. buT don’T worry: we’ve goT you covered. aT updownmag.com we produce and collecT only The besT conTenT from on and beyond The snow. if you haven’T sTarTed using updownmag.com — well, whaT are you waiTing for? iT’s updaTed daily. you can win sTuff from our supporTers. we’ve goT exclusive feaTures and our own web shows. plus, you can explore every issue online wiTh our special mag-To-web video conTenT.
KNOW?MAG 124
KNOW?MAG 125
KNOW?MAG 126
CHANGE IS IN THE AIR.
JP WALKER SIMON CHAMBERLAIN MARKKU KOSKI MARIE-FRANCE ROY CHRIS BRADSHAW JON KOOLEY NIMA JALALI SCOTT STEVENS JOE SEXTON CHRIS GRENIER JOHNNY MILLER STALE SANDBECH TYLER FLANAGAN BEN BILOCQ
KNOW?MAG 127 TIMEBOMBTRADING.COM STICKERS@TIMEBOMB.BC.CA
André Paul Pinces KNOW?MAG 1