Most people reading this will know Zion and Atiba, but don't know about the way you all work together. What would you tell them?
A skater and photographer’s relationship is really special. We’re both striving to accomplish the same goal.
Capture that moment, and to get a great picture.
When it happens, you don’t even have to say much about it. It is what it is.
But the thing is, I need Zion more than he needs me. As much as it’s a team effort, he’s really doing everything. The thing that most people don’t realize is he has to ride away from the trick for it to be usable. We do not use [photos of ] tricks that are bales. And if he just posed it, that wouldn’t be special. So when he does make it, that’s what’s special.
We both get to celebrate his victory.
Skaters tend to be independent people, which can make working with others hard…
I’m able to trust Atiba thru the process, because of who he is. He’s the guy. Going in, I already know he has a vision. So I’m leaving it up to him.
Yeah. Never is a skater like ‘Put the flashes here. This is your angle!’ It’s a lot of trust. And at times it’s a lot of pressure. It’s up to me not to miss that moment. I don’t want him to get hurt because I’ve missed the moment and have to ask him to do it again.
Atiba, you’ve been on the scene since the '90s. When did you encounter Zion?
It was early on. It’s different now because of social media, but early on I remember seeing Z skate. He was really good, and the fact that he could skate everything. That was just . . . “Oh, wow!” How old were you?
About 15? It was about the time I moved to California.
Yeah. Close to ten years ago. Damn. What is our first session?
When we were trying to shoot that 5-0 [just look it up] in LA.
Griffith Park [a famed skate spot]. Damn! I gotta look up those photos. Even by then people were talking. I was like, ‘Dang. I hope we cross paths.’
How’d you feel about the session today?
Epic. Really dope. Getting up here super early. [Zion’s call time was 4:45am] Feeling that vibe, still nighttime, but seeing the sun rise. The city kind of woke up.
We left the hotel at 3:50. We’re walking here and people are going home from the bars.
Edge at Hudson Yards is 100 stories up. Was this session different?
This was one of the most unique things I’ve ever shot.
Was being that up that high up an issue?
Well, when I’m facing into the ramp, so I don’t really see outside of it. Visionwise, I’m kind of in a square, a box. Early on, for the 360, landing fakie, I saw out—but all the backside airs, and the heelflip Indy, and the 540s, I’m focused on the ramp.
When you’re not on the ramp it’s chill. But when you’re on it and you look out, it’s like, “Whooooooooooa. I’m 100 stories up.”
What were some other challenges?
Having to build the ramp up here. When we arrived this morning, they were putting the last screws in. And we’re on strict time. We didn’t have all day. [Hudson Yards wanted everyone out by 11:00am.]
The wind was spooking me. I was worried about flipping my board.
With that amount of wind, I’m actually blown away that you got the 540 and the heelflip indy.
Towards the end it was starting to get bad.
He said, “Oh, it’s fine.” I’m like, “Dude, it’s windy.” If this was LA, we’d be like, “We’re not skating today.”