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NAGE MELAMED | FOXHEAD.COM/CA
THE ONLY PORTABLE BLUETOOTH™ SPEAKER LOUD AND RUGGED ENOUGH TO GO AS HARD AS YOU DO. #STAYLOUD
l a n d ya c h t z . c o m
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rider:dillon stephens photo: jon huey
ISSUE FIVE, VOL #2
SPRING / SUMMER 2015
CONTENTS
Creative Director Paul Higgins paul@knowshow.ca
14 | FASHION FEATURE - “MAGIC GARDEN”
Photo Editor André Paul Pinces pincesphoto.com
24 | GREAT CANADIAN GIFT SHOP
Editor-in-Chief Perry Pugh perry@knowshow.ca
25 | RDS RETROSPECTIVE
Editor Kendra Pugh
36 | ARTIST FEATURE - GRANT BRITTAIN
Stylist Kimberley Bennett
58 | FASHION FEATURE - “FREE RANGE”
Layout and Design Paul Higgins
80 | ARTIST FEATURE - ANDY DIXON
Production Controller Nick Brown
90 | FASHION FEATURE - “SUMMERTIME BLUES”
Advertising Director Perry Pugh perry@knowshow.ca
106 | INDUSTRY FEATURE - MIKE BISHOP
CONTRIBUTORS
JEREMY PETTIT Vancouverite jeremy pettit currently lives and works in Venice CA where he produces and directs video content for clients like Red Bull, Burton, Funny or Die, and MTN Dew. When not working he spends most of his free time surfing, skating, and walking his cat along the Venice boardwalk trolling for spare change.
BRIAN CASSIE Brian Caissie found a love of art and photography at an early age while traveling to Europe. This has led to a long passion for visually stimulating experiences and seeing the world through his lens.
KENDRA PUGH Kendra has been known to bend words, tickle ivories and bake banana muffins from time to time. Follow her whimsy @kendrajasper and stalk her dog on Instagram @MrBarryGibb
ON THE COVER Feature artist Grant Brittain’s iconic photo of Steve Rocco.
Contact KnowMag 303 234 5th Ave E Vancouver BC V5T 1H7 www.knowshow.ca/knowmag info@knowshow.ca
The publisher, authors and contributors reserve their rights in regards to copyright of their work. No part of this work covered by the copyright may be reproduced or copied in any form or by any means without the written consent of the publisher. © KnowShow 2014
Stylist KIMBERLEY BENNETT
M A G I C Make-up and Hair TAMI SHIRLEY @ tksmakeup.com
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Model PAIGE TIZIANI @ wilhelmina.com
D
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Special Thanks THELMA ABHYANKAR / EDENDALE CAFÉ - 16 -
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BIRDS OF A FEATHER necklace MAAJI top MAAJI bottom ALDEN RAE bracelet SEYCHELLES shoes
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STUSSY hat, top and one piece KIMONO watch BC FOOTWEAR shoes
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31 BITS necklace VITAMIN A top VITAMIN A bottom
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VITAMIN A top CLEOBELLA shorts BC FOOTWEAR shoes
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RIP CURL top RIP CURL bottom SEYCHELLES shoes
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STUSSY hat TAVIK one piece
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RIP CURL top RIP CURL bottom HERSCHEL fanny pack 31 BITS bracelets (left) ALDEN RAE bracelet (right) TOMS shoes
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BIRDS OF A FEATHER necklace L SPACE one piece TOMS shoes
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31 BITS necklace RIP CURL top RIP CURL bottom
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COMPANY PROFILES - GREAT CANADIAN GIFT SHOP
GREAT CANADIAN
GIFT SHOP by Kendra Pugh
Over the past decade, a noticeable movement has happened within the business of retail. Whereas, in a simpler time, a dress was bought at a dress shop, shoes were bought at a shoe store (retail in its most basic form) and specialty stores were the standard- as this niche role was once what the consumer demanded of the retailer- today, the typical landscape of retail has been transformed. With the Canadian retail climate constantly stirring and feverishly adapting to changes in consumer spending and increasing competition, a retailer must be a ‘product mixologist’ of sorts- carefully combining commodities and meticulously calculating where the end consumer will likely spend their dollars. Artisan soap sits on the same shelf as socks and handbags, candles and apothecary items are merchandised thoughtfully among shoes and apparel, and jewelry and greeting cards meet you at the cash register before you pay… and this is just the beginning. The range of products offered by a typical retailer today is vast, impressive and not least of all, necessary, while the selected brands are equally noteworthy and intelligently chosen. Some of the most notable brands to make their way onto the shelves and walls of these smart retailers are inspired and created right in our backyard. Below, we profile five Canadian brands, each distinct in nature and successful in establishing themselves as novelty items worthy of your retail space.
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COMPANY PROFILES - GREAT CANADIAN GIFT SHOP
Wood Coast After teaming up to build Sitka Surfboards flagship retail location in Victoria, BC, Todd Myers and Mat Howell, both skilled craftsman, found themselves creatively motivated to continue designing functional products that could be created from recycled and upcycled materials. Both avid skateboarders, turning to damaged or unwanted skateboard decks as a viable wood source was a natural evolutionthus Wood Coast was born. Masterfully recycling skateboards into well-designed, functional pieces such as tables, chairs, hatchets, crib boards, slingshots and more, Wood Coast’s unique vision and impeccably crafted products are well received and desired by both young and old alike. Wood Coast can be found online, as well as in select retailers across the USA and Canada. Price range: $20.00 to $2000.00 Website: www.woodcoast.com Social: www.woodcoast.tumblr.com (Tumblr)
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COMPANY PROFILES - GREAT CANADIAN GIFT SHOP
Norquay Co. Founded by nature lover and outdoor enthusiast, Natasha Wittke, Norquay Co. is the quintessential Canadian company. Dedicated to the art of camping, the Montreal-based company is best known for their artisan canoe paddles- individually handcrafted and handpainted pieces of functional art that are equally comfortable in the waters of Lake Huron as they are thoughtfully rested against the wall of a cozy Muskoka cottage. The line has also expanded to include a line of enamelware mugs (aptly called Unityware mugs for their feature of the four natural elements- air, fire, land and sea) and a limited edition toque collaboration with Tuck Shop Trading Co., inspired by selected artisan canoe paddles and the majestic Great White North itself. Norquay Co. can be found online and at select retailers across North America and Europe. Price Range: $20.00 to $275.00 Website: www.norquayco.com Social: @norquayco (Instagram | Pinterest | Tumblr)
reassembly Lovingly created and developed in Vancouver, BC by Josee Gordon, reassembly is a line of small batch fragrances and skin care made with high quality, natural ingredients. Inspired by her mother’s use of essential and herbal oils as a young girl, Gordon is whimsical and reflective and has somehow captured these human elements in the reassembly line. Whether it be sandalwood, jasmine, lavender, rose, peppermint or beyond, reassembly offers delicate scents, luxurious crèmes and intoxicating elixirs to match whatever your scent personality may be. ‘Beardo’, a delicious blend of lime and bay, coconut oil, aloe vera, mango butter and rosemary extract, is a soothing moisturizer that has quickly become a favorite amongst many of the bearded set. Reassembly can be found online or at select fine retailers across Canada. Price range: $10.00 to $50.00 Website: www.reassembly.ca Social: @reassemblywithlove (Instagram) Reassembly (Facebook) @reassembly1 (Twitter)
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COMPANY PROFILES - GREAT CANADIAN GIFT SHOP
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COMPANY PROFILES - GREAT CANADIAN GIFT SHOP
Jordan River Soapworks After years of dealing with sensitive and reactive skin caused by the synthetic fragrances, colorants and preservatives commonly used in skincare products, Jordan River Soapworks founder, Candice Suchocki Weir, took matters into her own hands- literally. Focused on the use of clean, natural and pure ingredients and inspired by its home base on the beautiful West Coast, Jordan River Soapworks bath and beauty products are made by hand in small batches
with ingredients that are largely sourced locally, organically and naturally on Vancouver Island. Artisanal soaps, bath soaks, body and lip butters feature local hand harvested seaweed and sea salt, as well as locally sourced beeswax, herbs, and clay. Simple, pure, clean and natural- Jordan River Soapworks’ products are an indulgent and gentle treat for the face and body. Treat yourself by shopping online or at select retailers across Canada. Price Range: $4.00 to $98.00 Website: www.jordanriversoapworks.com Social: @jordanriversoap (Instagram) Jordanriversoapworks (Facebook) @jordanriversoap (Twitter)
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COMPANY PROFILES - GREAT CANADIAN GIFT SHOP
Beta 5 As a pastry chef of ten years, a stint in Europe working with chocolate was all that Adam Chandler needed to inspire Beta 5- his artisanal chocolate and pastry company based in Vancouver, BC. Together with his partner, Jessica Rosinski, Chandler is committed to using only the highest quality ingredients for his products- largely sourced through local farmers- and is genuinely dedicated to the craft of pastry and chocolate making. This devotion is apparent in each bite- from ganache-filled to solid chocolates, chocolate covered dried fruit and nut ‘Pebbles’ to gourmet cream puffs and more- Beta 5 offers a contemporary and innovative perspective on flavor and form influenced by the culinary world, nature and geometry. Their ‘Polygon’ bars are uniquely shaped and inspired by the local Vancouver mountains seen from their workshop and are a definite must-try. Beta 5 can be found at fine boutiques across Canada and the USA, as well as at their retail space in Vancouver, BC. Price range: $9.00 to $75.00 Website: www.beta5chocolates.com Social: @beta5chocolates (Instagram) Beta5chocolatesltd (Facebook) @beta5chocolates (Twitter)
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GRANT
BRITTAIN
Photo by Kevin Roche
Interview by Brian Cassie
Just like skateboarders, photographers come and go. They lose interest or move onto other topics in their work. Grant Brittain, however, has been shooting skateboarders for over 30 years - not many can say that. From being the photo editor at Transworld Skateboarding Magazine to being a founder of The Skateboard Mag, he’s seen a lot of changes in the industry and in technology. ​We sat down with the seasoned photographer to learn more about where he draws his motivation from and what he sees in the future for skateboarding and skate photography.
ARTIST FEATURE - GRANT BRITTAIN
Chris Miller, Pole Cam, Upland, CA
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ARTIST FEATURE - GRANT BRITTAIN
To set the tone, what are you doing right now? Trying to pick up the pieces from where I left off last week. I just got back from visiting one of my kids in San Francisco where she goes to college. Emails, this interview and lunch. Most people don’t know how much skate photographers deal with to get the shots they want-all they see is the final result. Do you have any interesting tales from your travels or close to home, either positive or negative situations? It was easier to shoot photos back in the day. When we were shooting vert or when we started shooting street, I don’t think we got the boot as much. There was no security to deal with back then. I stopped shooting street skating when I turned 50 years old. I just got sick of the police, security guards, well meaning citizens and not having any weekends for my family. I’ll shoot street if it’s permitted. I would much rather shoot at a park, ramp or private pool; it’s more fun for me- more creative, a good time. I’ve shot street before though, I think we photographers from the 80’s and 90’s covered it pretty well. Being a traveler, I’ve always enjoyed the hunt for new spots. Do you think it’s easier to travel or to stay in your own country? Photographers have succeeded doing both, but it seems like shooting in your own city is hard at times. I’m always impressed with guys like Daewon Song, who spends most of his time filming in LA. I didn’t leave San Diego all that much. We were the center of the world back in the day, SF and us. I would go to contests and shoot the event and then go out and try to get something in the streets. You have to remember, back then, there weren’t a thousand pros and there were only four to eight photographers. Daewon can just do those mind-boggling maneuvers he does
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ARTIST FEATURE - GRANT BRITTAIN
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ARTIST FEATURE - GRANT BRITTAIN
Blender, Gator, GSD, 1984
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ARTIST FEATURE - GRANT BRITTAIN
Blender, Del Mar
anywhere and nobody cares where he did them, as long as he does them. The rest of the skaters need to travel and get footy and stills; when you’re young and the travel is on someone else’s dime, you gotta go get it and travel the world. The world is a skatepark, skate it while you can. It is hard to get the goods at home when you’re getting kicked out, plus a skater feels more motivated to get a make when money has been spent on flights and hotels. There’s that pressure from your traveling buddies as well. Everyone remembers the MVP and the Slacker. Skateboarding has gone through a lot of phases. What do you think the reason is for the sudden changes these past years? Companies are folding and magazines are dying, but a lot of
aspects are getting better too- like small brands, and skateboarding itself, is getting interesting with all of the travel and good skaters getting recognized. I guess skating got a little boring and companies got complacent? Seems kind of like when Rocco took over the industry from the Big Five back then. Now some upstarts are coming up and bringing some personality back into it. I don’t know, can skateboarding be molded or directed? It’s a mystery. The Internet has changed everything, for the good and the bad. It’s just changing. You have leaders and followers. What would you like to see in the future for skateboard photography and how can we, as
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ARTIST FEATURE - GRANT BRITTAIN
Duane Peters, OC 2004
photographers, shock the new breed of readers? Has skateboard photography really changed in the last 20 years? I think it’s great as long as the photographers care about quality. We’re just using new equipment-digital is the medium and the computer is the darkroom-that’s the only difference. I want to see the quality remain the main importance and not just about hammers. There are a lot of iconic photos that you’ve had throughout your years. Excluding the favorites that people already know so well, what are some of yours? My favorites are the early ones that showed me that I was getting some control over my camera,
the ones I shot at Del Mar of the locals. The ones a couple of years in are the ones I like- I guess my own personal stepping-stones where my skill level went up a notch. A lot of photographers are doing video now too. Any thoughts on trying that medium out for a bit? Or is there a new camera you’re dying to try out? I don’t shoot video. I think the frame grab era turned me off from it and I was trying to shoot video and stills and having an internal debate on whether I should be shooting video or stills of the trick while I was shooting it.I was going crazy. I love still photography and I decided to keep my focus on that. My son shoots video, so I can live vicariously through him.
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ARTIST FEATURE - GRANT BRITTAIN
Guerrero & Thiebaud #1
Guerrero & Thiebaud #2
Karl & Elan Watson
Keith Hufnagel
Scott Bourne
Keith Hufnagel
Rob Welsh
Nate Jones
Matt, Dekoa, Flower(dog) Field
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ARTIST FEATURE - GRANT BRITTAIN
Rob Welsh 2, 20X24 Chocolate Polaroid, SF
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ARTIST FEATURE - GRANT BRITTAIN
Two Angels, Bourges, France, 20X24 Polaroid Transfer
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ARTIST FEATURE - GRANT BRITTAIN
The Swimmer, The Narrows, Zion, UT, 20X24 Polaroid Transfer
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ARTIST FEATURE - GRANT BRITTAIN
Usually a photo gets better with age. Can you explain that and why this happens? Looking at old photos from 5-10 years ago, I’m always so thankful that I took some of them even if they aren’t the best.
Teaching your workshops sounds really interesting. How are those going and what do the classes go through? Is there anyone in your classes or on the scene right now that you think is the next big thing in photography?
I was lucky to have been shooting in what I call the ‘Golden Age’, vert skating was coming up and street skating was blossoming. I was there at the right time and right place. Shooting the Bones Brigade and the first handrails- come on! How lucky was that?
I just did those ones at Woodward a couple of times. Not sure if the kids went forward in skate photography, but I did meet some cool and talented people. I will tell you who is hot though- Jacob Messex. He’s coming up fast! He has the Fire!
Out of all of your cameras, which is your favorite and why?
It’s hard to stand out these days with everyone being a photographer. What do you think is the best way to make your mark?
I think the Nikon FM2 would be one of the best cameras;it was the camera that I shot some of my best photos with and we could shoot flash during the day. That changed everything. My favorite camera now is my Leica M6 and my Hasselblad 301CW. They are what I coveted and then I bought them. If Leica wants to sponsor me with a M9, I would be forever indebted. These polaroids look very interesting, explain the process and why you like to shoot with this camera? There are 6 of the original cameras in the world and some hybrid versions. I had done a workshop in Santa Fe with Tracy Storer and then went up and worked with him on this portrait project at his SF studio. The camera is the size of a dishwasher and is on top of a rolling trolley. 40 and 60 foot rolls of a positive and negative Polaroid film are inside the camera and after exposure the two are pulled down together where a pod of chemicals is squeezed onto the paper. After the image is developed, the 2 layers are peeled apart and you have a giant Polaroid. The Chocolate technique is caused by using a black and white negative and the color positive. These are one of a kind photos, the negative is not usable. The Polaroid Transfers are done by projecting my slides of my black and whites through the reversed lens of the Polaroid camera and onto the film. After development, the negative is squeegied onto wet art paper and left for 5 minutes and then peeled away and you get a positive image, quite beautiful.
I guess trying to find a different look? Film? Write Code? Sit at the bottom of the handrail with a fisheye? Pre-visualizing a shoot is pretty important. I’d like to know what steps cross your mind before you meetup with the skater, landscape, how it will be used, etc.? How does this unfold for you? I just try to isolate the skater and get the shot down to the bare essentials, get rid of distractions in the background, etc. I keep it pretty basic - takeoff spot, skater and landing spot. I learned how to shoot at the same time I was learning how to do a magazine, so I see pretty graphically. This is a tough question, but I like hearing the responses. If you had one last photo to take, what would you like that to be, and how would you shoot it? I would photograph my wife and kids on my Hassy in black and white. How do you feel about all the fake photography these days, filters, instagram, etc. Do you think it damages photography now that everyone wants things quick? I like all photography and use it all. Me not liking something won’t change it, I can make a choice and not do it. To each his own. What’s next for Grant Brittain? Any projects you’re working on that you’d like to tell us about?
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ARTIST FEATURE - GRANT BRITTAIN
Stuffed Lion, London, 20X24 Polaroid Transfer
I’m sure you are told this a lot, and I hate to nag, but I think everyone is ready to see the Grant Brittain book already. It’s a long process but it would be great to see. I am taking the month of August to do a book. My wife will be in Europe and I am taking over the house. Doing more shows, selling work on Etsy, and telling people what to do. Having a relationship with your subjects can make you close and create that personal connection. If you’re shooting photos with someone new, how do you make that first impression? Do you watch their video parts, read old interviews, or just ask around?
If you have one, what is on your bucket list? The book is the big thing. More traveling would be cool-do some shows in Europe and Japan, but have them pay for it. Thanks so much, Grant. Anything you want to exit with- summer plans? This summer I’ll be working on the book and going to Woodward West to lecture one day. I’ll probably go surfing more, feed the dog, hang out with the family and shoot some photos. Check out www.jgrantbrittainphotos.com
I don’t really shoot newer skaters; the youngin’s shoot them. I guess I am a has-been. But that’s what I would do, what you said.
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ARTIST FEATURE - GRANT BRITTAIN
Hosoi and Hawk, Portrait 1987
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ARTIST FEATURE - GRANT BRITTAIN
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Christian Hosoi, Del Mar, CA
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Bones Brigade, Chin Ramp, Oceanside, CA
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Natas, Jerabek School
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ARTIST FEATURE - GRANT BRITTAIN
Lance Mountain, N. Lake Tahoe, CA 1984
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ARTIST FEATURE - GRANT BRITTAIN
Christian Hosoi, Combi, Upland, CA 1985
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Stylist KIMBERLEY BENNETT
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Model PHILIP MUSCATO @ wilhelmina.com
R A N G E Photography ANDRÉ PINCES pincesphoto.com
Special thanks Monique Ganderton / Reel Kick Ranch
I LOVE UGLY hat I LOVE UGLY top I LOVE UGLY pants poncho modes own shoes models own
BRIXTON top shoes models own
KIMONO sunglasses DEUS sweater DEUS pants shoes models own
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KIMONO sunglasses DEUS shirt DEUS shorts
HERSCHEL bag FOURSTAR shirt BRIXTON shorts
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BRIXTON hat FOURSTAR shirt DEUS shorts belt models own shoes models own
BRIXTON hat MATIX tank VOLCOM shorts ETNIES shoes
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MATIX shirt CHEAP MONDAY sweatpants ETNIES shoes
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KIMONO sunglasses OBEY jacket OBEY jeans
BRIXTON hat STUSSY shirt I LOVE UGLY pants THOROCRAFT shoes
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FOURSTAR shirt
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DEUS hat DEUS sweatshirt BRIXTON shorts
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FOURSTAR jacket OBEY pants
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ARTIST PROFILE - ANDY DIXON
Duchess on Horse (After Velรกzquez), 2014
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ARTIST PROFILE - ANDY DIXON
ARTIST
ANDY DIXON by Paul Higgins
Currently working out of Vancouver, Canada, Andy Dixon’s work contrasts refined subject matter with a coarse application of his materials. Although his subjects are often romantic, Dixon’s approach and use of colour remove their idealism, accenting an alternative beauty found within the imperfection and humanity of both the subject and the artist simultaneously. Did you have any formal art training? Do you think that’s important? I have very little formal training. After high school, I got a job in commercial design and worked my way up that way. Training is an essential factor to being great at what one dedicates his or her life to, but some of us seek that training in arenas outside of academia. Do you feel like you are in an exciting time with your art? Very much so! 2013 was a very successful year for me and my work - I signed with a few galleries, Rebecca Hossack in London & New York, and Wally Workman in Austin, and had 3 successful exhibits here in Vancouver in regard to reception and sales. I wake up every day excited for what’s next. Your strong expression through color gives your paintings a raw power, yet the subject matter is often very refined. Is this a conscious contrast? It is completely deliberate and I’m glad you picked up on it. Many aspects of my self are polarized in a similar way. I used to attend punk shows in bow ties and cuff links, I’m now obsessed with rap music; I criticize most dogmatic codes, be it organized religion or
music scenes, yet find traditional codes of dress and etiquette appealing; and then there is something we already touched on earlier, being a professional artist with no formal training. I like exposing knee-jerk judgments. We’ve all heard the “Don’t judge a book by its cover” cliché and yet there seems to be a strange subconscious understanding that it’s a one-way street in favor of the underdog. The businessman employer should never judge the punk kid for the piercing in his face - he’s a fantastic kid with a big heart and deserves a chance to show he’s a hard worker, of course. Yet, it seems socially expectable to assume the guy in the business suit and the expensive haircut has earned his money through exploitation and is most likely a horrible and unhappy person. There was a kid wearing a Minor Threat shirt passing me on the street once who felt compelled to call me ‘aristocratic scum’ as he passed me, not realizing that a) I probably have a lot less money than he does and b) he was probably on his way home to listen to one of my band’s records. Humor is also important in your work. Explain how you achieve this and why it is important to you. I think humor is the best way to illustrate the greater and sometimes harsher truths in life. Woody Allen, for example, has that shit on lock.
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ARTIST PROFILE - ANDY DIXON
I’m not sure that I’m conscious of how I achieve this. I don’t sit there and go ‘how can I make this painting funnier?’. It just sort of comes out- maybe that sense of irony is inherent or something. You were into the punk scene at an early age, and even had your own punk band. Yeah, there was a time in my life when I considered myself more of a musician than a visual artist. I played in a few bands, which, thanks to Canadian Content laws, even got a bit famous in some circles - videos on MuchMusic and whatnot. It was when I was around 14 to 20 years old. Did punk rock influence how you viewed becoming a painter? Absolutely. Another dichotomy I find myself in: simultaneously hyper-criticizing and endorsing the DIY punk scene and my time involved in it. Considering I spent all of my formative years involved in that scene, it is, of course, going to have a huge influence on everything in my adult life- whether it is as ‘what to do’ or ‘what not to do’. You were nominated for a JUNO award for Recording Package of the Year for Said the Whale’s Little Mountain LP. Do you do a lot of commercial work? Not any more. For almost a decade of my life, I was a freelance graphic designer, mostly for the music industry, and only doing fine art in my spare time. Eventually I had an existential breakdown and emerged from a year of hibernation with those roles reversed. I no longer do any commercial design, save for one or two clients whom I especially love doing work for, namely Four Winds Brewing. Your exhibitions have shown worldwide. Do you have anything coming up we should know about? Yeah! As I mentioned earlier, I’ve signed to a few galleries around the world. I’m currently working on a solo show for my London gallery, Rebecca Hossack, for October. Rebecca also has booths in most of the international fairs, so my work is being spotted in more places than I can keep track of.
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ARTIST PROFILE - ANDY DIXON
Red Nude, 2014
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ARTIST PROFILE - ANDY DIXON
Matador #2, 2014
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ARTIST PROFILE - ANDY DIXON
Purple Bouquet, 2014
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ARTIST PROFILE - ANDY DIXON
Ballroom, 2014
“I think humour is the best way to illustrate the greater and sometimes harsher truths in life.”
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ARTIST PROFILE - ANDY DIXON
Red Dinner, 2014
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ARTIST PROFILE - ANDY DIXON
Green Bouquet, 2014
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ARTIST PROFILE - ANDY DIXON
The Embrace, 2014
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Stylist KIMBERLEY BENNETT
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Make-up HEATHER CVAR @ heathercvar.com Hairstylist SADAF AZIMI
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Model BROOK POWER @ fordmodels.com
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Photography ANDRÉ PINCES pincesphoto.com
B L U E S Special Thanks PHOTOGRAPHER DARIAN ZAHEDI
FOURSTAR hat EBERJAY top EBERJAY bottom
BIRDS OF A FEATHER necklace HURLEY dress shoes models own
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MINK PINK top MINK PINK bottom KIMONO watch 31 BITS bracelets
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FOURSTAR hat EBERJAY top HERSCHEL backpack
TAVIK one piece MINK PINK skirt
BB DAKOTA GENTLE FAWN topshirt and pants HAUTE BB DAKOTA HUMAN shorts tank KOMONO hat BRIXTON sunglasses BIRDS models Shoes OF A FEATHER own necklaces
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BIRDS OF A FEATHER necklace A.CHE top A.CHE pants Shoes models own
BODY GLOVE one piece CONVERSE shoes socks models own
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HURLEY top HURLEY bottom
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CLEOBELLA crochet top EBERJAY bikini top EBERJAY bikini bottom 31 BITS bracelet
THE
INDUSTRY PROFILE - MIKE BISHOP
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BEHIND THE CURTAIN Interview by Jeremy Pettit
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INDUSTRY PROFILE - MIKE BISHOP
Chances are you’ve seen Mike Bishop’s work hundreds of times as you re-watch your favorite snowboard or skate films. Usually we don’t get to see the ‘who’ behind all of the creative intro sequences and effects, but they are a major part of how we remember our favorite action sport films and rider parts. Bishop has everything to do with the look and feel of these films and over the last decade has become the preeminent source for creating these sequences. Few, if any, have achieved what he has in the realm of creative direction in snowboarding films and his contribution to the progression of the medium is profound. This statement is supported by the 20 plus award winning projects he’s completed for brands such as Nike, Burton and Forum, amongst others. His work has inspired a generation of film makers and boarders alike, as he continues to raise the bar year after year. Why did you make the decision to move from the gloriousness of Vancouver, BC to the congested mess of humanity known as Los Angeles?
Describe how you manage your projects when you’ve got completely different concepts going on for different clients at the same time?
Vancouver is undeniably one of the best cities in the world, but there are a few things about LA that make it a better choice for me. LA is such a creative hub with almost the entire TV, film, music and action sport industries based around Southern California. Most people I know here are working in a creative field of some sort so you’re always meeting like-minded people and networking. Also, living by the beach with year round summer and surf is something I never take for granted. I do miss the seasons back home in Canada though.
It’s definitely a juggling act with multiple projects going on at the same time. I find if each project has a solid plan and clear vision from the start, switching gears between multiple projects isn’t too difficult. However, it can get overwhelming with the shear amount of work involved to complete most projects. All nighters are a common occurrence, but I tend to work better under pressure on tight deadlines.
How do the two cities differ for you in terms of your career?
Most of my work these days comes through word of mouth. I rarely go out looking for work or reach out to companies I want to work withalthough I would like to start doing that moreso I’ve been extremely fortunate that a lot of top brands that I’ve always wanted to work with have reached out to me. The action sports industry here is pretty tightly knit, and you get a lot of the same people bouncing between companies and spreading the word about the good people to work with- so if you’re doing good work and are easy to work with, it goes a long way. Also, having a professional looking website and online presence helps a lot. It would definitely influence me when trying to decide who I’m going to hire.
When I moved down here my career started to gain momentum and a lot of opportunities started to arise with much bigger clients. They had more of a global reach so my work really got out there. In Vancouver, it was hard to get my work noticed outside of Canada and the budgets were smaller because most clients were catering to only a local or Canadian market. I do think coming to work in the states was pivotal in the progression of my career, but now that I’m more established, it’s given more flexibility in needing to be here or there.
How do you attract new clients and continue getting new work?
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INDUSTRY PROFILE - MIKE BISHOP
Any insight into the process of working with top brands in our industry like Nike or Burton? I always try to over deliver, especially on the first thing you’re sending to a client or on a pitch. You only get one chance to make a first impression so I try to blow everyone away right off the bat. I’m sort of a one man show so I can really streamline the process of getting out polished work efficiently, which I think is really appealing to a lot of brands who are used to working with big agencies where every step runs through so many different levels of people and drives the costs way up.
Does your process change with bigger jobs? Do your clients expect more out of you? I don’t really change my process on bigger jobs, but being able to read your client and understanding what will make them happy can go a long way in making projects run smoothly. Some clients do expect more out of you and it’s not necessarily the bigger clients. Having many
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INDUSTRY PROFILE - MIKE BISHOP
levels of people involved can also change the process drastically. For example, if I’m working on a Nike project, but it’s through a studio who’s been hired by an agency that’s been hired by Nike, you have three levels of creatives and producers to please who all want to put their two cents in. It can turn into a bit of a nightmare trying to please everyone, especially when they’re making unnecessary changes just to justify their job title. If you work directly with a client, on the other hand, it can be way more economical to get what is usually a better result because it hasn’t been torn in so many directions, watering down the original concept.
I always liked that Keenan Milton intro from the movie “Mouse”, where he was a miniature guy living in a curb. That video was definitely one I watched until the tape wore out. You’ve been offered many jobs working for various production companies since moving to LA. Why do you choose to be a hired gun vs taking the steady and secure paycheck? I find being a hired gun or freelance can allow for more freedom in so many ways- creatively and personally. The 9am to 5pm grind can definitely take its toll and you may miss some really great opportunities being locked into a schedule like that. The structure and security is important to many people, but I think being your own boss and working on your own terms far outweighs that security. What is your all-time favorite intro sequence from a skate or snowboard video that may have helped inspire you to do what you do? I always liked that Keenan Milton intro from the movie “Mouse”, where he was a miniature guy living in a curb. That video was definitely one I watched until the tape wore out. With the personal desire to continue to evolve his work and a dedicated, strong ethic that keeps clients coming back, there’s no doubt that Mike will continue to impress and inspire for years to come. As always, we wait patiently to see what Mike Bishop is coming up with next…
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