Capturing Variation of Snow Park Action Shot
Cool. And that frame looks pretty good.
Alright, (mumbles) gonna be ready when you are.
Okay! Why don't we, let me just slide in slightly. I'm gonna actually scoot slightly back. Give me a minute here Bret! (shutter clicking) You're good you're fine. (shutter clicking) Okay, and Bret, let's send 'em. Okay! Let's do it. And this is a bit of a risky shot because he might not even go through my window. (shutter clicking) And I'm cropped.
Three, two, one! (rapid shutter clicking)
Oh, okay so the disappointment for me is my window is a little too high, like he was right on the edge of the frame in this window so yeah, you can have a look. You know, I think there is kind of an interesting frame here but you can see he's like right at the edge so either need to go lower or frame up higher. You can see that you know there's not a lot of air, he's kind of landing, I mean he's actually about to land on, he's landing his trick at that point so I would say that's a bor...
der line. Oh, you know what, so no, I'm sorry, he's just taking off. We're seeing him leave, we're seeing him actually leave the feature, he's coming right off the lip here. So he's exiting the lip and his trick is actually happening out here so the reality is I should actually be moving...
Back on film?
Let me know when you're ready.
Okay, stand by, we're adjusting. So basically I'm gonna go to a safer shot. Like, that was too risky.
Sort of even with Cody going through that window it might not work. And so I think we're getting too much of the lip, like his take off but not enough for the trick so I'm going to go back to my safe zone. Alright. I think I'm going to jump in here. Yeah, yeah, that's fine. I think just make sure you're really out of the landing zone. In fact, I think we need to communicate that there's someone on the knuckle because that could also be really scary for an athlete to see someone, I mean I don't know the context of where you are but that's fine. Cool.
I will let you know when we're ready and I'll give you a signal overhead when we're ready.
Okay, I'm going to go to a slightly wider lens here.
Photographer on your left, (mumbles) there, (mumbles).
Okay, I'm switching to something wider. Basically that last shot was sort of a dud. It didn't work. The action happened in the wrong place in the frame so I want to get something that I know will work so I'm now going to kind of a safe shot, going wider lens and sort of move in, just get some feature in the foreground. Okay.
Corey, are you ready?
Alright, jump when you are ready. (mumbles) jumping.
Okay. Okay, we have a descent...
Three! Two! One! (rapid shutter clicking )
Okay. Alright. That was interesting what I realized is that Cody is pretty far away from the camera so he is probably 30 feet from the edge that I'm seeing in the foreground so Cody's pretty small in that frame but I think it worked. I would say that it's okay. I'm a little over exposed which is a bummer, somehow my exposure got knocked. (shutter clicking) Okay. Okay. So this is the reality. Missed the first shot, second shot is over exposed, that's kind of the deal is that I would now work this a few times. We're just trying to figure out how much time we have before we actually lose everybody. How did your shot go?
He was too low in my frame. I find like too, low kind of on the bottom of it.
Hey Corey you have about 15 to 20 minutes.
To get everybody out of the shot.
Great. So my vote would be I would call this I would say you know, this just isn't the angle. If we were going to stay here and work this shot, I would give clear direction to the athletes, I want them moving as far left on the lip as possible at take off. I might even get a ladder so that I could actually elevate myself and put these tree branches more in the foreground. I would correct my exposure so that I'm getting that correct. But I think let's do this, I think we grab our bags and let's relocate to a third position just so that it's a safe shot, we're going to get something that's interesting. Alright. (camera clicking)
Being an action sports photographer is about more than getting freeze frames of famous athletes. It’s about documenting the experience of people for whom the line between passion and work is blurred. At his or her best, the action photographer tells compelling stories that show us at our most daring, fearless, and adventurous.
Corey Rich is one of the world's leading outdoor adventure and action sports photographers, adept at distilling the essence of extreme action sports and adventure travel and lifestyle. In addition to documenting extreme sports for Red Bull, Corey has worked for many of the biggest brands in the world. This is your opportunity to follow Corey as he prepares for a shoot on location, and learn how he evokes powerful brand stories like those he has made for Red Bull.
Join us for this live class, and you will learn:
This class will stream live from the location of the shoot in Lake Tahoe. Corey will be shooting Red Bull athletes as they perform at Ski Mountain Terrain Park and at a nearby BMX park. There will also be a live session from a Tahoe cabin to discuss photo theory and Corey’s experience of building his photo practice and working for Red Bull.
- How to work with a client, and shoot with their brand in mind
- How to prepare yourself and your gear for a shoot in an extreme environment
- How to take photos of extreme sports pros, and work with variable light conditions