Our Favorite Covers Of 2013 And The Stories Behind Them

Once again we asked our Senior Photographers what their favorite cover was that they shot this year, and to share the story behind it. Read on to what goes into making an epic, memorable cover. Peep last year’s!

I’m always stoked to shoot a cover but this year my favorite has to be Silas’s 50-50 to 50-50. I see lots of crazy shit happen before my eyes but that one really blew the lid on what I thought was possible on a skateboard. This Church is just around the corner from Silas’ house on the outskirts of Portland and he told me he’d been looking at it for about a year thinking that it just might be possible. I remember that it was getting dark and I thought about setting up strobes to shoot a sequence but I was worried that the flashing lights might throw him off so I just kept shooting stills. I’m stoked that I did because I think you can tell what he’s doing without really giving the whole thing away, it makes it that much more exciting when you see the footage in Perpetual Motion. Hat’s off to Silas for pushing the envelope that little bit further and scoring his third TransWorld cover.—Dave Chami

This photo of Zered was shot during the first official filming trip for the 26th TransWorld video that Christopher Thiessen and I took with Brad Cromer and Zered Bassett to New York in August 2013. On our first day, Steve Marino drove us out to a pool that Tony Farmer had shown Zered out in Roslyn; hidden in a pretty secluded woody area, the pool itself is a huge abandoned and overgrown public swimming pool with a large rectangular shallow end whose tightly transitioned walls take a sharp right angled turn into a much shorter deep end section with bigger transitions. Zered wanted to skate the deep end but it had a solid few feet of water in it, so after pumping out the deep end, Zered started skating the shallow section of the pool in bare feet whilst waiting for the damp walls in the deep end to dry. I went back to Steve's car to grab some water and by the time I got back Zered had his shoes back on and was frontside grinding over the shallow end deathbox. I thought that it would make a sick photo because the tranny is so tight that getting up on to the coping was pretty heavy, so when Zered asked me to wait a few more tries so that he could try another trick, switch hurricane was definitely not something that I was thinking he might try; needless to say I was blown away when I saw him locked in and grinding text book switch hurricanes within a few tries. Zered has always been a really interesting skater to me for a number of reasons but especially because his trick selection is as varied as it is deep and the terrain that he choses to apply those tricks to is as diverse as the tricks themselves, and I think that this photo is a perfect example of those attributes. For me to get a photo of Zered switch hurricaning a pool in New York and have it used as a cover of TransWorld is a dream scenario that seemed unlikely to ever happen right up until I had the magazine itself in my hands. Thanks to Steve Marino for all the help whilst we were out in New York, congrats to Brad who turned pro in the middle of our stay and a huge shout out to Zered for making the trip so memorable.—Oliver Barton

Raven Tershy's frontside ollie to wallride down the pillar was shot on the first night of El Chocolate Tour, a Girl/Chocolate filming trip to Panama, Costa Rica and Chico [Brenes]'s native Nicaragua. We had been skating all day and after dinner decided to check out this spot atop a 9-story parking garage not far from our hotel in Panama City. The parking lot is designed like a big corkscrew, complete with death drops in the middle of the structure and on the outside edge.  The guys started to warm up, skating the snake-run of quarterpipes down the winding road, approaching the lip a bit more every time. After getting pretty comfortable frontside grinding over a light on one of the walls, Elijah got a little carried away on one try and almost went flying over the outside edge, saved only by his leg getting caught under the little flatbar on top of the quarterpipes. After coming down from the massive near-death-witness adrenaline rush, Raven got his trick just before we got kicked out by an under-enthusiastic security guard. I thought the skating would be over for the night—we had gotten an epic trick and it was getting pretty late—but on the way back to the hotel Kenny and Vincent spotted some epic rooftop pyramids that were itching to be skated. Little did we know that 30 minutes later we'd all be in handcuffs on our way to Panamanian jail—not a night I'm going to forget any time soon.—Sam Muller

This backside 50-50 of Jim Greco was shot during Deathwish’s Skate & Create. Most of our days had been mapped out in some of the city’s landmarks, Jim mentioned to me that he had a couple of things he wanted to skate in Chinatown. So at bird’s fart, we meet Jim in Chinatown, the first day we get the footplant in front of the temple and the next day this on the parking hut. Jim turned up in a suspicious looking van and unloads an 8×4, shopping trolley, some 2x4s and before you can say Jeremy Klien, we have two sweet morning missions in the bag.—Skin Phillips

Eman had his eye on this spot for years, it’s really heavy. Rough, windy, and steep. It was towards the end of last years Skate & Create with Santa Cruz, the spot is located right in the zone in SC. So after a full morning session on a flat bank on the seawall, Eman got his guts together and started sizing it up—there was some silent apprehension from all present, as nobody knew if it was even possible. We were worried he might get hurt, but nobody said anything, he had that eye of the tiger and any good MC knows his limitations. So after a few roll ups to case out the drop, Emmanuel Guzman cracked one and ran out—it looked pretty painful, just the stress on the legs of running down such a steep bank. Then second try it was all in and he hung on for life or death and made the ride away smooth. I was really glad he handled it so quick, it was just one of those big, ugly brutal spots were you were hoping that nothing bad happened, in fact the opposite was true—he made it look easy. One of the gnarliest things I have ever shot.—Mike O’Meally