Skateboarding has its own unwritten rules, a code of conduct that dictates what’s cool and what’s not. This extends beyond the skaters themselves to the photographers who capture the culture, creating iconic images that have become part of skateboarding’s history. These photographers have played a vital role in documenting, showcasing, and preserving the raw energy and evolution of skateboarding. Their work graces our bedroom walls, locker doors, and even our skin in the form of tattoos, inspiring endless admiration. Beyond the art, we’re curious about the business of capturing these moments and the difficult choices photographers make to share their work while upholding skateboarding’s legacy.
photo: tobin yelland proof sheet
The “Make” vs. The “Non-Make” Photo: Does It Matter?
One of the first questions that arises when discussing skateboarding photography is whether or not the photo used has to be of the actual landed trick. Is it okay to use a “non-make” photo, a shot from a try that didn’t result in a successful landing?
Wes Tonascia, a seasoned photographer, believes the priority is capturing the best possible image. He illustrates this with two photos of Brandon Westgate. One, the actual make, includes an unwanted filmer and a large shadow. The other, from a warm-up attempt, is a visually superior photo. Ultimately, Tonascia argues, photographers strive to produce the best image for everyone involved: the skater, the magazines, and the sponsors.
Dan Zaslavsky, a photographer and image processor at Thrasher, highlights that this debate has existed since the dawn of skateboarding magazines. He views a successful shot, regardless of whether it’s the landed trick, as a triumph. If the photo is visually appealing, he believes it should be used. Zaslavsky also notes the collaborative aspect of filming and photographing, with both parties striving to stay out of each other’s shot. He emphasizes that the goal is always to get the best shot, even if that means getting out of the way before the landing.
Kyle Seidler draws a parallel between photography and filming. Just as filmers might capture a skater pushing up to a spot, photographers can use “non-make” photos to enhance the overall visual experience. Shooting only for the make, Seidler argues, can lead to weaker photos. Sometimes the best light or composition occurs on a non-make. This approach aims to enhance, not detract from, the authenticity of skateboarding.
Jonathan Mehring admits that he used to be stressed about using the perfect make photo. These days he is happy to have his photos published. He points out the abundance of skateboarding magazines is a win for photographers. While he prefers to capture the make, he also understands that sometimes it’s best to stop shooting after a long battle. At a certain point, the make looks the same, and further attempts add nothing creative to the shot. He also acknowledges that constant flashes can be a distraction for the skater.
Kyle Camarillo, both a photographer and a filmer, believes the best shot should always be used, regardless of whether it’s the make. He compares it to video editing, where the best take is selected, even if there were other attempts. He says that time can be used more efficiently, if he is confident in the skater, and the conditions are right. This can include getting different angles or lenses. As long as there isn’t any blatant cheating, there’s no problem.
brandon westgate lipslide – non make / photo: wes tonascia
Publishing Before the Make: A Breach of Ethics?
The conversation takes a turn when discussing whether a photo should be published if the trick wasn’t landed at all.
Allen Ying firmly believes this is unethical. He considers publishing a non-make photo to be dishonest, amateurish, and harmful to the integrity of skateboarding. He believes the skater should land the trick before the photo is used. This approach, according to Ying, is a reaction to commercial pressure that goes against the very essence of skateboarding.
Aaron Smith acknowledges the financial struggles of freelance skateboarding photographers. He admits that he might publish a near-make photo to pay the bills, but only when the skater is likely to land it soon. There are times when photos are left unpublished because a trick was never completed. He also understands the gamble in chasing skateboarders, and the potential of missing out on a shot due to bad timing or luck.
Jonathan Mehring shares that his perspective has evolved over the years. In the past, he wouldn’t consider sending a bail photo. Pressure from companies and sponsors made him consider publishing bails to show results. He always gets the skater’s permission, however. These days he avoids sending bails unless the skater requests it, as he believes in the importance of a successful landing. He admits there are unique situations where publishing a bail is necessary, for instance, after a skater has an unsuccessful trip but the sponsors want to have something for their money.
Kyle Camarillo views publishing a bail photo as a last resort. He explains that it requires a lot of confidence in the skater’s ability to eventually land the trick. When approached to use a bail for an ad, he usually declines unless there is a chance to reshoot. He believes that publishing bail photos goes against the spirit of skateboarding.
Dan Zaslavsky says that he previously was okay with publishing non-makes, but has changed his view. He believes there is an ethical obligation to showcase groundbreaking skateboarding. If a photo is published before the trick is landed, Zaslavsky feels that he has done an injustice to the sport as a whole. Skateboarding is progressed by those who push the limits and, he feels, the media should be a true reflection of that.
nick dompierre – published but never fully landed / photo: blabac
When a Trick is Never Landed: A Unique Scenario
The discussion moves into the rare territory of publishing photos of tricks that were never landed.
Saeed Rahbaran shares that he had one photograph published of an unlanded trick in a Dekline Footwear ad of Matt Ball. This was a pivotal moment for him, as it was his first published ad. Tragically, Ball was injured shortly after, ending his skateboarding career, and the trick was never landed.
Wes Tonascia confirms that publishing a photo of a trick that was never landed is very rare. This often happens when a skater is injured during the process of shooting an interview, which can take many months. He acknowledges that digital photography has allowed for better options to produce the best possible image.
Dan Zaslavsky says there are many different reasons why a photo may be published and become a “bail photo.” He adds that a compilation of these photos, with interviews, would be very emotional. He believes skaters would most likely prefer if those photos had never been published.
Aaron Smith brings up a photo he shot of Dustin Dollin in Vienna. While it was a tailslide, something Dollin had done before, it was still a relevant photo because it captured the whole experience, and the reaction of people to the trick. The photo is not just documenting a trick, it’s also documenting an environment, and moment in time.
unlanded matt ball front crook / photo: saeed rahbaran
Dealing with “Poachers” and the Rise of Mobile Filming
Another challenge for skateboard photographers is dealing with other photographers, or “poachers,” and the ever-present mobile phone camera.
Jonathan Mehring recounts instances where photographers, even those claiming to work for major publications, try to shoot a session without the skater’s permission. While they may have the right to shoot in public, Mehring argues that they lack the right to the skater’s image. He also acknowledges that with everyone now having a camera in their pockets, it’s nearly impossible to control who is capturing the moment. He says that when he shot Tyshawn Jones’ varial flip at Love Park, he knew it would be seen on the internet that day.
Kyle Camarillo generally only addresses skaters who are filming. He attempts to make them appreciate the experience in person rather than through their phones. He will tell them that the session will be ruined if they continue to film.
tyshawn jones varial flip at love / photo: jonathan mehring
The Evolving Relationship Between Photo and Video
The photographers also discuss the changing dynamics between still photography and video in skateboarding.
Jonathan Mehring admits that video often takes precedence over photography, sometimes to the point of preventing his work from being published. He uses Tyshawn’s fifty on a sixteen-stair rail as an example, where the video came out first and the photo was never published because of it. Mehring believes that still photography is an art form that leaves a degree of mystery. It’s a preview, not the full story like video is.
Dan Zaslavsky says that in the past, magazines were the main source of skateboarding content. However, the rise of the internet and social media has made video the first medium of consumption. This has resulted in many video producers wanting to prevent their tricks being seen in still images prior to their videos being released. Zaslavsky also mentions that internet presence has become more important than magazine sales for many skaters.
Kyle Camarillo expresses his frustration with the trend of video overshadowing photography. He believes that a still photograph is a completely different way to appreciate a trick. He says that just because a video comes out, doesn’t mean that a photo of that trick is worthless. He uses his photo of Chris Joslin’s 360 flip at UC Davis as an example of a photo that was nearly prevented from being published. He says the magazines prioritize having the first look, but a still photo is still valuable. He laments that many of his photos end up on a small phone screen because of this trend.
tyshawn jones / photo: jonathan mehring
Conclusion: Balancing Ethics and the Evolving Landscape
The world of skateboarding photography is complex, full of ethics, difficult choices, and evolving trends. While the perfect “make” photo may be ideal, photographers often have to balance their artistic vision with financial realities and the changing landscape of skateboarding media. They navigate the line between capturing the most visually stunning image and upholding the integrity of the sport they love. The debate over “make” versus “non-make” photos, and the impact of video, highlights the ongoing evolution of skateboarding and its documentation. This ongoing conversation helps ensure that skateboarding continues to be documented with the passion, skill, and ethical consideration it deserves.
Intro & Interviews: Nic Dobija-Nootens (@noochens)
Special Thanks: Wes Tonascia, Dan Zaslavsky, Kyle Seidler, Jonathan Mehring, Kyle Camarillo, Saeed Rahbaran, Allen Ying, Aaron Smith
