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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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Making of series: Using a sun bouncer

For the third video in our throwback series, Red Bull Illume revisits photographer Leo Rosas' shoot with skateboarder Philipp Josephu. Leo demonstrates using a sun bouncer and its uses in a variety of settings, showing how it can be used as an effective way to fill-in shadows on an action shoot.

Catch Leo on Instagram, Facebook & Twitter.

© Leo Rosas Morin
© Leo Rosas Morin
© Leo Rosas Morin
© Leo Rosas Morin
© Leo Rosas Morin

Making of series: Multiple exposures

The second video we revisit in our Throwback Thursday series is our video with photographer Marcelo Maragni, who demonstrates how to create multiple exposures at the Red Bull BC One Rio de Janeiro with b-boys Ronnie and Taisuke. Enjoy!

Equipment and settings:
Camera: Nikon D800
Lens: Nikkor 24-70mm
Shutter-speed: 1/250
ISO: 200
F-Stop: f/2.8

Athletes: Ronnie Abaldonado and Taisuke Nonaka
Credits: Photographer: Marcelo Maragni / Red Bull Content Pool

© Marcelo Maragni / Red Bull Content Pool
© Marcelo Maragni / Red Bull Content Pool
© Marcelo Maragni / Red Bull Content Pool

Making of: Morphing Sequence

In a Throwback Thursday style series, we’ll be revisiting some old Red Bull Illume videos. The first video we’ll be showcasing is this fantastic shoot on a Frankfurt rooftop with photographer Max Riché and trial-biker Petr Kraus. The pair took the idea of movement deconstruction and sequence shooting to a whole new level as Petr Kraus ‘morphs’ from amateur to professional in one sequence.

Equipment and settings:
Camera: Nikon D800 shooting tethered into Capture One
Lens: 14-24mm f/2.8, 24-70mm f/2.8, and 50mm f/1.8
Lights: 3 broncolor Scoro 3200 S set on optimal flash speed, softboxes (for ambient and fill-in), a beauty dish for the key light and a pair of magnum reflectors, 1 kobold 800W HMI (creating the trail)

Athletes: Petr Kraus
Credits: Photographer: Maxime Riché / Red Bull Content Pool


© Maxime Riché / Red Bull Content Pool
© David Carlier

Matterhorn madness: A cool freeskiing gallery

Red Bull Illume photographer David Carlier recently attended the fifth edition of the Skiers Cup which took place on February 21-27 in Zermatt, Switzerland. In this unique freeskiing event, a team captain selects eight of the best riders from each region. In a face-off format during two days of competition, the teams compete in both Big Mountain (freeride) and Backcountry Slopestyle (freestyle) events. 

The conditions for the event were really good: “This year for the first time, the competition could literally happen on the Matterhorn, just below the gigantic North face, with huge glaciers in the background,” says David.

The result? Spectacular images – enjoy a gallery of David’s shots below!

Visit David’s website here and check out a video of the freeskiing action here!

© David Carlier
© David Carlier
© David Carlier
© David Carlier
© David Carlier
© David Carlier
© David Carlier
© David Carlier
© David Carlier
© David Carlier
© David Carlier
© David Carlier
© Dale Tidy / Red Bull Content Pool

How to survive a freezing snowkiting shoot

Photographer Dale Tidy recently shot Red Bull Kite Farm, a ski and snowboard kiting endurance race, and the first of it's kind to be held in North America. We caught up with Dale to find out how it was to shoot the event in super harsh conditions…

How was it?

On the first day we had 70km/h winds and minus 39 degree temperatures including the wind-chill. Great conditions for the riders but not so joyful for the photographers! At those temps your camera starts to do funny things, auto-focus motors freeze in your lens, the mirror can seize up, my ISO was randomly switching from 200 to 1600 and back again without any notification, and accidentally breathing on the LCD screen would ice it over.

Having a second body stuffed down your jacket allows you to alternate between a frozen camera and slightly less frozen camera.Batteries at those temperatures drain rapidly too, I would keep one battery in my camera body and two in my pants pockets that had hand warmers stuffed in them. Once the body battery cooled down and died I would switch it out with a warm one that would be back up at full power.

A blizzard came through and started dumping snow creating “white-out” conditions that forced the event to be postponed until the next day. This made my frozen fingertips very happy! The second day was a relatively balmy minus 6 degrees and the winds had dropped significantly, making it an absolute pleasure to work in. 

How did you shoot your aerial shots?

When I decided that my key shots would need the advantage of height I looked around at various options. Helicopters, cranes, boom lifts, planes and of course, drones. I didn’t go with a drone for 3 reasons. 1) Drones, much like cameras, don’t like extremely cold conditions and they can freeze up. 2) There would be a good chance that it would be impossible to fly a drone in the high speed wind conditions required for the sport of Snowkiting. And 3) I am not a drone expert and the last thing you want to be doing when working in extreme conditions is using gear that you are not completely 100% comfortable with!

The two options I chose instead was one safe option, and one riskier option. The risky option was to rent a 4 seater Cessna airplane typically used for aerial photography, this would allow me to get the exact images I had conceptualized and proposed to the client. The rental price was reasonable but once again the cost of this option was putting yourself at the mercy of the weather. If the clouds were too low there would be no possibility of the plane being allowed to leave the tarmac let alone capture any usable photos, but the chance of this was smaller than that of relying on a drone. The safe option incase that failed was to get creative and strap a GoPro to one of the competitors kites, I used a specific mount which I had purchased online before the event. No matter what the conditions were this option would not fail. 

What's the hardest part about shooting an event like this?

Basically being prepared for anything. When you are out in the field you cannot ask for help, because there is no help available. You are the expert, it’s what you have been paid to do. Like our green friend Yoda says "Do... or do not. There is no try”. Pressing the shutter and “nailing the shot” is the easy part. The hard part is everything before and after that, all the planning that goes into it, and all the work you have to do after to make sure the image makes it out on time for the press release later that day. 

Check out Dale’s site and be sure to follow him on Facebook


© Dale Tidy / Red Bull Content Pool
© Dale Tidy / Red Bull Content Pool
© Dale Tidy / Red Bull Content Pool
© Dale Tidy / Red Bull Content Pool
© Dale Tidy / Red Bull Content Pool
© Dale Tidy / Red Bull Content Pool
© Dale Tidy / Red Bull Content Pool
© Dale Tidy / Red Bull Content Pool

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