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.

Apart from those other riders there is a whole production team [ of The Fourth Phase] behind the cameras too, hauling hundreds of kilos of fragile and awkward filming equipment up those same frozen landscapes. They're the real heroes.

Pretty much everywhere we went we had crazy weather. I think Russia was probably one of the toughest places for us weatherwise, but even Alaska, the last three years have been somewhat subpar when you look at historically how Alaska can shape up.

When your location is a snowy mountain in the winter the obstacles are pretty extreme.

Over the past six years, my girlfriend and I live on our boat two or three months a year. It's just one of our seasonal homes at this point.

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.

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.