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FREE ISSUE 7


Each photographer featured in this issue is passionate. Passionate about what they do. Passionate about the photos they take. Not because they have to. Not because they get paid to. That has come from years of hard work and dedication. Through going out everyday and capturing the world that’s in front of them. That is their passion. Over time, they have all found their focus. Sports. BMX. Starting out as purely a hobby that they decided to document, they have progressed to a point where it is now their job. A job that allows them to go out and create photos for some of the biggest brands in the world. Global brands such as Red Bull, Nike and many more. This issue, we document their passion.

To accompany this issue, we have created a short documentary film with each photographer that is available to watch online.

YOUTUBE.COM/FRAYEDMAGAZINE


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FRAYED is a free, independent creative arts & culture magazine concerned with the exploration and documentation of expression. Investigating the inspiration behind the art, it provides a canvas for creative people to document their life and work. FRAYED is for those who love creativity in all its forms but long to know how and most importantly - why it exists.

08 Matty lambert 20 eisa bakos 32 lucho vidales 44 jason colledge Frayed Issue 7 March 2016 For submissions & advertising enquiries frayedmagazine@gmail.com Created by Josh Moore & Luke Chambers All rights reserved. No part of this publication may be reproduced in whole or part without permission from the publisher. The views expressed in Frayed Magazine are those of the respective contributors and are not necessarily shared by Frayed and its staff. As we are concerned with the freedom of expression, the interviews presented in Frayed Magazine are documented as spoken. The opinions and perspectives do not necessarily reflect those of Frayed and aspects of the language used may be deemed inappropriate for younger readers.


welly


M A T T Y LAMBERT


Matty. as well as being a very talented and well respected photographer, you’re also an extremely successful filmmaker. Where did it all start? I think it was photography. Definitely. That came first. I mean, I always liked little disposable cameras. But, it was actually my friend Chris Brassell who really got me into photography. I remember, he had an old Olympus camera. So one day I asked him, “What camera should I get?”. He told me. The Olympus camera he had was only thirty or forty quid on Ebay. Actually, I don’t even think it was Ebay back then. Anyway, I just got him to get me one. This was when I was eighteen. So what did you do after you got it? After it arrived, he gave me a brief lesson on the technical stuff. Like, what aperture does, what shutter speed is and kind of just introduced me to photography in general. That was really my first understanding of manual settings because the Olympus I got used an old manual adapter that you plugged into it. That was how it was back then. So it was just combining what he taught me with trial and error. Long story short, photography came first and then as my friends got better at riding, I’d take out my parents’ video camera and just go and film when we went out riding. So, as you started taking photography more seriously, why did you choose film over digital? Do you think it helped you as a photographer? I don’t think I really thought about it when I first started because digital cameras were so expensive. A digital camera that you could get for the same money as a film camera was only 2 megapixel or something - maybe even less and it was so much money that it didn’t even come into the equation. Thinking about it now though, maybe it made me think about the picture I was taking more. I know that when I’d get my pictures back, I’d still have so many sh*t photos. But yeah... it definitely made me think about the shot I was taking more.

So what happened next? Well, then Dig Magazine and Ride UK Magazine both hit me up at the same time and just said they could give me a little bit of money to make videos for them and I could put it on my website afterwards. It was nothing, what they were paying me really but it was good because it made me think that maybe people really did like what I was doing. When you’re just doing it for your friends and people you meet, they seem stoked and they say they like it but you don’t really realise. But when someone says they can pay you a bit of money for it, you start to think, “Maybe I can go down this route. Maybe I can start making videos”. So what was the first job you were given when you truly realised you could actually turn your love of photography and filmmaking into a career? The first real job I got from it all was when Will Smyth from Dig gave me a call. I think he was the Nike Team Manager at the time. He spoke to me and said that he had this project called Partners In Crime and asked if I wanted to get involved. It was two riders. Harry Main & Maxime Charveron. They were both sponsored by Mirraco and they both rode for Nike. It was just a video with them two in it and it was going to be called Partners In Crime. So when I was asked, I was just like, “Yes!”. I think that once you do something for a company, working with brands like that, people start to trust you and pay attention to what you do. While working on big projects with the likes of Nike, are you still taking your own photographs? Yeah. I still shoot photos while I’m out on these type of projects but it’s always just personal photos. I’m always taking pictures. I never really thought about it but I’ve always really enjoyed photography. I’ve always just shot photos. It’s not like I’m taking them to document a moment from a trip I’m shooting photos because I’m shooting photos. And that’s it. What cameras are you using now?

Thinking about how far you’ve come since then must be incredibly satisfying. When did you begin to feel like you were really starting to progress? I used to do a website called Nonstopvid where I’d put all my edits. At the time, I had no idea you could get money for what I was doing. The website was just to show people my work because originally, I was making tapes or DVDs and then giving them out to people. Just little videos I’d made - like a little scene video or something. I’m sure some people have still got a Nonstopvideo bootleg or copy.

The Nikon F100 and the Yashica T3 because it’s a 2.8 lens not a 3.5 like the slower, later models. Why have you decided to stick with film ever since you got your first Olympus camera? Why film over digital? It’s not that I’ve necessary stuck to it because I’ve shot digital as well. It’s more that I’ve returned to it. There’s a lot of effort going into people trying to replicate the look of film. I’ve done it myself. But If you’re shooting on film, it’s gonna look like film and I like the look of it.


What else made you return to film?

So how did that come together?

I like that you’re not taking a photo and instantly reviewing it - that’s a separate time. You’re shooting a photo and then you’re onto shooting the next image. You’re not taking it, picking it apart then shooting it again. The reviewing is separate. When you do get the roll back you can sit down on a rainy day and review your photos. With shooting film, it’s not instant. You have to trust yourself that you’ve got the image you want and hopefully it comes out like you’ve got in your head. I enjoy the time of sitting down with a cup of coffee and scanning in the film and seeing what I’ve got. It’s all part of the process.

It started because at the beginning of the year, I thought that I might want to shoot an article on the Liverpool scene or riding up north. But it was actually Ady Snowden, a friend of mine and a rider from Liverpool that told me to make my own zine. I’d not really thought about it until then because a lot of what I did before January was just going on the web. I’d just shoot photos and they’d go straight onto the internet. It was quite nice to be able to save the photographs and just keep taking more. I ended up shooting one hundred and seventy photos. I then cut them down from there and I think there’s now sixty two or sixty three of those photos in the zine. They all just kinda reflect riding as it happens with the people that I ride with.

You also make a printed zine called MONO. Tell me about that. I just wanted to make a zine for us. The people who I ride with. The zine is just a reflection of what I think street BMX riding is.

But why print? Why not just put them straight onto the the web? I think there’s something nice about having something to hold. I’m sure a lot of people would agree as well. Being able to flick through the photos and having something to go back to. It’s rare that you’ll ever go back to an online article even if it had some really great photos. Whereas if you’ve got a little zine, it’s nice to look back and reflect. The same way that if you’ve got a DVD or a VHS, it’s good to rewatch. You can just pick something up, play it or read it and it takes you to that period of time.


Just for your zine alone you’ve taken a lot of photos. What is your favourite photo that you’ve taken? Well, my favourite photo that I’ve shot for the zine is probably the cover of Ady Snowden doing the downside 50-50 on the bench. That’s probably one of my favourite photos that I’ve ever taken actually. It’s always hard to pick one that you like but there’s another one. One that looks like everyone’s carrying their bikes into a field. It’s just a photo of us riding some spot near Leeds and I just took it as everyone was going across the field, carrying their bikes but that came out quite nice.

And finally Matty, what are your goals as a photographer? I don’t I have any specific goals. I don’t like to look at it like that. I just want to keep shooting photos because I enjoy it. Because I enjoy shooting photos more than video. More than anything. If I was to remove that element and say, “I’m going to aim for this” or “I’m going to aim for that”, I think that it might remove the enjoyment. Maybe that’s why I still enjoy it. Because it’s not a job.

Why do you think it’s so hard to pick a favourite? Sometimes it’s hard to pick a favourite because your favourite could be the next photo that you’re going to take. But it’s nice when you do take one that you are stoked on and you do like. That’s why I’d say that the Ady photo from the front cover of MONO where he’s doing the downside 50-50 is one of my favourites. I just love that trick and I know he’s been wanting to do that for a long time. I just like the photo. He wanted to pull it. I like the trick and I quite like the composition. I like how the lines work and he just fits into this little space.

facebook.com/mattylambertfilms/ twitter.com/mattylambert instagram.com/m___o___n___o/


Assemble Fest 16 is supported by Hull UK City of Culture 2017.

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Image by Bluebeany

D N A L W NE NUE, AVELL HU


E I S A B A K O S


My name is Eisa Bakos. I’m twenty four years old, I’m a photographer, I live just outside of London in Kingston and I run Endless Magazine. Eisa, today you run a successful BMX magazine but like all photographers, you had to start somewhere. Where did it all begin? So basically, I was at college with no intention of ever taking photos. I was playing football and that was my main thing. I was getting into BMX slowly because I was working in a bike shop but football still was my priority. So when did BMX become the priority?

So what camera were you using back then? Funny story actually. I was at college when I got my first camera. I didn’t know what I was doing so I went on Gumtree and I was like, “F*ck!”. I just typed in Nikon or some sh*t and found one. It seemed like a good price so I texted the geezer. It was only up the road so I went and picked it up. Turns out, the geezer was my college teacher from the year before when I was doing sports, and he sorted me out a good deal. So I bought the camera, started taking photos. Two months later, I ended up buying another Nikon: it was a D200. And then, I made a switch to Canon. I shot with a 5D MkII for a bit and then upgraded to a Mark III. Now I’ve got the 1DX, which I’m more than happy with.

I hurt myself and tore my ligament in my knee. Because of that, I ended up picking up a camera and started to hang out with my friends who were riding. I couldn’t really ride at the time but I was taking photos. When I did start riding again, I put the camera down. I was riding a lot more until I tore my ligament again. I had a full-time job in a restaurant, I hated it and I couldn’t ride. That was the breaking point for me.

After buying your first camera, how long did it take to get your first photograph published?

So what did you do about it?

Sure...

I started taking more photos which started to get printed in Ride UK. Ever since then, photography just overtook the full time job. I was really enjoying taking photos but I hated my job. That’s when the penny dropped. I was just like, “F*ck that life”. So yeah, I put that to the side and started taking more photos for Ride.

I knew f*ck all about editing photos back then. I never used to edit photos. But my mate, Sam King, who is an incredible photographer, he helped me out and edited that photo. Then I sent it to Stereo and then Stereo ended up sending it to Urban Cycles, and then Urban Cycles used it for an ad in Ride UK. Eventually, it got used in four or five issues.

I was out riding in London with all the boys. Dan Paley was in town and at the time he was riding for Stereo. Even then, he was just savage - just absolutely unreal. We were at London Bridge stair set and he 540’d it. Can I swear?


How did you go from getting a few photos published to where you are today? Well, at the time when I first started getting my photos published, and I’m talking once every four or five months in a mag, I was working a full time job. Then last year, Ride UK had a few changes and it allowed me to get my foot in there. I went out, started shooting some more features for them bigger features - and then the penny dropped and I realised I could just do that. Are there any other important moments that you look back on? Yeah, Brighton ‘Aint Ready happened. For those wo don’t know, it’s a group of the world’s best riders who come together in Brighton to make a BMX film. Anyway, I was in Brighton; I knew a few of the locals and I’d known Mike King a really long time and he was the man filming the project. I just thought to ask if anyone was taking the photos. No one was set to take any on the whole trip so I spoke to Stew Dawkins at Seventies Distribution. Seriously, I’m still forever in the man’s debt. The guy put me on the map. He gave me the opportunity to be at Brighton ‘Aint Ready and I took it. I quit my job. I just didn’t give a f*ck.

Back to now. What equipment are you using? At the moment, I’m shooting on a Canon 1DX. I shoot all Canon lenses. My favourite’s a Canon 15mm 2.8 - just keepin’ it OG! A 70-200 no IS - f*ck that shit! A 16-35 Canon: I use that just for event work. A 14mm Pancake. Second favourite lens is my 50mm 1.4 Canon. I’m still shooting on four separate Nikon SBs. And then Pocket Wizard receivers and a Greenfilms Shadow Conspiracy MkII film bag. Equipment is important but what would you say is the key to becoming a successful photographer? I wouldn’t say there is a key but you definitely have to have a passion for it. Like, passion is the most important thing to me. At the end of the day, if you don’t enjoy what you’re doing, you’re never going to be good at it. Working a deadend job for someone else makes you just think, “Why am I doing this?” You’re not actually going to get anything out of it. Whereas, if you enjoy photography and you enjoy what you’re doing, you’re going to put one hundred percent into it. So, as long as you enjoy it and have your own style, I think you’ll go a long way.


Other than something that you’re passionate about and enjoy, what is photography to you? It’s my life man - I’ll never stop taking photos. Either on my main camera or sadly on my phone because it’s so handy; everything revolves around photography for me. Especially with the magazine now. It takes up so much of my time but I don’t care because it’s what I want to do. I’m really grateful for that and I’m really grateful for what I’m doing now. Right now, Endless Magazine is clearly a huge part of your life. How did that start? Basically, I was working at Ride UK full-time and it was paying my way. Then Ride decided to cut down to eight issues a year or something like that. People started saying, “Ride’s gonna go, Ride’s gonna go!” but I didn’t really know. I still had belief and we were shooting good features and really trying and putting effort into it. Then we got the call and we were told that the next issue was going to be the last. Jesus man. I was just dreading going back to the restaurant.

Why didn’t you? I just realised that if something’s gonna happen, you’ve got to do it fast. If they can do it - a big corporate company - why can’t one person start a magazine? I’m a photographer, I can shoot all the content, I can do an editorial. OK, I didn’t know how to lay out a magazine but that could come. It was possible. I knew the industry and worked with a lot of people who could help and support me so why not? And if I tried it and it didn’t work - well, at least I tried. So I just went for it man. And it clearly did work. With magazines like Ride UK going to online only, why is it important for people like yourself to keep print alive? I think it’s the best way. We do online features for the website but that’s for the sheer fact of timing and because we’re trying to keep the print side of things to a really high standard. And, at the end of the day, there’s new people progressing and riding now and there aren’t as many magazines as there were ten years ago. So really, it’s trying to keep print alive. The photos in print - you can feel them. Looking at your own photos in a magazine… there’s no better feeling. I think that everyone that rides should be able to have that feeling once in their lifetime and we’re just trying to keep that alive and run that train. instagram.com/bakosphoto /endlessmag facebook.com/endlessmag endless-mag.com


maukoe


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L U C H O VIDALES


My name is Lucho Vidales. I’m from Argentina and I’ve just turned twenty four years old. People find their love of photography in many different places. Where did you first discover it? Well, I got into photography five or so years ago. I used to play rugby and that’s how I first discovered my love for it. I had just stopped playing and instead of going to the matches to play, I started going to take pictures of my friends playing. Of the ambience and I got really did get into it. And then, after a while, I saw that people were beginning to like my pictures and I was really enjoying taking them so I started focusing on photography much more. What camera did you use during those early experiences? At that time, my mom had bought a digital camera. A Nikon D3000 so that became my first camera. Then I started to get some photography jobs and I began to get pretty excited about it because I was getting money from something that I really loved.

Why did you come to Barcelona? I came to Barcelona because there were no more jobs in Argentina. No… really I came here because I needed a change from back home and I am really happy that I did it. This year has been amazing and I hope that the year to come will continue like this. Here in Barcelona we have a lot of opportunities; more than I had in South America. But it’s also because if you work hard for things you want here, things are going to come - it’s just up to you. Things are clearly happening for you as you are a sponsored photographer. How did your relationship with the camera bag company F-stop come about? My relationship with F-stop started a couple of years back when I bought my first camera bag. I really, really loved the bag and what F-stop were doing so I wrote them an email and said, “This is my work - this is what I do. Would you guys be interested in doing some collaborations?”.

Why do you think you loved it so much? Were they? The fact that… I was really into the moment of taking the pictures and not thinking about anything else; just disconnecting from everything and enjoying it. So what were some of your first paid jobs? The first jobs I started getting paid for were at the International Rugby Championships that were going on in my city and I was just taking pictures for these national teams such as the USA and Canada. I just got in touch with them and it happened that they were not taking anyone with them to do it that year. I was pretty lucky. Since then, how has photography changed for you? These days, since I got to Barcelona, one of the goals I set for myself was to shoot more, so I’m pretty much shooting everything that I can. It happened to be that BMX was one of the main things I started shooting because of the people I was surrounded by. I kind of get inspired and motivated by the people around me. If it happens to be the BMX guys, I’ll end up shooting BMX and if it happens to be skating, I could end up shooting a little bit of skateboarding. I like to document the life of the people I find interesting.

Yes. After that email I got a discount on my first backpack. From then, the guys at F-stop were always in touch and even though they weren’t my official sponsor, I would take pictures of the bag they gave me when I was going on assignments. And then last year I went to Photokina, the photography show, and I met everybody at F-stop and we made it official. The other thing that I have now which is one of the reasons that I came to Barcelona is a great relationship with Broncolor who are a flash company. They are sponsoring me with their flash equipment and that’s amazing because they have really cool products.


What do you shoot with now? My main camera body is a Canon EOS-1Ds Mark III; it’s quite old but it’s my workhorse and I’ve been shooting with that camera for the past two and a half years. I just really like it and even though it’s a little bit old, I love the feel and the texture that it gives the images. My favorite lens, the one that is always in the camera, is the 35 1.4 Canon. Then I have a 50mm 1.4 Zeiss which is a little more complicated because it’s manual but it’s cool. The 135mm f2 for portraits is amazing and the Canon 15mm 2.8 fisheye is great; it’s the old one but it’s still the best. And as far as flashes go, I’m shooting with the Broncolor Move 1200L and it’s a beast. It’s heavy to move around sometimes but it’s fine. The thing is, it’s worth it for the amount of power that you get from it. When it comes to freezing the action it’s just perfect; you can over power the sun just like that!


So what’s your favourite photo that ever you’ve taken? That’s a hard one. For me it’s hard to be attached to one photo but I definitely have one that I really, really, really like. Mainly because of the time when I shot it and where I shot it because I think that I will never be back there again. It was one from an event in Argentina during Red Bull Rampanoia, which was a BMX event. The event took place in an area that was shaped by lava so it was a natural skatepark. Tell me about it... This picture, it looks pretty dangerous because it was. The rider is doing a fufanu. He is balancing on the edge of one of the massive lava formed rocks. It might not be the hardest trick but it was dangerous because there was nothing there at the end to stop or catch him. I just really like how it looks. I love documenting the lives of the people I’m around or that I find interesting so I can show and express how they or I feel in that moment. That picture does that.

And finally Lucho, photography has taken you to many new and exciting places but where do you want it to take you next? What are your goals? I don’t think that I’m actually looking for some sort of goal that I want to get to or go. I’m just experimenting with where this journey is taking me and I’m really enjoying it. One of the things I like most is travelling and getting to know new people. That’s the best thing about what I do; I really enjoy that. As far as professional goals, I don’t want to get rich. I just want to try to enjoy it and never lose the love and the passion I have for photography. luchovidales.com facebook.com/LuchoVidalesPhoto instagram.com/luchovidales


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J A S O N COLLEDGE My name is Jason Colledge, I’m from Torquay, and I’m 27 years old. Jason, everyone’s journey begins in a different place. Where did it all start for you? For me... I finished school and went straight to work with my dad on a building site because he’s a carpenter. And two weeks in, I just thought, “I don’t want to do this for the rest of my life - this is sh*t.” I just wanted to go back to school. So I decided to take an Art and Design course at college. It was a two year National Diploma. I specialised in photography, enjoyed it and carried on from there. The building site clearly wasn’t for you. Why was photography? It was the freedom of doing it. Just being able to go out and ride my bike and shoot photos at the same time. There’s not really any pressure on it - that style of stuff. So how did you originally get into photographing BMX? Just from riding BMX. And then because of my friend Cal - Callum Earnshaw - who films BMX. I saw what he was doing, how he was progressing and how much he enjoyed it. And basically, because of that, I got into BMX photography. What made you want to push yourself and develop your photography skills? I think I wanted to carry on progressing because of what I saw in the magazines. When I first started riding I bought Ride UK Mag. I’ve been riding for about fifteen years now but back then I just wanted to replicate what I was seeing in the magazine. What are your thoughts on magazines in a world full of online media? Magazines. I think especially within BMX, there needs to be some form of print outlet. You need to have somewhere to put your work, rather than just see it on a screen. You are a part of Endless Magazine. Was that one of the reasons why you decided to create it? Yeah. So me and Eisa Bakos were shooting for Ride UK Mag and they pulled the plug on print. Then I had a call from Eisa and he said that he was thinking of starting a print mag and asked if I wanted to go in on it with him. And I was like, “Yeah, sure, definitely!” He appreciates print. I appreciate print. It made sense to do it. And it was an excuse to go out and shoot more.


What was your first camera? I remember getting some inheritance money. I had like a grand or something and I got myself a Canon 350D and since then I’ve bought far too much gear. Buy nice or buy twice; I’ve made that mistake so many times! And at the moment, I’m using a 1Ds Mark III - it’s a Canon. A 70-200 2.8... that’s my L and a Sigma 15mm. Oh and the 24-70 L as well. You mentioned that you wanted to replicate the type of photography you saw in magazines. What were some of the techniques you picked up? Shooting off-camera flash. That was from seeing it in the mags and being like, “How have they lit that like that? That doesn’t look natural”. I find that lighting with flash gives it a nice dynamic. I just think it gives it a little more edge and I try and shoot with flash as much as possible. I hate setting them up and I hate breaking them down but I know that if I shoot something ambient, I’ll wish I set-up a flash for it. How do you find using off-camera flash and do you look for it other people’s work? Lots of setting up and lots of breaking down. Trial and error. I always find that if I watch an edit that has a print article with it, I’ll look at the photos and try and spot if the photos have been set-up with flash and then try and see if I can spot it in the video.

While away on these trips there must be some amazing opportunities to take some incredible photos. What’s the best photo you’ve ever taken? The best BMX photo that I’ve ever taken? Yeah… There’s one from the Dub Jam in Liverpool and it’s of Dan Paley. There’s a crowd of people and I’m standing away from it. From where I am, It’s like a tunnel of people surrounding this rail. In the photo he’s doing a… I don’t even know what he’s doing but it’s just the way that everyone’s looking in on it. It’s just proper behind the scenes. I think that’s one of my favourite photos. Another was of James Curry where he’s doing a crank arm tyre grab. It ended up being a Ride cover. I think it’s a favourite of mine because that was my first ever cover, so it’s a stand-out photograph for me. Why do you think you were attracted to, and still enjoy shooting BMX? I really like shooting BMX stuff because it’s a collaboration between two people. The rider and the photographer. A lot of people outside of the BMX world don’t really know what we get up to. I love documenting it and then showing people. It’s about showing people what we get up to. All the cool sh*t we do. The places we go. Is it always as exciting as you make it look in your photos?

Other than constantly developing your already considerable skills, how have you got to where you are now? Instagram has played a massive part in getting me to where I am now. I remember that I had a load of photographs just stored on a hard drive and they were just sitting there. Then Instagram came about and I just put everything I had on it. Then I got a message from Benson who was an editor at The Albion, which was a BMX magazine at the time. He was just like, “Submit some stuff to us and we’ll run an online feature with you”. So massive shout-out to Benson on that. Also, I had people at Ride UK asking me to work for them. And then some other big distributors got in touch, like Jamie Cameron from IMG; he got me shooting with Proper Bikes. I then got some good opportunities to go away with them.

People seem to think it’s all glamorous but sometimes, I’m just sat there, p*ss wet at the bottom of a set of stairs with someone hurtling down towards me. So yeah, it’s not all just sitting on a beach and it’s cool to show people that. Is it important that people know that? I just want people to see what I’m doing from the other side of the lens. You know? I just like taking photos. I’m not one of those people who carry a camera with them all the time either. I would much rather have a photograph in my mind and then want to recreate it. It’s almost like a game for me. A game to get what’s in my head in the camera. I want to push myself and push the people I’m taking photos of. So what’s the end game?

What’s the best thing about being asked to travel for a project? That they’re choosing you. I think that means quite a lot. But then, getting to travel - that’s obviously another big bonus. Getting out of England for some nice weather. Saying that, when I went to Greece on a Wethepeople trip, it snowed and was even colder there than it was at home. So yeah, it doesn’t always work out but just getting away is a big part of it.

My goal? Drive a Lambo! Nah. My goal is just to keep doing what I’m doing. To meet new people and experience different cultures. That’s the dream.

jasoncolledge.com instagram.com/fo0man facebook.com/Jason-Colledge


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Frayed issue 7  

Photography Issue Featuring Matty Lambert, Eisa Bakos, Lucho Vidales & Jason Colledge