Powder Magazine
Photographer: Anthony Smith
Heidi: Have you always been multi-hyphenated? By that, I mean photographer and photo editor. Which came first?
Anthony: I studied photography at art school, but in the first few year’s post-graduation, shooting photos didn’t pay the bills. So, you could argue that my role as a photo editor came first, as it allowed me to earn a living as a full-time creative. At that time, I hadn’t found my own voice in photography, and working as a photo editor was extremely beneficial for my development. Being immersed in other photographers’ work—seeing their successes and failures—gave me a strong vision of what I wanted my own work to be. I can’t imagine how I would have reached my current point without those experiences.
How does your love of sport inform your work, both past and present?
I believe it’s challenging to shoot sports effectively without being an athlete yourself. Having that experience gives you a deeper understanding of the emotions and moments you’re trying to capture, which can tell a richer story for the audience. I’ve always been fascinated by sports imagery that isn’t overly literal, challenging the viewer to engage on a deeper level. I’m interested in uncovering stories about the human experience through sport.
Were your early photo editing roots in snow culture and sport?
Yes, but it happened somewhat by accident. A college internship with Bike and Powder set me on that path. Without that opportunity and the connections I made, it’s hard to imagine how a Canadian kid would have broken into the publishing world and become a photo editor in Southern California. A few years after that internship, a full-time position opened up, and I joined Bike and Powder as an assistant photo editor.
Did you and Dave cross paths at BIKE?
Yes, I worked for BIKE for nearly a decade, from 2010 to 2019. For the first five years of my tenure, Dave Reddick was the photo editor for both Bike and Powder, so we worked closely together on both titles. I was fortunate to learn from Dave; he has a wealth of knowledge and a keen eye for storytelling. I certainly had big shoes to fill when I took the reins at Bike in 2015. This recent shoot for Powder is the first time we’ve worked together since my time on staff.
Why do you think those sports verticals are still relevant for print in 2024?
I sense a growing enthusiasm for print these days, which may be a biased opinion given my background in the print world. Personally, there’s nothing quite like the feeling of seeing my images in print. The collaboration between the photographer, writer, editorial team, and art director results in something that feels carefully crafted and thoughtfully put together. I believe this process resonates with people, especially in a visual landscape that often caters to short attention spans. More than ever, I feel that print has a relevant place in today’s media landscape.
What was the direction for photographing Bryce?
I believe that Dave met Bryce James last ski season. He described Bryce’s collection to me as extensive, and we brainstormed ideas on how to capture it; however, I don’t think either of us could have anticipated just how in-depth it truly was. The space was small, yet Bryce had a remarkable awareness of where everything was and how each pile was supported by its respective treasures. Every piece had a story intertwined with its surroundings. Any initial thoughts we had about photographing a few key pieces separately with Bryce felt like the wrong direction once I experienced the incredible environment. The project was as much about Bryce and his passion for the history of skiing as it was about the collection itself, so capturing him alongside the pieces felt completely natural.
What made this project unique, and how did it stretch your creativity?
Documenting something as vast as Bryce’s collection presented a significant creative challenge. There are countless ways to approach such an extensive subject. From the moment I walked in, I could sense his enthusiasm—not just for his collection, but for the history of ski culture as well. I allowed that enthusiasm and our conversation to guide the direction of the shoot. I focused on listening to all the stories and shooting in an unobtrusive manner to avoid disruption. Each story naturally led to the next, creating a very organic flow. However, after a few hours of shooting and talking, I left his house feeling as though I hadn’t captured enough to do the collection justice, even though I knew only a handful of photos would ultimately be used to convey the story.
Are you a decent editor of your work? Twelve images were published; how many selects did you turn in?
By that metric, perhaps I’m not the best editor, as I turned in around 100 photos. However, I believe the conversations that happen behind the scenes with the art director and photo editor play a crucial role in striking the right balance between design and photography, often leading to unexpected directions for photo selects. During my time as a photo editor, I always preferred having more options rather than fewer. I truly enjoyed collaborating with our art director, as I loved being hands-on in the design process. We would exchange InDesign files back and forth to revise photo selects, layout options, and design treatments. This approach felt much more organic than simply passing along selects and waiting to see what layout would come back. With that perspective, I tend to overdeliver, assuming that the team I’m passing images to appreciates that collaborative workflow as well.
Do you have any personal projects on deck? What are you most stoked about photographically?
I’m really excited about shooting outside of my comfort zone these days. I thrive on being placed in situations—like the one with Bryce James—that feel creatively challenging. At this point in my career, I feel I have the creative tools to solve those puzzles and tell compelling stories. I haven’t always felt capable of approaching projects like this effectively in the past, so it feels great to be comfortable in the unknown these days.
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