SPRING2016
MOUNTAINLIFEBLUEMOUNTAINS
63
“Sometimes youhave to push your gear past the in-spec limit to get the shot.”—Marc Landry
It’sall about thepeople
forme. Thehighsand
lowsof competition
arewhat drewme to
sportsphotography.
You’rea teamout there
andyoubothneed to
be fuelled for it tobea
killer shot.When it clicks,
it’smemorable for the
wholecrewbehind the
shot. Photographersand
athletes sometimeshave
different ideasabout
whatmakes the image
a successbutwhen the
twoconceptsalign, that’s
whenyouget themoney
shot. I’vebeenblessed
to spend some super rad
days in the forestwith
someof thebest people in
theworld. SidSlotegraaf
isoneof thoseamazing
people, seenhereat
ClaudeLaRue’shome track.
Whenyou shoot longenough it doesbecomea job. Agreat job, but a jobno
less. Somegigsareamazingandallowyou tobecreativeandexploreanglesand
optionswith theathletesyou’reworkingwith.Other timesyouare restricted
to sucha tight composition that it hurtsyou topress the shutter andput your
nameon it. Nomatter the job I amon, I always try toallow for extra time for the
athleteandme tobangout a few, for us. Usually it’sat theendof the shoot,
rightbeforewehit apubandcatchup. That’s the funpart youkeep for yourself,
thepart that remindsyouwhyyoudo it. That shotweget onourownpredictably
endsupbeing theone theclientwants in theend. Rider:Matt Faulkner.
I’vealways felt an image shouldhaveonlyone subject and thatmy jobas the
photographer is tomake it clear to theviewerwhat that subject is. Sometimes,
however, youneed to let themwander the frameand see the storyunfold. Local
legendMattKonings chillingon thedeckwatchinghis roommateMikeDionne
bringsmeback to that afternoon in their yard. Iwasobviouslymoreconcerned
about gettingMatt in the frame then the rest ofMike’s tire. I’mOKwith that
‘causeMatt lookingon iswhatmakes this shot forme.
