SPECIAL THANKS: DOODAH BERN ALAN MAAG FABIO STOLL Jan@ROJA FILM NICK+Bumblefuck COLIN+GOOFY DAYS ANDI+BSS CREW
Cover: nicola ho photo: fabio st sek oll as seen as in whiteout 13
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ALAN MAAG PHOTO-INTERVIEW!!!
the ycm was at m the bowling ischlers 34th birthday center will pa never forge rty t! 29/04/2012 Charly - Jey sion of our life Black Cross Bowl Ses never forget!
versus... soon so 90s
30/04/2012 The dude - Charly - Jey Lausanne downhill + bowl session + bbq + french dudes = good times!!! No pictures, no footage, just great memories... Charly wallie the stone, Fs rocknroll the deep-end, Claude's x2 set, etc... Passion!
“Some countries are just way too serious. Why would you want to live there?” Roy “Living Legend”
Samir Isis - BS and FS Smith - Photo: Fabio Stoll
Charlie Moore - Sketchy Circus - Photo: Jey
Nicola Hosek - Bluntslide and BS Lipslide - Photo: Fabio Stoll
Pascal and Nico - Skate Life - Photo: Jey
Nick and M채di - Wallride and Feeble - Photo: Fabio Stoll
Charlie - Fs Rock n roll - Photo: Jey
Samir and Kleino - Ollie and Tailslide - Photo: Fabio Stoll
Rui Esteves - BS grind and Crooked - Photo: ???
Manuel Sch端rch - BS Tailslide - Photo: Fabio Stoll
Manuel Sch端rch - SW Crooked - Photo: Fabio Stoll
Samir Isis - FS Bluntslide up and out - Photo: Fabio Stoll
Martin Kleiner- SW Heelflip - Photo: Fabio Stoll
Silvan Erne - BS Smith - Photo: Fabio Stoll
Nicola Hosek - FS Bluntslide - Photo: Fabio Stoll
Boris Fuhrer - Crooked - Photo: Fabio Stoll
Boris Fuhrer - Ollie - Photo: Fabio Stoll
Max Shr채dder - Fast Plant - Photo: BSS
Max Shr채dder - Layback Smith - Photo: BSS
Domi Lippert - Pivot Fakie - Photo: BSS
Luca - Pivot Fakie - Photo: BSS
Edgard - BS Smith - Photo: BSS
ALAN MAAG PHOTO-INTERVIEW Portrait by Moris Freiburghaus
- 07 / 09 / 2011 That’s the date I sent the first email to Alan Maag about my idea of doing an interview with him in Versus. Almost a year later, after something like another thousand emails, over hundred text-chat messages, and a couple of days spent on the layout, here is it... Yeah, when I was not travelling, skateboarding or working, he was on a trip somewhere, working on the new Whiteout, doing jobs for Carhartt or finishing his photographyschool... We kept on missing each other pretty much everytime. -Actually we didn’t even met in person a single time while doing this interviewAnyway we made it, and I’m fucking stocked to have the chance to show you this photo-interview with such a talented, passionated -and over booked- man. I mean do you guys realize that Alan is the fucking photo editor from Whiteout, gets pictures in pretty much every european skatemags, but still, accepted to do something in such a shit thing as Versus?! C’mon I know you would be stocked as hell if he would use a picture from you in Whiteout’s next issue. Yeah, so now, you know how I feel! That was the best way ever, I could dream of, to finish this last Versus issue made in CH. So now swiss guys, if you want to end up having a picture from you in Whiteout, read this interview, learn with his advices-tips, shoot some more, and don’t upload all your photos everywhere online... First, send them to Alan! He might be busy, he’ll take the time to have a look for sure. -And as a worst case scenario, send it to me, I’ll take them, because you are probably a better photographer than me anyway!Alright, enjoy, and Alan, hope to have the chance to talk with you soon, and hopefully somewhere else than via chat email or telephone! Cheers, Jey
FIRST PICTURE YOU’VE SHOT? Don’t remember the first picture I ever shot. I think I started to develop interest in cameras when I was in fourth grade or so. The oldest pictures that I found around my office and somehow relate to skateboarding show an old friend. We were like eleven years old and had just met each other. Those days, if you heard that there was a skater living some villages down the valley, you’d get on your board and start looking for him. That’s how Stefan Herb found me... He’s still skating today, twentyone years later. A little later this blond dwarf showed up straight from a farm and somehow managed to flip our set of steps right away. He’s still skating as well. But then he was still able to control his temper. I guess there just was no reason to freak out. What happened, Sven?...
FAVORITE CITY YOU’VE BEEN? At the moment I’d like to say Brighton in England. It’s a town at the coast, South of London. Not very big, a student city. At weekends it transforms into a party bunker cause all the freaks from London drive in, but during the week it’s relaxed, almost hippie like. Lots of old people are there as well and having tea and toast among them at the ocean is just great. It levels heart beats. And things just taste different... Maybe it’s the salt in the air, the dim colors along the shore or the steady breeze, I really don’t know, something just calms me down there. I had two days all by myself before the Warriors came. They were the two most peaceful days in many years... This picture of Martino backflipping some cube at the beach sums up the whole trip; it was full of action but had its intense moments of tranquility. Split seconds freezing your surroundings.
MOST DANGEROUS ANGLE TO TAKE A PICTURE? Ah... This is a good question. Often the best angle for a trick is right in the landing of Fisheye shots. I never hold my camera into a shot without looking through it. The whole point of a fisheye is to get as close as possible. If you keep a safety distance you have to crop to make the picture look good and that will change the geometry, plus you loose the desired “action point of view”. Once you are so close that you fill out the picture with everything that is necessary -spot skater pop off landing- you simply can’t afford to not look through the camera, otherwise you’ll cut hands and head, or the last step or the end of the rail. So get close or pussy off. If you understand the movements you can judge pretty much exactly where the board will, or better, will not fly if the skater looses it. Which gets me back to your question: No, I never broke any lens. Except for a splattered lip on one of my first days with a fisheye. I only broke flashes and tripods which I set up where boards fly and skaters land - deliberatly, cause it’s often the best position. And the splattered lip was a result of misjudging the distance of a flying deck. It was all of a sudden so close that I pulled back the cam vigorously toward me - without moving my head. So... If you move, move cam AND head. They you won’t ram the cam into your lips. I think the attached picture is one of the sketchiest position to be in. Backside Noseblunts tend to overshoot. But that day I just asked Eyal if he would stick it for sure. Without the slightest hesitation he said yes and I trusted him. I think I would not have taken the risk to be there if I wouldn’t know how much control Eyal has.
HARDEST TRICK TO TAKE A PICTURE OF? I don’t think it’s about tricks, it’s more about style. Like, some people have their feet together in the air, so even a Kickflip looks crappy... Others can make a trick like a Hardflip or a Nollie Inward Heel - which I consider hard to shoot - look good on a picture cause they catch it a certain way. But if I had to name the single most difficult trick to shoot, it would be a Bigspin Kickflip. There’s this old Royal ad of Gino Ianucci doing one - the only still shot I’ve seen of that trick so far... Yvo - Hardflip
WHAT’S THE MOST COMMUN MISTAKE BEGINNER-AMATEUR PHOTOGRAPHER DO? There are a whole lot of mistakes I made and I keep doing new ones all the time. But in my work as photo editor I notice some mistakes -or things that don’t match my taste- which keep pictures from being published. Trying to use a wide angle lens in a fisheye style comes up a lot... If you don’t have a fisheye, don’t try to imitate it. The distortion of the angles is completely different. Your rail will look smaller and your heads might suddenly be egg-shapped. There are many other smaller details which come up a lot; too much space above the skater’s head, weird colors, motion blur, flat contrast, not considering what’s behind and what’s around the skater, etc. But that’s all stuff you’ll eventually learn if you ask yourself and others the right questions... There’s this young photographer, Piero Good, who asked me a whole bunch of questions and sent me many pictures to analyse them. In the end he did his matura work about it and got a pretty good grade. The best part for me was to actually start thinking about stuff and learning a lot myself. It’s a whole different thing if you have to give advice, compared to taking advice... One other important thing is to never loose the courage. Keep on shooting, keep on sending stuff and keep on asking for feedback.
TYPICAL FISHEYE SHOT... I used the fish eye so much that I’m really over it. However, some situations just scream for it; either you want to add a lot of action or then you can also make things look bigger hehe... Unlike many other photographers I do not think at all that it’s a point and shoot camera. The slightest moves make dramatical changes in composition, and you need to get close, as close as possible. Otherwise it looks weird and it’s kind of obvious that the photographer is either afraid or too lazy to get in a close position where he can control composition. And with a little long time exposure combined with flashes you can always add some fancy stripes -which would look a lot more disco if the mag was color!Stefan - Hurricane
ARE THEY GOOD AND BAD LIGHTS TO TAKE A PICTURE? In general, I don’t really prefer a certain light. Some I like more, some I like less, but in the end, it’s always what you make out of the circumstances you find. That’s the main reason why skateboard photography is so interesting; You never know what to expect and you never know what you get. Working under time pressure teaches you to analyse and make a first decision quickly... That, and not knowing if the skater will make the trick gives you this great sensation of satisfaction if things work out perfectly. And it reminds you that nothing is granted. I don’t think there are many reasons to not shoot a trick, even if the light isn’t the best and the spot is kind of lame, you can still try to experiment and see if you can get something new out of it... It’s kind of poor to find an excuse to not shoot once you are at a spot -unless it’s a sequence spot and I can find some weird reason not to -film- ...
SOFT DAY LIGHT...
HARD DAY LIGHT...
Probably my favorite light at the moment; a day with “hochnebel”. A slightly cloudy or a day with strong smog gives you this really difuse light which casts almost no shadow. Like a giant softbox all over the place. It’s kind of tempting to use flashes on such days to point out the skater from a dull background, but, if I force myself to not use flashes, I’m normaly stocked on the end picture. Just need to go sure that the light is really dull enough.
This is the oppsosite of dull day light. The sky is clear, the sun is blasting and the shadows strong and sharp. Just look at the silhouette of Sven on that pyramide. He’s right under the sun. It’s the kind of light which is perefect if you want to set strng contrasts in blackwhite photography. But it’s also one of those situation where you don’t have much choice cause regular flashes are normally not of use, cause the sun is just stronger... Guess that’s why I’m not a big fan of super sunny days.
Livio - Melon
Sven - Nollie FS Heel flip
TOWARDS THE SUN This one always works but it’s difficult to find... Sun in the back, skater in front of an open space. Silhouette is programmed. You could light the skater up with a flash, but I prefer not. Kinda cliché, but if you got a situation like this, it’s hard not to take advantages of it. Luc - Noseblunt
LAST PICTURE YOUâ€™VE SHOT? Rakel, professional dancer from Barcelona
BECAUSE THERE IS NOTHING WRONG WITH HAVING A GOOD TIME
AMANDAS 25TH BI RTHDAY