Prepping Gear & Refining the Action Shot: BMX
I'd love to see actually that far wall while we're on this side of the, I noticed earlier when you were just going high on that wall I would love to just long lens see what we can capture.
Yeah yeah that's a very scary one but it's definitely fun. So I never ride things bigger than six, seven feet and that's a 12 foot quarter-pipe with four foot of vert, so I'm definitely down to play on it.
Cool, I don't wanna push you into anything--
No, no, I love, love doing that stuff.
Cool, okay, so maybe we'll relocate the cart to the other side. Let's see what this looks like. Oh yeah, That's cool. Yeah, Jeff. I bet I do go 200-400. (unzipping) So I use these low-pro rollers. I talked about these on the day where we unpacked gear. What's great about these bags is you can roll them onto the plane. See, the way that I packed them is this is kind of my main kit, and then this is sort of a specialty kit where I keep long lenses. So I have, in here, this is a 200-400 f/4 lens which is a real...
ly great, you know as soon as I go past my 70-200 it's f/4 straight through. Super sharp. I use this both in the still photography world, and also in the video world, and it's light enough that I can hand hold it. If I'm gonna be using it a lot, I'll put it on a monopod. So I'm gonna jump onto this 200-400, it just gives me, you know, I'm kind of past that 200 millimeter range, here, and so I'm gonna just throw this on the D5. And if you don't, if this isn't in your budget, the 200-400, you can also, of course, 70-200 with a 1.4 converter, is a great option, and there's some sort of slower lenses, or variable aperture lenses, that are also great options. This is something else I'll do sometimes is just put the camera lens on my knee. It's kind of an easy way to rest it. So let's see. (shutter clicking) Okay, how does that look exposure-wise, Jeff? Reasonable? I mean I know there's that hotspot. Maybe I could hide that hotspot. Corey, maybe when you're ready, let's just see what it looks like when you're on the wall, and I might have to contend with that hump that's in the sun
Yep, let's do it. (rapid camera shutters) Okay, so I'm accepting that there's a hotspot right now. So now, it's challenging that Corey's actually in a dark, in a dark wardrobe. Yeah, up against that black, I'm liking there's a little bit of a shadow there, kicking off the wall. Okay, I look, a couple things go through my mind as I look at this photograph. It's not a great photograph; I'll start by saying that. And a few things that I see: Obviously, someone stuck two stickers right in the middle of that wall, that are pretty distracting, like it's sort of my eye goes to those images. The (clears throat) the other thing that I notice is that hump has a highlight on it which is, your eye goes right to the hump. I might be able to get lower and hide that hump with this foreground hump that's in the shadow. I'm also noticing that maybe this is more of a vertical frame, could be interesting, show more bottom, so that you get a sense of how high he really is. One great thing about this shot, if I'm out here working for Red Bull is there's actually Red Bull branding in this shot beyond just on Corey's cap, and so that's something that I'd probably try to frame more elegantly; I'd make sure there's a straight line. But I think from a Red Bull content pool perspective, their gonna be happy, my editors, if I bring back a picture of their athlete doing something cool with Red Bull branding in the background. I wanna, real quickly, just try to get lower, see if I can hide that light, shoot, so hide that highlight on the hump, put Corey in that spot, and, ooh that's also pretty neat, when... Hey Corey, when you just came over that little gap, you're going through the sun right now.
Yeah, can I just real quick fire a frame of that?
That direction or coming--
Coming at me
Yeah, and would you do anything as you go through the air there? Or is it more you're just--
I could do something off the first part, just gap the flat
Yeah, that would be great.
I could do, just like a no-hander
So, it'd be something just like that
Great. I might, and this is important for the audience that's watching at home. I just described what was and wasn't working on that wall, and I'm gonna make an executive decision, right now we're gonna come back to that in segment two and light it, because it's not gonna be great right now in available light. While I was talking I saw Corey do something that's way more interesting which is over that gap he's actually going through the natural light and that's what the segment is about, and so I'm gonna switch gears real quick and make a picture that is compelling because it's readily available. So it's knowing when to cut your losses, and move on to make something interesting.
So, can I--
Do you want us to test shot, just jump through--
Yeah, and you know what? I kind of need to, I might even have you just roll over there and either stand or sit on your bike, in the light, just so that I can figure out exposure. And of course, just as we try to do this, a cloud rolls in. Okay. Yeah, that's gonna be sweet. (shutter click) Let me just check that for exposure. And one thing you might notice I do a lot is the way I test exposure. I'm not sure why that's not going to There we go, okay. Cool, does that look pretty good, Jeff? Or can I...
Yeah, that's actually a really nice, you got detail