Sideburn 44

The photography annual is a staple of the magazine world, especially those in the action sports realm.

Considering that we make just four issues per year, a photography special every year would be overkill, especially when we’re not shy of using photos as big as possible anyway, but this issue marks 13 years since the release of Sideburn 1, and this is the first photo issue. Why now? The main reason is the restrictions we’ve been working with. We made three issues under Covid rules and felt they were as good and varied as anything we’d done previously. But the lack of travel through the majority of 2020, and the cancelation of shows and races like The One Pro Races and Flat Out Friday, events that cause lots of winter excitement, meant our store of content was running low, and that made us consider mixing things up. We’ve paused a few of our regulars to give more room to the photos, and split the photography into four categories: Racing, Street, Pits and Adventure. Rather than our regular interview with a racer, we quizzed Scott Hunter, official AFT photographer, and we have a profile, like we often do, on another photographer, Heidi Zumbrun. The renamed trusted kit section, now called The Right Stuff, focuses on the essential gear of young moto-photo star, Harrison Mark. Approximately 50 photographers feature in this issue, and we could have asked 50 more that we like and admire, but ran out of room. Photographers still really want to see their images in magazines. As Heidi Zumbrun says in her profile, starting on p52, ‘It’s great that people are consuming a lot more photography through social media, but at the same time, they rarely see these images off their devices. We’re missing the beauty and physicality of a print, either on the wall or in a book or magazine.’

Thanks to you, and to all the photographers, for enjoying the beauty and physicality of Sideburn magazine.

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RACING

Arresting images of pros and amateurs, on dirt and sand, from all over the world

clockwise from above: Who wants it? The Sideburn-sponsored DTRA Vintage class leaving the grid at Greenfield Dirt Track, UK, by Paul France; El Solitario’s mini-sidecar spits Spanish dirt at El Rollo, by Fabio Affuso; Kazuo Fukudo of Buddy Custom Cycles, Japan, battles with Dimitri Coste at El Rollo in 2019.

by Marc Holstein and Christine Gabler; Roland Sands getting down with a vintage Indian Scout at the Born Free Stampede, Costa Mesa, CA. Photo by Mark Kawakami

previous page: DTRA founder Anthony Brown feet-up, on the groove as the sun sets on Greenfield Dirt Track, captured by Braking Point Images

clockwise from above: Daniel on his Derbi at Dusty Track; Portugal, by Manuel Portugal; TROG’s iconic flagger Sara Francello, Wildwood, NJ, by Nicolas Prado; Hagerstown, 2011, by Yve Assad; Inappropriate Bikes, One Pro Race, 2019, by James Wiklund; Swank Rally, by Marco Renieri; Peak performance, by Marco Renieri

Nothing is better than flying down the back stretch of a half-mile, or sliding through corners across the ice in the cold Wisconsin months, says Hannah Lange

Growing up with the ever-changing seasons of the Midwest, I have been fortunate enough to experience all sorts of motorcycle racing. During the spring and summer months, it’s the main flat track season in the dirt. Then, in the harsh winters, some snowboard or ski, but I make the best of it and ride the frozen Wisconsin lakes. When the ice conditions are bad, it is time to put the dirt track tyres back on and go indoor racing on the concrete.

Flat track racing is a thrill. Some see it as just a sport, but for me it’s a way of life. I love the adrenaline and friendly competition of racing. Yes, I could get on the street and go fast, but being in a safer space that demands full concentration is what I prefer. There have been scary times racing and always the risk of getting hurt, but it’s the risk I take to chase what I love. Racing and the motorcycle industry have become a huge part of my life.

Growing up, my father was a car racer and mechanic. He wanted to share his love of going fast with his kids, resulting in getting my brothers and me dirt bikes. Coming from a dirt track car racing background, he naturally got us into racing flat track.

Starting out, I was the only competitor on a Suzuki RM125, which left me to run with alternative classes.

In 2016, my local AMA district, District 16, introduced a women-only class, and I’m an advocate for it, seeing it as a place for riders to get more comfortable and competitive in a race setting. To this day, I take great pride in this class, building a community of female riders and supporting them to push their limits. Stepping outside the women’s class, I now compete in the Open Amateur division on my Kawasaki

KX450 as well.

In 2018, I was presented with the opportunity to compete in the new world of hooligan racing, starting with the Women’s Hooligan class at the Flat Out Friday event in Milwaukee. The old Harley-Davidson Sportster turned into a proper hooligan race bike with the help of the Lauter brothers of Lauter’s Racing Development, leading to me competing in the Grand National Hooligan Championship. These motorcycles have even led to opportunities to travel and, once we can leave the country again, the chance to compete in places like Sao Paulo, Brazil.

When I’m at the track, I hang out with people of all ages. Everyone is like family. Our link is motorcycles, of course, but, through building relationships, you come to realise you have a lot more interests in common with other racers.

I have gone from being a weekend warrior at the track to turning motorcycles into a career. I wanted more from the motorcycle industry. I moved my way through positions at several Harley-Davidson dealerships to figure out what exactly I was looking for. Currently, I’m working at a Kawasaki/Honda dealership covering everyday life in the dealership, weekend thrills among sponsored riders, and spreading the love of motorcycles with people around the world.

Racing is not about the winning for me as much as it is the growth and strength I show myself. I set personal goals for myself each time I hit the track. Winning is just a plus.

clockwise from above: Terry Dorsch, Sacramento, 1971, by Geoff Nickless, as Rookie Expert Jay Springsteen gets a push-start in the background; John Kocinski, Knight Honda CR250, Springfield Short Track in 2015, by Flat Track Fotos; Kawagoe short track, Japan, by Koki ‘Uribou’ Kato; A dejected Hubert Bastié pushes his stricken Husky to the pits, King’s Lynn, UK, by Sam Christmas; Mablethorpe Beach, UK, by Braking Point Images

‘This was the first experience seeing and taking pictures of flat track racing,’ says Ryo

‘and also my first trip to the USA. It was so exciting. I will definitely go again someday.’

clockwise from right: Astros launch at the Veterans Memorial Coliseum, Portland, OR, as part of the One Pro Races, by Erik Jutras; Champion Yamaha by Scott Rounds; Ducktail Watabe showing a rare Wood Honda CRF450 who’s boss at Kawagoe, by Koki ‘Uribou’ Kato; Team Co-Built go at it under floodlights, Oxford, UK, on bikes they designed and built, shot by Ian Roxburgh; Oily hands Harley Knucklehead and Indian launch at The Race of Gentlemen, by Pierre Robichaud

THAT IS MOST DEFINITELY a life moment

As American Flat Track’s official photographer, Scott Hunter shoots every rider at every race. That’s 1000 useable shots in 12 hours, many memorable. We interview the man whose images help define the series

Words: Gary Inman Photos:

During my time following, and reporting on, pro dirt track, whether it be for the magazine or the blog, the official AMA Pro Racing and AFT websites have been good at sharing photos from the races. As a fan first, but also as a journalist, I loved flicking through AMA Pro Racing’s images in the days before FansChoice, the NBCSN coverage or prior to social media really starting to share flat track images. Since American Flat Track took over, the amount, quality and variety of photos has rocketed. AFT knows that this imagery is a kind of currency for racers, teams and sponsors. Great images can sell the story, help validate their investment, and keep current sponsors or attract the next. That’s where Scott Hunter comes in. AFT contracted Scott to shoot every rider during race weekends. Images are then

almost instantly uploaded to a sharing site for anyone with access to download and repost.

Scott has worked in the motorsport industry since 1982, when he moved from Alabama to Daytona Beach. His story has a humble beginning. ‘I was working in the mailroom at Daytona International Speedway, part-time, while I continued my education in commercial art and communications, when I met some of the photographers.’ Scott was given the chance, and a couple of rolls of film, to shoot the 1985 Daytona 500 from outside Turn 4, but struggled to capture sharp images of the cars flying past at 190mph. ‘Disappointment turned into an obsessive love affair with photography,’ he says, ‘spurring my inner stubbornness not to fail.’

The next year, Scott had his first chance to shoot flat track at Florida’s Volusia track, one that was eventually added to the AFT’s schedule in 2020, but he kept working in the car world as an art director and creative director with magazines and marketing companies linked to NASCAR, before joining the NASCAR organisation itself. Then, in 2016, came another opportunity to photograph dirt track bikes.

‘I was asked to shoot an event for the Progressive American Flat Track series through NASCAR Productions at the Charlotte Dirt Track. I fell in love with the teams, sponsors and competitors. I have always admired the grit of racing motorcycles, and asked if I could do a full season.’

Now Scott shoots every session of every race, in 2020 he was often joined by another official AFT photographer, Kristen Lassen. While both shoot action and statics, Scott does the vast majority of the action, while Kristen concentrates more on the pits, holding area and capturing

Right: Cory Texter putting the American into flat track, Charlotte, NC, 2020

Below: Springfield Mile, 2017, Jared Mees leads the pack into the iconic composition on his way to the main

candid, lifestyle shots. Scott seems to enjoy the teamwork, rather than feeling threatened by a new, younger photographer. ‘Style is everything in photography. Each photographer adds his or her own creative touch nowadays, seeing, capturing, and expressing themselves through each image. Best team in the sport.’

Photographing an event for 12 hours is punishing, especially in the heat that some of the races take place in, and, I hope he doesn’t mind me saying so, at 57 years of age Scott is no young gun. So how does he do it?

‘I normally plan out a 5k run/walk to start race day, getting my heart rate up and getting to know the town or city we are in, followed by a quick Waffle House breakfast, if available. The President Abraham Lincoln Hilton Hotel in Springfield, Illinois is one of my favourite places to stay. I am easily inspired by history, and the nearby museums, the capitol building, Abe Lincoln’s home, and the history of flat track racing at the Springfield Mile spikes my creativity.

‘I start getting ideas driving into the paddock, and for first practice of the day I place myself in turn 1 as the riders wheelie down the front stretch. [At Springfield they’re] sliding into it with the iconic grandstands framing the background. That is most definitely a “yeeha” life moment.’

Digital cameras have allowed a change in mindset that grants the right kind of photographer the ability to service the whole paddock, when it would have been prohibitively

,...bar bangin,, rooster dodgin,, high slidin’,, corner cuttin,, and wheel tappin,...,

clockwise from top: Under the guardrail, in the dirt and the old tearoffs, to capture James Rispoli sliding past at 90mph; Fast bikes, faster shutter speeds. Pin sharp, high-def, sponsor-pleasing clarity; Focus on the focus. Shayna Texter about to do what she does best

expensive in the days of film and processing. Scott says, ‘I normally capture, on average, 2000 images per race day, edited down to 1000 that are posted on the AFT system. I try and spend time with each team, bike and rider every weekend. It’s tough, but it wouldn’t be fun without the challenge. I have no trouble sleeping after victory lane imagery has been edited and posted.’

AFT continues to evolve, striving to grow income for the series and riders, and it’s not afraid to turn things upside-down. The changes that affect Scott, as a trackside photographer, are more specific. ‘Sunset qualifying used to be spectacular for photography, but very dangerous. Going into a corner with the sun beaming through a visor caked with oil and dirt can ruin a competitor’s day.’ The schedule was altered to minimise the risk. ‘I now use that time to capture track prep, and lifestyle in the paddock area.’

Sideburn likes taking the opportunity to ask those most

invested in the sport, whether racers or promoters, what would be the one thing they’d change if they had a magic wand? I guarantee no one has given the same answer as Scott: ‘Glow sticks on the bikes would be spectacular for the night races. On the rims and under the bikes. More light!’ begs the photographer. ‘But as long as the bar bangin’, rooster dodgin’, high slidin’, corner cuttin’ and wheel tappin’ continues, I wouldn’t change a thing. I have never before experienced a community of athletes that help one another competitively, sharing ideas, parts, and life on the road.’

THRILLS. NO FRILLS.

STREET

Trackers and scramblers.

Dressing for the ride, not the crash. All the gear and some bad ideas

clockwise from top left: Cheetah and ‘Comet 45’ by Christine Gabler and Marc Holstein; ‘We brought all we love together: girls, motorbikes, fashion, for a kind of feminist Mad Max,’ says Nicolas Prado. Hubert Bastié is on Nicolas’s race bike; Washroom mirror reflection, Tso Kar, India, by Harsh Man Rai previous page: Hubert (again!) taking a Vitpilen down a Parisian staircase, by Jean-François Muguet

clockwise from top: Franck Casoli under a French overpass, by Bram de Roeck; Harrison Roach navigates Tokyo on a Deus Ex Machina custom Honda XL500, by Harrison Mark; Launch. Control. Nick Apex on Icon’s Triumph Speedmaster, photo by Icon 1000; Jean-François Muguet says, ‘This is Kev from Ace Classics testing a desert sled in London, 2019. You can see the shop in the background, but, unfortunately, the photo can’t show the sound, the rage coming from the bike. No helmet. No nothing. I love Kev.’

clockwise from above: Thor Drake paper-clipped and mile stylin’ on See See’s Sportster street tracker, captured by Ray Gordon; Behind bars, two hands on the camera, somewhere in Iowa, by Geoff Kowalchuk; Before things got messy at the Minibike Roundup, Madison, WI. Five Coleman minibikes were modified by US aftermarket companies before being raced to destruction on a Wisconsin street. Tell your kids things like that used to happen in the ‘before times’. Photo by Icon 1000; Marnie Brinkworth on her Honda CB125powered road-legal grasstracker, like Thor’s Harley, a former Sideburn feature bike, photographed at Rye, UK, by Fabio Affuso

Heidi u

‘My dad gave me my first Nikon FE2 for my 16th birthday and I haven’t stopped shooting since. After my very first photography class at UC [University of California] Santa Barbara, I remember calling my dad and telling him that I only wanted to take pictures for the rest of my life. I think I was all of 18 at the time. And the funny thing is, here I am, still shooting.’

Despite such focus, Heidi Zumbrun has doubted herself and her chosen profession, though that was nearly ten years ago and even a psychic she visited (the session was a gift from a friend) confirmed she should keep going. ‘When I asked if I should quit, she laughed,’ Heidi remembers. ‘I asked why. Her response was, “Because you’re a photographer.”’

We were introduced to the work of Heidi Zumbrun by our mutual friend and Sideburn contributor, the muchmissed Caylee Hankins. Based in LA, Californian born and bred, Heidi’s photos depict the best the state has to offer; surf and sunsets, deserts and racetracks, imports and locals. An overwhelming, two-dimensional face slap of feelgood.

‘I’m drawn to the craftspeople that make these things go,’ says Heidi. ‘Not just the surfer, but also the surfboard and the shaper who made the board.

H e idi Zum b un w e R

Not just the vintage motorcycle, but the story behind it, the person who restored the bike after 20 years of it sitting unused in a barn. I appreciate the originals, the old-timers who have been showing up at the same race for decades. I love documenting interesting extreme individuals living with intent.’

Heidi earned a Master of Fine Art degree, in photography, at the San Francisco Art Institute, and it was in

that city she made a significant step towards her career. She was working as a motorcycle courier and a black and white darkroom printer at the time, but remembers, ‘When I first saw my work on the walls of the San Francisco Museum of Modern Art, and included in the permanent collection, I felt reassured that maybe I was on the right track.’

That work was very different to what Heidi is producing now, and was

in relation to the treatment she was having ‘to remove a tumour out of my head. It wasn’t a fun chapter, but helped me appreciate life a bit more, and I didn’t die, so that was good.’

A move to New York City between college and graduate school led to an internship at the Witkin Gallery, a highly regarded photographers’ gallery. ‘The job wasn’t a very busy one, so I had the opportunity to sit in the gallery library every day

and study all of the early-edition photography books. It was such a gift and an incredible education. I was introduced to so many artists’ work and particularly influenced by Danny Lyon, Larry Clark, Nan Goldin, Diane Arbus, Weegee, Robert Doisneau, Richard Avedon, Sally Mann and Dorothea Lang, to name a few.’

More immediate inspiration comes from ‘unique people who are passionate about what they’re into,

and all things vintage, especially if it’s fast, loud and dirty,’ Heidi explains. Inevitably, with those interests, bikes are a regular subject.

‘I first learned to ride an old dirt bike when I lived in a tent and was working on rivers throughout California, shooting whitewater rafting and kayaking. A few years later, in San Francisco, I bought my first street bike, a red, 1977 Kawasaki KZ440 café bike, which I rode for

years, until I bought a 1989 Honda NT650 Hawk [aka Bros 650]. I’ve had that Honda for over 15 years. It’s been through multiple transformations and has taken me to some really amazing places as well as being my daily driver for years, and the bike I rode as a messenger up in San Francisco. I’ve also been riding Harleys, when I shoot for them, which I love. And I have a 1975 Honda CB400 Four out in Idaho being rebuilt by Rawhide Cycles.’

Harley is just one of Heidi’s high-profile clients, who include Husqvarna, Triumph, Sena, Wheels & Waves, McHal helmets, Hedon helmets, Playboy and Dickies Moto.

Heidi switches smoothly between shooting black and white and colour. Explaining what prompts her choice, she says, ‘Whatever emotion or design element I’m looking to convey has a huge impact on this decision. I lean towards black and white to evoke a

certain mood or texture, to convey an image rooted in the past, but when there’s brilliant colour in the frame I feel that it needs to be acknowledged and I lean towards colour.’

It’s a struggle to interview a professional photographer now without bringing up smartphones, and the apps they feed. Heidi says, ‘I’m not sure if [they are] necessarily bad for professional photographers, but it’s been damaging for photography as

an art form. It’s great that people are consuming a lot more photography through social media, but at the same time, they rarely see these images off their devices. We’re missing the beauty and physicality of a print, either on the wall or in a book or magazine, where you’re more likely to spend time with it. Our attention spans have contracted to such a degree that it’s easy to miss the subtleties in an amazing image when

you’re scrolling, which I think is a disservice to both the talent of the pro and the experience of the viewer.’

Living, riding, surfing, camping, usually on the west coast of America, there must be a photo waiting to be taken on every corner, and at every second. Perhaps that’s true of everywhere, but advertising has made us link California with photo opportunities. So, does Heidi ever leave home without her camera?

‘I would love to say no, but honestly, yes. I’m constantly torn. I feel like whenever I have my camera I change from being a participant to being an observer. I love to ride and surf, and I can do both with a camera, but it’s not the same. I’m distracted by the moments I’m trying to capture rather than living those moments myself. Sometimes I just have to force myself to leave the camera at home. It’s not very often though.’

While waves and wheels (and sometimes Wheels & Waves) play a big part in her working life, they’re not everything and Heidi has a long-term project documenting a friend who is joining the circus. She also recounts an intense experience on a recent assignment.

‘I was the only professional photographer hired to document 50ft grey whales and their 17ft babies, from a very small boat in a

remote Baja, Mexico lagoon. It was over a three-day period in an area accessible only by boat. The weather was rough, and boats couldn’t get us in during the day due to winds and high seas, so we entered in the middle of the night in shallow waters full of these magnificent creatures. We were guided only by head torches, and prayed we didn’t hit [a whale] with our engine prop. The fishermen guiding us knew this lagoon, but the pressure was intense. We made it, though, no whales were injured, and I was able to spend some close and intimate time photographing these friendly, humongous whales for the

non-profit organisation that had saved the lagoon, and its nursing whales, from a gigantic Japanese salt mine plant proposal.’

In this issue of Sideburn, devoted to photography, I end by asking Heidi what differentiates photographers from people who take nice snaps on their smartphones? ‘I think the question is maybe, what differentiates a professional photographer from an amateur? I’d say it’s their eye. A great photographer can use any tool. Plastic disposable camera, phone, film, digital, whatever.’ www.heidizumbrun.com @heidizumbrun

PITS

Racing is life, everything else is waiting...

Yeah, yeah, but we like waiting, in the pits, with our mates

clockwise from top left: Here’s an emotional Briar Bauman having wrapped up his first AFT title, Minnesota, 2019, by Jodi Johnson; Hell on Wheels Japan, by Nevin Pontious; Joy’s broken ankle, Ventura, CA, by Scott Toepfer; Handshift heat, by Jose Gallina; Blunt nails and sharp blades, by Evan Senn; Angelo and Bram (who is also a featured photographer in this issue), racers and founders of Hell’s Race, by Ian Roxburgh

previous page: Bonzorro helps Dimitri Coste repair his BSA B50, by Sam Christmas

clockwise from top: Nick Ashley enjoying a Bud Light shower at the end of the NORRA 1000 desert race, by Scott Toepfer; Dreaming of being on the other side of the fence, Stockton, KS, 2015, by Scott Toepfer; ‘Well, you just... Pin it!’ Fabio Gomes gives his daughter essential tips at Amman Valley, Wales, by Paul France; Our favourite, David Aldana, with Olivier’s Trackmaster-style BSA, Peterborough, 2019, by Bram De Roeck; 2020 Malle Mile vibes by Rachel Billings

clockwise from right: DuQuoin Amateur Nationals, 2011, by Yve Assad; Marnie in the back of her dad’s El Camino, King’s Lynn, UK, by Sam Christmas; This one takes some explaining. It’s a Pierre Robichaud shot from one year’s Dirt Quake USA, at Castle Rock, WA. I (Gary Inman) always wanted some Mexican wrestling involvement at the UK Dirt Quake, but never made it happen. Thor Drake, without ever being told of my Lucha Libre dreams, organised wrestlers for one of the DQ USA’s we ran with his company, See See Motorcycles. This was the half-time show, on a red-hot afternoon. If Pierre hadn’t captured it, I’m not sure I’d believe it actually happened; British tourists at Kawagoe Off-Road Village, Japan, waiting for bikes to borrow, by Dimitri Coste; Leftie and his customised See See trousers, by Paul France; Trying new bars for size, Kawagoe, by ‘Uribou’ Kato

clockwise from top left: Mike Kramer fettles his gorgeous Champion Triumph, Austin, TX, by Dimitri Coste; Karles from Fuel and his friends and family try to fix a recalcitrant Yamaha 250 under baking sun in the Catalunyan mountains, Spain, by Fabio Affuso; The Race of Gentleman is catnip for photographers, this is from the 2018 Wildwood, NJ, event, but it could’ve been taken 60 years earlier. Shot by Fabio Affuso; AFT veteran Jake Johnson in the pits and in the zone. Photo by Jodi Johnson; Another Dirt Quake USA shot, but this one sends a cold shiver down Sideburn’s spine. This is the Castle Rock pits, late at night. The blue thing is a boat, a real boat, renamed the USS Newton, repurposed as part of a kid’s playground, within the pits. Someone had the idea of fastening it to the back of a truck and pulling it around the campsite with a full, drunken crew on board. This is seconds before it capsized. Amazingly, no one was badly hurt. Nobody tried it a second time. Photo by Danger Ehren

Take Better Bike Photos

Go low

Drop down to the same level as the bike. Get on your knees, your butt or crouch down. This creates the proper perspective of how a bike should be seen.

Declutter

Make the bike stand out and the main focus of the photo by avoiding such as poles, wires and trees in the background.

Double up

Use both hands on your photo device all the time. Photos will be sharper and better composed, especially action shots.

Hit the streets

When taking action photography, shots with motion blur (rider in focus, background blurry) create the sense of speed and set the mood. A great way to practise this is by shooting cars on a busy street. In a short amount of time, you can dial in your method and/or camera settings, and yes, it’s possible to get speed blur with a regular smartphone or point-and-shoot camera.

Avoid noonera

The middle of a sunny day creates the harshest light and brutal shadows. Shoot early or later in the day for more flattering light.

Tighten it up

Zoom in on the small details on the motorcycle, such as intricate safety wiring on a brake caliper. These are the things that really create the vibe of a bike.

And remember, keep shooting and experimenting. And have fun

ADVENTURE

Exploration of our planet’s dusty nooks. Riders caught searching for a few hours’ isolation, or simply a second’s more traction

Tiger 900 Rallys, by Grant Evans; Blasting the berm on a big Beemer, Metcalf Motorcycle Park, CA, by Erik Jutras; Underground car park beers for the LABarstow to Vegas finishers, by Scott Toepfer. That’s Scott’s BSA with the tank bungeed on. It had endured a tough couple of days; Post-work riding lessons on a Bali beach for some of the Deus Ex Machina crew, by Harrison Mark; Geoff Kowalchuk grabs Biltwell’s Bill hoisting the front wheel of his Yamaha TT500, Ridgecrest, CA; Road tripping Jebel Jais, UAE, by Fabio Affuso previous page Roland Sands, Pismo Beach, CA, by Joe Hitzelberger

clockwise from below: The Pangi Valley road, Himachal Pradesh, India, has been labelled the most dangerous in the world. That’s before it snows. Harsh Man Rai captures his friend Jamshed as they consider their life choices; Chris Moeller flat out on Biltwell’s Sportster, Frijole 883, racing across Baja, Mexico, by Geoff Kowalchuk; Ed Subias’s clever self-portrait, Trona, CA. The camera is on a tripod, with the interval timer set to shoot every five seconds; Harrison Mark frames his friends through the bars of a Deus Customs Yamaha Scorpio in Bali

clockwise from top: Fuerteventura, by Marco Renieri; Tom Pagès, AlleyOop Flair on a Photoshopped Yamaha, by Jean-François Muguet; Casey and Tristan, by Ray Gordon; The Great Malle Rally is a tour, from the north of Scotland to the South of England, exclusively for custom bikes. Shot by Amy Shore; Another Great Malle Rally view by Amy Shore; Pacific Northwest, by Icon

THE

DEADLY SERIOUS BUSINESS

OF HAVING good times good times

With the petrol drained from his tank, both literally and figuratively, Dave recounts the life of a rabid flat track worshipper Words:

I was bitten by the flat track bug when I was ten years old, being exposed to regular coverage in the British weekly paper, Motor Cycle News, and seeing On Any Sunday in 1974. But I didn’t get the opportunity to start racing myself until I was over 40 and I have Peter Boast to thank for that, when he founded the first British flat track association, Short Track UK, in the mid-2000s.

I was under no illusion that time was on my side. Furthermore, I had zero racing experience, but I did have 30 years of fantasising about being a flat track racer and I dived straight in, my intoxicating enthusiasm pulling a couple of my oldest friends and my family with me to form Skooter Farm.

At that period of my life, racing gave me a raison d’être. I combined my background of playing in/organising punk bands and skateboarding alongside emulating what I’d seen from a string of visits to the USA to attend flat track races.

In those early days, UK dirt track was undoubtedly all a bit weird. The majority of other racers came from other disciplines such as supermoto, speedway and motocross, because there was no local history of the sport to draw on. Everyone had raced some type of motorcycle previously, except me. I would not, even now, describe myself as a motorcycle racer, rather a rabid flat track worshipper who wrote in to Jim’ll Fix It1 in an effort to scratch a lifelong itch.

Nobody ever said it to me directly, but I’d hazard a guess that a large number of my peers in the race pits regarded me as a charlatan, but there were also a small number of folks who were inspired by our enthusiastic naivety and drawn in. This gave me some faith in what I was trying to do. I made it clear that Skooter Farm was not a results-based organisation, and with that mindset openly acknowledged we embarked upon the deadly serious business of having good times.

This attitude has carried me an unexpectedly long way. For example, from the ten-year-old me cutting out a photo of David Aldana at Peoria from MCN and sticking into a scrapbook. I had no real idea who Aldana was or how unique and sacred Peoria is. Then, over 30 years later, getting to line up and race against him at a disused speedway track in Oxford. The level of effort, from the UK dirt track scene, that went into making that event happen should be duly noted as a yardstick of how far a collective with fire in its belly can take you. Nobody involved was super well-connected; it was all fuelled by enthusiasm and passion, not money and affiliation.

I’m eternally grateful to still be able to live out my flat track fantasy. I’ve been inspired by many and maybe, in some small way, I’ve brought some level of inspiration to others. I’ve made enduring friendships both locally and globally as thanks to my involvement with amateur racing, and could write a book on the fantastic experiences that dirt track has afforded me. It’s been a rollercoaster ride and you only realise just how wild and unfettered it was once it comes to a sudden and jarring halt. Such a halt has been forced by Covid-related restrictions, which have put the brakes on my return to the track. A clichéd saying goes, ‘You don’t stop racing because you get old, you get old because you stop racing.’ However cheesy this nugget may sound, I reckon it has at least some merit.

I feel certain the UK race scene will continue to flourish, once it is allowed to do so. I’m holding out for a return to being able to travel again, attend events and hang out with friends.

In the meantime, go easy on yourselves.

Appendix: 1. 1970s-’80s UK TV show that made children’s often frivolous dreams into a reality. It was hosted by the late Jimmy Savile, at the time one of the most famous people in Britain, but since his death in 2011 revealed to have been a serial paedophile.

The Right Stuff

Trusted: We’re huge admirers of Harrison Mark’s adventure photography and the work he produces for Deus Ex Machina. These are his moto expedition essentials

1 Canon EOS-1D X Mk II; 24-70, 100-400 lenses The bare minimum photography equipment I take when on a trip for work. The two lenses, 24-70mm and 100-400mm, cover a wide range and it all fits neatly in my hard-case backpack. The Canon is heavy, but reliable.

2 Lacie Rugged USB-C hard drive A rugged hard drive is important in the field.

3 Garmin inReach Explorer+ This mounts to my bars on any adventure ride. It acts as a GPS and tracks my route. On top of this I can also receive text messages from just about anywhere in the world, as well as share my location with loved ones. An SOS button on the side can get me an evacuation if things turn pear-shaped in a remote part of the world, too. It’s a well-rounded item that gives great peace of mind.

4 Bell Moto 9 Flex I love both the heritage of Bell and their modern technology. The Moto 9 Flex is super light, and comfortable for long days in the saddle. Plus it’s super safe.

5 100% Racecraft goggles I’m fortunate enough to get these for free, but I’d say they are without a doubt the best goggles I’ve ever worn.

6 Bose QuietComfort 35 II headphones Noise-cancelling headphones are an essential for me and I never travel anywhere without these.

7 Good book I always have a good book with me on an adventure ride and think they’re important to have

during travel and down time. Hunter S Thompson’s Hell’s Angels is in this shot.

8 Raen sunglasses Another essential. I’ve had these four years and they just get thrown in the travel bag.

9 Contax T2 I love having a pocketable [film] camera with me. This is my 35mm point-and-shoot of choice, and I’ve had it about five years. It’s super-easy to shoot and takes beautiful pictures.

10 $100 It’s important to carry foreign currency anywhere in the world. $100 US usually does the trick.

11 Barbour jacket This is a Deus Ex Machina x Barbour collaboration beeswaxed canvas jacket. It has travelled all over the world with me.

12 Moleskine journal I like to write, so having a journal handy on trips is a must for me.

13 1950s Omega Seamaster watch Good design has no fear of ageing. I love this watch, so maybe not the wisest to wear for riding, but I do.

14 Powerbank It’s the largest size you can legally fly with, and I get about seven full phone charges from it.

15 1987 Toyota FJ62 car keys When I’m in Australia, my 60 series Land Cruiser is just at home towing bikes or my Hobie cat [sailing catamaran].

16 Fox pants and jersey Good quality and they don’t draw attention to themselves. The way I like it.

Name: Harrison Mark Age: 22

Job: Photographer and producer

Hometown: Sunshine Coast, Australia

Bikes owned: 2010 Honda CRF450X, 2019 Honda CRF450X (one in the USA, one in Australia)

17 Swim fins These are DaFin swim fins. Riding by the coast, it’s great to break up your trip with a swim in the ocean.

18 Alpinestars Tech 7 boots

Definitely the comfiest boots I’ve worn, and safe too. You cannot underestimate the comfort factor when you’ll be wearing them for days on end.

19 Comfy shoes A good pair of shoes to wear around the campsite after a day’s ride is crucial. I’d be kicking myself if I forgot mine.

20 Kriega Hydro-2 hydration pack Good size [two litres] for shorter rides. Fits well with the low-key gear I wear.

21 Unchain leather gloves My good friend, Ichitaro, made these gloves for me by hand in Tokyo. Comfiest gloves I’ve ever worn and great for longer rides in cool climates.

22 100% gloves Depending on climate/ride I might wear these. They have great air flow.

23 Air blower To keep cameras and important items dust free.

24 Lighter Handy wherever you are.

SB: Hello Geoff. We love the shots you sent us, what can you tell us about them?

GN: This was at the Riverside Road Race in 1977. Kenny could not pop the plastic cork on the bottle of sparkling wine. Third-place finisher Steve McLaughlin stepped in to save the day and opened it for Kenny. The trophy queen, Lynn Griffis (Miss Camel Pro) was amused by it all, after receiving a big kiss from Kenny. All Kenny could do was shrug his shoulders as if to say, ‘I don’t know why, I have experience opening them, but not this cheap stuff.’ I don’t know if Kenny was frustrated by it all or if he didn’t like it after he took a sip, he then drained the wine on the ground. Lynn, second-placed David Aldana, and third-placed Steve McLaughlin were all amused by Kenny’s actions.

SB: What equipment were you using that day?

GN: I shot the podium photos with my Canon F1 camera body, with a Canon 50mm f/1.8 SC lens attached. I used Kodak Tri-X, ASA 400 black and white film that I developed myself when I got home.

SB: How do you make sure you get a good podium shot?

GN: This was the first time that I got to photograph at the podium. I really didn’t know how it worked, but earlier, I scoped out the podium’s location. As the laps were winding down, I started heading back in the direction of the winner’s circle. This is something I did later at Laguna Seca and Sears Point, many times. I was waiting and got photos of Kenny entering the winner’s circle at Laguna Seca after his last victory in 1984. Thankfully, there were not too many photographers and reporters there, so I got pretty close without being in the way.

SB: On this occasion the plonk went on the floor, but how annoying is it to get wine sprayed on your camera gear?

GN: I take very good care and am very protective of my equipment, so getting sprayed with sparkling wine can be a little annoying. I remember turning my back one time at Laguna Seca. I didn’t miss anything, but I thought that I could have missed something, so I never did that again. The good part is that it cleans off pretty easily. The worst part is when it gets on the front element/filter of the lens and affects the image.

SB: What else do these photos remind you of?

GN: While I was at the airport and on the flight home (Riverside, CA to Sacramento, CA) I wrote a short article for the two local newspapers, hoping that they may be interested in a story with photos. On my way home, I dropped off one roll of film and the story to both newspapers. Neither one even developed the film, because the San Francisco 49ers and the Oakland Raiders NFL football teams had played each other that Sunday. There were numerous stories and photos of the game in the paper, and they said they didn’t have room in the sports section for a motorcycle race. But 43 years later, it looks like Sideburn magazine has room.

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