The whole goal with this thing [Ultra Natural] from the start was to really let rider's style define them and their line choice.

I knew I wanted to shoot in Japan early on. Years ago, we did a Japan segment in "The Community Project," and at the time I felt it was one of the better Japan segments ever captured.

We faced blizzards, sub-zero temperatures, and of course dangerous snow conditions and vertiginous drops. That's what you get when you're working with fickle mother nature - you start out with a solid plan and it always changes, so you have to evolve and adapt.

It's probably the most personal project [The Fourth Phase] I've done, which changed the dynamic a little bit.

Even getting one amazing shot in a pristine environment is what I live for.

The idea [of the Fourth Phase ] was that by taking a closer look at where our weather comes from, and the processes involved in making it, we could all walk away with a greater appreciation of water in its various magical forms.

I'm passionate about capturing amazing snowboarding action. I get so much out of the artistic endeavor of even getting one amazing shot in a pristine environment, using specialist cameras to showcase how fun and dynamic snowboarding is. That's what I live for.