Motorcycles have always been about more than the machines. They’re about the people behind the bars, the miles between destinations, and the stories that unfold somewhere along the way. It’s those moments, often the ones most people miss, that photographer Collier Ott has built a reputation for capturing.
From local garage builds to rides and gatherings, Collier’s work documents the side of motorcycle culture that can’t be measured in horsepower or trophies. His photos feel lived-in, honest, and familiar because they’re rooted in the relationships and experiences that keep this community connected.
Growing up in Orange County, photography found Collier long before motorcycles did. What started with a camera in his backyard eventually evolved through years spent around skateboarding, where he developed an eye for movement, timing, and storytelling. When his circle naturally shifted toward motorcycles, the camera came with him.
Today, his work is instantly recognizable—not because of a particular editing style or signature shot, but because of the way he captures the people behind the machines. The riders, builders, friends, and characters who give motorcycle culture its personality.
In our conversation with Collier, we talked about finding creative purpose, building lasting friendships through motorcycles, and why some of his favorite photos come from days with no plan at all. We also dug into the experiences that shaped his perspective behind the lens and the simple advice that continues to guide his work: show up, stay curious, and keep creating.
Ahead, Collier shares his journey, his process, and what continues to inspire him every time he picks up a camera.
Read the full interview below:
Can you walk us through your background? Where you’re from and how you first got into photography and more specifically motorcycle photography?
“I’m originally from Anaheim, CA but spent most of my life moving around Orange County and as of lately I’ve been living up on the Central Coast. The first photo I ever shot was a hummingbird in my backyard in Anaheim when I was super little (maybe like 7 or 8). I actually still have the camera that I shot that that photo on ,it’s one of the panoramic Olympus Stylus and it still has my grandma’s name and address taped to the back. Pretty sick to have the first camera I ever touched. Kinda knew I was gonna be super into shooting after seeing the little print of the hummingbird in the backyard. The motorcycle stuff, obviously, came way later. I grew up skateboarding with a pretty small crew in Orange County and I was kinda the one that was more into the camera and the way things looked than killing myself jumping down stairs so naturally I took the easy route haha. I’d say about 10-12 years ago, we kind of all just gravitated to motorcycles and I just took the photo stuff along with me. I really enjoy the movement aspect of shooting motorcycles. In the that way, it’s similar to skating for me.”
What moments or influences early on made you realize this was more than a hobby for you?
“I think that something that made me realize this could be more than a hobby was how many people shared this common interest in creating something. From skateboarding, the transition to motorcycles was pretty seamless. It kinda seemed like the same people that I had been around for a long time were now into this thing that we could do forever. I think that a common fear that a lot of people have within that community is that the next step of life is just gonna be some dead end job and that everything that you poured into something so early on in life is kinda just fizzling out. I put a lot into what I do now and did it on my own time for so long, not expecting any sort of outcome- it was just what I was used to. Another thing was meeting other people in this industry that kinda shared this mindset with me. One sort of highlight for me was contacting a buddy of mine who lived in Phoenix at the time and just saying “Hey, I wanna come out and shoot this bike before you get rid of it, when should I come out? 20 minutes later, my wife and I are on the road from Costa Mesa to Phoenix just to shoot this thing and turn right around.” I had zero expectations but it was just refreshing to know that there were other people out there who just wanted to take the time to create something rather than sit at home or go to the movies. That was Mark Kirkland. Turns out years down the road we would be shooting out of the back of a truck together on a ton of projects.”
How did the scene/environment shape your creative identity behind the camera?
“A lot of the people that I met really early on became a huge part of my life and they have really stuck with me while I grow. It really seems like I’ve been given a lot of platforms to just sort of do my thing and be trusted with it. I think that that’s probably the biggest reason I’m still here doing this. I have a lot of respect for so many of the people I work with and I get the same respect back and that’s what it’s all about. I found a place that I fit in and have the freedom to just do what I do and people are stoked on it. That keeps me going.”
What is one location/trip or project that defined your career and why?
“Last January I rode up to San Francisco with a good buddy of mine. We sort of took our time getting up there but once we got there, I had so much stuff lined up that I had a schedule. I’d never actually done that before. It was a little overwhelming but I was just glad that it was my schedule and not given to me by someone else. That would’ve been entirely different. Anyways, we got everything on the list done and managed to do it out of just the bags on our bikes. I didn’t really think that that would be a defining part of my “career” but it turned out to be something I was really stoked on. Set my expectations real high for once and had a ton of people fit me in and make it happen. It was fuckin awesome.”
Any moments / challenges?
“Last year was the first year that I had tried to just do photo work. It’s not for me. I really don’t enjoy trying to keep track of money in and out and trying to book stuff just to pay rent and put food on the table. For me, right now, this is going to continue to be a hobby. That doesn’t mean that I’m gonna slow down at all. It just means that in order to make things work and maintain the relationship I have with my camera and the people in this industry, I need to separate myself a bit and go put in 8 hours doing something I hate.”
Can you break down a favorite shot/clip?
“Oh man. My favorite shots kinda come and go. Some days I’ll just remember a day and look back at the shots from it and it has a whole new meaning to me. Off the top of my head, on that trip that I mentioned in January to San Francisco, I met up with Taylor (Stormriders) and Alex Quintero to shoot Taylor in Downtown SF. I had no real plan in mind but we didn’t have a truck to do rollers and the traffic was kinda fucked. He was down though. I hopped on the back of my buddy Tim’s bike and shot Taylor ripping back and forth from SF to Oakland in no helmet. We were just weaving in and out of traffic across the Bay Bridge kinda spray and praying, getting really good rollers. Right now, those are probably my favorite because I met two solid dudes and I can look back and remember how insane we probably looked to everyone sitting in traffic on their way home from work. I know there’s a behind the scenes photo out there floating around. That whole day was sick. Never would have met those guys if it weren’t for these tiny connections we have in such a small world. And I’m really glad I did.”
What camera(s) and lens you used, and why?
“You know, I wish I could say that I shot film all the time and I have this crazy passion for old film cameras but at the moment it’s mostly a Canon 1DX. Film is so expensive and a little too slow for me at this point. I really like having a quick turn around, which is probably a huge driving force behind getting the work that I do. So most of my stuff is on a canon 1DX with Zeiss fixed lenses. It’s a fast camera made for shooting movement.”
Is there a piece of gear you rely on that most people wouldn’t expect?
“Yes. This LCD magnifier enlarger thing because my eyes are getting terrible.”
What makes motorcycle shots feel timeless rather than just impressive?
“Motorcycle shots are what skateboarding shots were for me back in the day. Fast movement that captures and translates really well. It helps that most of the people I’m photographing also look like they have their own story to tell. There is a photographer in the south that shoots a lot of people around his area, I think he’s from Alabama. His name’s Jeremiah Smith. Anyways, he does an amazing job capturing the story behind each one of his subjects. He’ll go to a motorcycle event and shoot the event but a lot of the time it’s some old weathered up biker dude that looks like he hasn’t had a sip of water in 200 years. That kind of stuff just doesn’t translate when you’re shooting much else. That is what skateboarding had when I was shooting. That timeless feeling that has a hard time existing anywhere else.”
Any inspirations/Why do you shoot the way you do?
“I have ALOT of people in my corner. I don’t even know where to start. My wife, Hannah, drives almost every time I need someone to drive the truck while I shoot and doesn’t complain even when I book something for the day in another state. She has to put up with my frantic behavior behind the scenes. It gets messy. She knows what to say and she is behind me no matter what I do. My mom is always stoked to read my stuff and check out my photos too. She is super supportive and really just wants me to make it. I feel like I already have.
People that I met super early on too, that I never would have imagined would still be around are with me every step of the way. Frank Ball Jr and Brian at Fiveball kinda just give me a ton of room to get creative and know that I’ll get it done. That’s been a huge help in getting me to where I’m at. I feel like that brand is kind of a blessing to me in this industry because it’s almost like one of the only brands along with the supporters like Ventu Style that can give me this platform to be creative and do whatever. Yaniv at Powerplant and Scotty at CZ have also taught me a lot about how to navigate my way through, not just this industry, but life. They are kinda always there for me to talk to. I used to shoot behind the scenes stuff for Meredith Devine’s “Painted Ladies” series back in the day and at that time she pretty much only called me to do it and that was a huge push to getting out there. I don’t know if she knew it, but she kind of forced me to be present in the industry that I wanted to be in. I have a lot of friends in this community that really have my back and I’m super grateful for that. I guess that’s my inspiration.”
What advice would you give to other photographers?
“I actually just got asked this question for the first time the other day while I was leaving the swap meet. It’s funny because I think that other people think that I’ve really cracked the code or something. I haven’t. I just show up. I’m around. I know a lot of people and I keep up with those people. That’s it. That’s the way life is. I guess it’s just about being easy to be around. Don’t be someone that people don’t want to be around. Be yourself and don’t be afraid to do things. Don’t say no and definitely don’t think that you’re too good. Don’t be afraid to tell people you don’t get it. And I guess it helps to have a camera.”