Afternoon Delight

Oli Gagnon

Options
Options 14"x11" ~ edition of 100
  • 14"x11" ~ edition of 100
  • 30"x20" ~ edition of 30
  • 48"x32" ~ edition of 5
Price $59.00

14" x 11"
100 unsigned prints

30" x 20"
30 limited-edition, numbered prints

48" x 32"
5 limited-edition, numbered prints

Archival pigment print on metallic photo paper

This photo sums up a day that just gets better and better, and is definitely one of my best shooting days of the season. First, we woke up to blue skies, had a super sick morning session on some lines and a gigantic jump, then moved on to some cliff drops and more radical boarding action all before we finally posted up on this jump. The cool thing is that this jump was already built and ready to go (thanks Nicolas!!!), so we just had to dust it off and the session was on.

Of course some clouds rolled in and we had to hang in the flat light for a bit, but as soon as they started moving out, the light got amazing. Travis did the biggest cross rocket ever done, as all elements lined up for this photo.

While many photographers hide the truth behind concept and technique, post-production and effects, Oli's images bristle with raw power. He has been pointing a camera at this world for over a decade and in that time has become one of the most prolific photographers in snowboarding. Eschewing tricks and trends in favor of craft, the self-taught Gagnon blends his passion for natural light, film and darkroom printing with digital formats he calls "shit." As a Senior Staff photographer for Snowboarder Magazine, Oli has shared his unique vision with millions of readers, further amplifying his own passion. Whether hanging from the open doors of a helicopter in Alaska, wandering off-the-grid on assignment in Eastern Europe, or ripping alongside the riders on pow trips to Japan, this self-taught French Canadian is determined to expose snowboarding culture for what it really is. And what spills from his expansive vision forms a natural aesthetic: a realness almost too real, a purified and unapologetic visual commentary.

--Joel Muzzey

Aligned Elements

Cole Barash

Options
Options 11"x14" ~ edition of 100
  • 11"x14" ~ edition of 100
  • 20"x30" ~ edition of 30
  • 32"x48" ~ edition of 5
Price $59.00

11" x 14"
100 unsigned prints

20" x 30"
30 limited-edition, numbered prints

32" x 48"
5 limited-edition, numbered prints

Archival pigment print on metallic photo paper

In Interior BC you sit through a lot of weather and shit light. However, this day we finally saw blue, and hustled to get it done. When we pulled into this zone, we saw this potential hip that I knew could be all time. The light began to change as the jump building went on and by the time Lago dropped in for a first-hit frontside five the backlighting was just epic. When the many variables align nicely together to make a moment like this it makes all the crappy days well worth it, and will keep me stoked on shooting forever.

Ocean, mountains, fish, beer, pow, surf, Hasselblad, Leica, tri-x, velvia, polaroid, whiskey, reefs, banging nails, forms of art, sushi, rock n roll, explore, dogs, bikinis, coconuts, Nor'easters, oysters, large prints, tuna, creativity, travel, burritos, and fresh OJ.

I create visual opinions and perspectives of life.

Andes Eruption

Scott Serfas

Options
Options 14"x11" ~ edition of 100
  • 14"x11" ~ edition of 100
  • 30"x20" ~ edition of 30
  • 48"x32" ~ edition of 5
Price $59.00

14" x 11"
100 unsigned prints

30" x 20"
30 limited-edition, numbered prints

48" x 32"
5 limited-edition, numbered prints

Archival pigment print on metallic photo paper

Sometimes the use of a helicopter can make getting into a mountain range you want to ride extremely difficult. High winds, unstable snow pack and inexperienced pilots are all reasons you won't be able to land on top of what you want to. On the other hand, a helicopter can open up so much more ridable terrain than you can even imagine and get you into some places that you really shouldn't be.

On our way into the Andes Mountains, we saw some smoke billowing over from a few ridges away and decided to have a closer look. What we found was an erupting volcano that literally started spewing for the first time that morning. Although an amazing event to watch from the comforts of a private helicopter, if the winds were to change direction just slightly, the intakes of our Eurocopter B3 would inhale the ash and likely crash. It was a fine line we were flying.

Scott Serfas was born in the suburbs of Vancouver where nothing separated him from the North Pole but a stained wooden fence and crushed rock. At age sixteen, he was abducted from high school by an unsuspecting church organization and forced to ski moguls and perform daffys off Lemmings Leap under the 7th heaven chairlift -- the original stimulus for Scott's interest in air time photography.

Overwhelmed by the vast terrain and deep powder of the two mega resorts, Whistler and Blackcomb, Scott escaped the grip of skiing church group and acquired his first real snowboard. Later that year he moved into a friends VW van that they would park nightly underground, below the conference center, where they would steal power from the last stall of the third floor to heat the '73 Westfalia. He subsisted on leftover food from the Rendezvous restaurant atop Blackcomb Mountain and wore clothing left in the lost and found. During the early 1990s he acquired his first Canon camera when a drunk French-Canadian freestyle skier, being pursued by the RCMP, stashed it along with twenty rolls of unexposed Fuji Provia and a half bottle of rye whiskey in stall number three of the Garfinkles washroom. Scott's destiny was sealed. After exposing all the film shooting up-and-coming professional snowboarders (Devun Walsh, Kevin Sansalone and Rob Dow) on Whistler Mountain, he mustered enough courage to submit the color slides to Concrete Powder Magazine.

From his first photo published in Concrete Powder his fame grew. He made a fortune and spent it on bottles of Royal Reserve whiskey for the Chesterfield House parties and Jager shots for friends at Tommy Africa's. In 1998, the world's largest and most prestigious snowboard magazine, Transworld SNOWboarding, recruited him as a senior photographer. Now, 13 years later, Scott still works for TWS as one of only four seniors. He has had thousands of photos published worldwide and more than 50 covers to his name.

Candyland

Scott Serfas

Options
Options 14"x11" ~ edition of 100
  • 14"x11" ~ edition of 100
  • 30"x20" ~ edition of 30
  • 48"x32" ~ edition of 5
Price $59.00

14" x 11"
100 unsigned prints

30" x 20"
30 limited-edition, numbered prints

48" x 32"
5 limited-edition, numbered prints

Archival pigment print on metallic photo paper

The Tordrillo Mountains are a small range in the south central region of Alaska. They lie approximately 120 km northwest of Anchorage and are primarily volcanic, which may be what makes them so perfect for snowboarding. On a recent trip there, accompanied by two of the best riders in the world, I was able to photograph the best, most progressive backcountry snowboarding to date. John Jackson blew my mind with his ability to ride such large descents and land obnoxious, oversized airs.

This photo was taken on a large facing wall, known as Avocado. Half of it gets morning light, while the other half gets evening light. It was late in the day when John spotted a line just about to be blessed with light. The helicopter set me down on an adjacent peak and then dropped him in place to initiate this opportunity. John dropped in, having only seen this line from the air for a few second, and made a few turns before heading right to this cruise-ship sized pillow.

I remember thinking to myself, "Oh God, does he know what he is headed for?" It's very easy to lose track of where you are, when amazingly huge mountains are all that surround you. One wrong turn can be deadly. Turns out he knew exactly what he was doing and where he was going.

Scott Serfas was born in the suburbs of Vancouver where nothing separated him from the North Pole but a stained wooden fence and crushed rock. At age sixteen, he was abducted from high school by an unsuspecting church organization and forced to ski moguls and perform daffys off Lemmings Leap under the 7th heaven chairlift -- the original stimulus for Scott's interest in air time photography.

Overwhelmed by the vast terrain and deep powder of the two mega resorts, Whistler and Blackcomb, Scott escaped the grip of skiing church group and acquired his first real snowboard. Later that year he moved into a friends VW van that they would park nightly underground, below the conference center, where they would steal power from the last stall of the third floor to heat the '73 Westfalia. He subsisted on leftover food from the Rendezvous restaurant atop Blackcomb Mountain and wore clothing left in the lost and found. During the early 1990s he acquired his first Canon camera when a drunk French-Canadian freestyle skier, being pursued by the RCMP, stashed it along with twenty rolls of unexposed Fuji Provia and a half bottle of rye whiskey in stall number three of the Garfinkles washroom. Scott's destiny was sealed. After exposing all the film shooting up-and-coming professional snowboarders (Devun Walsh, Kevin Sansalone and Rob Dow) on Whistler Mountain, he mustered enough courage to submit the color slides to Concrete Powder Magazine.

From his first photo published in Concrete Powder his fame grew. He made a fortune and spent it on bottles of Royal Reserve whiskey for the Chesterfield House parties and Jager shots for friends at Tommy Africa's. In 1998, the world's largest and most prestigious snowboard magazine, Transworld SNOWboarding, recruited him as a senior photographer. Now, 13 years later, Scott still works for TWS as one of only four seniors. He has had thousands of photos published worldwide and more than 50 covers to his name.

Crail Mary

Scott Serfas

Options
Options 50"x46" ~ edition of 3
  • 50"x46" ~ edition of 3
Price $2,299.00

*Extra-limited edition print. Run of three. Comes in a custom, hand-made, white triangle frame.*

Framed-piece dimensions: 50" x 46"


Archival pigment print on metallic photo paper

Flying back to our lodge on our last day in the Tordrillos, the boys spotted this face that was still holding a good amount of snow, and the stability was high. Travis charged the face like it was a snowboard park. He hit this pillow at full speed and styled out a crail. When he landed, he straight lined it back to the helicopter where we were greeted with high fives and shakas. What a way to finish a trip like this -- the best snowboard trip to Alaska in the history of the sport.

Scott Serfas was born in the suburbs of Vancouver where nothing separated him from the North Pole but a stained wooden fence and crushed rock. At age sixteen, he was abducted from high school by an unsuspecting church organization and forced to ski moguls and perform daffys off Lemmings Leap under the 7th heaven chairlift -- the original stimulus for Scott's interest in air time photography.

Overwhelmed by the vast terrain and deep powder of the two mega resorts, Whistler and Blackcomb, Scott escaped the grip of skiing church group and acquired his first real snowboard. Later that year he moved into a friends VW van that they would park nightly underground, below the conference center, where they would steal power from the last stall of the third floor to heat the '73 Westfalia. He subsisted on leftover food from the Rendezvous restaurant atop Blackcomb Mountain and wore clothing left in the lost and found. During the early 1990s he acquired his first Canon camera when a drunk French-Canadian freestyle skier, being pursued by the RCMP, stashed it along with twenty rolls of unexposed Fuji Provia and a half bottle of rye whiskey in stall number three of the Garfinkles washroom. Scott's destiny was sealed. After exposing all the film shooting up-and-coming professional snowboarders (Devun Walsh, Kevin Sansalone and Rob Dow) on Whistler Mountain, he mustered enough courage to submit the color slides to Concrete Powder Magazine.

From his first photo published in Concrete Powder his fame grew. He made a fortune and spent it on bottles of Royal Reserve whiskey for the Chesterfield House parties and Jager shots for friends at Tommy Africa's. In 1998, the world's largest and most prestigious snowboard magazine, Transworld SNOWboarding, recruited him as a senior photographer. Now, 13 years later, Scott still works for TWS as one of only four seniors. He has had thousands of photos published worldwide and more than 50 covers to his name.

Dime Spine

Scott Serfas

Options
Options 14"x11" ~ edition of 100
  • 14"x11" ~ edition of 100
  • 30"x20" ~ edition of 30
  • 48"x32" ~ edition of 5
Price $59.00

14" x 11"
100 unsigned prints

30" x 20"
30 limited-edition, numbered prints

48" x 32"
5 limited-edition, numbered prints

Archival pigment print on metallic photo paper

Every sunny day we had in the Tordrillo Mountains was epic! And every day after was even more epic than the last. I remember being out this one day for a full 14 hours, shooting what I knew was the best snowboarding in the history of the sport. As the sun started to make its way to the horizon, we packed up and with minimal fuel started our flight back to the lodge. Then, over the next ridge, Travis spotted this amazing spine line with perfect light, and over the headset begged the pilot to turn around and drop him on top for one last run.

Reluctantly, the pilot gave in and we were back in action again. It was 9:37 p.m. and the sun was dropping when Travis dropped into this line. I shot from the hovering helicopter a few hundred feet out in front of him. Later, Travis described this line as one of the best runs of his life. Four feet of blower pow on each side of these almost vertical spines. Another day in the history books.

Scott Serfas was born in the suburbs of Vancouver where nothing separated him from the North Pole but a stained wooden fence and crushed rock. At age sixteen, he was abducted from high school by an unsuspecting church organization and forced to ski moguls and perform daffys off Lemmings Leap under the 7th heaven chairlift -- the original stimulus for Scott's interest in air time photography.

Overwhelmed by the vast terrain and deep powder of the two mega resorts, Whistler and Blackcomb, Scott escaped the grip of skiing church group and acquired his first real snowboard. Later that year he moved into a friends VW van that they would park nightly underground, below the conference center, where they would steal power from the last stall of the third floor to heat the '73 Westfalia. He subsisted on leftover food from the Rendezvous restaurant atop Blackcomb Mountain and wore clothing left in the lost and found. During the early 1990s he acquired his first Canon camera when a drunk French-Canadian freestyle skier, being pursued by the RCMP, stashed it along with twenty rolls of unexposed Fuji Provia and a half bottle of rye whiskey in stall number three of the Garfinkles washroom. Scott's destiny was sealed. After exposing all the film shooting up-and-coming professional snowboarders (Devun Walsh, Kevin Sansalone and Rob Dow) on Whistler Mountain, he mustered enough courage to submit the color slides to Concrete Powder Magazine.

From his first photo published in Concrete Powder his fame grew. He made a fortune and spent it on bottles of Royal Reserve whiskey for the Chesterfield House parties and Jager shots for friends at Tommy Africa's. In 1998, the world's largest and most prestigious snowboard magazine, Transworld SNOWboarding, recruited him as a senior photographer. Now, 13 years later, Scott still works for TWS as one of only four seniors. He has had thousands of photos published worldwide and more than 50 covers to his name.

Ernie said, "Sure you can ride here"

Danny Zapalac

Options
Options 11"x14" ~ edition of 100
  • 11"x14" ~ edition of 100
  • 24"x30" ~ edition of 30
  • 32"x41" ~ edition of 5
Price $59.00

11" x 14"
100 unsigned prints

24" x 30"
30 limited-edition, numbered prints

32" x 41"
5 limited-edition, numbered prints

Archival pigment print on vibrance rag

As any adventurer would say, it's always a glamorous moment when a pristine locale is gardened. We ran into Ernie back in this section another ridge over from where we'd been shooting.

The light was fading fast as we all set up shop to get the shot. Slater and Trav together were calling the drop. I was awaiting their cue.

It's nice when it all comes together, isn't it?

Photography is about more than just the pictures, it's a way to embrace life. It's a journey from here to there, and it's an appreciation of each and every opportunity that comes along the way.

Danny's pictures reflect a man who enjoys living simply and passionately, committed to achieving without sacrificing integrity, or forgetting to be present in the moment. From his fresh flicks of family and friends to the images he creates on demand, his photos capture a free-spirited eccentric reality and eclectic vibe that has become his trademark.

The Doctor lives in Long Beach, California with his wife and project manager Lyndsey Marie, and their whoodle puppy, Geez. He recently built a prefabricated structure that is now home to his studio, and published his first book: Mile Seventy Eight.

Did we say that he is excited, and that film is his go-to medium?

Well, now we did…

Hydro74 Art of Flight Tour Poster

Hydro74

Options
Options Yellow & Army Green
  • Yellow & Army Green
  • Gold & Navy
  • blue & orange
  • blue & gold
  • Electric Orange & Gun Metal
  • Silver & Black
  • Teal & Gun Metal
Price $35.00
22"x30"

As seen on the 47-stop premiere tour, our collaborative project with renowned graphic artist Hydro 74. The Art Of Flight world tour hand-pulled screen prints are offered here for.

a limited time. Each is a one of a kind, two-color, large format poster with a selection of colorways layered on french print-making paper. Each two-color combination was chosen by our creative director, Mike Parillo

The Purveyor of Sin.
What does it mean? Well, the basics are simple. Purveyor means in the simplest form, 'provider' and the sin is the hours I work to define my skills and offer them to those willing to pay for it. It is the best representation of my personal vision for Hydro74.

Hydro74 | MCMLXXIV

Hydro74 is a Orlando based designer, otherwise known as Joshua M. Smith. The soul purpose of my career is to push the boundries in doing what I feel is relevant to the market as well as extract various elements and trends to be able to offer them up in my own personal work. But let's be honest. I do what I love because I love it. Not because I have to do it, nor am forced to do it, but rather passionate about doing what I do. I firmly believe in having set style tones, yet a sense of diversity to make any various project unique to the demands that are set forth.

Type Treaments & Branding

Typography is far more than just a simple addition to a product or brand, it is what sets the tone for the entire piece. Each letter has a way of reacting and uniting to form meaningful, powerful words that embrace a sense of emotion or power. With that knowledge, producing pieces that best represent the needs is what Hydro74 prides itself on to help other brands find their identity and voice, philosophically and aesthetically. Apparel Development
Apparel is a amazing medium that is widely embraced by masses to best symbolize one's individuality while conforming to various cliques. This is something I fully understand and appreciate. Even to the point that a close friend & I put on a T-Shirt Gallery Show that grows in attendence and online with each new version that is produced. Apparel is everything that is meaningful in design because it is a common bond everyone shares and voices our most inner feelings without having to openly state it each and every time we speak. It is the true cog in the wheel of conformity that allows us the illusion of individuality and our own personal choice to be unique in this very common world. Illustration
.

Complexity and a fluid organic approach is what is highly valued in each and every piece. A Illustration to me is something that tells a story with out words needed. It builds a bond with the viewer who will either get it, or find it horrible, yet, the interaction is what is desired when doing a piece. Some Illustrations are trend based iconic structures meant to embrace the masses to encourage sales, while others are explorations turned to symbolic ideas on paper or fabric. Illustration is something I find deep meaning in.

Don't be a lazy ass designer and rip off or live trace my work. Those designers are the pleague of design and should have their fingers broken and banned from the profession.

Hydro74 Tour Poster Riders' Slasher Edition

Hydro74

Options
Options Riders' Slasher Ltd. Edition
  • Riders' Slasher Ltd. Edition
Price $199.00
22"x30"
99 signed limited-edition, numbered prints

As seen on the 47-stop premiere tour, this large-format poster on french print-making paper is our collaborative project with renowned graphic artist Hydro 74.

The Riders' Slasher Limited Edition is Travis' gift to the entire cast and crew of The Art of Flight. These three-color hand-pulled screen prints have a third glow in the dark layer created by Hydro 74. Each poster was signed by the riders and director, Curt Morgan. This was a limited-edition run of 99, and after the distribution of prints to the dedicated team behind the film, only 50 are for sale. Get em while they're hot!

The Purveyor of Sin.
What does it mean? Well, the basics are simple. Purveyor means in the simplest form, 'provider' and the sin is the hours I work to define my skills and offer them to those willing to pay for it. It is the best representation of my personal vision for Hydro74.

Hydro74 | MCMLXXIV

Hydro74 is a Orlando based designer, otherwise known as Joshua M. Smith. The soul purpose of my career is to push the boundries in doing what I feel is relevant to the market as well as extract various elements and trends to be able to offer them up in my own personal work. But let's be honest. I do what I love because I love it. Not because I have to do it, nor am forced to do it, but rather passionate about doing what I do. I firmly believe in having set style tones, yet a sense of diversity to make any various project unique to the demands that are set forth.

Type Treaments & Branding

Typography is far more than just a simple addition to a product or brand, it is what sets the tone for the entire piece. Each letter has a way of reacting and uniting to form meaningful, powerful words that embrace a sense of emotion or power. With that knowledge, producing pieces that best represent the needs is what Hydro74 prides itself on to help other brands find their identity and voice, philosophically and aesthetically. Apparel Development
Apparel is a amazing medium that is widely embraced by masses to best symbolize one's individuality while conforming to various cliques. This is something I fully understand and appreciate. Even to the point that a close friend & I put on a T-Shirt Gallery Show that grows in attendence and online with each new version that is produced. Apparel is everything that is meaningful in design because it is a common bond everyone shares and voices our most inner feelings without having to openly state it each and every time we speak. It is the true cog in the wheel of conformity that allows us the illusion of individuality and our own personal choice to be unique in this very common world. Illustration
.

Complexity and a fluid organic approach is what is highly valued in each and every piece. A Illustration to me is something that tells a story with out words needed. It builds a bond with the viewer who will either get it, or find it horrible, yet, the interaction is what is desired when doing a piece. Some Illustrations are trend based iconic structures meant to embrace the masses to encourage sales, while others are explorations turned to symbolic ideas on paper or fabric. Illustration is something I find deep meaning in.

Don't be a lazy ass designer and rip off or live trace my work. Those designers are the pleague of design and should have their fingers broken and banned from the profession.

Jabber Jaw

Scott Serfas

Options
Options 14"x11" ~ edition of 100
  • 14"x11" ~ edition of 100
  • 30"x20" ~ edition of 30
  • 48"x32" ~ edition of 5
Price $59.00

14" x 11"
100 unsigned prints

30" x 20"
30 limited-edition, numbered prints

48" x 32"
5 limited-edition, numbered prints

Archival pigment print on metallic photo paper

If you are going to create a film that showcases the most extreme and progressive snowboarding, you need to travel to a place that sets the stage. The Tordrillo Mountains in the Denali range of central Alaska are as extreme as they come. As you approach, the mountain peaks are huge, and the ones behind are even bigger. Add some typical, always changing Alaska weather, extreme light, and your left with nothing but raw environment. This past trip allowed me to seriously experience Alaska for what it truly is -- and, to me, this photo represents it perfectly.

Scott Serfas was born in the suburbs of Vancouver where nothing separated him from the North Pole but a stained wooden fence and crushed rock. At age sixteen, he was abducted from high school by an unsuspecting church organization and forced to ski moguls and perform daffys off Lemmings Leap under the 7th heaven chairlift -- the original stimulus for Scott's interest in air time photography.

Overwhelmed by the vast terrain and deep powder of the two mega resorts, Whistler and Blackcomb, Scott escaped the grip of skiing church group and acquired his first real snowboard. Later that year he moved into a friends VW van that they would park nightly underground, below the conference center, where they would steal power from the last stall of the third floor to heat the '73 Westfalia. He subsisted on leftover food from the Rendezvous restaurant atop Blackcomb Mountain and wore clothing left in the lost and found. During the early 1990s he acquired his first Canon camera when a drunk French-Canadian freestyle skier, being pursued by the RCMP, stashed it along with twenty rolls of unexposed Fuji Provia and a half bottle of rye whiskey in stall number three of the Garfinkles washroom. Scott's destiny was sealed. After exposing all the film shooting up-and-coming professional snowboarders (Devun Walsh, Kevin Sansalone and Rob Dow) on Whistler Mountain, he mustered enough courage to submit the color slides to Concrete Powder Magazine.

From his first photo published in Concrete Powder his fame grew. He made a fortune and spent it on bottles of Royal Reserve whiskey for the Chesterfield House parties and Jager shots for friends at Tommy Africa's. In 1998, the world's largest and most prestigious snowboard magazine, Transworld SNOWboarding, recruited him as a senior photographer. Now, 13 years later, Scott still works for TWS as one of only four seniors. He has had thousands of photos published worldwide and more than 50 covers to his name.

Layer Cake

Scott Serfas

Options
Options 11"x14" ~ edition of 100
  • 11"x14" ~ edition of 100
  • 20"x30" ~ edition of 30
  • 32"x48" ~ edition of 5
Price $59.00

11" x 14"
100 unsigned prints

20" x 30"
30 limited-edition, numbered prints

32" x 48"
5 limited-edition, numbered prints

Archival pigment print on metallic photo paper

There is no place quite like the Tordrillo Mountains in Alaska. The pillows in these mountains, as you can see, are unlike anywhere else you find in the world. Look how steep this is! John didn’t even scope this from the takeoff. He just dropped in and sent it, landing without putting a hand down -- a solid 100-foot drop. If he landed to the left or right just a foot off he would have been in serious trouble.

Scott Serfas was born in the suburbs of Vancouver where nothing separated him from the North Pole but a stained wooden fence and crushed rock. At age sixteen, he was abducted from high school by an unsuspecting church organization and forced to ski moguls and perform daffys off Lemmings Leap under the 7th heaven chairlift -- the original stimulus for Scott's interest in air time photography.

Overwhelmed by the vast terrain and deep powder of the two mega resorts, Whistler and Blackcomb, Scott escaped the grip of skiing church group and acquired his first real snowboard. Later that year he moved into a friends VW van that they would park nightly underground, below the conference center, where they would steal power from the last stall of the third floor to heat the '73 Westfalia. He subsisted on leftover food from the Rendezvous restaurant atop Blackcomb Mountain and wore clothing left in the lost and found. During the early 1990s he acquired his first Canon camera when a drunk French-Canadian freestyle skier, being pursued by the RCMP, stashed it along with twenty rolls of unexposed Fuji Provia and a half bottle of rye whiskey in stall number three of the Garfinkles washroom. Scott's destiny was sealed. After exposing all the film shooting up-and-coming professional snowboarders (Devun Walsh, Kevin Sansalone and Rob Dow) on Whistler Mountain, he mustered enough courage to submit the color slides to Concrete Powder Magazine.

From his first photo published in Concrete Powder his fame grew. He made a fortune and spent it on bottles of Royal Reserve whiskey for the Chesterfield House parties and Jager shots for friends at Tommy Africa's. In 1998, the world's largest and most prestigious snowboard magazine, Transworld SNOWboarding, recruited him as a senior photographer. Now, 13 years later, Scott still works for TWS as one of only four seniors. He has had thousands of photos published worldwide and more than 50 covers to his name.

MOONDUST

Scott Serfas

Options
Options 14"x11" ~ edition of 100
  • 14"x11" ~ edition of 100
  • 30"x20" ~ edition of 30
  • 48"x32" ~ edition of 5
Price $59.00

14" x 11"
100 unsigned prints

30" x 20"
30 limited-edition, numbered prints

48" x 32"
5 limited-edition, numbered prints

Archival pigment print on metallic photo paper

I received a phone call from Jeremy Jones one day and he asked me if I wanted to join him in Alaska. He told me that the forecast was looking as good as it gets for that area and that if we were to go we needed to pack that day and fly out in the morning. And that's just what we did.


Jeremy is known for riding really steep, technical lines that can only be photographed from across the valley or on top of another peak with a telephoto lens. I wanted something different from this trip. I wanted to shoot him on slope, somewhere relatively safe for me, so I could showcase more of his personal style and not focus so much on the gnarly terrain surrounding him. I wanted a photo of Jeremy that no one else was interested in shooting of him.


At the time there was over 75 cm of fresh snow. Since the weather was socked in for weeks no one had been flying and there were no reports on what the snow stability was like. Playing it safe was our only option. This is a warm up run for Jeremy, and only one of about a million he has taken, but for the rest of us it's an experience that doesn't come along quite often enough.

Scott Serfas was born in the suburbs of Vancouver where nothing separated him from the North Pole but a stained wooden fence and crushed rock. At age sixteen, he was abducted from high school by an unsuspecting church organization and forced to ski moguls and perform daffys off Lemmings Leap under the 7th heaven chairlift -- the original stimulus for Scott's interest in air time photography.

Overwhelmed by the vast terrain and deep powder of the two mega resorts, Whistler and Blackcomb, Scott escaped the grip of skiing church group and acquired his first real snowboard. Later that year he moved into a friends VW van that they would park nightly underground, below the conference center, where they would steal power from the last stall of the third floor to heat the '73 Westfalia. He subsisted on leftover food from the Rendezvous restaurant atop Blackcomb Mountain and wore clothing left in the lost and found. During the early 1990s he acquired his first Canon camera when a drunk French-Canadian freestyle skier, being pursued by the RCMP, stashed it along with twenty rolls of unexposed Fuji Provia and a half bottle of rye whiskey in stall number three of the Garfinkles washroom. Scott's destiny was sealed. After exposing all the film shooting up-and-coming professional snowboarders (Devun Walsh, Kevin Sansalone and Rob Dow) on Whistler Mountain, he mustered enough courage to submit the color slides to Concrete Powder Magazine.

From his first photo published in Concrete Powder his fame grew. He made a fortune and spent it on bottles of Royal Reserve whiskey for the Chesterfield House parties and Jager shots for friends at Tommy Africa's. In 1998, the world's largest and most prestigious snowboard magazine, Transworld SNOWboarding, recruited him as a senior photographer. Now, 13 years later, Scott still works for TWS as one of only four seniors. He has had thousands of photos published worldwide and more than 50 covers to his name.

Paradise Hacked

Scott Serfas

Options
Options 14"x11" ~ edition of 100
  • 14"x11" ~ edition of 100
  • 30"x20" ~ edition of 30
  • 48"x32" ~ edition of 5
Price $59.00

14" x 11"
100 unsigned prints

30" x 20"
30 limited-edition, numbered prints

48" x 32"
5 limited-edition, numbered prints

Archival pigment print on metallic photo paper

In the Tordrillo Mountains, the light moves and changes quickly. I remember flying over this zone and watching the light creep. The helicopter set Travis down on top of a line he chose as I scrambled down below to find an angle, safe from any possible avalanches. After riding this line, Travis traversed over closer to me and threw down this deep toe turn on a sliver of light. This turn would not have made his line any better -- he just knew that a turn there would make an amazing photo. He did it just for me. This shows that a true professional snowboarder considers his entire surrounding and objectives before dropping in. Travis, you helped create one great photograph.

Scott Serfas was born in the suburbs of Vancouver where nothing separated him from the North Pole but a stained wooden fence and crushed rock. At age sixteen, he was abducted from high school by an unsuspecting church organization and forced to ski moguls and perform daffys off Lemmings Leap under the 7th heaven chairlift -- the original stimulus for Scott's interest in air time photography.

Overwhelmed by the vast terrain and deep powder of the two mega resorts, Whistler and Blackcomb, Scott escaped the grip of skiing church group and acquired his first real snowboard. Later that year he moved into a friends VW van that they would park nightly underground, below the conference center, where they would steal power from the last stall of the third floor to heat the '73 Westfalia. He subsisted on leftover food from the Rendezvous restaurant atop Blackcomb Mountain and wore clothing left in the lost and found. During the early 1990s he acquired his first Canon camera when a drunk French-Canadian freestyle skier, being pursued by the RCMP, stashed it along with twenty rolls of unexposed Fuji Provia and a half bottle of rye whiskey in stall number three of the Garfinkles washroom. Scott's destiny was sealed. After exposing all the film shooting up-and-coming professional snowboarders (Devun Walsh, Kevin Sansalone and Rob Dow) on Whistler Mountain, he mustered enough courage to submit the color slides to Concrete Powder Magazine.

From his first photo published in Concrete Powder his fame grew. He made a fortune and spent it on bottles of Royal Reserve whiskey for the Chesterfield House parties and Jager shots for friends at Tommy Africa's. In 1998, the world's largest and most prestigious snowboard magazine, Transworld SNOWboarding, recruited him as a senior photographer. Now, 13 years later, Scott still works for TWS as one of only four seniors. He has had thousands of photos published worldwide and more than 50 covers to his name.

Revelstoke Grain

Cole Barash

Options
Options 14"x11" ~ edition of 100
  • 14"x11" ~ edition of 100
  • 30"x20" ~ edition of 30
  • 48"x32" ~ edition of 5
Price $59.00

14" x 11"
100 unsigned prints

30" x 20"
30 limited-edition, numbered prints

48" x 32"
5 limited-edition, numbered prints

Archival pigment print on sommerset 330

"We can only bring three sleds down into this zone. It's not going to be easy to get out. Everyone else needs to hike down!" said Hankey, our sledneck guide. We were entering into a new zone deep in the BC backcountry -- a zone that I had never seen anything like before. When we got to the bottom of it Nico looked up and just decided to throw on his snowshoes and start charging up it, instead of trying to find a way to sled up.

Often when shooting, I want to deliver a moment, pulled back fully, bringing the viewer into the environment and into the cold world we are constantly in. These type of "anticipation shots" are often the ones that get me so stoked to go shred.

Ocean, mountains, fish, beer, pow, surf, Hasselblad, Leica, tri-x, velvia, polaroid, whiskey, reefs, banging nails, forms of art, sushi, rock n roll, explore, dogs, bikinis, coconuts, Nor'easters, oysters, large prints, tuna, creativity, travel, burritos, and fresh OJ.

I create visual opinions and perspectives of life.

TR 2012

Mike Parillo

Options
Options 13"x17" ~ edition of 100
  • 13"x17" ~ edition of 100
  • 19.5"x24"~100 limited-edition signed
  • 36"x44"~80 limited-edition signed
  • 50"x60"~60 limited-edition signed
Price $59.00

13" x 17"
Embossed and Signed By the Artist, Provenance Included

19.5" x 24"
100 limited-edition signed and numbered prints

36" x 44"
80 limited-edition signed and numbered prints

50" x 60"
60 limited-edition signed and numbered prints

Archival pigment print on 300gsm cotton rag


Original: Acrylic on canvas

This is collaboration number four with Travis for his 2011/12 Lib Tech line. My first back to back graphic for him. This time, the theme is an exploration of nature vs science--all aspects of creation, and man's obsession of extending himself beyond human capability.

For me, the creative process in this piece became the embodiment of the theme itself. I worked for over a month on the initial concept I had, that first came to mind and then I arrived at the place where the painting was my jailer. Knowing better than to stay on that path, I took my favorite step and destroyed hundreds of hours of work and started over on a blank canvas. Within 30 minutes, this explosion of color and energy began to unfold.

Painted in Jackson in the summer of 2010 at the Asymbol facility.

Mike Parillo's first artistic tool was not a paintbrush, it was a shovel. Back when most of us were still falling-leaf heel sliding down bunny hills (or skiing), Parillo was hand crafting snowboarding's first serious terrain parks. From the depths of his imagination, demented shapes and forms were called forth and sculpted into mountains of snow for the leaders of the new school nation to play on. And so it was that the style of snowboarding made a great evolutionary leap, using Parillo's bold inventiveness as a launching pad.

One of the innovators from this early scene, snowboarding legend Jamie Lynn, inspired Parillo to try his hand at painting. Jamie then used one of his first pieces as a graphic for one of the boards in his Lib Tech pro-model series. Volcom used another in their landmark video, The Garden. And the rest, as they say, is history. Parillo has been a creative force, working quietly behind the scenes, ever since. His paintings have been shown in solo shows from Europe to California. His art has been displayed on snowboard bases every year since 1995, adorning many beloved board series like Lib Tech's Emmagator line, Terje's Balance line, Burton's early Customs, and Travis Rice's 2006/07, 2008/09, and forth coming 2010/11 pro models—to name a few.

Parillo now serves as Asymbol's Art Director and Artist Liaison. He is the curator of the entire Asymbol art collection, and is responsible for overseeing the integrity of the art reproduction process. His mission is to ensure that all printed pieces hold up to each artist's highest standards of quality before they get passed on to you.

Travis Rice Collection

Mike Parillo

Options
Options 13"x17" ~ Set of 4
  • 13"x17" ~ Set of 4
Price $199.00

13" x 17"
Embossed and Signed By the Artist, Provenance Included


Archival pigment print on 300gsm cotton rag

This first time offer of all FOUR of Travis Rice / Mike Parillo collaboration pieces that were featured on TR's Libtech Pro models from 2006/2007 through 2011/2012. This collection represents a true progression of ideas between friends exploring visual story telling over six years. The FOUR collaboration pieces include Blessings and Confrontations, Hydrocycle, Triangulate What You See, and TR 2012. Now have all FOUR together as one and start your own personal collection!

Mike Parillo's first artistic tool was not a paintbrush, it was a shovel. Back when most of us were still falling-leaf heel sliding down bunny hills (or skiing), Parillo was hand crafting snowboarding's first serious terrain parks. From the depths of his imagination, demented shapes and forms were called forth and sculpted into mountains of snow for the leaders of the new school nation to play on. And so it was that the style of snowboarding made a great evolutionary leap, using Parillo's bold inventiveness as a launching pad.

One of the innovators from this early scene, snowboarding legend Jamie Lynn, inspired Parillo to try his hand at painting. Jamie then used one of his first pieces as a graphic for one of the boards in his Lib Tech pro-model series. Volcom used another in their landmark video, The Garden. And the rest, as they say, is history. Parillo has been a creative force, working quietly behind the scenes, ever since. His paintings have been shown in solo shows from Europe to California. His art has been displayed on snowboard bases every year since 1995, adorning many beloved board series like Lib Tech's Emmagator line, Terje's Balance line, Burton's early Customs, and Travis Rice's 2006/07, 2008/09, and forth coming 2010/11 pro models—to name a few.

Parillo now serves as Asymbol's Art Director and Artist Liaison. He is the curator of the entire Asymbol art collection, and is responsible for overseeing the integrity of the art reproduction process. His mission is to ensure that all printed pieces hold up to each artist's highest standards of quality before they get passed on to you.

Triangulate What You See

Mike Parillo

Options
Options 13"x17" ~ edition of 100
  • 13"x17" ~ edition of 100
  • 19.5"x24"~100 limited-edition signed
  • 36"x44"~80 limited-edition signed
  • 50"x60"~60 limited-edition signed
Price $59.00

13" x 17"
Embossed and Signed By the Artist, Provenance Included

19.5" x 24"
100 limited-edition signed and numbered prints

36" x 44"
80 limited-edition signed and numbered prints

50" x 60"
60 limited-edition signed and numbered prints

Archival pigment print on 300gsm cotton rag


Original: Acrylic on canvas

Collaboration number three with Travis for his 2010/11 Lib Tech line. Painted at the Iguchi compound in the summer of 2009 after my move back to Jackson from Prague. Travis' concept was simple again, and yet the perfect starting point for this visual story to be told: "The effect of media on the youth of today". Once you understand this, the story in the piece is easy to read. All things gone wrong floating on this island of danger, absolute pleasure, excess and control mixed with the occasional word of sanity and a few messages from Travis and I.

Mike Parillo's first artistic tool was not a paintbrush, it was a shovel. Back when most of us were still falling-leaf heel sliding down bunny hills (or skiing), Parillo was hand crafting snowboarding's first serious terrain parks. From the depths of his imagination, demented shapes and forms were called forth and sculpted into mountains of snow for the leaders of the new school nation to play on. And so it was that the style of snowboarding made a great evolutionary leap, using Parillo's bold inventiveness as a launching pad.

One of the innovators from this early scene, snowboarding legend Jamie Lynn, inspired Parillo to try his hand at painting. Jamie then used one of his first pieces as a graphic for one of the boards in his Lib Tech pro-model series. Volcom used another in their landmark video, The Garden. And the rest, as they say, is history. Parillo has been a creative force, working quietly behind the scenes, ever since. His paintings have been shown in solo shows from Europe to California. His art has been displayed on snowboard bases every year since 1995, adorning many beloved board series like Lib Tech's Emmagator line, Terje's Balance line, Burton's early Customs, and Travis Rice's 2006/07, 2008/09, and forth coming 2010/11 pro models—to name a few.

Parillo now serves as Asymbol's Art Director and Artist Liaison. He is the curator of the entire Asymbol art collection, and is responsible for overseeing the integrity of the art reproduction process. His mission is to ensure that all printed pieces hold up to each artist's highest standards of quality before they get passed on to you.

Weasel Ridge

Danny Zapalac

Options
Options 14"x11" ~ edition of 100
  • 14"x11" ~ edition of 100
  • 30"x24" ~ edition of 30
  • 32"x41" ~ edition of 5
Price $59.00

14" x 11"
100 unsigned prints

30" x 24"
30 limited-edition, numbered prints

41" x 32"
5 limited-edition, numbered prints

Archival pigment print on vibrance rag

I awoke that morning a bit frazzled. We had been going for a week and a half straight, waking up, grabbing breakfast and lunch that Evan had prepared, driving and snowmobiling out to the zone, digging, shooting, snowmobiling back, driving, eating, and then off to bed. A ton of work had been accomplished, but something was a-miss'n.

A few days earlier, Zachary from Asymbol had lent me his 4x5 camera on the assumption I would take her out and handle biz. Well, I thought this would be the day it would happen. The day before Travis had scoured a fresh range in which we met a friendly weasel named Ernie. The climb up was a super steep transition that many of us had to take twice.

The day turned out to be special as the sun was out early with no clouds varying our thoughts. It was cold, freezing cold on that ridge. We were all excited as the aura around was promising. Ansel Adams had spoken and the time had come to drop in. Tripod set and camera leveled the aperture/shutter combination secured a clean click of the release.

That was a wonderful day.

Photography is about more than just the pictures, it's a way to embrace life. It's a journey from here to there, and it's an appreciation of each and every opportunity that comes along the way.

Danny's pictures reflect a man who enjoys living simply and passionately, committed to achieving without sacrificing integrity, or forgetting to be present in the moment. From his fresh flicks of family and friends to the images he creates on demand, his photos capture a free-spirited eccentric reality and eclectic vibe that has become his trademark.

The Doctor lives in Long Beach, California with his wife and project manager Lyndsey Marie, and their whoodle puppy, Geez. He recently built a prefabricated structure that is now home to his studio, and published his first book: Mile Seventy Eight.

Did we say that he is excited, and that film is his go-to medium?

Well, now we did…