MOUNTAIN LIFE - Coast Mountains | Winter Spring 2017 - page 69

Sometimes it comes across almost like amusic video
rather than a slideshow. But video is about telling a linear story
–it has theseA toB elements. Photography is about including
all the elements into one image. And the better you cando that,
themore powerfully the image affects the viewer.
ML: Howdo youdo it?Howdo youmake a
Themost important is pre-visualizing things and
inspiring yourself to come upwithnewways of looking at the
world.That is what other peoplewill find interest in. I am
constantly trying to re-invent thewheel and sometimes when
it doesn’t happen, you gotta take a step back and figure it out
rather than copy or regurgitate. Finding a newperspective on
things has been successful forme creatively and commercially,
but it has also killedme.
ML: How so?
Art is a rollercoaster withhuge peaks and valleys,
you reach a place of creativity and you ride that wave feeling
confident and then you start to exhaust those ideas andhit a
downslope.Then you get to a point where you feel washed-
out anduseless. But then, somehow anupslope comes again
and you get back up on a newwave.That has happened to
me over and over, about once a year, for the past 20 years. I go
through times of reinvention and then back into the same funk
of self-doubt where I feel like I have no ideawhat I’mdoing.
Something else always comes, a creative spark that sendsme on
a new journey. It doesn’t always work, but it’s something new.
ML: Oneof your newest journeys is filmmaking.
What is the storybehind yourmovie
Itmight be the first, purely personal project I have ever
done.The past few years, every time I’ve taken a photo, it’s
been on a job or for someone else.This came frommewanting
to create somethingwithno commercial value or purpose.
Something that was just for the hell of it, a piece of art. And for
some reason I decided to do a video.
ML: Howdoesmaking a video compare to a
The cool thing about video is that you can create a
concept, build it, anddisplay it to theworld. It’s really easy to
showpeople the full scope of your idea andwhat you’vemade.
At the same time, I think it’s also really easy to get lost.Digital
allows you to try somany things without thinking – bothwith
shooting and editing – that if youdon’t have a strong vision and
ground yourself, you can fall into a big ocean of “what do I do?”
For video or photos, I think the key is to train your brain. Your
brain is themost important piece of gear.
ML: InTheAlchemists youexplain that Bralorne
is somewhere you cango todecompress, a
sanctuary. Someof thephotoswe’reprinting in
this issue are from a trip youdid to theTantalus
Range lastwinter. Is that another oneof those
special zones for you?
It’s incredible thatwe canhave a place like that, literally
something youdrive by eachday.Tobe upon that ridge, you can
see the lights ofWhistler, Squamish,HorseshoeBay, the lights on
Cypress [Mountain], the SunshineCoast… it’smindblowing.
This tripwas a return – I had gone in therewithKye [Petersen]
andMatty [Richard] almost ten years ago, when those guys were
super young.We did a stealth shoot in there, I think the Jim
HaberlHut was really new andwewere the only entry in the
logbook for thewholewinter.Nowadays, well that book shows
how things have changed.
ML: A lot has changed in action sport
photography, too. Howdoes it feel tobeoneof
the veterans now?
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