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Nice Moves on the Dachstein

As any action sport photographer knows, shooting in sometimes crazy locations is all part of the job. But what happens when it's a fashion shoot on a mountain edge and the athlete is a model in high heels?
Helge Kirchberger, who's worked with the Flying Bulls and at Hangar 7, tells us about his recent shoot on the Dachstein glacier using the broncolor Move Powerpack.

What was the idea behind the shoot?
During a job in the Dachstein ice cave (near Salzburg, Austria) I discovered a great location up there. I desperately wanted to do a shoot on this rock.

Looks like an extreme location
We were on a sloping rocky plateau just a few meters square and beyond that it was a sheer drop of a few hundred meters. The rock was also wet and loose so we had to move carefully!

How did the model enjoy that?
Our model Carina was amazing. She had to wear high-heels while we were all equipped with proper hiking boots. We had told her in advance that the location would be extraordinary and that she should definitely not be scared of heights. She did really well!

What was the idea with the birds?
During the first shoot on the Dachstein, the model had a phobia of birds and was really stressed out. That’s when I had the idea to include alpine choughs in our fashion shoot, like in Alfred Hitchcock’s film “The Birds”. To get the birds to come closer we fed them bread in the beginning. Within no time, more and more birds arrived. Those birds have become used to climbers and aren’t too shy anymore.

What equipment did you use?
In the studio, we worked with Broncolor Scoro A4 and A2 as well as grafit generators — a perfect setup in terms of performance and handling. In addition, we used two Broncolor Verso with rechargeable batteries and Broncolor Pulso G flash heads and a number of different lights.
Canon EOS 5 Mark III with EF 70-200, EF 24-70 and EF 16-35mm.

How does The Move make life easier?
The performance quality really makes the Move Powerpack stand out. It's low weight, full power and adjustability make it an essential tool for outdoor photoshoots. It’s particularly useful when you shoot on locations where electricity is unavailable but you still want to work with artificial light. With the move, you can perfectly implement all those possibilities. It’s reliable and convinces with sophisticated handling and excellent processing.



© Helge Kirchberger

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The Dark Night: a 3D-printed sequence

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“I was doing a personal project for 3DGang print company and I saw a creative opportunity with this technology!

First, I had the idea to have shoot with a small 3D-printed figure – but soon the idea developed into a sequence shot. I phoned wakeboarder Zuzana Vrablova, who loved the idea and came to Prague.

We planned the concept together and decided to shoot 8 or 9 different poses for different moments of the sequence. As each ‘frame’ of the sequence had to be shot individually, Suzanna had to imagine what the correct position was – we had a big screen so she could check her body position was correct after each shot!

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Check out the BTS images below on how it all went down!

© Dan Vojtěch
© Dan Vojtěch
© Dan Vojtěch
© Dan Vojtěch
© Dan Vojtěch
© Dan Vojtěch
© Dan Vojtěch
© Dan Vojtěch
© Dan Vojtěch
© Dan Vojtěch
© Dan Vojtěch
© Dan Vojtěch
© Dan Vojtěch
© Dan Vojtěch
© Dan Vojtěch
© Dan Vojtěch
© Dan Vojtěch
© Dan Vojtěch
© Dan Vojtěch
© David Carlier

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© David Carlier
© David Carlier
© David Carlier
© David Carlier
© David Carlier
© David Carlier
© David Carlier
© David Carlier

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