Photo & Video > Commercial > Action Sport Photography With Red Bull Photographer Corey Rich > Shoot: Feature Jump Action Shot Afternoon Natural Light

Shoot: Feature Jump Action Shot Afternoon Natural Light

 

Action Sport Photography with Red Bull Photographer Corey Rich

 

Lesson Info

Shoot: Feature Jump Action Shot Afternoon Natural Light

I think it one of the most enjoyable aspects here is you know, the whole idea of teaching or doing a creative live segment. It's to hopefully inspire other people to go out and shoot more, and you know, that's you guys. And that's the students that are here with us today. And so, I'm really as interested, more interested, frankly, in seeing what they're framing up, what their shot is going to be. Than making a picture myself. And so I think the best use of my time might be to, roam around, see what they're thinking, hear what they're thinking, look at their frames, and hopefully be inspired by what they're seeing through their lens. What do you have? What are you thinking? I'm just gonna do another wide one, up here, I think. Looking out kind of- Yeah Over the valley? Yeah, yeah. Okay, okay. (mumbling of plans) Are we gonna jump over the computer? (laughing) Okay, so you're gonna shoot from there. Could have got it right here, correct? Yeah, I think that's great, yeah, ...

I think it's great. Maybe I'll grab one of these. Sure. Alright, what, tell me what you're thinking. Tell me about your shot. Well I'm hoping I could post back here, maybe. Okay. The way the light's coming on, he's gonna be, you know, kind of front lay it. The clouds and the valley kind of have some nice texture and some good shadow detail and gives you know, a little more depth to it. So I'm gonna probably shoot long lens and just kind of compress that. Guiding, you're saying from here? Yeah- Okay. Maybe a little bit lower and just kind of track him and hopefully get him, silhouetted in the clouds, in the valley- Got it. And see what happens there, but I'm thinking depending on where everybody else is kind of situated here, I might switch to the 24 to 70. Got it. And then maybe come up a little tighter, do the same- And you're thinking obviously, high shutter speeds, stop him in the sky? Yeah. Cool, okay. So hopefully my focus will just stick through and follow him in and keep him really sharp. It's front lit, so he's not gonna be totally silhouetted, but he's gonna be, you know, he's gonna pop a lot off that background. Yeah, that's moody light right now, that's for sure. And are you thinking, vertical or horizontal here? Probably gonna go horizontal. I'm thinking about my website, I just changed, so I'm thinking about how that work will get shown later. Okay. So I'm pre-planning on what that might look like with my logo, and my gallery, you know, header and things like that. So it's a really wide, full bleed, almost like a panoramic, cinematic look to it. Right. So I just changed it up and I'm hoping that if I get something really clean it's gonna pop really nicely. And what you just said is actually pretty valuable. This idea that he's thinking about, in this case it's his website. But if you're working for a client, a lot of those same realities are true. Which is you're often times shooting for a specific website, or for a magazine layout- Right, right. Or a catalog layout and so understanding, you're asking your client in advance: What's the final use? Do they have a use case for these images? Is there something specific that they're looking for? Exactly. And I think using that model of your website is an example. Yeah, and that's primarily where it's probably gonna go from what the shoot is, and obviously people at home will see what we're shooting. And I always think when I'm shooting for clients: What space is this going in? Can you provide me a pixel dimension? And they usually do, they give me a banner dimension if it's going for an ad or if it's going for a local web page. If not, you know they say just shoot wider. You know, it's always: When in doubt, shoot wide is what I hear. And that kind of goes in- Sure. Hand in hand for me with my work, so nowadays cameras are you know really great, so you can crop in just a little bit. I like to keep my frame fully filled but when there's a chance to shoot a little bit wider for safety, that's a go to. Yeah, great, cool. Alright, good-luck. Thank you, Yeah, I'm gonna try. I'm excited to see it. Where did everyone else go? Oh, here we go, okay. [Student With Red Coat] We have Dylan at the top. Okay, so Dylan's ready, okay, perfect. [Off Camera Male Student] Dylan is ready, and I think he probably just joined in. Okay, I'm just going to roam around the corner. So let's warn, can you actually Brett on the radio? Yup. Let him know that we have one photographer directly under the lip. And that's on skier's right side of the lip. Okay. Alright. Cool, and you're getting, you're kind of wide, vertical? Right. Cool. Maybe tell us, tell us what you're doing. I was really happy with the first shot I got today with, from the other side of the jump, but the only thing I couldn't really see was the grab. So I'm hoping he does a similar thing from this side. And I can frame him on the right against these trees and kind of silhouette that and hoping that shot comes out. Cool, great, and Ralphie, what have you have going? Well, I was gonna try this, but Let me help, I'll let you talk into this. I was gonna try this little strobe but I'm going to bail on it. Is there just not enough juice? Not enough juice with the sun out, for sure. Yeah, and this is great, this is a small system, it's just, boy as we experienced today, if we waited two more hours Yeah. I think we'd have a great opportunity. Yeah. Or this would have to be so close to the subject at this point. Yeah, yeah. So you'll, what do you think in your back up? I'm still gonna take an angle just from over here, from behind where the camera is, and kind of shoot back up and probably try and get Cody and Dylan back beneath the sun. Right, okay. Show the jump and, yeah. Cool, great. Let me go work on it. Yeah, go for it, go for it. I know Dylan, is almost ready. Alright, I am actually switching from a 70 to 200. To a 16 to 35. Just so that I can get a little closer to the feature. And get a big background in this last bit of shooting. And I'm gonna take this remote off the camera, I don't need this anymore, I'm not using strobes. So I think less is more, just being able to move quickly and not having stuff bang me in the head. So I'm on the D5, 16 to 35, f/4 lens. And because we're shooting available light, right now we actually have a pretty nice patch of sun. So I'm also gonna move to this far side and just shoot wide. Let Dylan be just a figure in the landscape. And it looks like maybe Cody just skied in as well. But hopefully we get him during a patch of light. And we'll see what we can capture. We switched, alright. Alright, cool, alright. You want me to move? No, no, it's okay, it's okay. And what are you, 16 to 35? I'm at 24 to 70. 24 to 70. I'm compressed, a little bit. (camera shutter sound) Right, well, at least clouds are looking great. Yeah, I like the shadows on the valley. (camera shutter sound) And I'm switching it up, I was shooting obviously on strobes. I need to get out of single shot. Ah, how minutes there Cory? Give me one minute! (camera shutter sound) And we're going for a shot on this one, yeah? Yeah, I think so. We're almost ready guys! We're going to have Dylan drop first! Okay, and I'm gonna sit right next to you. Yeah, I'll be tight in this corner. You're good? Yup! (camera shutter sound) Okay, Brett, let's send them when ready! [Brett, Offscreen] Okay, give us two seconds! And give us the countdown, give us the! I will give you the three, two, one! Great! One will be when he's on the take-off! Okay! Here he comes! Alright so, I am two thousandths of a second, five six 200 ISO with some really big beautiful sky behind. Alright, three, two, one! (rapidly shuttering camera sounds) Great, alright! And that is the beauty of not being on strobes. As you can shoot a lot. Great, alright, that's a nice frame. How did that go? Decent, his back is to me again so I kind of wish I could see a little to the front. But you know it's hard to tell, there's a little bit of detail on the ground. Sure, sure. He's coming down a little bit and- Yeah, no, no, that's nice, I mean the light's nice, this is one of those situations where with more repetition it looks good. How did it go, guys? Good. Thumbs up. Alright, okay. Okay, so is Cody also up there, Brett? Yup, Cody's up there. Okay, great. So, anything you guys wanna change?! Or you're ready for Cody? Okay. [Offscreen Male Voice] We're good to go. Alright. Alright, so probably expect a little more amplitude out of- Cody is gonna go big, alright. Alright, you guys all ready? Let's do it. (walkie-talkie communication sounds) (laughing) Alright, Cody, drop when you're ready! Alright, he's on his way! Okay, here we go, exposure looks good so I'm still two thousandths of a second, we have a nice sun patch which is nice. And is he skiing, Brett? Yup! Okay, great. Uh-oh, and we just lost our sun! Three, two, one! (rapidly shuttering camera sounds) Okay, pretty awesome, Cody's amazing.

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