"Dane Warner, boneless one in the woods of Kentucky. First shot in well over a year."
"@allen – I would argue that other than the content of the photographs “back then,” they actually had very little bearing on what 12 year olds thought was cool. Unless they are interviewing photographers, no one (for the most part) talks about the lighting and framing of GEF’s photos of the Dogtown dudes, they talk about what Jay or Tony is doing. Same for the 80s, 90s, etc. Cry about it all you want, skateboarding magazines are catalogs of what gnarly trick went down where by what dude (again, for the most part), not look at this perfectly composed and lit photograph with hours of thought behind the juxtaposition of blah-de-fucking-blah. Why do you think EVERY SINGLE PHOTO ISSUE FROM EVERY SINGLE FUCKING MAGAZINE has fucking sequences in it? Sequences in a photo issue? I’m sure you have, but if not, think about that for a minute. SLAP didn’t make it because it didn’t sell as well as the other HSP publications and look at the list of dudes that shot for that magazine. Mind you, this is coming from someone who puts a ton of thought and work into every photo I shoot, especially of skateboarding. There will always be outlets for the type of photography that you’re talking about, but I think it’s extremely unrealistic to expect it to be the mainstay in popular skateboarding publications. I hope I’m wrong."
"@jaydelaney – I like your principled view, but I’m just telling you that it isn’t as simple as “everyone standing up.” I wish it were. In general the only people who give a shit about how good a photo is are the photographers who shoot them. Those of us on here sit around and critique photos in mags to death, but the average skateboard magazine reader (still mean age of 13, right?) doesn’t give two fucks about the technical aspects of the photo, they just want to see gnarly skateboarding. In other words, if the entirety of the skateboard photography world “stood up” there would be an army of idiots armed with 5dMkIIs waiting to step in a shoot for free/props and the only people who would give a fuck are those of us who believe in producing a quality image. That being said, I think it’s vitally important to demand adequate payment and to be selective in what work you do."
"not super sure about the timing on this one, chris. i get what you were going for, but I don’t know that it really works here. I do love that I always know when it’s a chris morgan b/w photo…you’ve got your style down."
"top notch. there’s something about the way he lines up so close to the sun and the reflection that bugs me, but the technical stuff is really great."
"maybe a little hot in a couple spots, but overall i’m digging this. love this frame of the kfbsts, especially when the truck is still caught up a little bit. nice work."
"1) they stole the image, the bridge is burnt. or, they sent the image outside of contract, so that bridge is burnt. 2) it’s been my experience that burning bridges by insisting pay leads to an island alright, and it can be a very lonely place where no one wants to visit in fear of also being marooned there. careful what you wish for."