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.
Read the latest stories
Shooting the Seven Seas Expedition
Last year photographer Kelvin Trautman joined swimmer and ocean advocate Lewis Pugh as he attempted to become the first person to do a long-distance swim in each of the Seven Seas: the Mediterranean, Adriatic, Aegean, Black, Red, Arabian and North Sea. This aim of the Seven Seas Expedition was to highlight the need for and importance of Marine Protected Areas. We caught up with Kelvin to discuss how the shoots went…
How did you prepare?
For this expedition, I spent a couple months doing long ocean swims to build up endurance and breath hold exercises so as to improve the time I could spend shooting underwater - in terms of the latter I had decided going into the expedition that, when shooting underwater I wanted to free dive rather than use any scuba equipment because of the flexibility it would give me.
What are some of the challenges you faced on this project?
As with most expeditions, a lack of time was our biggest challenge. Our travel schedule was really tight, leaving only two or three days in each location. This meant our shoot days were jam-packed but which also meant we had no contingency weather or logistic days to play with - we all needed a holiday after three weeks of this back-to-back schedule!
Any close shaves?
Capturing Lewis swimming between big oil tankers in the Bosphorus - the narrow stretch of water that runs through Istanbul and which joins the Black Sea with the Sea of Marmara - was a little hair-raising. On this particular shoot day we had gale force winds, cold water temps, strong currents and irate shipping owners to deal with!
How important was your participatory approach to telling the story?
Very important. I looked to swim with Lewis, my underwater housing in tow, for as long as possible during each of the 7 swims for two reasons. One, if any of you have swum before you'll know how lonely and detached this form of exercise is and so I wanted to try get the layman at home to relate to this swimmer perspective. And two, coupled with the obvious fact that the world beneath the surface looks and feels vastly different to that above, the purpose of the expedition was to raise awareness to as much beauty as well as destruction in each of the 7 Seas marine environs.
What gear did you use?
In the water I mostly shot with Nikon D800 and a 16mm fisheye in an SPL housing.
Any tips on how to shoot with a waterproof housing?
Two things. One, remember saliva and saltwater are your two best ingredients in making a solution that prevents water droplets from sticking to your lens port. And two, remember your underwater housing is very buoyant and so if you plan on shooting below the surface then you likely to need a weight belt to keep you down.
Let's just say I have started to do some cold swim water training!
Shooting sports events with Jesper Grønnemark
Thinking of becoming an event photographer? Join Jesper Grønnemark as he heads off to shoot a sports event – from location-scouting to gear, to positioning and final selection, find out what it takes to shoot an event and get a good idea of what you can expect!
Visit Jesper's website or find him on Facebook.
Black and white photography in skateboarding
In this video, Red Bull Illume photographer Fred Mortagne talks us through his passion for shooting black and white film and why he prefers to capture images that are not perfect replicas of reality. Despite his passion for analog, the Leica M Monochrom has tempted him to convert to shooting black and white digital as well.
Making of: Infrared photography
Watch Danish photographer Esben Zøllner Olesen discuss his basic workflow when shooting infrared images with an IR-converted DSLR camera. Infrared photography may seem quite daunting, but Esben Zøllner Olesen delivers insight and tips for every stage of the process, right from gear setup to post-processing to create a nice overview of the technique which can capture some stunning results.
Photo credits: Esben Zøllner Olesen
The Dark Night: a 3D-printed sequence
Red Bull Illume photographer Dan Vojtěch has spent the last 4-5 months working on a 3D-printed miniature model of a wakeboarder sequence shot. The project has finally been released – and Dan explains how it all went down:
“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!
Afterwards, we printed the models – I was surprised at how much handiwork was required – the figures were fragile and also needed a kind of glue to make them harden. We also added colours, of course.
The finishing touches came in building a cityscape at night and we also threw in the dry ice to create the moody smoky effect!”
Check out the BTS images below on how it all went down!