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Regulars who’ve been following Looking Sideways at all closely for the last two years will be familiar with the name Chris Nelson. Alongside Demi Taylor and Lewis Arnold, he’s one of the triumvirate of creative talents behind the brilliant Big Sea, which I’ve been championing since I saw the first cut back in November 2022.

But I actually go way, way back with Chris. To the mid-1990s, in fact, when we were both young journalistic tyros from either side of the Pennines, keen to forge creative careers based around our respective passions of surfing and snowboarding.

In many ways, our careers have followed similar trajectories. And one of the things I’ve always admired about Chris in the decades I’ve known him is the strong sense of editorial and moral integrity that has always been such a clear hallmark of his work.

Whether it’s the early years as a start-up publisher inspired by terrace fanzine culture, the hugely influential Footprint books that redefined surf travel for a generation, his trailblazing work as one of the co-founders of the London Surf Film Festival, or the four-year mission to bring The Big Sea from idea to the big screen, this thread has guided his work since the beginning.

Chris has been an influence on my own work and approach since we became friends back in the mid-1990s, and the release of The Big Sea seemed like the perfect occasion to sit down and cast a reflective eye on his unique career.

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