Jami Godfrey-his backyard in a suburb of Philadelphia, June 1981
Paul Constantineau-Surf de Earth
Marty Grimes
park San Diego, April 1978.
School in Brentwood January 1977.
Jay Adams-backyard pool in Bel Air, April 1977
Paul Constantineau-Malibu Tubes set up at Kontor in Brentwood, August 1976.
Derinis Agnew "Polar Bear"
the dogbow, Marina Skalopark April 1979
simplex You might sayer Surette
Friedman, he's boon taking pix
years, but to tell you the truth"
photo published in Skateboard
easy for
Over six
tmy first
Mega
DEVELOPING UNIQUE TECHNIQUE
First off, one thing that everyone should
know is that they do not need to have a
Nikon with 20 different lenses in order to
get intense, quality skateboard photo
graphs. Almost all cameras work basicallyzine the first time over shot color slide film
the same and it is the individual's technique
of taking photos that will make more of a
difference in the quality of the photographs
than anything else. I believe it is really very
(which
that
they would print at the time)
reason I believe so successful at the
time I started was 14), and all the way
through my career is because I'm usually
sted in the subjects I shoot. Iskated
for at least three years before ever started
taking pictures of it and I believe that my
familiarity with the sport is what helped me
to achieve some of the most exciting photo
graphs up to that time. That may be one of
the reasons you see many skaters nowa
days taking somu really good action shots
here in THRASHER As skaters or what
ever you're interested in, if you're heavily
into it, it should be no problem at all to get
the intense photos everyone craves to look
at,
The technique to get the best shots you
do not have to be the best skater you just
have to be able to decide, out of the entire
maneuver you are photographing, what is
its most intense 1/500 of a second and,
snap Timing without a doubt is one of the
most important things in action photog-
raphy: (This tends to make me frown upon
sequences at times because it your motor
drive is not extremely fast you may lose
the most intense part of the whole maneu-
ver while your camera is advancing to the
next frame, but in fairly drawn-out maneu
vers like high aerials, they work real well.)
Just think while you're skating what is the
most intense moment of the trick and when
you're taking photos, just discover that
same moment and get it on film. That's the
first and most important step.
The next step is just as important, to be
able to see the person's facial expression.
This can add tremendously to the photo,