Wasser Pro, K.T. Married

Marcello Campanello by Matt Price 📷, jacked from the 18 East Copenhagen zine. Might be, idk, the “summeriest” skate photo in recent memory, and that felt appropriate as this one closes out.

Tuesday because Labor Day, etc. ☀️

Connor Champion and Josh Velez share a quick lil’ Barcelona part for Grand Collection.

“All I cared about was money…and then I jumped on a skateboard. And I was like, dude, I forgot how much fun this was. What the fuck was I doing? All that fucking money did nothing for me.” V Magazine is probably the least likely place you’d expect to find a profile of Eugene Kang and Terminal Skateshop, the shop he runs in Washington Heights out of his sixth floor walk-up apartment building, but it’s beautiful.

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‘It Feels Like You’re Both Getting The Clip’ — A Reappraisal of Fisheye Videography

📝 Words, Interviews & Top Graphic by Farran Golding

Skateboarding found its first industry standard filming rig when the Sony DCR-VX1000 video camera was paired with a Century Optics MK1 fisheye lens in the late 1990s. Fundamental to producing every tentpole skate video throughout the early 2000s, a precedent for skateboarding’s visual language emerged and footage captured through a fisheye lens became the defining trait of skateboarding cinematography.

Eventually, Panasonic HVX and HPX cameras equipped with an Xtreme fisheye succeeded the VX and MK1. Popularized by William Strobeck during the mid-2010s, this change of filming set-up coincided with long lens videography becoming the zeitgeist. Observing the Quartersnacks Top Ten (our closest thing to a longstanding data set) evidences a decline in fisheye use over the past decade.

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