Shooting Red Bull BC One, how the battle was won

Shooting Red Bull BC One, how the battle was won

Red Bull Reporter sent talented young photographer Peter Tweedie on his most extraordinary assignment yet: to fly to Japan to shoot Red Bull BC One.

16 B-Boys from around the world rocked the Yoyogi Stadium in the heart of Tokyo in November for the seventh edition of the B-Boy battle event in front of 3,000 hyped fans.  The battles between the world’s best dancers were phenomenal.  The growing legend that is Neguin from Brazil, convinced everyone again and won the title based on his incredible athleticism and ability to entertain and surprise, battle after battle.

However, for Peter Tweedie, it wasn’t all about the event. Although already super-experienced in the B-Boy scene in the UK, Peter had a different set of problems than impressing a jury consisting of two-time Red Bull BC One champion Lilou and the legendary Ken Swift from the infamous Rock Steady Crew. Peter had to deliver killer images that brought across the energy of the contest and attitude of the dancers, just to do justice to the event and creativity of the dancers.

Q: Working in Tokyo must have been mind-blowing. Temples, gambling halls, skyscrapers and karaoke bars, geishas and sumo wrestlers. Did you have any concepts for shooting the event itself or on any pre-shoots in Tokyo?
Mind-blowing is exactly the word for it.  The culture and way of life is so different to the West.  It was all the subtle social differences that really had me fascinated; especially the way they go about their daily routine.  The fashion out there was amazing too, very fresh and completely different to how people dress in the UK where I’m from.

It was amazing to be sent by Red Bull Reporter as I’ve wanted to visit Japan my whole life so the opportunity to go and shoot dance was incredible. I got a very open brief from the Red Bull Reporter team, which gave me freedom to be creative. I did my research before going, the culture there, potential locations and had some ideas in place for whatever came up when I arrived.

We ended up trying to get our bearings in Tokyo by comparing the different neighbourhoods in London to the areas in Tokyo. For example, Harujuku was akin to Brick Lane or Camden and Shinjuku had elements of Liverpool Street with the suited commuters.  

Q: To be a good B-Boy photographer, you really have to understand the moves and know what's coming next, or you won't get great shots. What's your experience of shooting B-boys and crews?
Everyone goes through that stage in their life when you're really inspired as a kid, to push the sofas to the side and try and copy what you see others doing. For most people that's as far as it goes but some of my friends got hooked and now live the B-boy lifestyle, so I've always been around the scene.

Sometimes I do wish I had the same dedication as my mates for training and improving their dance but I developed the same level of passion and dedication to my photography and that's my main passion in life.  I still have the deepest appreciation for dance and the whole philosophy behind the B-boy scene and dance in general.  It also means I know enough to be able to direct the dancers. When you know the moves, styles and just have that knowledge, it really helps you to get the shots quickly which is really important when you only get a short time to shoot, like I had in Japan.

Q: How tough is it to get the timing right and capture the action?
I regularly shoot boxing, kick boxing and mixed martial arts (MMA) which has really helped me develop a natural instinct for timing as shooting fights in a ring or cage is very similar timing-wise to shooting dance battles.  I also play and shoot a lot of different sports which really helps.

Q: What equipment, settings and lighting did you use? Did you have to shuffle your settings much for the indoor lighting? Did you try anything much different on the pre-shoot?
I got two chances to shoot. First was the media day where I got 5-10 minutes to shoot with some of the performers, the other was the event itself.  Because I only got a small amount of time with the performers individually I had to get the shoot done quickly.  It was a balance between taking a risk and trying a technically challenging set up but risk not getting the shot if I didn’t hit it first time; or playing safe and shooting what I knew I could get quickly.  

I ended up doing a little of both, capturing the safe shot of the dancer standing in the first few minutes before their routine then using the rest of the time to capture a dance move from a more unusual angle.  

I had seen photos from the previous years so had an idea of what to expect and the type of shots I wanted, so it was just a matter of making the most of the position I had with the available light, as the event went by so fast.

Kit wise I had two cameras, my main camera was a Canon 5D mk2 body and I switched between the Canon 24-70mmL and Canon 70-200mmL f2.8 lenses. My second camera was a Canon 40d body with a 10-22mm lens to capture any wider shots I spotted (and also as a back up body if something happened to the 5D).  I also had a Canon 580ex flash on each camera and a canon wireless trigger for if I got a chance to spend time setting up for more creative shots.  

Settings wise I wasn’t allowed to use flash in the venue so a fast shutter speed to freeze the action was my top priority, so I kept it above 1/320th or a second for most action shots.  I was worried whether the lighting would be powerful enough at the venue to achieve this and still keep a large enough depth of field without having to raise the ISO to levels to where the noise was too noticeable. But the 5D mk2 handled it brilliantly.

Q: There were 3,000 pumped fans in the Yoyogi stadium. B-boying is one of those things were photographs of the audience can be just as stylish and interesting. Did you try and capture the atmosphere?
The atmosphere was amazing! Watching videos is great but only by being there can you really get an understanding of the hype, atmosphere, and electricity coursing through the room.

There is one shot I'm particularly proud of which was when Big Daddy Kane was performing and for a brief few seconds he picked out one guy in the audience for a few moments, and it became like a one on one performance as the spotlight fell on both of them even though there were still thousands of people in the crowd going crazy.

Q: Which shots blew you away?
The pre-shots with Lilou, as I respect him so much as a dancer and as he is the only B-Boy to win the event twice, it was great to work with him and capture him in an freeze with the amazing Olympic venue in the background.  

There are also a few of the action shots where I feel I've managed to capture the facial expression combined with the power and expression through body language to really sum up the exchange between the two dancers.

The sequence of shots where Luigi loses his shoe and Just Do It taunts him by using his shoe as a phone whilst he's still throwing down tells a great story. It was the turning point when that battle was won and lost in a series of three photos.

If you are based in the UK and want the opportunity to photograph for Red Bull Reporter, register at www.redbullreporter.com.


www.petertweedie.com

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"Taxi!" - how Aaron Chase hails a cab!

Riding a bike over a New York taxi cab for Ale di Lullo’s award winning shot? Just another day in the office for pro downhill rider Aaron Chase. He gives us the behind-the-scenes lowdown on the shoot.

© Ale di Lullo / Red Bull Illume

How much fun was that shoot?

Ale had a plan and we locked that in pretty fast. I had an idea about a location in Brooklyn, we rented a car and the party started there!

Guessing taxis aren’t your usual terrain?

I had a little kicker ramp and knew I could ride the windshield as long as it lasted long enough before breaking. 

Were you seriously worried?

No, I knew I wouldn’t go through, I just didn't want to break it and that would kind of screw up the shot ya know.

How do you like the image?

I like the angle from the passenger’s POV of this action. Once Ale and I staged this we knew that the shot was going to be sick. We had the building on the left, Williamsburg bridge on the right, taxi driver locked in and when I hit the windshield it filled up the entire open space, just like we planned!

Generally, how important are photographers to you as an athlete? 

As a rider I need to concentrate on the my job and have full confidence in my photographer that the image is being captured perfectly. It feels so satisfying to land the trick and hover over the camera and double check your style.  

Do you think you’d be where you are without quality images?

In this day and age imagery is everything. I’m definitely known for my images and videos over the years. It takes a team to build quality content and real photographers that can hang with the action and the down time. They end up traveling the world.  

Photographers don’t always get a lot of love. You think they deserve some?

Yes of course, but the photographer’s job is to highlight the action & athlete and not really himself. A photographer rarely gets the recognition that an athlete gets from a photo but that’s kind of the nature of the beast! 

How was it working with Ale? Did you have any creative input into this image? 

Oh yeah, we talked about the shot and the action like old war buddies. Ale is an easy guy to get along with.

Tell us about the collaborative process between athlete and photographer.

It all depends, this photo Ale and I collaborated on no doubt, but in general if out with a photographer I generally do my thing and let him do his.

What advice would you give an aspiring action sports photographer?

Get on Instagram and see what people are doing. Follow people that inspire you and apply some of the grand images to your world. When traveling, I often look at post cards and imagine a bike in the setting, stuff like that.

Have you seen the other images in Red Bull Illume?

I was just saying to Ale that Red Bull Illume is like winning a raffle, all the photos are insane but I’m stoked to come out on top!

What in your mind makes a great image? 

The best photos tell a story.  

Want to hear more about the story behind the shot? We recently caught up with Red Bull Illume Category Winner Ale di Lullo to talk about what went into creating the award-winning shot! 

The Winner's Circle: Dean Treml

Three images in the final, two of which were category winners – not bad for a photographer who doesn’t do set-ups and prefers to avoid Photoshop. Dean Treml explains why he’s stoked.

© Dean Treml / Red Bull Illume

Surprised? 

It was quite unexpected to be honest. With photo competitions you never know what’s going to happen. You’re in the audience and they show the finalists and say: “And the winner is.” When that happened the second time I was blown away. 

Was it important that the shots were ‘editorial’?

It is for me! A lot of stuff is created over a period of time with a lot of forethought and planning. That’s to take nothing away from the photographs but that’s just not my way. To have three photos that were taken in real life situations in that mix was pretty satisfying.

Why is editorial different?

The primary thing with editorial is the integrity of the image. It has to be truthful. If someone sees it they have to believe 100% what was in that scene. That involves not setting up the photograph, not creating something that’s untrue, not manipulating it in Photoshop. It’s common place these days to use Photoshop to make your photos outstanding but it’s not so much photography as ‘photoshopography’. Editorial has to be telling a story with an image. It needs to drag you in and make you want to find out what’s going on.

So it’s quite ironic then that you won the Enhance category?

That’s totally not lost on me! That particular venue was kinda cool and abstract but always had the the platform sticking out, which created a distraction. The platform’s necessary but when I was looking at the Red Bull Illume [Enhance] category, this photo jumped into my mind – maybe I could rip the platform out? In all honesty, I didn’t expect it to be a finalist. It was something I did in Photoshop in two minutes: take the platform out, increase the contrast a little bit and send in.

What does Red Bull Illume mean for you? 

From a sports and adventure perspective it’s a big deal. The quality of the photos submitted – everything’s of a really high standard. You can see it’s a worthwhile thing, showcasing fantastic work from all around the planet.

Two of your images show what can go wrong in action sports. Is that important? 

A lot of content tends to be somewhat sterilised. If you get people doing extreme sports you get injury and sometimes extreme injury. It goes with the territory. I don’t think these sports should be painted as something where everything always goes fantastically: people leaping off buildings, backflipping on motorbikes, careering off waterfalls and everyone’s got a big smile on their face. It can go bad sometimes. As an editorial photographer you want to document all aspects, not just focus on the shiny stuff.

And the guys bounced back?

Josh was fairly determined to rehabilitate and he did; he was was back in a kayak one year later. Nicholi took a hell of a spill but was fine. He got up pretty quickly afterwards, continued his run, went down and finished. He had a bit of a cut on his face but is clearly quite a resilient kid. 

What’s next in action sport photography?

The trend for action is to try anything that’s new and hope you can do something different to everyone else.  

Should photographers be worried?

Photographers have been worried for years – so many colleagues have lost work. It’s not valued in the same way as used to be. Publications don’t care about the quality as much as they used to. They want the content and they want to have it cheaply. If you can get something from the guy on the street and stick his name under it, everyone’s happy except for the photographers who make a living from it. Photography’s not a trade where you have a certificate saying, ‘I did four years’. Now everyone has a camera that can shoot sharp and well exposed photographs. I’ve been lucky to work with Red Bull who value photography and see the value of photography. It’s one of the few companies that let you go out and do your job. 

What are you working on? 

Ultimately a holiday! 

The Winner's Circle: Ale di Lullo

Photographer Ale Di Lullo captured one of the most unusual shots in this year’s Red Bull Illume – shooting a mountainbike rider from inside a New York cab. He tells us why winning a category was so amazing – and why photographers need to ‘innovate or die’!

© Lucas Gilman

How does it feel to have four images selected with one a category winner?

Oh man it was awesome and will be so forever. Red Bull Illume is documenting the progression of action sports photography and so to be part of this with a winning shot in the New Creativity category with a shot that I made specifically for Illume? It's just great!

What really went down in Chicago?

What an event! With extreme sports, it sometimes happens that you stay in nice hotels and locations, but to be in that city downtown in a hyper classy fancy hotel, wow. The Winner Award Ceremony was really another experience! It was surreal and the photos displayed at night on those white panels in an area of towering buildings was priceless! 

One funny thing is that I missed the group shot with all the winners on stage as I was already drinking beers and celebrating! They didn't realize I was missing because having Dean Treml and Lorenz holder winning more than a category messed up the counting! 

How was it to win the New Creativity category? 

I'll remember it for a while I think! I was hanging with Christof Kalt, one of the judges and a big fan of my photo. I didn't know which one was the finalist or if there was more than one. I was hoping for the windshield but I didn't know and Christof kept the secret until the end so I really had no idea. 

Then when the New Creativity category was presented and I saw the shot on the screen which had made top 5 I said to him: ‘Man I'm happy already that that shot made top five and three others were in the Top 275. I felt I had accomplished something good already. But then, in a matter of seconds they said, ‘And the winner is…’ and my shot was displayed on the screen. It’s like when you dive into the water – that moment when all the sounds around you change and all your senses adapt to the new environment. I put the beer on the table and ran to the stage. The stage panic almost got me for one second in front of the mic but I was too stoked for panicking! 

Can you describe some of the challenges of getting the shot? 

The big question was, is the windshield gonna crack, is Aaron going to smash it at first try and do we have to go home with no shot. It was in preparation for over a year and the first similar attempt we did ended with Aaron under broken glass. Read the full story on how Ale got the shot here

Was it good to hang with other photographers?

Again, I wish I had the time to meet them all! It was great to put together faces and shots. Big respect for everyone. I hope to see them again somewhere. 

What did you think of the other images?

All the winning shots were just winning big time and in the selection of the Top 275 there are some gems. There are shots that go beyond the action by capturing the essence of the sport. And the progression of photography together with the sports is just amazing.

Red Bull Illume has done a great job with this contest because it's so interesting to see the shots from 2007 and see how different they were back then. And I remember some of the shots that ten years ago were outstanding, they seem to be just more normal now! I believe because they were the first, they opened the vision for others to develop the ideas with new technology and fresh ideas. Red Bull Illume is documenting this evolution and it's awesome.

What is your favourite shot in the contest? 

Probably mine – just kidding.. ahahah! I definitely love Dean Treml enhance category winner, so powerful. It seems to me something like a 2001 space odyssey stage or some 70s sci-fi futuristic comic or illustration. Jody MacDonald lifestyle was also so good.

What’s coming up in your calendar?

I have a couple of assignments in southern France and a three week shoot on the west coast. I always force myself to think of new stuff and find new locations around the world. I'll be also doing a cool project with some badass extreme sports movie production company. That is something I would love to work on more in the future.  

Where do you think the next challenges in action sports photography are?

It's hard to predict. With new technology growing so quickly, still photography could even became irrelevant and obsolete in five years. Hopefully that won't be the case but the challenge is to keep up with the sport, with the technology we have and the progression that photography is having.

With everyone being a photographer now, should pro photographers be worried?

I think we have the chance to still use the most powerful equipment available plus we have a trained eye that is supposed to give an advantage. I believe quality and professionalism pays in the long term. As my buddy the freeride legend Darren Berrecloth loved to say: ‘innovate or die’.

Frozen in time

What is it like being the subject of a Red Bull Illume category winning shot – especially one as surreal as Dean Treml’s black and white cliff diver? Jonathan Paredes tells us.

© Dean Treml / Red Bull Illume

What’s your view of the shot?

This photo is simply amazing, one of my favorites! 

Does it matter to you that you’re not recognisable?

It doesn't matter at all. I know that the people that really know my sport and me – they would recognize me and they would be as surprised as I am to see this wonderful shot.

How important is photography to Red Bull Cliff Diving? 

They are one of the most important people in our team, they are able to show in one shot probably the best moment of our competitions.

How important has photography been to you personally in your career?

It’s been really important. Personally it’s given me the chance to keep all those memories from all those beautiful places where I've been diving and it means a lot to me. It’s also the way to show people and the entire world in a few shots the beauty of our sport and the beauty of the photographers’ work.

Cliff diving looks so terrifying. Walk us through that moment of leaping off. 

The only time to think is the moment before you dive. Once you are at the edge of the platform no one else exists, it’s just you and 27 meters waiting for you!

What is it like to see an image yourself mid-air?

It's a really nice feeling to see how crazy we are! 

Photographers don’t always get a lot of love. You think they deserve a bit of time in the spotlight? 

Of course they deserve it, they are heroes and they are showing the world behind their lenses! 

What in your mind makes a great cliff diving photo? 

I think I am the person in charge of diving off a cliff, but the magic begins when the photographer sees the photo before you dive. 

What are you more interested to see, the right body movement or the creative spirit in a cliff diving image?

I'm super into photography, I like to play a lot with my phone pretending be a photographer, so I really respect the artistic merit.

Have you seen the other images in Red Bull Illume?

I’ve seen the book a thousand times, and it's simply AMAZING.

In the middle of the Apache Roll

Selecting the Sequence category winner is always an agonizing call for judges – the creativity on display is awesome. With his 360º shot of the Czech Flying Bulls team in action Daniel Vojtěch took the artform to a new level. Here, their aerobatic leader Stanislav Cejka pays tribute to the photographer.

© Daniel Vojtech / Red Bull Illume

We’re guessing you like the shot? 

It’s very nice and a rare picture. I’ve never seen such a thing before. Dan always has very original ideas on what to do.

Is it unique to have this view from the cockpit? 

We have hundreds of pictures from the cockpit! Sure they are different from the images on the ground, they have different emotions. But the best pictures are dependent on special ideas. All of our air to air photos are very similar but Dan’s photos are absolutely different.

Tell us about this shot?

Two aircraft are in the mirror level flight. The leader is on his back and the wingman is in the normal position. The third aircraft is rolling around. We call this maneuver the ‘Apache roll’. The speed of the whole flight is around 250 km/h and of course rolling aircraft speeds up downwards and slow down upwards.

From a flying perspective, was it difficult to perform?

Firstly, this maneuver is not easy to make. The pilot in the rolling aircraft will have learnt for about one year how to do a steady roll. He is flying just around the two, in mirror flight. All the time he can fall back to stay safe. But during the photo shoot there was another aircraft behind. So he had to be very precise in rolling and keep in mind additional safety issues.

What was the Flying Bulls’s first reaction when approached by Dan? 

Many photographers come and say: “I can shoot whatever you want.” But I don’t know what I want! I don’t have artistic ideas. So we make some passes over the ground or make air to air shoots and then have hundreds and hundreds of the very same photos. But suddenly some guy came and said: “I have an idea. Let’s sit and talk about it and how we can connect my idea with your flying.” And that was Dan. With him we’re able to connect his artistic and our technical thinking.

How important is good photography to aviation?

It’s similar like in other professions. You can have an ordinary photo, like I do, and a perfect photo, like Dan does. The perfect photo can represent many things. The difference with aviation when making air to air pictures is you have the photographer sitting in the cockpit, he’s in the three dimensional move. He shoots in turbulence. And finally, he can suffer from sickness!

Do you have a favourite photo of flying?

I know it´s embarrassing, but again I have to salute Dan. We spent the whole day shooting with him and at the end have less than ten photos. But all of these pictures are absolutely perfect.

The Winner's Circle: Denis Klero

Recently back from photographing the freewheeling mayhem of Red Bull Soapbox, Azerbaijan, the Russian photographer Denis Klero tells us why his Close Up winning shot of a climber’s hands has left his own head spinning.

© Denis Klero / Red Bull Illume

Are you still stoked to have won the Close Up?

I still do not believe that it happened to me! I am the first participant from Russia to have won in this competition in 10 years.

How was it at the Winner Award Ceremony?

Absolutely incredible! It was the first time for me at an event of this level where celebrated photographers came together. There were a lot of new emotions for me which I had not experienced before. The passion and intrigue was nothing less than an Oscar award ceremony. Respect to the marching band in particular! (ed. the marching band as part of the Winner Award Ceremony killed it, for real)

What was it like to see your own image on display?

This was also a new experience for me. There was this feeling that this was not happening to me. Many times I have seen different ceremonies where others received awards, but this was such a serious international competition! On the way to the stage, I thought only one thing: I am a representative of my country so I could not do anything wrong. It was a huge responsibility for me! And yet in the room were the best of the best photographers in the world and many guests.

Was it good to hang with the other photographers?

A huge honor. Over the next two years, part of me will travel around the world together with the work of other photographers.

What did you think of the other images?

All the finalists are worthy of first place.

What was your favourite shot?

Dean Treml's shot of a cliff diver in Copenhagen. It’s awesome!

What projects are you currently working on?

I am preparing a project with a BMX rider in the forest. It’s not a very sporty project, but rather more artistic. But it's still a secret, so sshhh! I've also got an advertising project coming up in the new year. 

Click here for the background story on how Denis got the shot of Rustam Gelmanov’s chalky hands and check out his website to see more of his work. 

 

 

It's time to vote!

As part of the Red Bull Illume Exhibit Tour, which is travelling the world until the summer of 2018, the Public Vote is now open!

© trashhand

Red Bull Illume Image Quest 2016 raised the level of action and adventure sports photography once again. Following the Red Bull Illume Winner Award Ceremony, which was held in Chicago on September 28th, 2016, which saw German photographer Lorenz Holder win highest honors, there is one more prize to award, and there's a twist. 

The winner of the Public Choice Award will, fittingly, be chosen by you! Each image from Red Bull Illume Image Quest 2016 that made it into the Top 275, which can be seen in our gallery, has a vote button beneath it. By choosing your favorite image, the photographer has the chance to win another great prize package. 

Voting is simple: 

1. Go to the Gallery

2. Look through the photographs

3. Choose your favorite

4. Press the "vote" button! 

The public vote runs till the summer of 2018 and will be awarded ahead of the kick-off of the next Red Bull Illume Image Quest. 

The Winner's Circle: Jody MacDonald

With her shot of a surfer riding a freight train in the Mauritanian desert Jody MacDonald won the Lifestyle category. She tells us what it was like at the Winner Award Ceremony and which images get her vote.

© Jody MacDonald / Red Bull Illume

How does it feel to have won the Lifestyle category? 

It’s really such an honor. When you see the caliber of photography that was submitted and how many images that the judges had to go through, it really is special. I'm incredibly stoked! It's both humbling and very motivating!

How was Chicago? 

The Winner Award Ceremony was great. Red Bull Illume really pulled out all the stops to make the evening a memorable one. All three days were exceptional from the hotel, to the events. We were made to feel special. 

What was it like to see your own image? 

The displays and venue were so impressive. It’s always great to see one of your own images in a large print format but the backlit displays at the event were really incredible. It really makes you want to stop and look closely at each image because they all look incredible when they are displayed like that. 

Was it good to hang with the other photographers? 

Yes! Definitely – I think for many of us that was the best part. Being a photographer can be such a solitary profession and getting to meet and potentially collaborate with other photographers in the industry is particularly special. Many of us have so much in common so it’s great to be around other creatives for feedback and inspiration. There is really no other event that would bring us all together quite like this one.

What did you think of the other images? 

All the images are so impressive. It’s great because it really makes you want to push your own photography to new levels. That is so important for our own creativity and for adventure sports as a whole. 

What was your favourite shot? 

That is a tough question. I actually have two. I love Alexandre Voyer’s shot of his girlfriend’s encounter with the blue shark. I’ve spent a decade living at sea and I know how rare these incredible moments are and to be able to capture them on camera makes it even more rare, so that photo is impressive.

The other is Victor Sukhorukov’s image of the BASE jumper jumping off the lighthouse. It’s hauntingly beautiful and again the effort and timing that went into making that photograph was extraordinary. 

Any interesting upcoming trips? 

I’m getting ready to work on some projects in India and Asia that I can’t really talk about but I’m looking forward to getting back on the road. See more of Jody’s work on her website.

Joe Morahan: What's in the Bag?

Whether it's the Arctic, the jungle or the Sahara, Joe Morahan knows how to handle himself and what to pack when your on assignment is extreme conditions. Find out what he carries on some of his missions and why.

© Joe Morahan

Talk us through your gear - what are your go-to items?

When grabbing gear for a shoot, I have about 4 different setups depending on the shoot.  One would be a full-scale production, which I always have everything I need all in a grip truck or whatever.  Second would be a studio shoot, and again that can have all the gear I could ever imagine and I don’t have to worry about it at all.  The third and fourth types of shoots are smaller scale shoots, and those two types of productions take a lot of careful thought on what to bring and what not to. 

When heading to the backcountry to shoot, I do my best to travel light and grab only the gear I need.  Sometimes hiking miles and miles to my locations, I can’t afford to bring too much camera gear and not enough supplies for myself, like water, food, and whatever else I may need.  This also pertains to camping shoots, where I hike and spend the night out there in the backcountry.

My two favorite lenses to bring to the backcountry for simple shoots are the canon 70-200 f/2.8 and the Canon 24-70 f/2.8. Those two lenses are really all I need to capture the action out in the middle of nowhere.

Do you carry anything that no one else has? 

I carry items I can depend on, that will always work for me each and every time.  I can't afford to have gear issues, I already deal with weather, talent, scenes, and other elements that I cannot control, and the last thing I have time for is fiddling with gear or having issues.

I'd also like to mention that in winter, when it's super cold, you don’t want to be having problems with gear. Sometimes I'm in waist deep snow, and that's not the time to be switching a lens or wondering why my offshoot brand gear is not working. It has to be perfect every time, or else you might miss the moment.

A few items I have that most other don’t carry would be my Hoodman Loupe to view images on the LCD screen on back of camera.  It's kinda like loupe for viewing slides, it blocks out ambient light so you can see the image perfectly.  I always carry my Garmin with me.  Not only do I use it so I don’t get lost, but I mark locations coordinates so that I always know exactly where they are and how to get to them.

Does your gear sometimes take a pounding to get the shots you do?

Yes, my gear takes a beating to say the least. One thing I have learned over the years is, you can't care.  I'm not saying when I get back home I throw my gear on the floor, but when you’re on location, you can't worry about every little thing possibly getting scratched.  A wise man once told me that every new camera should come with a dent and a scratch. That way you're not worried about your first dent or scratch. It's true, when we buy a new camera or lens you are so concerned about keeping it in mint condition, but after years of love, the camera or lens shows signs of wear and tear. It always happens, no matter what, so it's okay for it to get banged or whatever. It's literally impossible for me to say that my gear is always protected. 

When going to crazy locations, or dealing with crazy weather you have to come to grips with the fact you might ruin gear, but that's what insurance is for.  The main thing is you can't have the gear fail while shooting so there is a line you don’t want to cross but they do take a beating. 

I don’t think we’ve seen a color chart in these stories before...Tell us about it.

The color check chart is something that is always in my bags.  I have a small little fold up one, that's the size of a passport, and weighs next to nothing, so it's always with me.  When shooting big productions, I am very limited with how crazy I can get with lighting.

I know the rules, I know how to be a super technical shooter, but to me; that's plain Jane.  I love being different, and that involves breaking some of the rules.  That Color Check Chart helps keep me in line while allowing me to push the limits.  In post production, is where I feel like I change my pictures into pieces of art.  They take on new life, and things change quickly, and the color checker chart gives me true base that I can see where the numbers are.

You got some serious lenses there! Do you have fun travelling with them?

It would be hard for me to say I love traveling with my lenses; my back is currently in a lot of pain from carrying them.  So it's kinda a funny thing, yes I love my lenses, yes I love having options on location shoots, but I hate traveling with them. They can be super heavy, and when you’re hiking long distances you can feel that extra weight. Even traveling on planes can get to me, having TSA pulling out lenses and all that, it's hard to get gear from one place to another.

Once you’re at your location and you have the lenses you need, it’s a great feeling.  Its exciting to have the gear you need, when you need it, and where you need it. The back pain goes away after a bit of time, the images last forever.

Here's Joe's Backcountry kit: 

• Canon 1DS Mark III

• Canon 24-70mm f/2.8, Canon 70-200mm f/2.8

• Hoodman loupe

• Think Tank Pocket Rocket card holder

• Pelican case

• Lens tissue

• Garmin GPSMAP 64st, whistle, trash bags, plenty of snacks

And here's his Production kit: 

• Canon 1DS Mark III & Canon 5D Mark II

• Hoodman loupe

• Sekonic Light Meter

• Canon 100mm f/2.8 Macro, Canon 15mm f/2.8 Fisheye, Canon 24-70mm f/2.8, Canon 70-200mm f/2.8 and the Canon 300mm f/2.8

• Zeiss Planar 85mm f/1.4 fixed, Zeiss Planar 50mm f/1.4 fixed, Zeiss Planar 28mm f/2 fixed

• 1.4 Teleconverter, 2X Teleconverter

• PocketWizards

• Hoodman Video Mount

• Manfrotto Super Clamps

• 2 Small Black Flags, 2 Reflectors

• Profoto B2 Kit, Profoto 2 heads, Profoto 2 Batteries, Profoto 2 Light shaping Reflectors

• Profoto Extra long cord to move light further away (great for rim light!)

• Lowepro Photo Trekker AWII, Lowepro Flipside Sport 15L AW

Behind the Shot: Catching up with Renan Faccini

Renan Faccini is the bodyboarder with his arms aloft in Luke Shadbolt’s Energy category winning shot. He talks to us about that wave and why the sport couldn’t exist without photographers.

© Luke Shadbolt / Red Bull Illume

What’s going on in the photo? 

Some guys from Le Boogie magazine came over to do a video and they got in contact after seeing I was surfing different kinds of waves, which they don’t have in Australia; waves that hit rocks to make a kind of side wave. These waves form a pyramid in the middle of the beach and break so close to the sand. When we got to this place I was just like ‘woh!’ I’d surfed this spot lots of times and never seen it like this. The lip of the wave was hitting the rock just perfectly. The waves weren’t really that big, but it was making a huge explosion of water. It was so loud – it sounded like a grenade! 

Looks like you’re stoked to have survived a bad wave!

I wasn’t aware Luke was taking the photo. I got as close as I could to the side wave and there was this huge explosion. The sound was so loud! I just threw my hands up. I wasn’t hurt or anything – I was just stoked for the wave that was coming next! 

How did you feel when you first saw the photo? 

Luke didn’t even show me the photo! The guys said it was going to be the cover of the DVD and I was like "woh"! It’s incredible, I was just stoked when I did see it. It’s a perfect shot – normally this area is crowded and there was no one around. It wouldn’t be so awesome if I wasn’t alone with my arms in the air.

How important is photography to body boarding? 

Very, even if I don’t do competitions anymore. We actually need photographers to be able to do what we want to do, especially now. The magazines may have gone because of the internet and all that. But there’s a huge market for surf imagery right now for major companies. As athletes, we need to be out shooting. Photographers are as important as the athletes. 

What’s the most important skill for photographers to have?

You can’t just go and buy some equipment, shoot and get shots like Luke. You have to spend time around the athletes. You have to understand what’s going on. Maybe if it was another photographer who didn’t understand the sport, he wouldn’t have seen that moment. You have to understand how the guys are riding the waves to do different shots. 

Follow Renan’s bodyboarding adventures on Instagram @renanfaccini and if you want to see more of Luke Shadbolt's work, head over to his website