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.
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…
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
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.
Todd wanders the world with his camera, one step at a time. Based in his hometown of San Diego, Todd's work has taken him to remote surf spots from Fiji to Tahiti to Indonesia to Mexico.
As a staff photographer for Surfer Magazine, Todd has captured some of the biggest names in the surf world and photographed some of the world's most famous and dangerous waves.
Featured in the 2010 release "Surfer Magazine: Fifty Years," Todd was awarded a Follow The Light Foundation grant in 2008 and won 2009 Surfer Magazine Photo of the Year, amongst numerous other awards.
A Dutch-born New York City artist who once worked for Andy Warhol and shot some of the more memorable photos of the Beastie Boys in the early nineties, Ari Marcopoulos entered the world of snowboarding through the back door, and left a few years later through one on the side.
Ari met Terje on a glacier in Zermatt, Switzerland, before he even knew how to snowboard. He sent the Sprocking Cat a 16x20 print that he'd taken of him doing an indy, and the gesture was enough to get an invite to keep shooting. (Countless photographers had promised Terje they'd send him a print before, but no one at that point had actually done it.) Dave Seoane taught Ari how to ride during the making of Subjekt Haakonsen, and even let him make the short film, hidden at the end of the movie, of Terje baking a pretzel.
The term "snowboard porn" came into existence around the same time that Ari started collaborating with veteran snowboard photographer Chris Brunkhart, and dreaming up ideas with writer Jeff Galbraith for the magazine that eventually became Frequency. Though it is impossible to prove which person actually came up with the phrase, we're pretty sure it was one of the three. Regardless, the term was used in the late nineties to describe everything an Ari Marcopoulos shot was not.
Ari's images captured a moody, otherworldly feeling, unique to snowboard photography at the time. They can be seen in his book, Transitions and Exits, and also as a part of his survey exhibition, spanning two floors, at the Berkeley Art Museum and Pacific Film Archive.
Jeff Curtes has been a part of snowboarding since the days when only a handful of people even knew what a snowboard was. If one were to take the film for all of the photos he has taken over the years and stack it, it would fill a room. Maybe even a small house. Lay them out chronologically, and his photos will tell you the story of snowboarding from its infancy, through its gangly and rebellious teen years, to the confident, respected titan of industry that it has become. Pull a single frame from the pile, and that image will transport you to a moment in time, and make you wish you had been there, snowboard in hand, when he pulled out his camera, aimed, and pulled the trigger.
Curtes has been the primary shooter for Burton since 1994. He has photographed snowboarding worldwide, but would pick Switzerland to return to, given the choice. His editorial and commercial work has appeared in countless magazines around the globe, and he has two books to his credit: Blower: Snowboarding Inside Out and 28 Day Winter.
In the summer he can be found most days outside riding his bike, with no camera.
>>jeffcurtesphoto.blogspot.com
Last year, Tim Zimmerman's photos graced the covers and pages of more magazines than any other photographer in snowboarding. As the Mervin Manufacturing team photographer, and the principal still shooter for Travis Rice's That's It, That's All movie, Zimmerman has traveled the globe documenting faraway places, and the treasured moments experienced in them by a select and lucky few. From the jagged peaks of the Valdez mountain range in Alaska to the fantastical landscapes of New Zealand his images show the rest of us what the world looks like when seen through the eyes of an adventurous soul, or elite professional athlete.
Zimmerman's 12-year run behind the lens started in a photo lab. Through trying to figure out what it was that made certain negatives easy or impossible to print, he learned the technical side of photography before he ever picked up a camera. As photo editor for Eastern Edge, he mastered the details involved in getting photos printed sharp and true-to-color on the pages of a magazine. He served as an interim photo editor at Snowboarder when they needed help setting up a system to transition their photo department into the digital age. In his spare time, he teaches at the High Cascade Snowboard Camp Photo Workshop alongside Trevor Graves.
In short, Tim Zimmerman is a technical ninja. He is also the Asymbol Photographer Liaison, overseeing the processing, proofing and printing of all photographic images in the Asymbol catalog.
Trent Mitchell is a surf photographer who swims for his photos and fuses all of his personal works onto film. A former photo editor, and water photographer for over ten years, Mitchell dwells on the photographic fringes, searching out the obscure and finding beauty in the mundane. He is endlessly passionate about light, and shows a unique understanding of texture, tone and saturation that infuses his images with an unmistakable style. He lives in Burleigh Heads, on the Gold Coast of Australia.
Adam Haynes started painting on wood when he stumbled across some old trophy plaques at a junk store and took them home because he liked the shape of them. After a while, he found he liked painting on recycled surfaces, with their character, their worn panels, chipping colors and old stories. Haynes paints like you would on a computer: flat, building depth and space through layers of color, no blending allowed. Only you can't get texture like that on a computer.
Born and raised in the foothills of the central Oregon Cascades, Adam gained an early appreciation for rural living and the great outdoors. Although primarily a freelance commercial illustrator, he likes to balance things out by painting original pieces that explore the interaction between nature and human encroachment. His work is heavily influenced by his travels and wanderings throughout the Pacific Northwest mountain ranges, forests, and deserts.
Adam is based in Bend, Oregon, has shown at galleries in LA, Portland and Seattle, and stays busy with illustration projects for Nike 6.0, Adidas, Merrell, Gnu, Grenade, Fuel TV, ESPN, and Tonka.
Carl E. Smith is a designer and artist. He has worked professionally in the action sports industry since 1995. After positions as head art director and subsequently creative director at Electric Visual, Smith went on to launch his own design and fine art projects in 2010; CES/D and CES/C. CES Design continues Carl's work in commercial design with global clients across industries. CES Contemporary joins forces with emerging international artists to propel them and their work through the contemporary art world and into the public eye. In both, Smith promotes an atmosphere in which creative individuals can feel nurtured to sync and collaborate towards common goals. Smith also continues to create his own original fine art works, realized primarily as collages conveying the beauty, excitement, ruin and rebirth of iconic elements from our everyday lives. Using symbol, color and space, he creates explosive images that live between archetypal fantasy and truth. Carl E. Smith was born and raised in the artist colony of Laguna Beach, California, and lived in Prague, Czech Republic from 1997 to 2004. He currently works and resides in both with his wife, Simona, and son, Sean.
Corey Smith is a painter, sculptor, and photographer from Portland, OR, who currently resides in Los Angeles, CA. His paintings and photography have appeared in countless print magazines and online sources. His works have been shown in galleries across the country, including Upper Playground (Portland, OR), Versus (Los Angeles), On Six (San Francisco), KCDC (New York City), and the Orange County Museum of Art.
Smith's high-gloss, ultra-flat paintings capture the joys of plasticity and pre-fab environments, celebrity as the ultimate blank canvas, and the absurd hyperboles of modern leisure. But rather than repackage the manufactured world into an aestheticized form-a la post-Warholian Pop-Smith favors a post-Pop approach that brings into day-glo focus the dark vision at the corner of the spectator's eye. The paintings find their subject in the tension between the works' fatalistic undercurrents and the celebratory aura created by Smith's use of bold color and bright-lined contour.
His sculptures and mixed media works develop some of these same themes, but rather than map plasticity onto flat canvas, Smith instead maps flatness onto plastic forms-whether by painting across arrays of commercially molded objects or by making use of the naturally deflective precision-cut panes of modern machinery.
Smith's photography develops some of the same themes as his sculpture and painting-surface, extremity-but abandons ironies for a more intimate perspective. Most of his subjects are close friends or lovers, and Smith documents them at points where excess bleeds either into empathy or its impossibility, and where the romance of abandon intersects with abandonment.
His works are a Death Valley realism, infused with both sunny Californian optimism and morbid premonition. This is awful, deeply wrong, utterly fantastical stuff-a distillation of a time, a place, and a generation that are always already beside themselves.
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.
Jamie M. Lynn is one of the most universally respected, iconic snowboarders of all time. His influence can be seen everywhere in snowboarding, from the way we ride, to the way we think about the art that covers our boards. In the early nineties he brought a power and style to riding mountains that directly shaped the direction and nature of the sport's evolution. Drawing inspiration from skate legends like Neil Blender and Mark Gonzales, he was the first snowboarder to create his own graphics for his pro-model board, and continues to do so to this day. His artistic aesthetic has influenced countless young, aspiring artists over the last two decades.
Jamie is a creative force, no matter what the instrument, be it paintbrush, snowboard, or guitar. A true son of the Pacific Northwest, he is a soft-spoken man with a humble spirit and a huge heart. He lives in Seattle, Washington.
Some people carry within their spiraling DNA strands, a genetic code for creativity. It's passed down from the generations that came before them, and to the ones that follow after. Whether they like it or not.
Matt French has been drawing since the beginning of time. A former graffiti artist turned board graphic/poster/t-shirt/everything adorner, his style is wild. When it isn't precise. Boldly colored, when it isn't black and white. You may know his artistic stylings from such companies as: Lib Tech, Volcom, Gnu, Bent Metal, Pocket Pistols Skates, and more. Or then again, you may not.
He likes skateboarding and art. And sometimes snowboarding. Not necessarily in that order.
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.
If you were snowboarding in the early nineties, and were lucky enough to have a Lib Tech snowboard with an original custom-painted art top, Nick Russian was the man who decorated your board. An artist since grade school, and skateboarder since the age of 13, Nick's creative roots are deeply buried in skate-culture soil. He went to work for Mervin Manufacturing in 1991, where his experimentation with multiple mediums, ideas, and art techniques lead him to develop an artistic style that has adorned the bases and top sheets of a ridiculous number of snowboards. Basically, if you've seen a Lib Tech board, you've seen Nick Russian's work.
Nick currently lives in Port Angeles, Washington with his wife and two kids. He paints constantly, using a wide range of mediums, from acrylic to oil to watercolor to collage, but thinks that his work as a bike messenger in Seattle in 1999 was truly the greatest thing he's ever done.
CLICK HERE to watch video of Scott Lenhardt on his piece, "Breathing Light"
Scott Lenhardt grew up riding at Bromley, the mountain resort founded by Fred Pabst, of Pabst Blue Ribbon. He played bass for ten years in Vermont's best mediocre rock band, Butt Pie, and is the inventor of the highly difficult, and incredibly underrated snowboard trick, the McWindmill. Scott's talent, and ability to paint using ridiculously small brush strokes, has been recognized and commissioned by Burton, Nike, Adidas, Mountain Dew, and Phish guitarist Trey Anastasio. Scott has two nicknames. One is Skipper. The other has to remain a secret.
>>slenhardt.com
Shortly after Y2K passed uneventfully, whispers of another doomsday began circulating. December 21st, 2012, the date at which point the ancient Mayan calendar terminates, was then hailed to be the end of days as we know them. Another Sunrise In Outer Space explores the preparatory and reactive emotions to the prophesy, now that it is less than a year away.
Fine artists, graphic designers, and action sports professionals comprise the vibrant group of contributors to the exhibition. Hailing from their different careers, they express a variety of perspectives towards the idea of the End. Some works are dreamscapes: odes to the potential last summer on earth. Other works are apocalyptic nightmares, imagining a horrific end to the last sunset. Still other works project a physical or mental escape from the trauma.
Will the prophesy pass without event, as it did before? Will we have time to process our fates if it happens? While the earth may end, the universe remains, creating and destroying ad infinitum. After all is said and done, it's just Another Sunrise in Outer Space.
These are the works that embody the reason for giving birth to Asymbol.
Many of these pieces are from our favorite board graphics of years past while others are timeless and simply important in our pursuit to give our sport a cultural backbone.After months of reaching out, searching archives and hunting them down, these are our choices as the foundation of our collection.
They all hold a special place in our hearts and you can only get them here.