Action Shoot: BMX Athlete with Natural Light
Okay, now here I'm gonna use autofocus, and I'm just gonna follow Corey, so that I can, there might be a moment leading up to it that looks cool, I want the ability to press the shutter, any time something looks interesting to me. Okay. So let's see, that's a really cool background. So here, this natural light's really working for us. So I obviously fired kinda prematurely but there we go, that's starting to look pretty neat. And for me, Corey, I was just figuring out where you were gonna be.
Cool, so that's probably the sweet spot. I'm hot, okay so I'm hot on the highlights, and so I'm gonna stop down, in fact, I'm gonna just add some shutter speed. So right now, we're at ISO 2000, which looks great on this camera. So I just went up to 1250, 1/1250 of a second. Let's try that again, what about from a trick perspective?
Yeah, I could do what they call a Tuck No Hander, so you just kind of put the bars in the lap.
Cool. That would be great, yeah, that would be swe...
et. Okay, so. I have my autofocus sensor, great, see how that looks. So I have my autofocus sensor in the upper third of the frame so that I can really track with Corey. I'm a little loose there. And it looks like Corey, I don't know if that was a different angle but you maybe popped out of the sun. Was that kind of the same trajectory?
I think it's because instead of tucking--
Oh, got it. Cool. It might be, what else could we do because I do feel like you're going out of the sun shaft maybe it's something that's ah..
Oh, we could do, we could try this, it's called a Toboggan I'll still be low.
In order to keep the framing low in my position it's called a Toboggan, so you just turn the bars, grab the seat, so, we'll just stay in that range.
Cool, let's try that. Because, I think without the sun it becomes kind of an average photograph. And again, guys, I'm doing this kind of quick and dirty, it's a little sloppy, the way I'm shooting here. I would, I'd probably shoot this about 300 times to make a perfect frame. (camera clicking) K. And I think our sun is moving on us. Like I think we might have lost our little window. Yeah, it's almost like the end of, yeah and boy, we're just, I think that's still...
Do I need to come
If you came to Ryder's left, you'd be more in the light.
Yeah, let's try that, perfect. And this is again, we're just fishing for how we can get Corey into the light and it's, you know, obviously Corey is super savvy here, He sees what's working and what's not working. Still, I'm not crazy about that highlight on the hump. But, I think it's working and it's more about just illustrating what works and what doesn't. Cool, I'm ready when you are, Corey. Okay. (camera clicking) Great. And I might have, oh there we go that's more dramatic. I kind of blew it by framing up too high. How's that right there? Those last two or three frames were nice light. What's the end is the nicest light, ironically.
Yeah, see that, it's probably that one or the one after that is...
And that's actually pretty nice light. I can definitely get lower so that you don't see those highlights below you. Although they don't bother me.
It's actually, from a BMX perspective, you can see where the rider's taking off from
That's something you kind of want to look for when you're shooting athlete photos.
Right. So you're not just floating in space.
Yeah, people are wondering where you're coming from.
Cool. And is this from a trick perspective, do you like the way you're positioned in the air?
Yeah, so if you can tell, the bars are turned 90 degrees, and then the hand is on the seat and you're dipping it down. That's typically what you want to see, yeah, right there.
Great, it looks like I actually shot it mostly in focus, so that's good. (laughing) Is that in focus, or is this just, I'm going to blame it on
It might be..
I'm going to blame it on the low resolution of using capture one in this format. (laughing) Cool. Um, let's say we got that, exactly like we made a cool picture.