The resort industry is packed with unsung heroes, and we take a lot for granted. We show up to ride, and the local hill is covered with groomed snow, the lifts are running, and the park is dialed. Then there are the “stoke-makers.” It’s the imagery, after all, that often inspires where and when we ride. Behind this awe-inspiring work is someone on call around the clock, year-round, who must be ready to photograph anything imaginable—no matter how glorious or mundane. Every image is vital to the resort.

Big Bear Mountain Resort’s head lensman Lee Stockwell’s journey began in 2004 when he made the pilgrimage from Western New York to Southern California. He found himself at a Bear Mountain job fair and quickly landed a spot on the media powerhouse that oversees both Bear Mountain and Snow Summit. At the time, Bear was the king of the internet with its legendary Sunday in the Park weekly episodes, while Snow Summit was focused on connecting families with a love for the slopes.

In the winter, Lee’s lens is aimed at some of the world’s best park riding, as well as capturing daily visits from skiers and snowboarders from the Greater LA area—a populace of nearly 20 million people. Come spring, summer, and fall, those same people visit Snow Summit, Snow Valley, and Bear Mountain for mountain biking, concerts, golfing, rock climbing, zip-lining, hiking, dining, and fresh air. It’s the job of Lee and his team to create the visual assets that showcase the full experience these three resorts offer.

The required skill set is as diverse as the activities themselves. Not to mention the motivation it takes to head out into the cold at 2 a.m. with the snowmaking team, hike to the perfect vantage point on a hot summer day for an MTB shot, or patiently arrange a single leaf of lettuce for a savory food photograph.

So, what’s it like to be one of the longest-tenured resort media specialists in the world? Since the age of 19, this has been Lee Stockwell’s path, building a resort’s empire one frame at a time.

What was it like when you first moved from WNY out to SoCal? You came in during the heyday of SITP, when those weekly videos were such a fixture in snowboarding’s online universe. What was that buzz like, and how did you end up fitting into the whole equation?

I didn’t originally plan to end up in Big Bear Lake. I moved to San Diego to test my luck with colleges in that area and gain residency to afford school. As I figured things out, I quickly learned how close I was to the legendary Bear Mountain and Snow Summit. I only knew of them from the Mackdawg snowboard movies and a video game called Amped on the original Xbox.

When I showed up to Bear to find a job, it was an abnormal start to the winter with a heavy snowstorm opening the mountain on 10/28, before Halloween. I couldn’t believe how much snow was available and how close it was to the coast. It was unreal to see how popular the SITP series was, only in its second season. Justin Meyer and Joe Carlino were at the helm. Everyone knew who they were and who they were filming. They already had The Park movie and were shooting No Big Deal at the time. It was very obvious they had set the stage. I found myself with a camera, working with the riders they weren’t filming, doing my own thing at the time.

How was BBMR’s media department set up when you started?

Bear Mountain and Snow Summit were one company. YouTube was still very new, and everyone still watched DVDs. At the time, Justin and Joe were 100% Bear Mountain, Jeff Heit was the Snow Summit filmer, and I was the guy everyone was cool enough to toss a few bones to. I didn’t have a roster spot as a filmer back then. I was known, but just as another guy with a camera.

I remember everyone being nice, but I knew I wasn’t seen as someone who could contribute to what was going on at the time. I was tossed a few bones from management, but I was definitely on the outside looking in, waiting for my chance.

How’d you line up the position at BBMR?

As SITP [Sunday in the Park] grew in popularity, so did the demand for more video assets company-wide. With the DVD projects and SITP taking the glory, no one was around to film the traditional media content like B-roll and ski school material the marketing department needed. I remember Justin and Jeff telling the Marketing Director to give me a shot with that workload, and that’s how I got my in. After a few seasons, Justin, Joe, and Jeff had all moved on, and I was the only one still hanging out. I was offered the full-time job and have never let it go. I make sure there is always a passionate filmer like Adam Ruzzamenti or Kyle Shafer to keep the Sunday in the Park series legacy alive.

How many people are in your department, and how many do you manage?

Twenty years later, it’s a totally different world. BBMR now manages Snow Valley, so there are three mountains with three totally different personalities and clienteles. We’ve grown dramatically and created several full-time, year-round positions within the Art Department to handle all media needs for every mountain and outlet.

Staff-wise, we have Tannor Wallace, Max Yusko, Damon Hill, and myself. We still work closely with Jeff Heit as a freelance artist and a few other Big Bear natives who have helped build the BBMR brand over the decades. We can’t forget Marissa Hart, our Brand Manager, who helps keep us all in check.

Even today, myself and staff are always battling it out for the best park shot out of Bear.

Collectively, what’s the dynamic of abilities within your media team?

My goal is to keep everyone well-rounded as artists. We manage social media for the resorts, so it’s important to stay open-minded in all forms of media. It’s always a gut check when a cell phone clip gets more engagement than a full-on production, but that’s just part of the game.

Having to photograph so much varying subject matter, was it ever difficult for you to adapt to anything from snowboarding to gem mining to weddings?

I’m a little embarrassed to admit it, but I’ve shot quite a few weddings over my career. Ego aside, it’s helped me become a much more well-rounded artist. Freelance work, in general, is something I’ll never say no to—whether DPing a commercial or shooting any event, there’s always a new skill to unlock or refine.

At the resort, golf is one of the most challenging things to shoot. The course gets busy, and golfers don’t like someone in front of them slowing their game. It’s definitely been a challenge to stay cool and get the shots you want.

You’re not only a lensman, but do a good bit of design work, right?

Over the years, I’ve touched it all and still keep up with everything. From video to drawing with a pencil, I feel like I have a good grip on how to do a little bit of everything decently. Just don’t ask me to paint anything.

What’s coming down the pipe that you and your crew are preparing for?

We’ve had slow starts and low snow years. We have a small window to capture BBMR’s offerings. This winter, like any other, is rapidly approaching, so we need to fill the content buckets that have been drying up.

What does the future of your department hold?

Things change quickly, but with 20+ years of experience, I can only say grab on and hold tight. There was a huge influx of content creators over the past few years, and now AI seems to be threatening what we do. It’s a great time to learn new trends, use them, and step forward. I feel confident there will always be a place for a real human artist. 100% human-made, no artificial additives—that’s how I sleep at night.

With the evolution of media, how has your role, and your department’s operations evolved?

Quantity seems more important than quality these days. Content is used the second you shoot it, so you have to stay passionate while producing daily. There’s always a shot you’ll like more than the rest.

What would you say has been the most valuable lesson you’ve learned in over two decades documenting resorts?

Our resort is always looking forward, but we never forget the past. Many talented artists and athletes have come through our doors, so my lesson to myself and staff is always remember your roots and stay authentic.

What’s your favorite thing to photograph?

I enjoy all of it, really. Sure, I love to sit back and do post work on photos of Lenny Mazzotti and Mike Gray, but in the end, I like being challenged. Shooting new parts of this business has kept things fresh over my time here.

You’re on an island; still- or motion picture rig?

Leavin’ that stuff at home—I’m on vacation. Unless you are willing to pay for some content while I’m out there.

What’s the strangest thing you’ve ever had to photograph?

This line of work has definitely led me down some crazy paths. Back when I first started, Craigslist was a huge way to pick up gigs daily. I would snipe gigs every minute I could and found myself in some dark areas of LA with checks that didn’t clear.

What’s the longest shift you’ve ever had to work with the camera?

There’s a camera/industry event I do annually in the Fall. I’ve made it through 3–4 days at 20 hours a day. It can get tough, but the money is good and you have a camera in hand.

For the gear nerds out there, what gear is in your hand the most?

I’ve owned so many cameras and equipment over the years. Right now, I would say Sony and Canon are my favorites for hybrid shooting. Do your homework, read reviews, and spend your money wisely. Gear depreciates fast, so build a solid foundation of accessories that can work with all the new bodies you’ll have over your career.