Angus Morton / The Speed Project CYC

The last time Angus Morton and I caught up, he’d just dropped off his dog Terry prior to a trip overseas. We spoke for a little over an hour and the entire time he was driving his truck from one end of LA to the other. Almost two years to the day since that previous conversation, as our video call connects Gus is once again behind the wheel. But this time only for a couple of intersections before he reaches up to press the remote gate button and pulls into the parking lot of his office building.


Taking the phone off its cradle, our call continues as Gus reaches across to the passenger seat and picks up a pristine white stetson that he places squarely on his head—his Instagram bio leads with All hat, no cattle—with the camera following as he walks through an echoing series of empty corridors. And it’s during this brief interlude that I learn he no longer has Terry.

“He lives just outside of Fresno. My partner and I moved in together—we’re actually engaged—and she has a German Shepherd. And both being big dogs, they used to fight all the time and it got a little hectic. But Terry’s good; I call in to see him whenever I’m driving up to Lachy’s* place. He’s actually hit the jackpot living with a family on this huge ranch where he gets to stretch his legs.”

*Gus’ younger brother Lachlan Morton

So it’s clear that domestic arrangements have changed somewhat—including a move of a few miles from Echo Park to Highland Park—with the remainder of Gus’ news centering around being busy. Very busy.

“There’s been some pretty big projects that I’ve been working on: Crit Dreams, The Divide, Great Southern Country. Add in some shorter content and all that means—until very recently—that I’ve not been riding my bike as much as I’d like.”

A response that is perhaps slightly ironic. Because it’s the bike and bike riding that prompted me to reach out after I spotted Gus, snapped standing at the roadside, wearing his familiar white stetson, in a photograph taken at last year’s TSP* race from Los Angeles to Las Vegas. But rather than the usual running relay where teams of three cross vast, often inhospitable distances; for the very first time TSP was being raced on bikes. But trying to dig a little deeper—researching the event prior to our call connecting—proved surprisingly challenging. Or perhaps intentional, going by the TSP tagline No spectators?

*The Speed Project

“That actually references the philosophy of TSP founder Nils Arend,” explains Gus. “Going back 13 or so years to when they ran it for the first time. This idea of No spectators meaning that everyone’s a participant. Whether you’re watching from the roadside, crewing a team, or taking a pull in the relay; everyone is helping out in some way or other. And I love that as a concept because what it’s basically saying is that we’re all part of it. In the sense that you take Lachy’s ride around Australia which we filmed. Yes, he rode the bike, but without the support of the crew, there’s no way he would have set the record.”


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As it turns out, Gus’ involvement in TSP originated through a good friend of his, the director and photographer Emily Maye. Working on a project that featured TSP back when Gus had first moved to LA, when they caught up a little while later, Emily started talking about this crazy relay race covering vast distances where people switch on the fly.

“It just sounded so wild,” Gus remembers, “and straight away it got me thinking about what it would look like as a bike race. And then we’re a couple of days from finishing up filming The Divide and I get this text message from a number my phone doesn’t recognise. Turns out it was Nils who’d got my contact details from Emily. He was asking whether I wanted to shoot TSP in Chile where the teams would run across the Atacama Desert. So long story short, we head out to Chile where Nils and I very quickly become fast friends—similar personalities and outlook on life—and he was also wondering what a bike version would look like.”

So the idea obviously had legs, I suggest?

“Straight away, in typical Nils fashion, he said let’s do it. And he was dead serious which is why, three months later, we did fucking do it. I’d never organised anything like that before but basically you figure out where you want to start and where you want to finish and off you go.”

Without a fixed route for everyone to follow, the teams were given a series of checkpoints and then had to decide for themselves how to reach them.

“The checkpoint locations were only released ten hours before the race got underway, so the whole event had an element of make-it-up-as-you-go. Which also meant that each team could turn the event into whatever they wanted it to be. Which, in turn, plays into the No rules tagline. They got to set their own boundaries, be creative in the space they were given, which allowed so many different people, from so many different backgrounds, to not only get something out of the race but also be a part of this bigger community. In a sense, everyone had enough freedom to create their very own version of TSP.”


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That’s assuming, I can’t help wondering, whether anyone even knew there was a race happening?

“The way that it works—for both the running and cycling events—is by word of mouth. So that might involve asking someone who’s already done the event and they’ll point you in the right direction. Which is kind of funny because last year it was the first time we’d done a cycling version of TSP. But someone hears a rumour and they tell someone else and they’re interested and it kind of goes from there. And that’s one hundred percent intentional because we want this experience to evolve through the participants themselves. So as organisers—if that specific term even applies—we want to be as hands-off as possible in that regard and ensure that we don’t force our own point of view on what it should look like. We feel it’s important to allow the space to develop however people want it to.”

So it’s a race with teams competing over a set distance but on routes they figure out for themselves and without a podium to celebrate placings? That’s some kind of a crazy mash-up, I suggest.

“We don’t award any prizes but human beings are hardwired—and I’m speaking in extreme generalities—to be competitive to some degree. A character trait that I don’t see a problem in acknowledging unless it involves a win-at-all-cost attitude whereby you lose sight of why you initially embarked on this or that experience. So my own buy-in to this event was that it’s fine to be competitive but I don’t want people to feel they have to be. Which then plays into not wanting a prize to be the motivation for lining up at the start.”

Considering it’s very difficult to spot who placed where in the finish line photographs—seemingly everyone is smiling and hugging each other—this offers a marked contrast to World Tour racing where the winning rider crosses the line with arms held aloft and second place is commonly pictured slamming their bars in frustration at wasting all that effort.

“In my mind,” responds Gus, “I imagine how cool an event would be where first and second race each other as hard as they can but when they get to the end, they’re excited to learn about each other’s race and how it all went down. As opposed to winning and it’s hell yeah, that’s what I came for, see ya later.”

Because sharing stories is the prize?

“Exactly. The prize is what you make of it. Because Nils and the team behind TSP have built this insane sense of community. Which means that you might have teams lining up in Santa Monica with wildly differing aims and objectives. And you know what? It’s infectious and it’s cool and that’s coming from someone who generally likes to keep to himself and do his own thing.”


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Pictured as he was on the roadside during last year’s running of the event, I’m curious as to exactly what role Gus played?

“I guess you could say I was bringing my knowledge of bikes and cycling to whoever needed it.”

You were an available resource?

“Yeah, that’s about the size of it. Just helping out.”

And as for taking part if there’s a follow-up event?

“I would love to and that’s saying something in itself. Because when last year’s TSP CYC took place, I hadn’t properly ridden a bike for years and was the least physically healthy I’d been in a long time. But over the past six months I’ve really been riding a lot. At least in frequency if not in distance. And I guess I need to take part to truly understand what everyone is talking about.”

Including the afterparty, I prompt. Which going by the running editions, are known to be rather legendary?

“For our event last year, the afterparty was probably best summed up as a lot of conversations, a lot of new friends, a lot of quick bonds formed by having barriers that were previously in place being removed due to the nature of the event. Everyone connecting over how crazy it was to ride your bike for hundreds of miles, non-stop, across pretty gruelling terrain and figuring out this weird journey on the fly.”

There’s an excited edge to Gus’ voice as he paints this picture of a disparate group of people all sharing their own, individual stories from the road. Stories that—going by TSPNo rules tagline—might reference some rule breaking?

“There were no rules so I guess not,” fires back Gus with a laugh.

But it’s all so achingly cool, I tease. And possibly there’s a perception that TSP is akin to a private member’s club where you post images and videos tagged with IYKYK?

“I do get that. Because it’s not like there’s a website where you click a link, pay a fee and you’re registered. But like I said before, maybe it’s as simple as just reaching out to someone who’s done it and asking how they ended up taking part. And at least that’s now a little bit easier because there has actually been one. So yes, there’s a step to participating but maybe that step isn’t as big a hurdle as people think it is.”

And hurdles can be a good thing, I counter. Because in life most things that take some effort, some investment, usually give back the most?


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“I’m not going to tell you that this is categorically the best way to put on an event. In my mind—or at least the way I see things at the moment—there is no better, only different. And that’s also what I love about TSP. Because it’s not for everybody and nor should it be.”

Gus pauses here for a second as he pulls together his train of thoughts before continuing.

“Before it came along, there wasn’t really anything like it. So maybe it does cater for a certain type of person but you could argue how they didn’t have anything before and it’s filling another little piece in the puzzle of human expression and it is what it is. In the same way that I’m not mad at whoever puts on Unbound; an event I have zero compulsion to race. I’m not, fuck those guys for putting on that fucking event. I don’t give a shit. As long as you’re not hurting anybody, do whatever you want.”

As to whether they’ll be another TSP CYC later this year, Gus is—in this particular instance—without an answer.

“We don’t have any dates yet. But I think it will happen.”

So watch this space?

“I don’t drive the ship or anything. I’m just a fan and possible future participant.”

With our time together drawing to a close, I can’t resist winding the clock back a few years to a conversation we had in Girona where we touched on Gus’ groundbreaking partnership with Rapha and, in particular, his lead role in the brand’s promotional short Riding is the answer. Which, in itself, begs the question whether that statement still holds true?

“You know, I’ve not thought about all that for so long. Because what’s changed is that I don’t need to race anymore, I don’t need to go on anyone else’s adventure. I don’t need to be posted on anyone’s fucking Instagram. I’ve become more private which means that now my riding is just for me. But, within that definition, I guess you could say it’s still the answer.”

There’s a hesitancy in Gus’ voice that suggests he’s not quite finished.

“Maybe it’s the question that is different. Because previously cycling was the hurly-burly, the shark bait that I used to attract the characters that interested me. So you could argue it stopped being the question in 2017 when I got done with Outskirts. And maybe it’s now become an altogether different thing.”

Angus Morton / thatisgus.com / Thereabouts / The Speed Project

Paul Declercq / Slow Spin Society

It’s a bright, sunny day in Paris but Paul Declercq is busy working and yet to take advantage of the warm weather. Youthful and athletic in build, his voice is instantly recognisable from the Slow Spin Society podcast where he channels his fascination for all aspects of fixed gear culture.

After a peripatetic childhood and far from home on a gap year, it was a series of serendipitous chance encounters that sent Paul down the path he’s still travelling. A seismic shift in life and living that we explore in a metaphorical alleycat; conversational checkpoints referencing a frankly remarkable introduction to riding fixed, why he favours a film camera to document the scene, and the real-world realities of a career pursuing bike-based journalism.

cyclespeak
It looks like good weather for bike riding?

Paul
I’ve spent most of my day sitting in front of this computer so my ride will have to be later this afternoon.

cyclespeak
Are you taking our call from home?

Paul
Home hasn’t been a thing for me for the past three years. Which in reality means I’ve been hopping from one couch to another.


cyclespeak
Is that by choice or by circumstances?

Paul
It actually goes back to when I started the Slow Spin Society five years ago. And realising from the very beginning that I wouldn’t be able to make a reasonable living solely out of it. So that meant I was doing all manner of things on the side to help boost my earnings—some photography, working in a pizzeria, the usual stuff we all do—but that all changed when I broke up with my ex-partner and very quickly came to realise that I couldn’t afford rent on my own.

cyclespeak
It’s the same over here in England. The cost of living is crazy expensive.

Paul
That got me thinking that if I decided not to pay rent anymore, I could devote more time to growing Slow Spin Society so that, one day, I might make a living out of it. Which is why I’m staying a couple of weeks at one place, then another, and so on.

cyclespeak
That very much resonates with the time in which we live. The fact you need a salaried job to pay for a roof over your head but which, in turn, limits the creative freedom and energy to build something that isn’t a traditional business or profession.


Paul
Trust me, there are many, many days when I’m standing under the shower, telling myself that I need to get a normal job and live a normal life. But whenever I have, in the past, taken a nine to five position it’s never, ever, worked out for me.

cyclespeak
Can I ask why not?

Paul
There’s this idea that you can keep regular work hours and then use your free time to do your creative stuff. And I’m not looking down at everyone who does work nine to five because society simply couldn’t function without these people and they have my utmost respect. But I just find I lack the ability to do what I don’t want to do. So putting myself in work mode for eight hours a day—and enjoying my hobbies before or after that—just isn’t for me. And trust me, I’ve tried.

cyclespeak
Have you always felt the same way?

Paul
Funnily enough, I’ve always been pretty stubborn about what I want or don’t want to do. And now I find myself in this weird situation where my baseline for living is so low. I don’t have anyone to care for apart from myself, I don’t owe money to anyone, I’m very frugal and have correspondingly small needs. Which means that although I don’t make very much money and it’s not at all comfortable, for the time being it works.


cyclespeak
Is there a structure to your days? A recognisable routine?

Paul
There are some aspects of routine which I feel you actually need if you’re never at the same place for more than a couple of weeks at a time. And this might be a bit of a stretch in response to your question but if I ever feel really down, I go to McDonald’s and order some fries. Because wherever you are on this planet and however you feel, they are always the same. Which I personally find very comforting and helps me stay grounded if life is proving particularly challenging.

cyclespeak
So what does day-to-day look like?

Paul
When I wake up I always check my emails before doing some writing or research work. Because that’s what journalism is all about, the hunt for the next story and the next big thing. And then once I’ve finished any client work, I usually spend the afternoon purposefully off the computer. Maybe I’ll ride to a park or a coffee shop where I can organise my head and jot down any ideas or thoughts in a little notebook.


cyclespeak
Can I ask where you grew up and what you were like as a child?

Paul
I’m originally from a very small island next to Mauritius called Réunion Island; technically part of France so I have a French passport. And because my Dad travelled with work, we also lived in Africa in places like Senegal and Kenya. In the summer we would sometimes go back to France which is where I first started cycling—mainly riding mountain bikes—and then later I stayed in France for high school.

cyclespeak
Because of your upbringing, was there ever a sense of you being an outsider?

Paul
To be honest, I’ve never had a proper fit with the education system. Something about it just wasn’t for me; even though I tried really hard to fit in. It was a necessary step and physically I was present. But mentally? I was somewhere else.

cyclespeak
So how did this longing to get away play out?

Paul
Moving around a lot because of my Dad’s job, when I got a bit older I do remember picturing myself in a little apartment and embarking on a profession after university. But I had absolutely no idea about what I wanted to do, so I sat down with my Dad and asked him for a year. A year before starting university that I could use to figure things out. He agreed, saying that he would help me pay two months of rent but no more. So with his help, plus the money I’d saved from working pretty much all summer, I was off to a good start.


cyclespeak
So how did you spend that year?

Paul
I got one of those globes that light up and gave it a spin. Where my finger landed was where I would spend my year. You know, like in the movies.

cyclespeak
That’s a novel way of determining your future. Where did you go?

Paul
My finger landed on China but I wasn’t quite sure about that. Not that I don’t like China but I decided to just look at the other countries near to where my finger had landed and that’s when I decided on Japan.

cyclespeak
So quite a contrast in culture to your own.

Paul
A few weeks after I landed in Japan, someone I met in Tokyo offered to show me the trendy fashion district. When we were there, this guy walked up and asked if I was a model. My immediate reaction was that this was some sort of scam—I’d never in my entire life thought this would be a job I’d ever do—but the same scenario played out multiple times during the day until I finally allowed myself to be led to this showroom where I was fitted for a shoot the next day. I’d already applied for a few jobs with the companies that would take on foreigners but I was able to pick up enough freelance modelling to cover my rent. And then after eight or nine months, I was approached by a bigger agency who offered to sponsor my visa application in exchange for an exclusive contract. So I said, cool, okay, let’s do it.


cyclespeak
How did riding bikes fit in?

Paul
Up to that point, I would never have described cycling as my life. As a teenager I rode to school and went mountain biking on the weekend but bikes were a tool; a means to an end. The cultural side of my life was consumed by skateboarding and this continued when I got to Japan.

cyclespeak
So what changed?

Paul
One day I managed to break my board which was really upsetting because it was the only material thing I had that was a link to my past life. So I decided to check out this skate shop in the suburbs with a view to buying a new deck. On the train back into the city I got off one stop early to try out my new board in a nearby park. That’s where I saw this bunch of people who had boards but were also riding bikes. I had some conversational Japanese by then and they knew a little English so we got chatting and they invited me to a party later that evening. My immediate reaction was to say no as I didn’t want to slow them down but one of them lived around the corner and offered me a bike. So I rode to the party, had an amazing time, and discovered that most of them were bike messengers. They were planning a city ride the next day so I arranged to meet them and they had another bike for me to borrow. It wasn’t like I hadn’t ridden fixed gear before but this was Tokyo; one of the busiest urban environments you can experience. But it was such a good day and when it was time to go our separate ways, they asked me if I liked the bike. I told them I loved the bike and they said I should keep it.


cyclespeak
That’s amazing!

Paul
I’d known them for less than 48 hours and now I had a bike to ride and a group of friends to hang out with. And from that point moving forwards, I pretty much dropped everything I was doing and spent every day either going to castings, on a shoot, or hanging out with these people.

cyclespeak
So how does that bridge to the Slow Spin Society?

Paul
I was learning so much about the scene and that just encouraged me to dig a little deeper. I’m a late 90s kid so, to me, everything is on the internet but there was this huge gap between what people were saying to me anecdotally and whatever was available online. And what soon became apparent was that the underground nature of the scene meant that it simply wasn’t being archived comprehensively. Which is why I decided to start sharing content—in a sense I was self-feeding my curiosity—in the hope that it would encourage more people to try riding fixed. But this wasn’t something I could do simply with an Instagram account. It needed a bigger platform and that’s how Slow Spin Society started.

cyclespeak
Your Instagram bio leads with Good things take time. There is no need to go that fast. Why that particular emphasis?


Paul
The fixed gear scene comes and goes in popularity. I’m 30 years old and I’m personally witnessing a second cycle already. And with that comes certain narratives that state you need to ride brakeless in the city and jam yourself in traffic. That you need to go fast because if you’re not fast, then it’s not cool. Now don’t get me wrong, I love fixed gear but I also feel you don’t necessarily need to do all that to enjoy the scene. And from day one, I knew I wanted to make a meaningful space for all kinds of people to find inspiration and feel encouraged to get outside riding bikes. I’m very conscious that these things take time and—being someone who isn’t afraid to say no—I decided from the start to do things on my own terms. Even if that meant the pace of progress would be slow.

cyclespeak
What I find interesting and maybe feeds into this approach, is that all the imagery featured on the Slow Spin Society website is exclusively film photography. Can you talk about this artistic decision and whether it resonates with the feel and challenge of riding fixed gear?

Paul
There are a few things that feed into this. Firstly and perhaps most significantly, my grandfather was a war photographer and he influenced how I approached photography from a very early age. That’s not to say I haven’t had a digital phase but I found it both over and underwhelming. Your camera is either set to full auto and you simply point and shoot, or it’s set to manual so there’s shutter speed, aperture, ISO, white balance, along with a billion other settings that a modern digital camera has and will probably affect 1% of your image quality in a meaningful way.


cyclespeak
And film?

Paul
It feels like I’m stripping down the process to its simplest form. I guess in much the same way as my McDonald’s fries, I feel grounded and at home using a film camera.

cyclespeak
The camera you use is rather special in itself—a Leica M6—and that got me wondering what it would equate to as a fixed gear bike?

Paul
That’s not something I’ve ever even considered [laughs]. But I feel the closest match would be a No.22 Little Wing. Because the M6 does exactly what I need it to do and nothing more. It’s a good tool.

cyclespeak
And what prompted its purchase?

Paul
I’d spent a lot of time with a Nikon F3 and F100—both very accomplished cameras—but they are heavy and quite bulky and I often left them at home when I was going out on a ride. So I initially switched to the M6 for weight reasons after I asked a friend in Japan for advice on a rangefinder. He immediately suggested a Leica but warned me that as soon as I held one in my hands, I was done.

cyclespeak
Was he proved right?

Paul
To be honest, I was sceptical but decided to visit a second hand camera shop anyway. I went in, asked if they had any used film Leicas, picked up the M6 they had in stock and…


cyclespeak
And?

Paul
I was done [laughs]. The only problem being that it was way over my budget. Incredibly over my budget. So I sold a lot of stuff including maybe a dozen bikes but it was exactly the right camera for me.

cyclespeak
It’s a rangefinder so no auto focus which must make shooting on the bike a little tricky?

Paul
You use what’s called hyper-focal distances. Meaning that, if I have a 35mm focal length lens and close down the aperture to f/8, I know that everything between three metres and infinity will be in focus.

cyclespeak
When I sat down to chat with fixed gear legend Chas Christiansen, we were talking about his bike garage and in particular his Cannondale Track which he describes as a unicorn bike. And that got me thinking about how certain individuals collect classic cars from bygone eras and whether any modern day cars will eventually gain classic status. So my question is, are there any contemporary track bikes that will eventually rival the Cannondale as a classic? 

Paul
It’s hard to say because the way we produce and consume today is so very different to 40 or 50 years ago. Contemporary super cars achieve a collectable status but is that through passion and sentiment or solely because of the investment returns? It’s expensive so it’s good.


cyclespeak
And bikes?

Paul
There are definitely parallels in cycling. In the way that Specialized release a new Tarmac every year and it’s a great bike, a very fast bike, but is any variant legendary in the same way as the Cannondale Track? Which might be explained by our love of nostalgia and a yearning for the past. So in answer to your question, I feel it’s doubtful a contemporary bike can achieve legendary status solely through its form or function. But maybe it can by whoever rides it and their own individual story.

cyclespeak
So by association? A bike can be imbued with the rider’s sense of cool?

Paul
Exactly.

cyclespeak
I feel like it would be remiss of me not to ask. Have you found your unicorn bike?

Paul
Good question [laughs]. And there are so many amazing bikes that I’ve owned but my Cinelli Mash Parallax takes some beating. I’ve had it repainted so there are flames on it, I travel with it, I meet people with it, people recognise me when I’m riding it and wave. Even if it doesn’t have a lot of monetary value—it wasn’t an expensive bike—it still means a lot to me. So that’s the closest I can get to a unicorn bike.

cyclespeak
Cycling as a pastime or pursuit can be very diverse with multiple disciplines and attitudes. Is the fixed gear world tribal?


Paul
The thing about any underground culture is that it brings people, outcasts, together. Ten years ago, when track bike parts were a bit harder to find, once you’d bought from a particular person you’d tend to stick with them. And then you also have to factor in how for roadies, time trialists, mountain bikers, the cycling industry is forever innovating new parts, components, frames and accessories just for you. That also happens with fixed gear brands but to a much lesser extent. Most of the time, it’s you and the people that look and think like you.

cyclespeak
So I’ve just bought my first single speed bike: a road frame conversion with front and back cantilever brakes and a freewheel. Let’s imagine I show up at your Thursday night ride. Is that configuration acceptable or would I get comments about not riding fixed?

Paul
I would love you to be there. Because in my mind, as long as you’re having fun, it doesn’t matter what kind of bike you ride. Everybody has something to bring to the table and I would hate to refuse you a good time just because you have a freewheel.

cyclespeak
But I’m guessing there are still points of ride and style etiquette in the fixed gear world?

Paul
We might be an underground culture—the bunch of outcasts that I mentioned—but it definitively exists. Like if you ride a true fixed gear then you should ride brakeless. And how a fixed gear road bike conversion will never be as cool as a pure-breed track bike. But like a lot of this type of thing, you can buy into it or not.


cyclespeak
So let’s imagine I’m riding a pure-breed track bike through the city, what should I be wearing to complement that aesthetic?

Paul
You can be pretty flexible. But now that I’m thinking about it, maybe not.

cyclespeak
Go on then. Paint me a picture.

Paul
There’s definitely a range of extremes and to be considered normal you need to be somewhere in the middle. If you go bibshorts, road pedals, helmet, sunglasses, then people will think you’re taking yourself way too seriously. But if you go jean-shorts over leggings, mountain bike shoes and a huge bag slung over one shoulder, then you’ll get looks questioning whether you’re a real messenger or just someone pretending. So it’s probably safer to go full-on casual which still leaves you a lot of scope for individual creativity.

cyclespeak
And how about the etiquette of a group ride? The dos and don’ts?

Paul
If you’re riding brakeless your stopping distance is going to be longer so that’s probably the main thing to think about. But in terms of etiquette, the fixed gear scene is definitely a lot more relaxed than road cycling. It’s a bit more wild and attracts a younger crowd.


cyclespeak
What’s your take on the videos you see posted where someone is playing chicken with oncoming cars?

Paul
I, personally, do not ride to impress. But that is a feature of fixed gear. So I guess that as long as you’re riding within your abilities and not putting others in danger, then do whatever you want. But I also sometimes see people taking a certain pride in putting themselves in potentially tricky situations, which fed into my original decision to call this Slow Spin Society. Because we all enjoy the same kind of bikes and you can be one of us without the need to ride at 30kph against the flow of traffic.

cyclespeak
That’s something I find refreshing regarding the Slow Spin Society podcast. How you’re comfortable gently poking fun at your own world and its clichés.

Paul
They apply to me as much as anyone else [laughs]. Because I’m one hundred percent guilty of showing up to a party and literally waiting until someone talks to me about my bike. But one of the key values of Slow Spin Society is authenticity. I want to stay real.

cyclespeak
So, with that in mind, where do you see the Slow Spin Society in five years time?


Paul
That’s a great question.

cyclespeak
With a great answer?

Paul
What’s funny is that my love for fixed gear has turned into a love for everything that doesn’t fit under the term competitive cycling. And what that means is that I started with track bikes but now I also enjoy bike packing, touring with friends, and everything that offers me a good time on two wheels. I even want to give road bikes a go but in a gentle, relaxed, non-roadie manner. Just having fun, riding bikes with my friends. That’s all I want.

cyclespeak
And how does all that fit with Slow Spin Society?

Paul
Maybe as a hub for alternative cycling? To continue the growth of a meaningful culture that connects the manufacturing side of things with the community. One needs the other but the problem nowadays is that brands are rarely willing to pay for journalism. They’ll offer to give you a frame set or a pair of wheels—which at face value might seem pretty sweet—but I’m sorry to inform everyone that it doesn’t put food on the table or help pay the rent. If, that is, at some point in the future I even have a place I can call home.

cyclespeak
Quite the dilemma.

Paul
You know, here I am putting all my time and energy into Slow Spin Society—and I fucking love what I do—but if you want thoughtful, independent cycling media to exist, then we have to start treating it as real work. Because it is.


cyclespeak
What do you think the mid-teens Paul would say if he could see you now?

Paul
Probably something along the lines of, “A bike. Are you kidding me?”

cyclespeak
Really?

Paul
Maybe that response is because my younger self was obsessed with motorsport and didn’t see much value in human powered motion. But also because whenever I think about what I’ve been building with Slow Spin Society, I’m aware that it’s not quite there yet. It’s definitely something but not fully formed. So I’m a forever dissatisfied person constantly striving to do better.

cyclespeak
Can I just stop you there to suggest there’s not one single creative person I’ve spoken with who’s ever able to say, “Right, I’m done.” They are constantly questioning, constantly looking to refine.

Paul
That kind of makes sense. So going back to my mid-teen self, maybe they would give me a thumbs up and tell me to keep going. That I’m almost there?

All photography shot on film by Paul using his Leica M6 / Slow Spin Society

Feature image by Philipp Grutzmann


Click on image to open gallery

Donalrey Nieva / Professional amateur

Photography, home renovation, cookery, bike building… 

I’m on a call with Donalrey Nieva, reeling off just a few of the disciplines in which he excels and wondering whether there’s anything he can’t do?

“Lots of things,” responds Don with a self-deprecating laugh; before explaining, when quizzed on this question, how he jokingly describes himself as a professional amateur. Which, to me, only suggests that I’m not the first person to comment on his multiple proficiencies. But I decide to let this slide; preferring to fill in the broad strokes of Don’s background before we focus more on what makes him tick. 

“I was born in the Philippines and came to the States when I was 11. Growing up, it felt like a pretty normal childhood. I was into video games and stuff like that but funnily enough didn’t know how to ride a bike. So I guess you could say I was a late bloomer in terms of cycling.” 

Describing how he would skip school to play Zelda on the Nintendo, when he was a little older and encouraged by his brother, Don remembers getting into aspects of hip-hop culture like graffiti and DJing.

“We were pretty close growing up,” Don explains, “so whatever he did, I copied.” 

Settling in Las Vegas—Don already had aunts and uncles who’d moved to the city during the 60s and 70s—I’m wondering what it was like, growing up in such an iconic location? 

“It’s a common question that I get from people and I usually preface my response by asking how much time does a native New Yorker spend in Times Square. Because I lived in the suburbs and one suburb is pretty much like any other in lots of ways.” 

When he did get into cycling it was mostly BMX but only after an extended period of hiding the fact that he couldn’t ride a bike from his friends. 

“They’d all be hanging out in the neighbourhood, learning tricks, and I’d be inside playing video games and feeling a little ashamed. But my Mom noticed what was going on and started taking me to this stadium that had a large, empty parking lot where I could practise. She had me riding my sister’s bike—a fluro pink frame with tassels attached to the handlebars—and it took a month of weekends with me complaining, complaining, complaining before I noticed my Mom had taken her hand off the back of the saddle as I pedalled.” 

With bikes now firmly established in Don’s burgeoning list of interests, a family trip to Hawaii took riding to another level when he hooked up with Justin, a friend who was into streetwear.

“We’d arranged to meet and Justin rolled up on a track bike which looked so cool. And it wasn’t just any old track bike; this was a Japanese NJS import. So as soon as we got back to Vegas, my brother bought a really cheap fixed gear bike. And where he led, I eventually followed.” 

People and the city


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With photography now such an integral part of how Don enjoys his riding, perhaps surprisingly it wasn’t until college that he first picked up a camera. Planning a trip to New York, his friend suggested that it would be fun to take some shots when they were walking around Manhattan. But even though Don understood how this offered another outlet for his artistic energy, it was a slow burn and not something he remembers taking too seriously. 

“That didn’t change until I officially moved to New York in 2019. Blogging and sites like Tumblr were catching on and this trend in sharing content helped encourage me to document my everyday life. Mostly images of me and my friends riding track bikes around the city and the parties that we went to.” 

With his imagery developing a very distinctive look and feel—think refined tonal quality with a masterful manipulation of depth of field—Don suggests that stylistic growth is ever evolving if you continue to question the process and take the time to appreciate the work of other photographers. But interestingly, he baulks at the suggestion that professional quality content requires a certain specificity of equipment. 

“Sure, the gear matters. But, at the same time, I’d say that sixty percent is down to the photographer’s eye. Like when I always used to carry a big DSLR with a couple of lenses when I was shooting a trip—which meant a lot of weight to lug around—but now I ride with a super compact Sony RX100 Mark VI which takes really great shots.” 

This mention of the trips Don has taken—camera to hand—nudges our conversation along to his riding and how it’s developed over the years. For such a self-styled late bloomer, he’s certainly made up for lost time with a catalogue of epic adventures. 

“When I first moved to New York, the bike offered me this freedom to explore. You can see so much more compared to walking or taking the subway. And then this extended to wanting to ride out of the city; seeking out all these unknown roads and trails which was a relatively new way of riding.” 

So when does a ride or route become epic, I prompt? 

“If something goes wrong?” is Don’s considered reply. “Which maybe, at the time, doesn’t make for a particularly easy or enjoyable experience but, looking back, offers you memories that will last a lifetime. Like when we took a trip to Sri Lanka—my first time riding there—and I made the route using RWGPS. I could see all these squiggly roads which usually means a lot of climbing. And I just thought, fuck it, let’s include these sections and see what happens and they turned out to be some of my favourite parts of the trip. So sometimes you just have to go for it. Maybe it’s rideable, maybe it’s not. And if it’s not, then it’s an adventure, right?”

Karen


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This propensity for pushing past what can comfortably be achieved is no better illustrated than on a trip to Colombia with his then partner, now wife, Karen. 

“That was back in 2018 before the current boom in riding offroad. I’d set my heart on climbing the Old Letras Pass which they now call Alto del Sifón. A 115 km climb with 4700 m of elevation and, at the time, half of it unpaved. So a big day—the reason we set out at 4:00am—but with a consolation prize of a really nice hotel located a few kilometres on the other side of the summit.” 

“It was still dark when we started riding and the rain was pouring down but it wasn’t super steep so we were making good progress. Eventually it dried up and we stopped at a town for some food before the dirt section started. And what’s funny is that looking back at it now, Karen and I have very different memories. I thought the surface was okay but she remembers it as being pretty rocky. But whatever we thought individually, we were riding much slower than I’d anticipated and the sun was starting to set when we still had a ways to go to the top. That’s when I discovered that the morning rain had destroyed my light and Karen took a tumble on the loose surface. At that point, in my head, I was wondering whether we’d have to spend the night on the side of the road.” 

“But we kept on riding and did eventually reach the top; just as our one working light started to flicker. I knew we only had 5 km to go, downhill, to the hotel. But in the dark, with no lights, it was simply too dangerous to carry on. And then, as if in answer to our prayers, a car came round the corner. We flagged it down, explained our situation as best we could, discovered that they were also staying at the same hotel, and then set off riding down the mountainside with the car headlights illuminating our path from behind.” 

Whilst certainly qualifying as epic, what I’m yet to fully understand is how this ride connects with their own journey as a couple. 

“After we checked in and got to our room,” Don continues, “Karen just burst into tears and, because she was crying, I also started crying. Our reactions quite possibly prompted by this being our first overseas bike trip together and a pretty memorable one at that.” 

Travel


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Not that Don’s relationship with riding is confined solely to foreign climes; his connection with The 5th Floor coming about following a trip to LA with friends who raced and the suggestion, over a group text, that maybe they should start a New York chapter of the cycling collective. 

“Racing wasn’t really my thing but with Adidas, Wahoo and Specialized onboard as sponsors, I was happy to help out The 5th Floor team with photography. And all this coincided with an interesting time in brand marketing when we took a trip out to California for the launch of the Specialized Diverge. After we’d finished test riding the bike, the head of marketing was discussing content creation and coined the term influencer. That was the very first time I’d heard it used and, to be honest, I thought he was joking around; casually suggesting they provide bikes in exchange for us contributing words and pictures for their online blog. And this all happened way before Instagram became a thing.” 

Supported by Specialized he might once have been but there’s no hint of carbon in his current stable of bikes; Don favouring steel and titanium and not shying away from a statement build if the recent pictures of his re-finished Firefly are anything to go by. Which begs the question whether gold is now his favourite colour? 

“It is not,” he fires back with a laugh. “I guess I wanted something that was pretty unique and would complement my other Firefly which is finished in bronze. And then, when they sent me a photo, I was like, oh shit, that’s really gold. But now I’ve grown to love it.” 

Bikes

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Having ridden with Don in Portugal on some pretty insane trails—he’s an accomplished bike handler when things get a little rowdy—I was left wondering why there’s no hardtail or full sus in his bike collection. The answer, perhaps rather prosaically, being that they’ve never really piqued his interest and that the older he gets, the more concerns he has over falling and breaking something. Add in the fact that he lives in Brooklyn—at least from Monday to Friday—and I’m wondering if that might also dictate the style of his leisure riding? 

“The community is fairly small but that just means you know everyone. And Prospect Park is a convenient place for me and Karen to ride with friends.” 

Going by their Instagram feeds, café stops appear to play a big part in the couple’s ride routines. And causing me to inwardly wince whenever I spot the price of the pastries they’re ordering. 

“The café scene is mostly Karen but it’s also a fun part of our riding. And yes, it’s crazy how expensive it is here. I don’t drink coffee but even a matcha latte is around $8 for a small cup. But our apartment is close to some super nice bakeries and I sometimes wonder if people understand how much work goes into making a croissant.” 

With weekdays seeing Don commute by bike over the Queensboro Bridge to the Memorial Sloan Kettering Cancer Center where he coordinates research projects, weekends often find him in the Catskills at Highcliffe House; the chalet that he and Karen bought in 2020 towards the tail end of the pandemic.

“We never actually planned to buy anything upstate. But it was a region where we enjoyed riding and we’d catch the train up there fairly regularly. And then during the pandemic that just wasn’t feasible so we ended up borrowing Karen’s parents’ car which turned out to be super convenient. Especially that summer as everyone seemed to be doing really big rides. It became a thing that you rarely covered less than 100 miles and I remember one time when we were driving back to the city and I mentioned to Karen that it would be kind of cool to have a place upstate. I was joking but the seed was planted and we decided just to look. But once we started looking, we saw properties that we liked and after a couple of months closed the deal on Highcliffe.” 

Comparing its renovated state on Instagram to some earlier photos, it’s clear that a lot of hard work has been invested. 

“It was built in 1980, had orange and blue carpet, and really ugly wood panelling that looked like it was infested with termites. And looking back, it seems very daunting to take on such a huge renovation project but when we first moved in, our plans only extended to a couple of coats of paint and changing the floors. Little did we know.” 

Highcliffe


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So an enjoyable process or more of a means to an end? 

“There was a lot of learning required—a lot of watching YouTube tutorials—but I personally enjoyed it. Perhaps because I like working with my hands which stems back to my artistic interests.” 

Not only does the unpaved road that leads up to Highcliffe prove a challenge for vehicular traffic when the winter snows arrive, it also boasts its very own Strava segment. 

“It’s a private road and unmaintained,” laughs Don. “Just shy of a mile with sections of 20% and it’s a standing joke that all of our house guests that ride have to attempt the hill climb at least once.” 

With an interior fashionably furnished with a discrete smattering of design classics, I’m wondering whether Don is still collecting Facebook Marketplace finds on his Brompton? 

“That’s one of the great things about NYC. How there’s so many wealthy people who are constantly moving and want to offload really expensive design pieces. And the Brompton? I did have one particularly tricky ride home with a floor lamp balanced just above the front wheel. And you know how twitchy Bromptons can be.” 

Considering the active social life the couple enjoy in the city, perhaps it’s a little premature to ask whether Don can ever see himself living full-time at Highcliffe. But he clearly relishes the peace and quiet afforded by such a rural setting; a bucolic lifestyle enlivened by visiting family and friends. Or garden parties, I add, referencing the celebration of their wedding in 2023 following an exchange of vows at City Hall.

“Cycling is such an important part of my life; pretty much the reason why I moved to New York which I guess is kind of stupid. Usually people relocate to start a new job but I wanted to ride my track bike in NYC. So to have someone special like Karen to share all that is really great. And it’s already a given that any trip we take has to be a bike vacation.” 

So you first got to know Karen through riding bikes, I ask? 

“We met through mutual friends but I already knew her from Instagram. And I remember egging on my friend Julia to make sure she invited Karen along on the rides we were planning.” 

So an instant attraction? 

“Absolutely not. Karen was tough,” Don laughs. “I was pursuing her for over a year.”

A year is quite a long time, I suggest? 

“She knew that I liked her but she just wasn’t having it.” 

So what changed, is my next question? 

“Maybe you need to ask Karen,” replies Don with a smile. “I would arrange a bike ride and hope that it would be just me and her but then Karen would mention that we were meeting one of her friends at this or that corner. So eventually I started to question whether I was getting anywhere and decided to stop trying to hang out with her off the bike. And I think she noticed this change and we finally got together.” 

Brand photography


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With this talk of sharing a life with a loved one and conscious that Don previously mentioned how formative he found the influence of his brother Kuya Gerrard*, I decide to tentatively touch on the tragic accident in 2020 that saw Gerrard lose his life on an organised bike ride. A loss that Don lovingly acknowledges in the messages he posts on the anniversary of his brother’s passing and in the physicality of shared passions.

*The appellation Kuya means older brother in Tagalog and is used as a sign of respect.

“I have his vinyl collection at Highcliffe. We both grew up listening to the same music so I’ll just pull out a random record and, in my head, each selection brings back a very particular memory. It’s a good trigger.” 

And Gerrard’s name anodised on Don’s Firefly stem? 

“When I’m out on the bike I’m always thinking of him, so having his name written there just resonates.” 

Understanding that these material things offer a sense of comfort, I’m wondering what the objects are tapping into?

“Memories, I guess,” suggests Don. “Past and future memories.” 

So if Don was to make a future memory? If he was to plan a pretty perfect day? 

“It would have to involve a ride, for sure,” he confirms, perhaps unsurprisingly. “So out on the bike, exploring?” 

Alone or riding with someone, I’m interested to know?

“Karen and I did the Torino-Nice Rally route and on one of the days we were pushing on to make it to the B&B we’d booked. Karen had taken a shortcut to avoid this huge climb but I didn’t want to miss it. And I remember being all alone, just me and my thoughts, climbing this mountain and thinking about my brother. So hypothetically? If my brother was with me, it would be nice to ride with him again. That would make for a pretty perfect day.”

All photography* with kind permission of Donalrey Nieva

Highcliffe House

*Feature image by Nik Karbelnikoff

Jean-Baptiste Delorme / Moving with Paris

“We had no set plan; just hanging out, visiting parks and bike shops, drinking coffee, searching for new spots to discover.”

Resident himself only very recently, photographer and filmmaker Jean-Baptiste Delorme set out to explore his new neighbourhood with a revolving cast of characters. A weekend of riding through city centre Paris without recourse to planned routes or notions of distance and speed.

Illustrated with his beautifully observed images from the resulting photo essay for Pelago Bicycles, Jean-Baptiste took time out to discuss the inspiration behind this two-day urban odyssey, and what it means to move with Paris.


Jean-Baptiste—JB to his friends—is taking our call from Stolen Garage, the café-cum-community his friends have created to the northeast of central Paris. The last time we spoke he was living in Bordeaux after completing his architectural studies in Montpellier. But closer ties to clients have now prompted a move to the French capital.

“I only arrived in Paris two weeks ago. For work reasons really but I also felt the need to see a new city. There are so many interesting things happening here in cycling culture and I have lots of friends who also call Paris home.”


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Still primarily working in photography, film and video editing, Jean-Baptiste has also been busy with a few freelance architectural projects. But it was a shared passion for skateboarding that first connected him with Timo Hyppönen, co-founder of Finnish bicycle brand Pelago*.

*Derived from the geographical term archipelago

“I first bumped into Timo a little over a year ago. He was visiting Paris to promote a collaboration with Element skateboards and we got talking. It turns out that Timo was once a professional snowboarder and had his own skateboarding magazine back in the day. He then went on to found Pelago with his brother Mikko because he couldn’t find a cycling brand that fitted his own vision. So he decided to create one that did.”

With the pair keeping in touch, Timo reached out to see if Jean-Baptiste would be interested in creating a guest post for the Pelago web journal.

“Timo asked if I had any ideas for an urban story setting; suggesting that I could maybe start from a song, a book, or a movie. Anything really, that spoke to me and could be translated into a visual story. And that approach brought to mind a MASH film from 2015 that profoundly influenced my thoughts on how a bike can be used to move through, and explore, the city. This initial idea I then set against comments from friends about how Paris is too big and stressful to navigate by car or public transport. Never something that I’ve personally felt because I find it so easy to get from place to place by bike.”


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Viewing the bike as a way of making everything simpler—more spontaneous—Jean-Baptiste purposely didn’t plan the project in too much detail.

“It was a record of what I would do with my friends even if I wasn’t carrying a camera. Almost as if all the dots in my head joined together the moment we started to pedal. A casual exploration of the city with my friends Juliette and Izzy.”

Choosing to capture the ride with a mirrorless camera, Jean-Baptiste is keen to point out that a small handheld would work just as effectively. Anything, he suggests, that makes it easy to react instinctively to whatever is happening.

“As these things tend to do, it all happens very organically. We knew we wanted to eat lunch and dinner—to connect with friends—and link these activities with rides through the city. But the schedule was pretty light to allow for the unforeseen to happen. Personally, I don’t enjoy it when you’re just ticking off the sights and because Izzy was visiting from England, I didn’t want it to feel like I was acting as her tour guide.”

“The beauty of travelling by bike is that it encourages detours and last minute decisions. Like when a friend reached out over Instagram the evening before the shoot to say we should meet up for a picnic. So this arrangement simply slotted into our weekend. Everything very simple and easy. If we felt like going here or there, that’s where we went.”


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With Izzy eager to see the Eiffel Tower, Jean-Baptiste describes how they rode along the river embankment—counting off the bridges—as the tower got closer and closer.

“From there we left the wider boulevards; taking narrow residential streets to the bike shop Steel that’s run by friends of mine. And then, after lunch—a picnic by the river because that’s what people in Paris do—we headed over to a skatepark that I think was designed by Adidas. A lot of different places, quickly. Our mission more about moving through the city than stopping and staying at one particular space; that way giving Izzy an idea of how life is lived in neighbouring arrondissements.”

And Jean-Baptiste’s own response to riding through the city he now calls home?

“Riding with friends, carrying a camera, was the best feeling. Which is what I love most about bikes. When you’re sharing special moments with people you like, you create such strong connections. And let’s not forget, social rides are called that for a reason.”

Photography by Jean-Baptiste Delorme with kind permission of Pelago Bicycles

jb-delorme.com

Feature image by Caroline Pauleau

Dan King / A reason to be there

As the list of jobs lengthens—you’ll need the fingers of both hands to keep count—it takes a surprisingly long time before professional photographer and filmmaker Dan King mentions first picking up a camera. But pick one up he did—or borrowed, to be absolutely accurate—before heading to the south of France and the start of his creative journey.

Self-taught and with an innate passion for the outdoors, Dan’s body of work beautifully captures the blur of mid-race bodies and finish line faces etched with emotion. An approach to his craft that he offers up as a no-nonsense narrative: from a fascinating deep-dive into his recent film Caboose, to why it’s much more than just taking a good photo.


cyclespeak
You’re down in Brighton?

Dan
In a tiny village just outside.

cyclespeak
You grew up in this area?

Dan
I was born in Southwick which is a town just along the coast from Brighton. And my wife is from Burgess Hill which is why we ended up living here. But we’re actually thinking about selling up and moving up to the Peaks. What we can get for the little cottage we’re in now should get us something a bit bigger by moving further north.

cyclespeak
It’s rather grey up here.

Dan
That’s fine by me. I love the north. I would move to Scotland if I could make the transport connections work. So the Peaks is the ideal scenario and we’ve landed on Holmfirth as one potential place to start looking. Close to a couple of airports and good motorway links.

cyclespeak
And plenty of green fields and open spaces?

Dan
I couldn’t live in a city. It would drive me crazy. When I go to see Tom* in Manchester, I can’t do the crowds or the tram thing. All of that is just bollocks.

*Tom Reynolds. Friend and co-creator of Caboose

Team Amani / The TRAKA


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cyclespeak
Can we rewind back to your childhood? Whether it was a creative, artistic upbringing?

Dan
My Dad worked in IT so all we did was computers.

cyclespeak
Gaming or programming?

Dan
By the time I was in my mid-teens, I could build websites, even build my own computer. So I would copy CDs and games and sell them at school. But I never got on with Sixth Form—I just didn’t enjoy it—so I left and got a job at Marks & Spencer. And then a mate started an evening course in computing so I decided to do that. A job in IT security followed until another mate—who worked as a builder—mentioned that his uncle was looking for a woodworking apprentice. It took four years for me to get qualified but then I went out to Australia because another mate was working as a roofer. I’d only been there for three days before I started working as a roofer too. It was good money and you were working outside but then I hurt my back. My visa was about to expire so I just came home.

cyclespeak
And another job to add to our growing list?

Dan
I went to work with the mate who’d got me into carpentry—fitting kitchens—but my back was still playing up and because I was still doing the websites, I decided to apply for this job at a print agency that wanted to get into web design. That lasted for three years until I was headhunted to work with a startup that was doing something similar to Mailchimp. It was pretty obvious from the very beginning that they were never going to compete, so I decided to set up my own web agency. It was around this time that I was really getting into my cycling and keen to do web stuff for outdoorsy brands. So every morning I would walk down to the local chippy where I would peel mountains of potatoes. This gave me the ready money to travel into Brighton where I would meet people and pitch them my web work.

cyclespeak
But still no photography?

Dan
We’re nearly there [laughs]. Because I’d seen a post that mentioned the Further bike packing route in the Pyrenees. So I borrowed a camera and got myself down to the south of France with a view to taking some pictures for social media. I arrived late on a Friday night and the first person I met was Mike, co-owner of Zero Neuf*. Hunt bike wheels also happened to be there and asked if they could use some of my pictures for their newsletter. A little while later, Hunt got back in touch to ask if I’d like to shoot the road team they were sponsoring and it all started from there with a kind of three-year-plan.

*The farmhouse and retreat run by Mike Tucker and his wife Joss

cyclespeak
Which was?

Dan
Year One, I would go to events, take pictures and hope to meet people who would want to use the images or might need some web work. Year Two, I was only going to go if I had my expenses paid. And then Year Three, I needed to get paid for my time.

UTMB / Chamonix


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cyclespeak
So until you rocked up at Zero Neuf, the camera had never really figured?

Dan
My Grandad was into photography—in the way that he thought he was—and had all the gear but no idea. But me? I was never that into it.

cyclespeak
Because there’s the assumption—as it’s your profession—that at some point the camera switched from simply recording events such as holidays or birthdays to expressing an emotion or telling a story?

Dan
The biggest problem with photography, as I see it, is that very few people will share information about how and what they’re doing. But I was lucky because, early on, when I messaged the photographer Sean Hardy he was happy to chat about what it takes to build a career.

cyclespeak
It must take time to work out the way you shoot?

Dan
A brand employs you for the experience and knowledge you bring to their campaign. And yes, it takes time to fathom that out. But I had the safety blanket of my web design so I was in a very fortunate position of being able to pick the jobs that I really wanted to do. Because I’ve always preferred to do something that feels real and authentic.

cyclespeak
How does that play out in a practical sense?

Dan
It can go one of two ways. You either 100% stage whatever you’re shooting. Or it’s actually happening in real time and you’re there to capture it. When it’s in the middle, in my opinion it just doesn’t work. The models are uncomfortable because everything feels unnatural.

cyclespeak
Can we take these thoughts and ideas and apply them to your film Caboose that was shot around The Speed Project Atacama? The desert landscape was breathtaking but logistically I’m guessing it had its moments?

Dan
Atacama was in November and I’d first met Tom in June at the Gather Festival hosted at Zero Neuf. He mentioned that he was going to Chile for The Speed Project and I was like, fuck me mate, I want to go too, let’s talk.

cyclespeak
And Tom hooked you up?

Dan
After Gather, there were messages going back and forth until it was all arranged. But rather than just photographing the race, I said to Tom that we should reach out to some brands for sponsorship and make a film.

cyclespeak
How did you structure the pitch?

Dan
The approach I take is: this is what I’m going to do, are you in? That way the brands know what they’re signing up to and I retain creative control.

cyclespeak
So the project is on your terms?

Dan
Exactly. And if we’re sponsored by a number of brands, there isn’t one dominant voice shouting above the rest. So we reached out and it was, yeah, yeah, that’s all cool, and I booked my flight.

The Speed Project / Atacama


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cyclespeak
Did you and Tom work on a possible story line?

Dan
Leading up to the trip, I shot some video of Tom but you don’t really know how everything will pan out. It’s a real event so you can’t really count on anything. All you can control is having the available resources to capture whatever happens. But as we now had a budget, we decided to get our own crew to free me up from having to drive and look after the runners. So I reached out to a friend in South America and she recommended this person called Tilly who runs a horse and husky ranch.

cyclespeak
So you land in Chile…

Dan
And Tilly was there to meet us at the airport. And straight away she’s on it. Telling the hire car company—who were trying to pull a fast one—to fuck off. Perfect!

cyclespeak
What approach did you take to equipment?

Dan
My kit was pretty minimal because we were on the road but I knew I had enough storage and batteries to film everything. And then we would see what we had when we got back home.

cyclespeak
I’m guessing some decisions were made on the fly?

Dan
After we landed, we had a day’s drive to the start in Iquique. And on that drive I’d already decided to film some B roll with Tom wearing the same kit he’d be using in the race. So I had these shots in my head and we’d stop, hop out, do some filming before carrying on.

cyclespeak
It helped knowing you had these shots as back-up?

Dan
I knew that once the race got underway, I’d have no control over what time of day I could film. But funnily enough, the vast majority of that stuff was never used. The only shot I’m 100% certain we used was the opening scene at the bus stop. And Tom is getting up off the bench because a couple close-by were having a massive argument.

cyclespeak
So when the race finally started, you mentioned how you were filming everything?

Dan
Yes, but very quickly it was, fuck, this is so repetitive. Apart from the changing landscape, every leg and changeover looked the same. But I still had to be ready in case something did happen and—because it was repetitive—I had the luxury of maybe capturing something in a different way from how it had happened before. And Tom was the thread, so I knew that if I filmed everything he did, it would work out in the edit.

cyclespeak
So when do you start to pull the story together? As it’s happening or when you’re home and watching the footage?

Dan
I find it’s best to just park it for a month before starting the edit. Otherwise you’re just too close to the story. So after a few weeks I went up to stay with Tom in Manchester and we watched it all over again, in time order, and took three hours of footage down to about an hour. All the scenes we wanted to keep, we then story-boarded along this gradient of emotional intensity to keep the viewer engaged. And then in February, we went back out to Zero Neuf and did a little run camp. We ran before breakfast, sat down to edit and then ran again after lunch.

SYNRGY Training Camp


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cyclespeak
Now that you’ve been touring the finished film—and you’ve talked in some detail about the creative process—I was wondering where you seek inspiration?

Dan
I’m a sucker for print and there’s usually a pile of magazines close to hand. And on Instagram you do see interesting things. But, to be honest, I take photographs the way I want to take them.

cyclespeak
And that also applies when you’re working for a client?

Dan
Yeah, pretty much. I might get a brief but more often than not it’s comprised of imagery that I’ve shot previously.

cyclespeak
So they want you basically?

Dan
Generally that’s the way it works. And if the project doesn’t appeal, then it’s perhaps best to say no. Because even if it’s the best pay in the world, you’ll fuck it up or just not enjoy it.

cyclespeak
What’s your take on social media and living a life online?

Dan
You take Instagram for example. We’d be screwed in some respect if that platform suddenly ceased to exist. Because for many creatives, it’s super important. Most people have a website but what’s the first thing someone does when you mention a photographer or filmmaker?

cyclespeak
They check out their Instagram feed.

Dan
Exactly. And I wouldn’t be where I am today without Instagram. A lot of my connections have come from there. But it’s more than just taking a good photo.

cyclespeak
In what way?

Dan
You need to work well in a team. Like last year, I did loads of trail running photography. That came about because a brand sent me to shoot a race and that required me to work with other production teams. And we were on this mountain, in the middle of nowhere, and the videographer was up the trail. He’d left his tripod next to me, so I just picked it up and carried it with me. And he was over-the-moon which I found rather a surprising reaction because it didn’t seem like a particularly big deal. Isn’t it a given that you’d help look after someone’s gear?

cyclespeak
Obviously not [smiles].

Dan
Yeah, so working well in a team, not bringing the mood down, it’s all super important.

cyclespeak
From the outside looking in, people might assume that it’s an enviable career but I’m guessing there are challenges earning a living as a professional photographer?

Dan
Maybe I’m contradicting what I said earlier but if you’re freelance, it’s hard to say no. Because you don’t have contracts. Maybe a rough idea of the days you’ll be working but you never really know what it will look like next year. Whatever I earn now, I see as the most I’ll ever earn and that’s what I budget on.

Adidas Terrex Camp


Click image to enlarge

cyclespeak
So unless the job is really not your cup of tea, you say yes?

Dan
That’s about it. Unless you’re just starting out and you say yes to everything [laughs]. And that causes you to buy more gear so, basically, you need an overdraft and credit cards to be a freelance photographer.

cyclespeak
Travel is a necessity for your profession. So what does home mean to you?

Dan
There are many places where I feel at home. I feel at home when I’m at Zero Neuf. That’s where I feel my most relaxed. But in another sense, my family here is my home. And however I choose to define it, I have to be busy. Which is why I like to travel because my time is occupied.

cyclespeak
I’m not going to ask you to name your favourite images but do you find it easy to feel a sense of satisfaction in your work? Or is there always the next project?

Dan
I think I do. But maybe that satisfaction comes as much from the process as the final result. Knowing how you captured a particular photograph, the memories of that moment and the people involved.

cyclespeak
I’ve spoken to a number of creatives, from a wide range of disciplines, who are hyper critical about their work.

Dan
You do look back and notice how your style has evolved over time. Or you’ll see someone else’s photograph from the same race and ask yourself why you didn’t do it that way. But I don’t worry too much about it and it’s like me and Sean [Hardy] always say: job done, move on.

cyclespeak
I like that.

Dan
Over the week of UTMB* I’ll take thousands of photographs and 99.9% of them will never see the light of day. The sun might be in the wrong place or it looks shit. But that’s the job.

*Ultra Trail du Mont-Blanc

cyclespeak
You call it a job but, in an emotional sense, can you describe how it feels to raise your camera to the eye?

Dan
I always hold my camera. So it’s there, ready. And the process of taking a photo is almost instinctual. In terms of emotions, when you’re on the finish line of a bike race, it’s almost like a war. A real fight to hold your place in the scrum of photographers. But with running events, it’s a very different vibe. You have your allocated place, everyone is very respectful. Of course it took me a while to figure this out and I was standing in front of the TV cameras snapping away until I felt a gentle tap on my shoulder.

cyclespeak
Would you say there’s a transference of emotion from the subject, through the camera, to you?

Dan
It’s probably more accurate to say that holding the camera to my eye is masking my own emotions. I still have the same feelings but the camera allows me to hide.

cyclespeak
Why do you feel the need to hide these emotions?

Dan
My mate was getting married and asked if I would take some photos. And I don’t do weddings. But I still took my camera because it meant I wasn’t on show. Because some people like being the centre of attention but I like having a job to do.


Click image to enlarge

cyclespeak
And you’re more comfortable behind the camera?

Dan
When I was in Paris for the Olympics there was this Japanese couple taking photos on their phones. And I didn’t think twice about getting right up into their faces and taking a picture. But I would never do that in the UK.

cyclespeak
Why not?

Dan
Because, in Paris, there was no way we could communicate. In the UK, you wouldn’t get away with doing that.

cyclespeak
An argument would ensue?

Dan
Street photography is a lot easier when you can hide behind your lack of cultural understanding.

cyclespeak
So are you taking on a character when you pick up your camera? Disguising the real you?

Dan
It’s like going to work. And because I earn a living as a documentary photographer, my job is to document. So with that defined purpose comes a heightened sense of confidence. I know what I’m doing. Like I’m carrying a get-out-jail-free card.

cyclespeak
It’s fascinating how different people perceive the interactions we have in life. But then you bracket this with your ability to capture these moments.

Dan
With a camera in your hand, you’ve always got a reason to be there.

Photography with kind permission of Dan King / Feature image by Maurten

danking.cc

Quinda Verheul / Silk Road Mountain Race

Quinda Verheul is still slightly out of breath as our conversation gets underway. A practising artist when not racing her bike over multi-day ultra distance events, she has just taken a temporary job helping renovate a house and had to rush across town in time for our call.

“I like to ride my bike first thing in the morning and then go to my studio. But it’s all rather chaotic at the moment with this house project. I’ve never done anything like it before but I’m pretty confident it will work out okay.”

Dressed in casual work clothes with her hair cut stylishly short, Quinda talks in a calmly considered fashion, tempered with occasional bursts of laughter—stitching together anecdotes, remembered moments and stories from the road with the mirrored movements of hands that are rarely still.

As an ultra distance racer, Quinda is well practised at following a route across a landscape. But choosing the right path—and at the right time—can also play a part in navigating the broader aspects of our lives. Something Quinda herself discovered when first finding a love for art whilst studying at high school.

“We have different educational levels in the Netherlands which are decided by a test. And as things turned out, it wasn’t possible for me to sit art exams at the school I was attending which I found really disappointing. So I spoke to my art teacher and he arranged for me to take the exams in addition to my regular classes. All these years later, I still sometimes wonder where I’d be now if his response had been different.”

With these art qualifications to hand, Quinda next enrolled on a merchandising course.

“Learning to dress stores, elements of graphic design, lots of really cool stuff.”

But when her tutors suggested she consider university, Quinda decided to first take a gap year before booking a flight to Australia.

“I travelled along the coast—using the time to figure out my next move—and then on my return, accepted a place at the Design Academy Eindhoven. It’s a tough school with everyone very competitive and wanting to be the best. But I loved all that energy and it helped me get a position with the designer Hella Jongerius.”

Following a few years living in Berlin—Quinda eventually growing tired of the constant partying—she is now resident in Rotterdam where she builds art installations that reflect the human impact on the landscape. An artistic process that is documented on her Instagram feed—though with a recent shift to more cycling related content—and prompting me to ask about the origin of her @avoidtheavoid profile name.

“It stems from a belief that humans in general avoid confronting their core behaviours and why they are as they are. We avoid talking about subjects that hurt or challenge us and we avoid facing up to change and making necessary but difficult decisions. So lots of avoiding and hence the name.”

Recalling her first memory of riding a bike—she was very young, hadn’t quite mastered braking and remembers her Mum’s laughter when she rode over a bridge only to disappear into the bushes at the bottom of the slope—Quinda admits to her own sense of avoidance when, as a teenager on holiday, she would complain if a bike ride was suggested; preferring instead to hang out on the beach where she would sit engrossed in a book.

“But then, towards the tail end of my time in Berlin, I discovered how a bike was a fairly inexpensive way of travelling around and I enjoyed the freedom to stop whenever I wanted and pitch my tent in the corner of a field. And I’ve always recognised that I need big changes in my life and this was one of them. It could’ve been anything but just so happened to be a bike.”

Things took a more serious turn with her entry in the Atlas Mountain Race. Other events followed and eventually led to Quinda crossing the finish line at the inaugural Hellenic Mountain Race as first woman home.

“This might sound strange but I just knew I had a shot with that race. I was feeling pretty good and was prepared to push myself a little bit. And then during the race, the shittier the weather became, the stronger I felt. So something inside me switched and I had this mantra repeating in my head: just keep it together and don’t fuck it up. It was tough going with very little sleep but I managed to hold it all together for the win.”

Now recently returned from the Silk Road Mountain Race—buoyed up with memories of an unforgiving but stunningly beautiful landscape—in her own words Quinda reflects back on an experience that was ultimately uplifting but forced her to question the very reason she was racing.


We started in Karakol and I honestly felt ready. Maybe even a little overconfident? I’d seen all the films and felt like I almost knew the course. How hard could it be?

My first goal was to reach Checkpoint One at Enilchek. It was past 10:00pm when I arrived and I knew that some competitors weren’t stopping to rest. But my back hurt and the weather forecast showed overnight thunderstorms and heavy rain. It’s a long race and a lot can happen, so I decided to sleep for a few hours before continuing.

The next day got underway with clear skies and beautiful views followed by a long, long stretch of flat, dull riding—not at all like the race images you see in the media. I pushed on—snacking on ice creams and yoghurt bought from roadside stores—until later that evening I arrived at Saruu where I could eat and resupply. Rolling out of town, I was a little anxious about finding somewhere quiet to sleep but then I noticed a dip in the ground above the river that offered some privacy and I can vividly remember falling asleep underneath the Milky Way with shooting stars criss-crossing the sky.

Click to enlarge image

Ahead lay Jukuu Pass but first I enjoyed a morning of beautiful rolling gravel that led to the climb. Steep with sections of hiking around big boulders, it was exhausting to cross but the views were simply breathtaking.

Descending on old mining roads, I fetched up at a pretty wild river that crossed my trail of GPS breadcrumbs. I walked up and down, trying to spot a bridge or obvious crossing point, until eventually deciding to take off my shoes and socks. Hoisting my bike up across my shoulders and taking each step very carefully, I edged into the freezing cold water. Very quickly the river was up to my waist but what else could I do? Finally making it to the other side, I hurriedly stripped off and put on dry clothes. What seemed like hours later, I passed another rider and asked how they’d got on at the river. And, of course, they described crossing over using a bridge. A bridge which had somehow eluded me.

Even though you’re travelling through the most magnificent landscapes, it was at this point I remember thinking how the distances are so extreme that a river valley can take what seems like forever to traverse. Almost as if you’re at a standstill because your mind cannot comprehend the vastness of the land. Yet here I was, riding for a whole day with left and right looking exactly the same. And after six or seven hours I couldn’t help thinking to myself, “Yes, it’s beautiful, but I’ve seen it now.”

Click to enlarge image

The washboarded roads were pretty severe but I eventually made it to Naryn; determined to get a good dinner and a second meal to take on the road. I had it in my head to not stay a moment longer than was necessary because they say that Naryn is the place to scratch. It’s far enough from the start that your physical and mental reserves are depleted and if you’re entertaining thoughts of stopping then the temptation can be overwhelming. So I organised my food and then pushed on—preferring to find a quiet spot under the stars to rest for the night.

From Naryn there’s another long stretch along the border with China. An endless gravel road with the occasional passing truck throwing up a plume of dust. Towards sunset I instinctively started looking for somewhere secluded to sleep. Often a sheltered grassy spot to the side of the road or trail, by this point in the race my sleeping mat was losing air so every hour or so I would wake resting on the ground. A little annoying but a useful reminder to not oversleep.

Nearing Son Kul, I saw this beautiful bend in the river and decided to have a bath. Once again stripping off—this time of my own volition—only then did I notice a number of passing cars. In a land of true wilderness, I’d somehow managed to bathe with an audience but you develop a sense of whatever on these adventures. Washing my hair, I imagined the good impression I would make at the next checkpoint and it was only much later, when I saw some photographs, that I realised what a wild woman I still presented. But at least I smelt fresh.

Click to enlarge image

Riding towards a yurt village—chased by a thunderstorm—the dust and exertion were taking their toll and I was starting to develop a bad cough. My choices were to eat quickly and hit the road, or sleep the whole night before getting an early start. I opted for a night’s rest and woke feeling more refreshed and cough free.

Setting off, the land was covered in a layer of mist; each blade of grass jewelled with drops of water. Ahead lay another 100 km of road alongside the Chinese border. A little shop selling dumplings broke the monotony and I joined some other riders inside. But it felt literally like a sauna so I made my excuses and got back on my bike.

At the next town I washed my bike, my clothes and then took a shower. And it was around this point in the race that I knew I wasn’t fast enough to press for first woman home. Something crazy would have needed to happen for me to catch up and sleeping each night, as I’d been doing, meant I was rapidly losing contact with the front group. But after experiencing what it took to win the Hellenic race, I just wasn’t willing to push my limits to such an extent.

At Checkpoint Three I bumped into Allan Shaw who was riding his cargo bike. I ate a meal, got my stamp and when I was moving again discovered that Allan and I had a similar pace and kept encountering each other throughout the day.

Click to enlarge image

Ahead lay Kegeti Pass—topping out at over 4000m—and I remember a low point outside a grocery store, sitting with another rider and eating two ice creams at once, praying that my good legs would return. Suddenly, in a cloud of dust, a rickety old car pulled up and a local woman climbed out, dressed super smartly and accompanied by a huge man carrying a gun. She was holding a large suitcase which she proceeded to carry into the shop. I turned to the rider next to me as if to say, “Did you see what I saw?” A moment or two later the woman reappeared, climbed in the car and the pair drove off down the road. One of those moments when you almost have to pinch yourself and also helping banish any thoughts of tired legs.

Climbing Kegeti I noticed a young cow standing next to the river and looking a little lost. It was making plaintive sounds that suggested it was calling its mother so I slowly approached and began talking to it. I kept riding—the cow following—until ahead I saw a herd of cows grazing on a slope above the river. The young cow’s calls were obviously effective as an adult began to respond and I left them both standing and rubbing their heads together.

Heading down from the pass, I was feeling very tired and the next town was a little scary with lots of dogs. But then once again I bumped into Allan and everything suddenly felt better until he crashed on a descent. Fortunately he didn’t hit his head but his shorts were ripped and he was covered in lacerations with a deeper cut on his knee. I helped patch him up as best I could before leading him to the next town and the Secret Oasis which Allan had been excited to see for himself. This turned out to be a street full of shops and proved pretty underwhelming. Even so, Allan was able to leave his bike with one of the shop owners before taking a taxi to the nearest hospital. Later on I learnt that he went back, collected his bike and finished the race. He didn’t want his story to end with the crash.

Click to enlarge image

After Allan left for the hospital, I found it really hard to carry on. I was only 150 km from the finish but I was done and wanted the race to be over. After crying for what felt like hours, I decided to phone a friend so I could hear a familiar voice. She was telling me about her day and how she was really annoyed with her four-year-old—a super lovely kid—because he was constantly wanting to tell her things. And that irrational annoyance resonated because I’d chosen to race the Silk Road and knew full well that I would be facing challenges and unexpected circumstances.

My friend suggested that I find a hotel and get some rest. And straightaway that simple idea broke the negative cycle of my thoughts. I had a shower, drank a beer and slept what felt like forever. And then in the morning, after an amazing breakfast, I found I had enough energy and willpower to push on towards the last remaining climb and the final stretch home.

Cresting the peak was a wonderful moment. Almost more like a finish than the actual finish. The road that followed wasn’t great with big trucks that made me feel so fragile but then I saw Nelson [Trees] waiting to welcome us. I had no cash left at that point and he kindly lent me enough to have a meal. And there I sat, showered and wearing normal clothes, on a chair at a table eating my food. Slightly surreal but such a good feeling.

Click to enlarge image

Now that I’m home again and enough time has passed for my emotions to settle, I’ve come to the understanding that every race has its impact on you. And going back to my thoughts before the start, maybe it was over confidence when I thought, “I’ve got this”. But I did. Yes, I had a few ups and downs but nothing really went wrong. My bike was good, my kit choices all worked as they should, and I just feel so grateful that I was able to make the decision to go there and do this hard thing. 

I recall a conversation I had with the owner of a hotel where I’d spent a night. He was a successful man running a good business but still wasn’t able to enjoy trips to other countries due to the difficulties in obtaining the necessary visa. So in my decision to enter the Silk Road Mountain Race, I understand what a privilege it is to have the freedom to say yes, I will and can do that.

As for learning a little bit more about myself, when I understood that I wasn’t able to stay with the front riders, I was never going to scratch so why continue under a cloud of disappointment? I wasn’t riding with the knee pain or the intense tiredness that was the reality of my Hellenic win. On the Silk Road I got to sleep under the stars in a beautiful landscape that was so vast, my mind struggled to comprehend. And sometimes you need to know when to stop questioning and say, “This is good. This is enough.”

Quinda Verheul / Bikes / Art

Heartfelt thanks to Nils Laengner for the use of his stunning photography.

Silk Road Mountain Race

Kelsey Smith / Here for the free snacks

Playing Division One basketball at a Big 10 college, Kelsey Smith was no stranger to hard work and athleticism. But it wasn’t until the pandemic and subsequent lockdown that she first started cycling. Initially as a leisure pursuit, fast forward the intervening years and you’ll now find her—megaphone in hand—addressing the massed ranks of riders gathered outside Luft Los Angeles in her guise as ride leader and community cheerleader.

In an extended and off-the-cuff conversationbeautifully illustrated with the stunning shots of Chauntice Green and Melissa MartucciKelsey explores the nuances of the LA cycling scene, the positive outcomes from pushing back on boundaries, and the reasons she herself rides.

cyclespeak
Hi Kelsey. It looks like the sun is shining.

Kelsey
It is! I’m calling from my new backyard in Venice. I moved in with my boyfriend two weeks ago—all very exciting—but before that I was living in West Hollywood. So both from a riding and cycling scene perspective, this is totally different but I’m loving it. And we have this outdoor space which is really nice. Especially when you have a lot of bicycles to manage [smiles].

cyclespeak
Is this Venice Beach? I say that because so many place names in the States conjure up a film or TV location.

Kelsey
I guess Venice and Venice Beach are a little interchangeable. Maybe Venice Beach is more touristy—down by the boardwalk—and we’re set further back from the shore line. Actually, less than a mile from Luft which is amazing.

cyclespeak
You pronounce Luft in a very European way.

Kelsey
I’ll take that [laughs]. And what’s funny is that my very first group ride was Luft’s opening weekend.

cyclespeak
That’s quite a coincidence considering your current relationship with the brand?

Kelsey
I’d just moved to LA after first getting a bike during Covid when I lived up in the Bay Area. At that time my exercise routine centred around strength training at the gym but when they all closed I was like, okay, what happens now? My brother had a spare road bike and he offered to take me out on some rides. But then I moved to LA and didn’t know anyone or where to ride. My brother sent me a link to the Luft Instagram feed and flagged up they were organising their opening weekend. I showed up and—oh my gosh—I’d never seen a more diverse group of people on bikes before. It was super cool. And then when we set off, at the re-group point I noticed Kristen [Kuzemko] and immediately made a beeline to her and introduced myself.

Click image to enlarge

cyclespeak
Before we talk in more detail about your cycling journey, as it’s morning for you I wondered whether you have a specific routine?

Kelsey
I’m very productive in the morning and I enjoy having a coffee but don’t need one to feel like I can face the day. So my ideal morning would be waking pretty early…

cyclespeak
What do you call pretty early?

Kelsey
5:00am?

cyclespeak
Yep, that’s pretty early.

[Kelsey laughing]

Kelsey
And then depending on what I’ve got going on—I’m in business school right now getting my MBA—I like to go through my emails or catch up on assignments before leaving for a ride at around 6:00 or 6:30am.

cyclespeak
With friends or by yourself?

Kelsey
This morning I went on a really nice group ride out to Malibu. And then when I get back, I’ll make myself a quick smoothie before jumping into meetings, homework or things like that.

cyclespeak
But you’re not originally from the West Coast?

Kelsey
I grew up in the Midwest. More specifically a suburb of Chicago called St Charles. At college I was a Division One basketball player; starting my career at Michigan State—Big 10—before transferring to DePaul University—Big East—which is where I finished my career and have my undergrad degree from.

cyclespeak
Were you on a basketball scholarship?

Kelsey
That’s right. 

cyclespeak
So you must have been really good?

Kelsey
I was. Back in the day. And I’m 6′ 2″ which I guess kinda helped [laughing].

Click image to enlarge

cyclespeak
Have you always enjoyed sports?

Kelsey
Growing up, my parents encouraged us all to try different sports but basketball was my favourite. So ever since I was 13, I had this dream of playing Division One but sport at that level is almost like a full-time job and by the time I graduated—I was a finance major—I was pretty burned out. 

cyclespeak
What did that look and feel like?

Kelsey
I loved my teammates and the training element. But, mentally, it was really difficult.

cyclespeak
I’ve spoken with athletes—some at the very peak of their professions—and it almost seems like you’re only as good as your last game or race result, and then there’s the concerns over injury and not being able to maintain a certain level of fitness. And if they do achieve a big win it’s almost like, okay, done that, what’s next?

Kelsey
The system we have over here in the States, if a coach doesn’t have a winning season they get fired. And that, in turn, can create an unhealthy dynamic. So you take my playing career as an example. At high school I didn’t necessarily see myself as a gifted athlete but I did know how to outwork most people which was a formula that worked well for me. But when I got to college, all of a sudden it wasn’t working quite so well and you begin to question yourself. And it’s like you were saying, if you’re not performing in a way that leads to results, then it doesn’t matter whether you’re a good teammate or leader.

cyclespeak
How did that play out for you?

Kelsey
You’re 18 years old and your coach is telling you that you need to gain weight. So over the summer you eat so many chicken breasts that if you never see one ever again it would be too soon. But I’m coachable and stick to the plan and put on all this muscle but when I get back to school, the same coach tells me I’m too slow and need to lose weight.

cyclespeak
I can see how that can start to play mind games.

Kelsey
Looking back, there was something in me that knew it didn’t feel right but your coach is an authority figure and you’re the player and they decide your playing time so you do whatever they say.

Click image to enlarge

cyclespeak
So you had all these mixed emotions going through your head?

Kelsey
Exactly. And then this job opportunity came up in San Francisco. I’d never been to California but decided this was the break I needed.

cyclespeak
What was the job?

Kelsey
It was in banking. I started on the same day as another eight people and none of them came from the West Coast. So it was this really interesting dynamic of everyone being super young, everyone so excited about moving to this awesome city and you’re all kind of figuring out how to function as an adult. I honestly didn’t know shit about shit but these other people were in exactly the same situation which was really cool.

cyclespeak
In a new environment, you can be whoever you want to be?

Kelsey
Absolutely. It was incredibly liberating. And I experienced a similar process when I moved to LA. In San Francisco my life was centred around finance tech but in LA I began meeting all these people that were unapologetically pursuing things they were passionate about.

cyclespeak
Did you move to LA for work?

Kelsey
It was initially only a temporary move. In San Francisco I was used to going into an office downtown every day. But when Covid hit, it turned into a ghost town. So the friend I was living with suggested we spend the summer in LA. But it only took a couple of weeks before I was figuring out how to stay.

cyclespeak
It felt that good?

Kelsey
It was this combination of meeting all these new people, LA just being amazing and, career wise, I’d worked in finance for eight years and felt the need to pivot into doing something I’m more passionate about.

cyclespeak
Which is?

Kelsey
Sports business. Which is why I’m currently getting my MBA.

Click image to enlarge

cyclespeak
It can feel good to explore new directions.

Kelsey
The advice that I got before entering business school from someone who had just graduated was, “Kelsey, business school is a two year sabbatical. Yes, you’re going to class, but go to all the events, meet everyone and try out a bunch of ideas. It’s your time to take a step back and ask yourself what you really want to do and how these two years can help you explore that.”

cyclespeak
That sounds like good advice. And going full circle back to your riding, when you first came to LA, what kind of cyclist were you?

Kelsey
Saying I came to LA as a cyclist is generous [laughs]. Yes, I had a bike that I’d been riding for three or four months but I’d only just started clipping in.

cyclespeak
We all have to start somewhere.

Kelsey
I was really lucky because I met people that welcomed me on their rides and made me feel physically safe when I was learning how to ride in a group. And the scene was very nonjudgmental so, whenever I made a faux pas, they would explain without making me feel stupid.

cyclespeak
Tell me about a faux pas you made [smiles].

Kelsey
This is a classic one that people will understand because when I first started riding with a group, I wore my sunglasses with the arms under my helmet straps.

cyclespeak
Dare I ask whether it really matters? But I guess to some people it’s a pretty big issue.

Kelsey
It was a small group of guys that I rode with pretty consistently. We were out towards Malibu and someone mentioned my sunglasses and how the arms were under my helmet straps. And I was like, why, that’s so stupid. But he explained that it was a rule so I asked why he’d taken so long to tell me—we’d been riding together for months. He answered that it was the first thing he’d noticed about me but didn’t want to be that guy.

cyclespeak
Cycling and its unspoken rules [laughs].

Kelsey
I was lucky that the people I met were happy to advise and not judge too harshly.

Click image to enlarge

cyclespeak
How did this tie in with your involvement with Luft?

Kelsey
So I’d made this connection with Kristen and we’d arranged to go for a ride on a Wednesday with a couple of her friends. It was summer time, still really warm, so after we went to a Juneshine for a hard kombucha. And that was basically how the Humpday Hunnies ride started. Really informal on a Wednesday with a drink to follow. And through that, my friendship with Kristen developed and that led to me asking if I could help out with the Luft ride scene. We sat down together and formulated the Rad Women summer series in partnership with MAAP and it’s continuing to grow from there.

cyclespeak
Did you have a certain vision for what you wanted to create?

Kelsey
Kristen and I wanted a space to make cycling more inclusive—a community for women to join together to ride.

cyclespeak
Do you think that—as you’re fairly new to cycling yourself—this helps inform your advocacy because you can picture what it felt like rolling up to your first group ride? It can be a little intimidating.

Kelsey
So I’m a woman, thinking about getting a bike. Maybe I have concerns about safety but there’s this whole other issue relating to who I see riding in LA. It’s a lot of men so I’m wondering—if I turn up to a group ride—will I get mansplained to? Will they want to race or just ride faster than I’m comfortable with? I’m not for a second suggesting this is how male cyclists behave but what we do at Luft is counter these perceptions in a safe and supportive environment.

cyclespeak
Just out of interest, have you ever been mansplained to [laughs]?

Kelsey
I grew up playing sports against boys so that doesn’t intimidate me in the slightest. And what Kristen and I try to encourage is for people not to feel they have to apologise if they can’t climb a hill as fast as somebody else.

cyclespeak
Let’s say someone rolls up for their first group ride. What kind of advice do you give them?

Kelsey
Number one—especially in LA—is safety. So we talk about riding two up and the various hand signals they might see. Are they carrying the tools and spares they need? Do they know how to use them and if not, would they like us to show them? And then there’s the secret language of cycling that covers aspects of etiquette. Things like the difference between a drop and a no drop ride. With our Rad Women rides, we have two routes. One is called Spicy and the other is Mild.

Click image to enlarge

cyclespeak
So what does your own cycling journey look like?

Kelsey
Some of the women that I’ve met on these group rides are now my closest friends and my go-to people to ride with. Through them, I’ve discovered new routes and seen and done things that I never would have thought possible. And I also get a real sense of satisfaction when women return after their first group ride with an appetite for more…

cyclespeak
Because that’s the metric, isn’t it? Do they come back…

Kelsey
Exactly.

cyclespeak
You mentioned carrying ride tools and knowing how to use them. The megaphone you and Kristen use for your briefings looks fun?

Kelsey
Oh my gosh. You’re right when you say it’s so much fun. It’s a little silly and cute and I love standing up at the front passing the megaphone back and forth.  But what’s really cool is that in the photos you can see the two of us but what we can see is 70 or 80 women that have come together because of something that Kristen and I have built.

cyclespeak
That’s pretty special.

Kelsey
It’s good to be reminded that it wasn’t that long ago when I rolled up for my first group ride [smiles].

cyclespeak
Looking at the LA cycling scene in more general terms, does it have a unique sense of style?

Kelsey
That’s an interesting question because what’s cool about LA—or at least my cycling community—is that a lot of people come from a creative path. So maybe there’s more a feeling of making it what you want it to be? Less stuck up and stuffy? A tee over cargo bibs is very much accepted as a gravel look. Maybe with a bandanna?

Click image to enlarge

cyclespeak
And the more traditional road scene?

Kelsey
When MAAP, BlackHeart and Bleach Design Werks did the pink bibs, they were all over LA. And it was interesting seeing men so excited to wear Barbie-pink bibs. So, yes, we might adhere to the cycling rules but what’s cool about LA is people like to push the envelope.

cyclespeak
What bikes do people ride?

Kelsey
Nice bikes. Expensive bikes [laughs].

cyclespeak
What do you ride?

Kelsey
A Specialized Tarmac. But that’s because I like to go fast [smiles].

cyclespeak
Do coffee stops feature on your rides?

Kelsey
If we’re on a group ride and don’t stop for coffee when we finish, that’s a little weird.

cyclespeak
After but not during?

Kelsey
If we’re way out in Malibu and it’s a very long day then during. But for the most part, the coffee is the reward at the end of the ride.

cyclespeak
And does cake also feature?

Kelsey
How do you define cake? Seeing as you live in England.

cyclespeak
Not pastries. Something like a brownie? Or carrot cake with frosting?

Kelsey
I love that. But typically over here, people get a coffee and either a croissant or a muffin.

[pause as Kelsey mulls over other options]

Or a cookie. A big cookie the size of your face [laughs].

Click image to enlarge

cyclespeak
Not so much cake choices but do you feel there are any misconceptions about the LA ride scene?

Kelsey
Speaking for myself, a little part of me wondered whether people in LA would be materialistic—maybe stuck up and not inclusive. And especially in West Hollywood, right? Everyone flashy and focused on show business.

cyclespeak
And the reality?

Kelsey
I’ve actually found the community here to be super approachable. I speak over the phone to my Mom and say that I’m going to hang out with this or that person and she asks me what they do for work. And sometimes I don’t actually know which is really kind of refreshing as not every conversation when you meet someone for the first time starts with, “And what do you do?”

cyclespeak
I guess that helps people place you?

Kelsey
Careers in LA look a bit different. You might work in tech but be a photographer on the side. Or have a marketing position but on the weekends write short stories. So generally speaking, I find the community in LA to be really welcoming and more nonjudgmental than I was initially expecting.

cyclespeak
So taking all these different aspects into consideration, why do you ride?

Kelsey
Cycling offers me a true sense of community. When I ride, I get to meet people and the conversations we have are not just a lot of fluff. And what’s so personally fulfilling, is that I’m pushing my body and mind in a way that you don’t always get to do in your job. I’m very Type A so riding a technical gravel route or climbing up a mountain allows me to grow both mentally and physically. For me, that just feels super cool, and by leading an active role in creating and growing a community, I can pass these feelings on to other people.

cyclespeak
Last question Kelsey and it’s an important one. Your Instagram profile mentions you’re just here for the free snacks. And I was wondering whether you have a preference?

Kelsey
It might not be the best choice for on the bike but sliced apple dipped into chunky peanut butter? That works for me every time [laughs].

Photography by Chauntice Green and Melissa Martucci with kind permission of Kelsey Smith

Feature image by Melissa Martucci / All other images individually credited

Luft Los Angeles

Tokuhiko ‘Tok’ Kise / Tools for everyday life

Halfway along a quiet side street in the Japanese city of Osaka is a stand of trees shading the corner of two buildings. To the left, the showroom and workshop of TRUCK Furniture, and on the right, an offshoot of the brand in the shape of Bird cafe. The vision of Tokuhiko ‘Tok’ Kise and his wife Hiromi Karatsu, TRUCK was founded in 1997 with Bird following in 2009 after the original design studio was moved to its present location.

With every item of furniture expertly handcrafted onsite, Tok views these individual pieces as tools for everyday life—a design philosophy that extends to his lifelong appreciation of the bicycle. A quietly passionate pursuit of two-wheeled adventure that reflects a boundless appetite for life and living and an innate respect for materials in all their forms and function.

Illustrated by Lee Basford’s beautifully observed photography, Tok explores the connection between his love of the outdoors and the choices he made as a teenager, why he amasses objects but doesn’t consider himself to be a collector, and how, ultimately, his relationship with the bicycle is at its very simplest when he’s outside having fun.


A youthful 55 years old and quick to smile, Tok is reminiscing about his earliest memories of riding a bike. Perhaps hinting at his future profession crafting bespoke items of furniture, he can remember modifying a bicycle his parents had bought him—Tok swapping out the seat and bars so that it looked like a chopper. Just one example of a childhood quest for bicycle-based fun that he describes with obvious delight.

“In Japan there is a type of shopping bike we call a mamachari. This means ‘Mom’s bike’ and quite often they have a basket on the front. Yes, they are heavy but if there was any sand or gravel I would drift around the corners, jump over obstacles and practise my track stands. So, as a child growing up, the type of bike didn’t make any difference. I just enjoyed riding.”


The youngest of four siblings, Tok recalls a comic book belonging to his brother that depicted a story about two young boys cycling all over Japan with their camping gear. Immediately inspired, Tok purchased a randonneur bike manufactured by Japanese brand Bridgestone that was styled as a European grand tourer with drop bars.

“I rode that randonneur for eight or nine months—enjoying long trips up into the mountains. But then one day I saw a picture of a mountain bike in a Japanese camping magazine and just knew I had to have one. So I immediately placed a ‘for sale’ advertisement for my randonneur in the back of the magazine—there was no internet back then to help me do this—before buying a Japanese-made mountain bike in Tokyo.”

A classic hardtail with chromoly steel frame and cantilever brakes, mountain bikes were still a rarity in Japan and Tok remembers the surprised looks from passing hikers as he descended downhill paths and trails.

“They would stop me and ask if I was going to go down this or that trail on my bike. And I would just smile and answer—‘Yes, of course’—before disappearing into the forest.”

With teenage years giving way to adulthood—Tok initially working for a company manufacturing chairs before starting his own business TRUCK—as a young man forging a new career as a furniture maker he was determined to follow his own path.

“It was the same with my bicycle. If I wanted to ride, I would ride. If I wanted to surf, I would go surfing. Even when I got married and we had our daughter, I could still find some time to do these things. I can remember when my daughter was eight years old, she would sit on the saddle of my mountain bike—with me standing behind her—and we would ride down some gentle paths.”


As the furniture Tok designs and manufactures is all handmade, his appreciation for the physicality of materials also extends to the bikes he chooses to ride.

“My taste is for a frame made from thin, round tubing which I feel looks very classic. And I never buy a bike because of the brand name. It’s more that I respect beautiful workmanship when the proportions are just so. It’s happier than bad work.”

Enter his garage and you are met with a veritable Aladdin’s Cave of tools, motorbikes and bicycles—a layered representation of Tok’s ongoing fascination for engineered products and artefacts. On the floor sits a barrel of wooden mallets alongside a bench supporting multiple pairs of leather work shoes. And above, a row of near identical brushes that frame a vintage Evel Knievel poster taped to the door. 

“I’m not a collector but I know my taste and can decide instantly if I like something or not. It’s rather that the objects find me.”

With a wood-turning lathe set against one wall and assorted drill bits and screwdrivers arranged neatly nearby, he expounds on how he views the individual items of TRUCK furniture as tools for everyday life—Tok wanting his customers to enjoy them without feeling the need to be too precious about their use.


“Sometimes this means you might make a mark with your can of beer or coffee cup. But that is the life of the object and I welcome the patina as it ages. And it’s the same for a bicycle. It isn’t an art piece to be left on the shelf. A bicycle is for riding and having fun.”

As an object, the bicycle has many functions,” he continues. “It can be beautiful standing still but if you push the pedals you move without the need for gasoline. If you drive a car, you don’t feel the wind or smell the pine trees. You can’t hear the birds sing. And because the speed of a bicycle is slower, you can see more.”

Preferring to ride alone or with a small group of friends, his location in Osaka is a short, half hour drive to the mountains—convenient for loading up his bike and enjoying a morning ride with 360° views back down to the city. Choosing instead to ride from home, one favourite local loop takes riverside trails to the Long Walk coffee shop and their collection of vinyl jazz records.

“I just enjoy riding my bike. Whether that’s on the sidewalk in front of TRUCK or up high in the mountains. And that’s something I’ve done ever since I was a young child. Riding out on my mountain bike when I was 13 years old with some biscuits and a small stove that I would use to make myself a coffee.”

This lifelong love of cycling is nowhere better illustrated then in his choice of career. With his high school friends all heading for university, Tok read an article in an outdoor magazine that mentioned a furniture making class in the Nagano Prefecture. Deciding to enrol, he studied for one year and then returned to Osaka where he built his own workshop before founding TRUCK with his wife Hiromi.

“This all happened because I enjoyed mountain biking and spending time outside—the reason I picked up that magazine in the first place. So ever since I turned 18, my professional life has been furniture making. And my riding threads through this journey. When I was a child, I would customise my bike and I still do that today. Little things like some nice tan-wall tyres, the leather from my workshop wrapping the bars or using the stopper from a bottle of single malt whiskey as a bar end. I enjoy making the bike look and function according to my taste. And it’s the same story with my furniture. I make what pleases me.

Tokuhiko ‘Tok’ Kise / TRUCK Furniture

All photography by Lee Basford with kind permission of Rapha / leebasford.com / Humankind

Read more about Lee’s story and his stunning photography here

Sergio Villalba / A simple life

Photographer Sergio Villalba is describing a memory from childhood. Growing up by the sea, he conjures up images of a young boy – maybe five or six – playing in the surf near his family home on the island of Tenerife. A relationship with the outdoors – and the sea in particular – that he would later express through an obsessive desire to capture all those precious moments experienced out on the water.

“I was 14 years old and decided photography was the way to do this. But when I think about it now, I still find that a little strange. My parents had a Pentax point-and-shoot they used for snaps of Christmas and family holidays but that was it. I didn’t grow up in a particularly artistic environment and I wasn’t trying to be creative with my first photographs. I just wanted to document the waves my friends and I were surfing.”

Purchasing a couple of Kodacolor rolls whenever funds allowed, Sergio now recognises that despite not showing the resultant images to anyone, the seeds for his future professional path were sown.

“But then, when I was 18, my parents got divorced and the situation for myself and my sister was unbearable. Longing to escape, I sat down with my mum and told her I was planning on moving to Barcelona. A few months later I left the island where I’d grown up.”


Suddenly thrown into an urban environment and knowing no one, Sergio started to reach out and build a new set of friends. One of these acquaintances was a graphic designer who worked with several music venues in the city including the jazz club Jamboree. Sergio’s interest in photography led to a job offer shooting cover images for the club flyers. With digital photography in its infancy, he had to quickly master the art of capturing fast moving subjects in low light and smoky conditions—Sergio relishing the creative freedom until the appeal of city life began to wane and a return to the island of his birth.

“The ocean was still my passion and I got it into my head to build a career through surfing photography—setting myself the goal of making a living from photography within a year of returning to Tenerife. It was around 2005 and luckily a golden era for surfing with budgets big enough to make a photographer’s wildest dreams come true.”

Over the next few years until the 2009 recession began to bite, Sergio founded a creative agency with another two photographers and travelled the world. With two bags permanently packed – one for cold weather and a second for warmer climes – each year saw eight or nine months on the road. An enviable position for any photographer seeking to build a reputation but eventually costing Sergio his relationship.

“My girlfriend ended up admitting she was used to being alone at home and felt uncomfortable when I was around. By that time, the recession was killing off surfing brands with consumers not willing to pay 40 euros for a tee when fast fashion enabled you to only pay five and get a new one every two months. The dream was over.”


With the hard reset of a recession, Sergio’s photographic style evolved to embrace a more varied range of brands—selling rather than storytelling now the main focus for his strong and visually appealing imagery.

“Even though you’re shooting a product range, you can still be playful and enjoy the process of creating beautiful images. And like everyone else, I love sunrise and sunset. Who doesn’t? But I must admit that the harsh midday light is also very appealing. If you know how to use it, you can deliver some great results and I especially love it for portraits of sweaty athletes or for playing with architecture and projected shadows. With a little bit of imagination you can get the best out of any situation.”

“What I plan is not always what I get and one thing’s for certain: you learn from everything—even from your mistakes. And I’ve gradually grown to understand that I get attached to certain images not because of the photograph itself but the process of making it—how difficult it was to get it or the risk I took to achieve it. But that’s a mistake, I know. Whoever’s viewing your work takes what they’re seeing at face value. So a photograph must speak for itself and – in the best case scenario – tell a story.”

With a self-declared obsession with what he describes as believable images, Sergio is cryptically referencing the professional period that followed his surfing days. Working on tourism campaigns and shoots for luxury hotels, Sergio explains why none of this content was ever posted on social media or displayed on his website.

“Was it good money? Yes. Did it help me through a commercially slow period of my life? Yes. But I got this weird feeling of doing something wrong after every shoot. So I promised myself I wouldn’t do this type of job anymore and that I’d put all my efforts into getting back to what I like the most. And for me, that means documenting a life lived outdoors.”


Describing himself as the quiet guy behind the camera, on a shoot Sergio is happy to let the models do their own thing—an approach he believes pays dividends in the resulting images.

“If you over direct someone you´ll drive him or her crazy and kill any naturalness in their actions. Other times there’s no choice—you have to make it happen so you can get the shot. But as soon as everything is working, I take a step back and become the quiet guy again. But that’s not to say I don’t enjoy the connection of working with other creatives. Photography can be a very lonely profession when you’re doing backups after the shoot and everyone else is drinking beers. So I enjoy working with my own team of trusty professionals who are first and foremost my friends. But it’s also good to maintain my freelance status. As we say in Spain, juntos pero no revueltos. Which in English translates as together but not in each other’s pocket.”

“Sometimes it’s a question of balance and work has been so intense in these post-Covid times that I need a rest from looking at everything through a viewfinder. I love documenting my own life but you need the freedom to touch more, see more, smell more. And though younger people may hate me for saying this, I think travelling is a little overrated nowadays. I’ve seen so many places go from having a stable, traditional life to being overdeveloped in a very short time span. People stop farming and fishing and try to get easier money from the tourists. And though we seek out places like modern day Robinson Crusoes, unless it’s completely frozen or full of malaria then it’s already swamped with digital nomads and content creators living their best life.”

Finding he now appreciates home more than ever and happy to travel less, Sergio recognises how the rise of mass tourism inevitably means it’s not the same place as where he grew up. A situation that prompts collaborations with organisations and individuals campaigning to protect the sensitive socioeconomic balance of the Canary Islands.

“I live a very simple life that I love. I’m the father of two boys and partner of the greatest woman I ever met. I have my gravel bike and live within walking distance of the sea. If you scroll through my Instagram feed you´ll recognize many places that I use over and over again. The little rocky harbour in my hometown, the waves that wrap around the shoreline where we surf, the Teide National Park. Together with my family, all these places are part of my daily life. I couldn’t be a fashion or architecture photographer because that’s not how I live. I have a peaceful, outdoorsy life and that’s what I try to project in my work.”

All photography with kind permission of Sergio Villalba / sergiovillalba.com

Ryan Le Garrec / The easiest crossing in the world

“I’m working out of my flat – editing from the couch – so there’s the challenge of getting in some steps. Basically, I’m a potato.”

Filmmaker Ryan Le Garrec is perhaps over emphasising this current period of inactivity. Working on the edit of his most recent film – a 1600 km bike packing journey into the Atlas Mountains of Northern Morocco – clearly he’s exercised enough to balance a few days stuck behind his laptop.

Dressed casually with a tousled head of hair and a beard traced with grey, Portugal is now home after a peripatetic life lived on the road. Growing up in Paris with a French father, a Tunisian mother and a British passport courtesy of his London birthplace, Ryan studied in Belgium before taking a job in Sweden where he met singer / songwriter Damien Rice.

“Someone once said that home is where they hadn’t been yet. And for years I was on tour with Damien as a kind of Swiss-Army-Knife video and pictures guy. I didn’t have anywhere permanent to live because it wasn’t necessary. You’re on the bus or maybe there’s a cab ride, but it’s mainly the venue and your hotel room that you see of the city you’re playing in. So I decided that when I was done, I would find a little apartment with a bakery down on the street which I would visit every fucking morning. And since then, I’ve become really hooked on routines. To such a degree that my wife despairs with me wanting to go to the same place to eat all the time. But that’s the point—it’s good, it doesn’t change and that’s reassuring. I didn’t need that before but now it’s increasingly important.”


With routines fixed and a bakery within easy walking distance, Ryan’s days are now filled pursuing his first love as a profession.

“I’ve always wanted to make films. Maybe because I was born into a family that worked in French television. My Dad was a war reporter, my Mum a news producer, my Uncle a news anchor and my cousins were journalists.”

Tasked with describing his style of filmmaking, Ryan recounts – with a wry smile – how his wife tells him that he’s terrible at telling stories. That he often misses the point.

“Maybe it sounds a little pretentious but the word poetry feels appropriate. That fits and doesn’t seem like a lie. Because what I try to do, rather than simply telling a story, is to convey the emotion of the moment. Most people can say how happy or sad they are, for this or that reason. But expressing that in a single shot and without words? That, for me, is where it gets interesting.”

With his current project, it’s this emotional intensity that leaves Ryan visibly upset in the final frames of the film. A powerful and unexpected conclusion balanced by dreamlike vignettes of everyday life – gas stations, city street corners, farmers tending fields – that intersperse the scenes of riding.

“I’d planned to work with three cameras and each had a different role to play. The DSLR in black and white was totally personal. A sort of image journal made up of random stuff that touched me somehow. Sequences that conveyed another layer of the story—my own personal state of mind. I wasn’t depressed before embarking on the trip but I had my own shit to deal with. And what’s interesting is how we process our feelings and the subconscious decisions we then make. Looking back at the Morocco edit, the scenes outside Casablanca speed up after I mention how much I was missing my kids. Something I did during the editing almost without thinking.”

Asked what metrics he uses to measure the success of a particular project and Ryan initially struggles to arrive at a succinct answer. After a momentary pause for thought, he suggests that even if the reaction is negative, it is a reaction.

“One of the first films I made with a long-distance cycling theme featured Josh Ibbett riding in the US. And a lot of people hated it. If you look on Amazon, the reviews are nasty—the film has maybe 2 stars. But there’s also the odd comment from someone who really loved it, so that’s okay. And someone once said to me that if no one hates your film, there’s something wrong with it. You’ve played it too safe. And do you really want everyone saying how nice they thought your film was? Do you want a viewing experience like when you’ve eaten a hamburger and a half hour later your body has forgotten the meal and you’re hungry again?”

Coupled with the vagaries of viewer feedback is the changing way we choose to consume media. The argument that the purposeful environment of a cinema screening allows more creative freedom compared to a project streamed over the internet where the focus is on holding someone’s attention before they swipe to the next video.

“But there’s two sides to every story and streaming perhaps offers an easier path to building an audience. We might not have everyone gathered in one room at the same time but we can release whatever we want, whenever we decide it’s ready. And a cinema release demands a production budget which, in turn, requires you to pitch an idea and have someone put their faith and funds in your hands. YouTube doesn’t give a shit what you’re doing.”

“I do hear complaints that attention spans are getting shorter but people still binge on a television series so if your content is engaging, they will watch. There’s nothing I’d rather do than share my work but if it didn’t find an audience, I’d still be doing it. Ultimately, you make films for myself, no?”


Looking back at his work for television, Ryan would be filming a Japanese chef on one day and a drummer from a rock band on the next. He couldn’t simply start by poking a camera into the subject’s face—he needed to invest some time in getting to know them a little. But with his cycling films, Ryan is literally passing through with a camera so there’s a need for more immediacy.

“Perhaps strangely, considering my job, I find it so difficult to film people. I guess it’s called shooting for a reason but that’s a harsh word with its own connotations. Which is why I’m such a big fan of smartphones and tiny cameras that are way less intrusive. For shy filmmakers like me, they’re such an advantage as they make you look harmless. And whenever people ask me what I do, I say it’s like when you go on holiday and take pictures or record a video—and I just do that for a living. But what do I really do? I have a bike that I ride and I make myself miserable and I try to meet people on the way and I take pictures and then I write some words to go with the pictures. But not about what is happening but how I feel about what is happening.”

Here Ryan is perhaps being a little playful—especially with reference to feeling miserable on the bike. Not owning a car, an electric cargo bike is his chosen mode of transport for picking up groceries and taking his children to school. A lifestyle decision that harks back to how happy a girlfriend looked whenever she rolled up on her bike.

“I was taking buses and subways—usually arriving late and in a nasty mood. But she would have this massive smile on her face as she climbed off her bike. So I got my own bike because I wanted some of that too. Later I became a bike messenger so the bike was also a job as well as my daily transport. And you experience so much more that is pleasurable about city life when you travel by bike—the little neighbourhoods that you’d never discover travelling underground from one metro stop to another.”

“I can’t say that it’s ever been a sport for me but at some point, I did fall in love with long-distance riding. Such an amazing experience the first time I crossed a border and the meditative state you get from passing through a landscape. This interest led to the Transcontinental where you push your limits and learn to deal with shit which in turn inspires you to switch things up in your life. If I can deal with saddle sores for three weeks, maybe I can question my boss about a particular decision. And it was these thoughts that gave me the impetus to quit working in television – where I was so comfortable – in favour of focusing on my filmmaking. So it’s fair to say the bike is my favourite object and if I couldn’t film or take pictures and just ride my bike, then I would do that. I’ve worked as a bartender, a bike messenger, a sailing instructor and I loved all of these roles. But working with stories just adds another level and I can’t not do what I do.”

All photography with kind permission of Ryan Le Garrec / ryanlegarrec.com

Sami Sauri / Hours in the day

From snow-capped mountains to desert sands, the past year has seen a plethora of professional projects for photographer and creative producer Sami Sauri. Based in Girona but rarely in repose, her full-gas approach to work and play brings with it a creative energy that enlivens each and every shoot. Open and honest in how she depicts the highs and lows of a life lived on the road, Sami’s innate sense of fun threads through a conversation that casts a humorous light on lost bikes, a rain soaked search for surf and her wishful desire for more hours in the day.

Sami
Sorry I’m late.

cyclespeak
No problem whatsoever.

Sami
I was getting a new bike fitted and it took longer than expected. And then I got home and the bike wouldn’t fit.

cyclespeak
Fit where?

Sami
In the elevator [laughs]. I had to take the front wheel off and then I couldn’t find my keys.

cyclespeak
What kind of bike is it?

Sami
A YT Industries. They’re my new sponsor.

cyclespeak
We all love a new bike day.

Sami
I’ve got a big trip coming up and don’t want to fuck up my body which is why I arranged the bike fit.


cyclespeak
Speaking of looking after yourself, did something happen yesterday when you were riding back to Girona from Andorra?

Sami
My bag flew off on the second big downhill section. Very strange because I’d checked the straps and I’ve used the same setup on some pretty gnarly stuff. And the funny thing is, I didn’t even realise. I kept going and it turns out there was this car behind me, trying to attract my attention by peeping their horn. But I had my music on and a buff over my ears. Luckily, I had to stop at a red light. The car pulled up and the guy driving explained what had happened. I was like, ‘What!’

cyclespeak
If it wasn’t for that stop light, who knows how far you would have ridden?

Sami
Exactly. And the bag was holding my computer and hard drives. But another car had stopped and they’d picked it up from where it had fallen. Luckily, on a previous trip I’d been working with a sponsor called Urban Armour Wear that makes protective cases for phones and laptops. So at least my stuff was super well protected [laughs].

cyclespeak
And you provided the perfect real-world test.

Sami
In Spanish, to be lucky, we say we have a flower in the ass.

cyclespeak
The past few days I’ve been busy working out what questions to ask you but there’s just so much to cover over the past year.

[Sami laughing]

cyclespeak
And I can’t start a call with four pages of questions. It’s ridiculous. So I’ve had to hone it down as you never sit still. 

Sami
So it’s the highlights?

cyclespeak
That’s right. So starting with the tail end of last year and you were premiering the first episode of Into the Atlantic Islands. Towing a surfboard behind your bike up those Madeira climbs looked hard work?

Sami
They were so steep and I did it wearing sneakers.

cyclespeak
How was the response to the film?

Sami
Looking back, maybe it was a mistake to split it up into little mini episodes rather than one full-length film. And I always find it difficult to edit myself. Hearing your own voice and seeing yourself on camera. And if you think about it in a marketing sense, we shot the film when it was sunny and warm but it had a wintertime release. So maybe a little out of context?

cyclespeak
And the audience response?

Sami
That was really good and we’re now taking those lessons learnt into our second chapter.


cyclespeak
Shortly after your Madeira trip, you went off to Saudi Arabia to film the Dakar Rally.

Sami
That was an experience which I would happily do again. But spending 20 back-to-back days filming in the desert, I did really miss my bike. Kind of my body asking what the fuck I was doing?

cyclespeak
But shortly afterwards, you posted from Fuerteventura where you were taking a well-earned rest.

Sami
It’s a special place for me. Somewhere I go to recharge and relax. I ride but usually spend more time surfing. They have waves all the time so why not [laughs].

cyclespeak
And then quite a contrast in landscape when you visited your friend Gaby in the Alps to help celebrate her birthday. Is there a particular emotional connection you have with mountains?

Sami
Ahhh. Now you’ve got me. Because I’m finding it more and more.

cyclespeak
The call of the mountains?

Sami
There was a time when I was seriously planning on moving to Fuerteventura. There’s endless gravel riding and of course the surfing. Two sports that merge really well and work all of my body. Surfing is so chill with no phones or anything and you get a sense of discovery with your bike.

cyclespeak
But you decided not to move?

Sami
It’s a pretty small island so I’m still happy to stay in Girona for the time being. But the mountains appeal in both a personal and professional way. So I’m not going to say when but I’m already considering a move there.

cyclespeak
Andorra maybe or the Alps?

Sami
No, definitely the Alps.

cyclespeak
I can imagine you in a little cottage on the side of a mountain.

Sami
It might not be a place, exactly. Maybe I’ll just get a car or van and move around. I’m in this limbo at the moment trying to sort stuff out.


cyclespeak
After saying goodbye to Gaby, you’d planned to ride home but the weather was pretty awful so you decided to take a bus. And what happened next was pretty incredible?

Sami
The rain was torrential so I stopped in this middle of nowhere town. There was a restaurant but it only had things with meat available. So I just sat down with a tea and watched the rain get even heavier. I asked them if there was a bus and they told me it was round the corner before helping me find an online timetable.

cyclespeak
That sounds a better option than riding in the pouring rain.

Sami
The bus was running late so I was waiting at the stop in the freezing cold, wearing every layer I was carrying. There was a girl driving and she helped me put my bike underneath in the luggage compartment. But when I came to pay I realised I’d left my wallet in my bags so, once more, out into the rain and cold.

cyclespeak
You paid your fare and found a seat?

Sami
15 or 20 minutes later, the driver suddenly braked and brought the bus to a stop. She was shouting that the door was open but I didn’t immediately realise she was referring to the luggage compartment. And then it suddenly hit me and I raced down the steps and outside – not wearing any rain jacket – to discover my bike was missing.

cyclespeak
That must have been devastating?

Sami
My bike, my clothes, my computer, two hard drives containing recent projects. All missing.

cyclespeak
I can only imagine how that feels.


Sami
And then this car pulls up and explains that they’d been flashing us after they saw something fall out of the bus. I asked them to take me back along the road which they kindly agreed to do. And they were saying it was here, or maybe along here, or actually a little bit further. And all the time I was thinking, where the fuck is my bike!!

cyclespeak
So you couldn’t find it?

Sami
While all this was happening, thankfully the bus was waiting because my wallet and phone were still resting on my seat. So I thanked the car driver for trying to help and climbed back onto the bus to shelter from the rain. I called my friend who was putting me up for the night and I’ve never been so upset in my whole life—breathless, hardly able to speak and sobbing down the phone.

cyclespeak
How do you explain to someone that your bike fell out of a moving vehicle?

Sami
She offered to come and pick me up but I decided to stay on the bus and she’d meet me when we arrived in her town. An hour or two later – after a few more calls of me crying – we pulled up at the bus station. My friend and I were still hugging when I got a notification on my phone to say I’d received an email. This, it turned out, had been sent from a local police station to let me know they had my bike in detention [laughs].

cyclespeak
They’d arrested your bike?

Sami
Yes! And when my friend drove us over, there it was.

cyclespeak
But how did they know it belonged to you?

Sami
They’d opened the bags, powered up my laptop and saw my name on the log-in screen. Searching on Instagram, they’d found my profile and had sent me messages. But checking my Instagram feed was the last thing on my mind as I was panicking about my lost bike so I’d missed them. But from the profile they did manage to find my email and that finally worked.

cyclespeak
That’s quite some detective work!

Sami
And the funny thing is, the boyfriend of the girl I was staying with has this labelling machine and he made me name labels for everything I was carrying and my bike [laughs]. 


cyclespeak
Not long afterwards, you spent some time in Paris shooting for Rose Bikes. How did you find working in an urban environment with its street culture undertones?

Sami
That’s possibly one of my favourite shoots of the year. I love working with El Flamingo Films—the best times ever. And they always seem to use beautifully edgy models and locations that are random, remote and crazy places.

cyclespeak
Random and remote in Paris?

Sami
We went to this neighbourhood that definitely matched that description [laughs]. And I liked how Rose wanted to tell a different kind of story compared to the usual editorial content. We even featured an actual taxi driver in some of the scenes.

cyclespeak
After a spell of surfing and skiing, you signed up for the Gravel Augusta; a 450km route from Barcelona to Valencia with 4000m of climbing. An enjoyable return to long distance racing?

Sami
Looking back, my decision to sign up was crazy [laughs].

cyclespeak
But you raced it nonstop—the first woman home. Pretty impressive.

Sami
I’d been on a ride with some friends and then had lots of wine at a restaurant so I was completely shitfaced when I agreed to do it.

cyclespeak
And then the reality sinks in the following morning.

Sami
In my head, I had the best day ever on the bike. I hadn’t trained so I wasn’t focusing on my speed or where the other riders were. And then during the night section, I’d stopped for dinner – for an hour and a half [laughs] – when another girl arrived. That’s when I realised I was leading and when she asked if there was food available, I pointed the way inside before jumping on my bike.

cyclespeak
And off you went.

Sami
I was riding with this group of men but unfortunately they were too slow. It was 3:00am in the morning and I was feeling good. So I pushed on alone until about 6:00am when I thought I was going to die. 

cyclespeak
Time to refuel?

Sami
A coffee and doughnut at a gas station. And that got me through to the end.


cyclespeak
Without any focused preparation – only the basic fitness of your regular riding – you cover 450km in one go. Good for you!

Sami
But people should not do this [laughs].

cyclespeak
It’s a big ask, certainly.

Sami
And I do know what riding long distances over gravel feels like. So I would suggest working up to an event like this.

cyclespeak
You raced Unbound in 2019 – that’s 200 miles of gravel – and returned this year to photograph the event. Were you tempted to pin on a number and ride it again or happy to stay behind the camera?

Sami
The day before the start, I was ready to race it again. I had my bike with me and rode some of the first sections. And whenever I’m not racing, it always feels like I’m missing something. But on the day of the race, I was sooo happy that I was there as a photographer.

cyclespeak
Was it the weather?

Sami
It was super nice in the morning but then it started to rain. So I was out on the course – wearing a poncho – and sheltering in the car when it got super heavy.

cyclespeak
And you got your picture taken by Dominique Powers.

Sami
Yes! My God, that girl is amazing.

cyclespeak
You had a muscle injury after returning from the US and decided to take a break from Instagram to avoid the temptation of endless scrolling while you were resting up. Did you miss it?

Sami
It can get to be a habit so it’s nice to have time away from the platform. But you also have obligations to your sponsors so I’m still searching for that balance. I do enjoy sharing my adventures and I’ve made some great connections and friendships that way. It’s become another tool for messaging and reaching out to people.


cyclespeak
Another photoshoot – this time for Pas Normal Studios – took you to Iceland. I thought your photographs were particularly beautiful. A landscape you found inspiring?

Sami
The first time I visited Iceland – back in 2019 – I came back with this amazing impression. And the more I work, the more I understand how the right location for a shoot is one of the most important aspects. For me, it works best when I first discover these places by bike, so some of the locations for the Pas Normal campaign were inspired by racing the Rift.

cyclespeak
You returned to Iceland later this year for the next in your Atlantic Islands series. The riding didn’t go exactly to plan which you referenced very openly in a social media post. Do you feel it’s important to be honest about life’s highs and lows?

Sami
I’m been thinking a lot about this since I came back. Because I do wonder whether there are people that assume I’m flying around the world, living my best life, and it’s all flowers and rainbows. But that’s definitely not always the case.

cyclespeak
Is anyone’s life that perfect?

Sami
Some people choose to only post about the good times but I’m working my ass off and sometimes things don’t go to plan. And going back to Iceland, it wasn’t the cycling aspect of the trip but the surfing. You depend so much on the weather, which you can’t control. I have a limited number of days and if you don’t have waves, you don’t surf. And that’s basically what happened. I pedalled for 270km towing a trailer with my surfboard. In the rain. And then there’s no waves. I was disappointed and upset and it’s like when you have a partner. You take these emotions out on them.

cyclespeak
I think that happens to us all.

Sami
Well, in Iceland it was two of my friends. And afterwards I was super sad because I didn’t handle it very well. So after thinking over how I’d behaved, I did post about it. Maybe I was being too honest? Too much drama? But when these things happen, that’s real life. The ups but also the downs.

cyclespeak
The way you come across, it’s not contrived. You say how you feel and I believe people appreciate your honesty. Because everything isn’t curated.


Sami
The photo that went with the post was taken after riding six hours in the rain, only to find no waves. And my expression says it all—what the hell am I doing here? [laughs]

cyclespeak
In another post you mention wanting more hours in the day. Do you find it difficult to fit everything in?

Sami
Every single day I think the same. When I’m out of the house – maybe it’s a shoot that starts at 5:00am – then you have a structure and things usually work out. But at home? Today I was an hour late for our call because there’s never enough time—I’m still wearing my kit from the bike fit. So I could definitely do with a few more hours each day [laughs].

cyclespeak
Can I take you back to the start of the year when you made a post that mentioned how you were facing some life difficulties but looking forward to new decisions and experiences. And it ended with you reaffirming the joy and strength you get from riding your bike. Can I ask whether you’re enjoying life at the moment?

Sami
I definitely feel it’s been a good year in the sense that I said yes to everything I wanted to do and had time for. So I went all in, again, and that’s after promising myself that I would ride more than work. But that didn’t happen [laughs].

cyclespeak
Because there’s always the next project?

Sami
Maybe now, I’m reaching the point where I don’t feel the need to say yes to everything? And there’s so many good memories from the rides I have done this year. We recently released the film of me and my friend Henna bikepacking above the Arctic Circle—such a fun trip. And I’m heading back to Iceland to pick up where we left off. This time, hopefully with some waves and a happy Sami [laughs].

Feature images by Dominique Powers

All other imagery with kind permission of Sami Sauri / samisauri.com

Into the Atlantic Islands