Bud Fawcett's images are such an integral part of snowboarding's history that we couldn't believe the photos currently hanging on the walls of the White Rabbit Bakery in Aurora, Ore., are part of his first solo photography show. Seeing such legendary photos in an intimate setting, espresso and doughnut in hand, is the shred equivalent of seeing the Rolling Stones at a smoky bar.

Bud Fawcett(left) Craig Kelly at Telluride, Colo., 1989: Published about seven times. (right) Shaun Palmer at Emerald Bay, Lake Tahoe, 1990: Published about 12 times.

If you're anywhere within driving distance of the White Rabbit bakery/gallery (about 20 minutes south of Portland), you owe it to yourself to check out this gold in person. The show runs until Jan. 30. To call Fawcett's best images "classics" might be the biggest understatement possible. Seriously.

ESPN.com: Is this really your first gallery show? Why the long wait? People love your stuff …
Bud Fawcett: I've always been my own worst promoter. I've been a part of group shows -- a print here and a print there. But the real story is that my wife, Elaine, told the White Rabbit, a local bakery/gallery, that I was available for their open slot in January. I guess everyone can get lazy about showing their work when the Web makes it so easy to share, but it's not the same as looking at something larger, clearer or more colorful. Like a good book, it's more concrete.

I've gotten the occasional request for prints and I've used my printroom.com account for fulfillment. It's fun to look back at pictures of Terry Kidwell and Shaun Palmer from 1985 and see how far photography has come in 25 years. But, also, after 25-plus years, the memories blur together and recall is something like, "Was that shot of Craig Kelly at Mount Baker from '90, '91 or '92?" I shot with Craig at Baker about the same time every year, and it was the same story: powder, sunshine and Craig. Only the clothes and board graphics changed.

Are you still shooting snowboarding, and if not, what kind of stuff turns your photographic crank now?
I remember standing at the top of Verbier in '94 with Jason Basarich and Jamie Lynn. I was [on a Snowboarder Magazine shoot], riding with a fully loaded backpack and having to do some pretty aggressive turns over a pretty dangerous drop to a rock field. With my coordination being a little less than it used to be, I decided at that time that I couldn't be the big mountaineer-type photographer anymore. So I retired to shooting some less extreme "personal venues" like boardercross events in the U.S. and Europe.

I enjoy shooting people and products right now. My kids get bombarded for photo moments from me. Visually, I enjoy the unexpected. I am currently doing some freelance graphic design, which includes catalogs, product design and trend-watching for the dark side. But I'm really looking to work in photo management and archiving with one of the big players in the Portland area. That's my background and true passion.

As someone who documented snowboarding's pioneers -- and a pioneer yourself -- what's your take on the current state of the sport?
It's fun to just go out and ride like the old days, but of course some equipment has gotten so good that it's easy to ride all day. That's a real plus because equipment through the early '90s was really poor. It's funny to see the political maneuvering and marketing spins that still go on. The rocker revolution is really funny. I thought we would never see a step backwards but I was surprised with cambered-rocker hybrids that work really well and don't throw you on your ass. I bought a digital camera about three years ago and was immediately jealous of the possibilities that all the new photographers are holding in their hands.

What makes a rider fun to shoot with and most often leads to great photos in your opinion?
On the show's photo descriptions I tried to include points about what makes great photos and what the photographer needs to do. But in reality, if the shooter has technique/technology down, then it's 80-90 percent rider, location and/or conditions. The photographer is just there to direct, motivate and push the button.

Anything else people should know?
I started a Facebook group called History of Snowboarding about two years ago. I pretty much forgot about it. But when I logged in again last summer, there were around 3,000 members. So I created the Bud Fawcett Retrospective event last week and invited members of the group plus my personal friends to the White Rabbit -- that's how the news got out.

The funny bit about living in Aurora and putting up the show [has been] the questions from all the locals -- those who don't really know me, except that my kids go to school with theirs. Comments were: "I didn't know you were a photographer," and, "Did you shoot these?!" I half-smiled and replied, "I'm just hanging some pictures I found in some old magazines," which is essentially true …