Action Sport Photography with Red Bull Photographer Corey Rich

 

Action Sport Photography with Red Bull Photographer Corey Rich

 

Lesson Info

Getting the First Action Shot: BMX

I think this elevated angle cleans up the background. And I don't even need the hood. I'll take it, though. Does it feel like, we'll see if we can do this tethered. There we go, that's perfect. That's the first time we've used our cart on a pitch. Okay, Cory, when you're ready, let's give it another go. (camera clicking) Awesome, that looks great. Oh, that's really sweet. I'm gonna try to isolate. That looks good. You guys like that angle? I bet that's even better, just being. Okay, Cory, when you're ready, let's do it. (camera clicking) Great, so one thing that I'm being really conscious of, even though we're at Woodward, and Woodward's being super supportive, I'm not crazy about that W and the exit sign in the background. So I'm actually framing down, so that I'm just at the edge. I'm just isolating, I want this black wall, and some of these yellow lines. Now I'm exposing for the highlights. I'm opening up slightly, I'm probably a stop brighter than the highlights. And so really, I'm...

trying to capitalize on, this image is about Cory being off the ground, doing the bar spin, I think is what it's called, with his shadow right in that rectangle. Which is really, really cool. So let's see, yeah, okay. So the frame that you're seeing online now, I think this is as close to successful as I've done thus far. So by controlling the exposure, I'm exposing for those highlights, we're getting a nice rim light on Cory, he's almost isolated in that rectangle. That's looking pretty good. Hey, Cory, check this out if you want, on the computer, and see if, uh, we did this yesterday with Dylan and with Cody. But getting Cory's feedback about what's working or not working is super helpful. Oh, I dig it, yeah. Cool. And I feel like I'm a little off on that frame. Go forward one, Bly. Yeah, right there, that's kinda nice, where you're totally isolated. This part, so what we got here, the framing of the shadow is brilliant. The timing of the bar spin is what we gotta work on. So we can do some more, I'll start earlier. That way the bars are backwards in the shadow. That's great, let's give it a few burns, and I'll try to stay in focus. Yeah. Capturing that moment. If we're workin' together, tryin' to figure out the best place. Cool. That looks good. We're workin' together on the shadow, tryin' to figure out the best place to come from, so if we just aim for the little bit in the corner of the shadows. Cool, great. Let's give it a couple more passes, and then we'll switch it up and try something new. And I think the idea, if you're watching from home, it just takes trying it over and over. I like to create the illusion that I do it in the first burst of images, but it turns out it almost never works that way. It's always shooting over and over. Okay. (camera clicking) Great, okay, and I know I let the Woodward W pop into the frame, but it's so dark back there that we're really not even seeing it. So, okay, I'm not sure if we got the better handlebar position. Let's give it one more go, Cory. Yeah. And right now I'm just pre-focusing. (camera clicking) Okay, there's no focus change. I'm at 50 millimeters, f4, I have plenty of depth of field. When I'm this far away from my subject I'm almost at infinity. How was that landing, okay? Boom. Cool, was that last frame? Go back one. That's it. Cool, sweet. I mean, we can-- We can define a little more, like-- Yeah, let's do one last one and then we'll switch it up. We'll try something new. That looks great, Cory. Here's to natural light. And I'ma frame this one a little differently. Alright? (camera clicks) Yep, let's do it. (camera clicking) Okay, now you can see there I made Cory smaller in the frame, and just put more black space around him. And sometimes providing dead space for your editors or your client, you know Red Bull might want this picture in the content pool for dropping text in, because they're gonna advertise in a speaking engagement with Cory. So I'm just giving visual diversity here. Cool, that's great. That's the one. Awesome, alright, so, and again, in the reality I would work this situation more. I'd try 12 different locations, I'd go up high, I'd go down low, and keep on taking advantage of this light. But let's try something on this hump. I think that's pretty cool looking. Let me, I'll roll over it a couple times. Great. And see which-- Cool. Most likely 'cause the sun's this direction, it's gonna be best, so. Great, and I'll kind of watch and then make a decision about where I want to be to shoot. I know it's not gonna be right here, just given there's this some stuff in the foreground. (camera clicking) Okay, so that's gonna be tricky because he's not really in the light there. How about that way? Yeah, that way the light pool, it comes off the top of it. Yeah, let's see what he's got. And it's really helpful, I'll say, to work with an athlete like Cory that's been around cameras so much. He understands the challenge. I'll come over there. Cool. Yeah, so after ridin' around on the hump a little bit, it looks like the lighting isn't particularly in the right spot to getting the photograph you want with the shadows. Sure, sure. That would probably be more like a strobe setup. Yep, cool. And I think what's happening here is really important to point out. Cory's been around enough cameras, he understands what works and what doesn't work here. I saw it immediately as he went over the hump. I said oh, he's outta the light. Like, the hump's in the light, there's a big highlight, he's not in it. And making the call and just saying cool, this doesn't work right now, just saved us an hour. Because banging your head against a wall to make a picture that doesn't exist doesn't make sense. So instead, we're just gonna switch gears and figure out what's possible.

Class Description


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:

  • 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

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. 

Lessons

1Class Introduction
2What Makes A Great Action Photo
3Conceptualize the Shoot
4Research Location / Wardrobe / Props for Action Shoot
5Safety Tips for Action Photographers
6What Gear Do I Need? Packing and Prep
7Workflow and Asset Management
8Ingesting and Organizing Files
9Editing Down Your Selects
10Post Processing Overview
11Working with Clients to Select Finals
12Retouching & Post Processing: Image 1
13Retouching & Post Processing: Image 2
14Retouching & Post Processing: Image 3
15Final Client Delivery
16Introduction to Snow Athletes
17Setting up the Shot: Using Natural Light
18Getting that First Action Shot: Snow Park
19Scouting Location for Action Shot: Snow Park
20Capturing Variation of Snow Park Action Shot
21Refining the Snow Park Action Shot
22Action Shot with Strobes Overview
23Shoot: Action Shot with Strobes
24How to Light Using Strobes
25Action Shoot: Snow Park with Strobes
26Refining the Snow Park Action Shoot: Using Strobes
27Capturing Variation with Snow Park Athletes
28Capturing Portraits: Snowboarder
29Capturing Portrait: Skier
30Shoot: Feature Jump Action Shot Afternoon Natural Light
31Introduction to Today's Shoot
32Building a Rapport with the Athlete: BMX Rider
33Scouting Location for Action Shot: Indoor BMX Park & Natural Light
34Getting the First Action Shot: BMX
35Conceptualizing the Action Shot: BMX
36Prepping Gear & Refining the Action Shot: BMX
37Action Shoot: BMX Athlete with Natural Light
38Setting up Remote Cameras
39Capturing BMX Action Shots: Remote Cameras
40Conceptualizing the Shot: Using Strobes in Indoor BMX Park
41Lighting with Strobes: Indoor BMX Park
42Action Shoot: BMX Athlete with Strobes
43Capturing Variations of BMX Athlete
44Shoot High Angle Action Shot: BMX Rider
45Directing an Athlete Portrait: Indoors
46Lighting a Portrait: Indoor BMX Athlete
47Portrait Demo: Indoors BMX Athlete
48Portrait Demo: Adding Atmosphere
49Transmitting Live from the Field
50Panel Q&A