Black Snake Rodeo
From £30

Available in two standard sizes and as a fine print.

As a race photographer, most of my favourite photos come down to first wins, World Champs and World Cup finals shots. Basically, because they are the ones that capture a special moment in mountain bike history.

Whatever race you shoot, it’s not just about getting a good picture; you want to tell the story, get the atmosphere, show the track, the crowd, the focus in the eyes of the riders and their emotions after they cross the line in their final run. That’s what you want to capture each weekend and even more so on those rare and special occasions. The challenging part is that you never know how things will play out while you are trying to anticipate what is going to happen. It can be frustrating if you take a risk and get it all wrong, but in the same way it can be immensely rewarding if you pull it off and you are in the right place at the right time.

At the World Champs in Val di Sole in 2008, the moment every photographer wanted to capture was, of course, Sam Hill’s famous crash in the second to last corner, washing out after already leading with over six seconds on an absolutely insane final run. For magazines and editors this was the photo they were looking for and the one they wanted to print to tell that story. Unfortunately for me, I didn’t get a shot of Sam in that corner. I had just left one or two riders before and had decided to go further down for the last couple of riders. Instead I captured a disappointed and bruised Sam Hill at the finish and, minutes later, Gee Atherton winning and celebrating his first-ever World Championship title. Of course, I was disappointed that I didn’t stay longer in that corner and missed this opportunity.

Surprisingly, at the end it turned out that my favourite shot I took home that World Champs week wasn’t even from finals. It was a shot I took of Sam on the second day of practice and I can’t actually tell you why I like it so much, but I did from the second that it showed up on the screen of my camera. It’s not a creative angle or an arty composition and it doesn´t really show much of the gnarlyness of that amazing Val di Sole track, either. Still, until today it’s one of my favourite race shots: if I had to pick one Sam Hill photo I took over all the years, it would be this one. Maybe because a timeless shot of Sam which, to me, represents his iconic years on the Iron Horse, flying down one of the best downhill tracks ever. But probably because it just always reminds me of that amazing race weekend in Italy and how lucky we are as race photographers to be able to witness all those moments live at the venues, even if we don’t get the shot

YOU’LL ALSO LOVE THESE

From £30
Greg Minnaar looking tense and focused, contemplating what just happened, surrounded by an ecstatic crowd — his team, friends and family, the one life crew and the media.
From £30
This was one of Akrigg’s favourite abandoned factory riding spots in his homeland of Yorkshire. It was covered in tons of loose bricks and we made this nice little kicker ramp to wallride.
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Sometimes all you need is a bit of luck. A rider came down just in front of Blenki and threw up some dust; the light was perfect and Blenki’s unique style just made this shot what it is.

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When most people had already left the pits, we stayed around and had a beer with the riders. Then we just saw those two chatting in the sunset.
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Perhaps one of the scariest race starts in the business, Pic Blanc covered in snow as hundreds of ant like mountain bikers drop into one of the toughest races out there.
From £30
Love Dirt, and Dirt Love. It’s a command, statement, confession and appreciation for one of the main ingredients for mountain biking. A permanent reminder to all.
From £30
A perfect trace of singletrack high on a Swiss Alpine ridgeline with the glaciers of Saas Fee tumbling in the distance.
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misspent summers

CORE TEAM:
FOUNDER-DIRECTOR: James McKnight
CO-DIRECTOR: Ben Winder
CO-DIRECTOR: Mike Rose
CO-DIRECTOR: Victor Lucas
CREATIVE DIRECTOR: Chris Jones
DOOD OF DOODLES: Jon Gregory

REGULARS:
Morgane Charre: Research
Harriet Jones: Management
Sven Martin: Photography
Boris Beyer: Photography
Sebastian Schieck: Photography
John Parkin: Legendary

FRIENDS:
Ric McLaughlin, Paul Aston, Lauren Jenkins, Tom Caldwell, Chris Kilmurray, Kerstin Kauffmann, Chris Jackson, Pedro Ballin, Alan

Available in two standard sizes: 12″ x 16″ (30.48cm x 40.64cm) and 24″ x 36″ (60.96cm x 91.44cm)

Technical information: Our display prints are printed on Epson Ultra Premium Luster Photo Paper using archival inks. We use Epson UltraChrome water based HDR ink-jet technology to ensure fantastic final print.

  • 10 mil (0.25 mm) thick
  • Paper weight: 7.67 oz/y² (260 g/m²)
  • Slightly glossy
  • Fingerprint resistant

Framing options: You can take your print to your local framing store, and they will be able to help you with getting your print framed.

For a cheaper DIY option Ikea have plenty of frame options. We would recommend buying the RIBBA frame.

BOOKS: Our books are stored and posted from the UK.

MERCH & DISPLAY PRINTS: Our merch products are printed to order and then shipped out from a base in either Europe or the USA, depending on your location.

Shipping costs are automatically calculated by our supplier.

Orders outside of the USA or Europe customs charges may be added, the customer is responsible for these charges.
 
If something seems a bit off, just send us an email and we’ll see what we can do.

Please be aware that Express and Standard shipping costs are higher.

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