Action Shot with Strobes Overview
We shot Cody LaPlante and Dylan Zellers this morning, two incredible stewards of being great athletes. Not only are they great athletes, they're also good people, which goes a long way. They leave their attitude behind; they're all about being out here, pushing the limits, having fun. Today's less about pushing the limits for them; it's more about just making pictures and really teaching the process, learning the process of, how do we as action-adventure sports photographers make images in an outdoor-adventure environment or in the park today? So, we shot on a 35-foot jump this morning. I shot a couple of successful frames, moved to three positions. I failed; I went in my second position, didn't work. Framed up through the trees, never saw the athlete, or too low in the frame. Second position, or my kind of alternate position, on the other side of the jump: as I was fumbling, changed the exposure, blew it. That's the nature of the beast. You just have to kind of understand where you ar...
e, and try to correct with your next shot. Now we've moved across the park, and we're at a pretty cool rail. And the plan is to illustrate how we use strobes. So, of course we're using pro photos. And I thought what I would do is actually start by shooting available light. So Dylan and Cody, they've already taken a couple of practice runs on the rail. We're gonna go ahead and shoot available light; I'll show you what the challenges of available light are, and we'll analyze that photograph, and then we'll actually start adding strobes to the scene so that we can see what's possible with strobes. I'm gonna give kind of a disclaimer, and this is really important: this is not when I would typically choose to go out and shoot with strobes. When you look at some of the best action-adventure photographs out there today, they typically happen early in the morning, and they happen late in the evening when the sun is low in the sky; you have beautiful light. And the reason for that is we're gonna be using high-speed sync. I'm shooting at a thousandth of a second, two thousandths of a second. And you need a lot of power, and it works to be low-light, so low ambient exposure, and then that high-speed sync really works. So, let's actually, I'm gonna grab my D5. We're gonna shoot some natural light first; I'll show you what that looks like, and then we'll illustrate what does it look like when we add some strobe to that same situation? So, everything won't be perfect, you're gonna see us fumbling, trying to get it to work. I like to create the illusion it's always perfect, straight outta the gate. That's not how it normally works. You just only see the final product. Here, you're seeing how the sausage is made. All right.