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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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Freezing the 400m Hurdle Champion Kariem Hussein

Red Bull Illume photographer Gian Paul Lozza recently completed a cool shoot with Kariem Hussein, the European Champion of 400m hurdles, using the broncolor Scoros.

“For some time now I was preparing this shoot with Kariem. He is an amazing guy and really cool to work with. It is obvious that we tried to capture his speed and especially his jumping over hurdles. But as always, I tried to do it differently,” says Gian Paul Lozza.

“Under the Ahtletic stadion in Zurich we found a perfect location for this shoot. There is a concrete tunnel with an indoor running track. We had different ideas of what we wanted to try out. One was to work with reflecting tape and reflective clothing. Another idea was to do something with mirrors and to finish, a classic, the all-in-one sequence.”

“As always when I want to capture something fast, I use the broncolor Scoros. This power packs together with Pulso Twin heads works perfectly if you need a lot of power and you want to freeze motion. And because I shoot everything with my Hasselblad with their bigger chip, I need even faster flash duration. The only way to control this, is bron’s cut off technichnology which is unbeatable.”

“For the sequential goal I needed power packs, which can recharge super-fast but also a lot of power, because I wanted to close aperture as much as possible to freeze the motion. For these kind of ideas, the Scoros with Twin heads are the perfect solution. Superfast recharging time with a lot of power. I’m used to capture these all-in-one sequences from my time as a snowboard photographer with natural light, but now it is cool to do the same with flashes. It opens a lot of new possibilities and I can develop new ideas to create images.”

This article originally appeared on the broncolor blog.

© Gian Paul Lozzabroncolor
© Gian Paul Lozzabroncolor
© Gian Paul Lozzabroncolor
© Gian Paul Lozzabroncolor
© Claudio Casanova

The Return Of The Ring of Fire


After recently showcasing an epic shoot by Claudio Casanova, the Red Bull Illume photographer has shared two more interesting shots with us and explained how he pulled them off with the help of his crew.

Steel wool shot:

“Roger nailed it in this session on what was arguably the smallest jump we've ever shot with this air method. This photo was taken just outside my hometown of Einsiedeln. I had the idea long before I scouted the spot and was lucky to find this tunnel just a short drive away from my house. Thanks to a very long exposure time it seems as if Roger was jumping through a ring of fire, but in reality the circle you see was drawn by myself before I snapped the picture as Roger hit the jump.

The effect of fire was simply made by a piece of burning steel wool attached to a wire whip which was tied to a rope. I triggered the camera via Pocket Wizard, fireman Deniz lit it up and I started swinging. After a couple of seconds of swinging I ran off and cleared the jump for the riders. Luck was also on our side due to the fact that we had a full moon that night, so no extra lights for the riders were needed.

Almost everything was perfect, which is rarely the case when shooting snowboarding!”


Flares shot:

“For this project the timing was really crucial as we only had 30 seconds for the whole procedure. We built a perfectly symmetrical jump and started sessioning it as I positioned the camera. After we knew the approximate height of the jump, we set up a little scaffolding on a table I could perform my display of firework magic.

For this photo of Deniz, Mike was standing by the camera to check if the flashes and camera were working and gave a 30 second countdown for me to light the flare and start the exposure. Everything from removing the scaffolding to the rider dropping in was set to happen at a certain time during this countdown. If there were any delay it would not have worked.

The only source of light for the rider in the run in was a small headlamp, which also worked as an indicator in the shot if the action was captured at the right moment. As we were clearing the jump for the rider, Deniz was already getting closer. I rushed over to my flash setup and got ready to shoot. As soon as Deniz busted out his method, I fired the flash thus freezing a single shot into the long exposure photo.

We had a good feeling about this one so we rushed down to check the photo. All we heard was, “BOOM! That's the one!”… The position of the rider inside the ring was perfect and not something to take for granted. Most likely it would’ve taken another 50 tries to get it right like that!”


Be sure to check out Claudio’s website.

© Claudio Casanova

Making of: Infrared photography

Our next throwback video features Danish photographer Esben Zøllner Olesen discussing 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

© Esben Zøllner OlesenRed Bull
© Esben Zøllner OlesenRed Bull
© Esben Zøllner OlesenRed Bull
© Esben Zøllner OlesenRed Bull
© Esben Zøllner OlesenRed Bull
© Esben Zøllner OlesenRed Bull
© Toby Harriman

Developing a Unique Surf Photography Style

As a photographer, one of the hardest things to do is to develop your own distinct style. Photographer Toby Harriman’s goal was to do just this and in order to separate himself a little from other surf photographers he focused on creating fine art rather than journalism-style photos. The Red Bull Illume team caught up with Toby to discuss his ongoing Modern Surf collection… 

 “One day after finishing up some of my black and white architecture shots, I decided to try a similar technique on my surf photos and experiment with long exposure surf shots. I have seen it done before, so I knew it was do-able. Just needed to find my style for it. That blurred look you see is mostly created in camera, by doing a shutter drag, leaving the shutter open and basically tracking the surfer trying to keep him in focus and everything else blurred,” says Harriman.

"The surf photographer explains how he further developed his technique with post-production: “I then use software like Photoshop or Lightroom to give it that dark mono look which I like to call 'Modern.' I am always trying to perfect and adapt this style, which gets me excited to keep it going. When I look at this series, it really allows me to focus in and to see the connection between the surfer and the power of the ocean, which is what I am trying to create for the viewer. Something with deeper meaning and something that makes people look at a subject in a whole different perspective!”
 

Visit Toby Harriman’s website here and catch up with him on Facebook.

© Toby Harriman
© Toby Harriman
© Toby Harriman
© Toby Harriman
© Toby Harriman
© Toby Harriman
© Toby Harriman

Making of: Shooting news pictures

The latest in our Throwback Videos series, sees us rejoining Romina Amato, a freelance photographer from Switzerland who specializes in news. In this vid, Romina offers her advice on launching a successful career in news photography and explains the many skills an aspiring news photographer must demonstrate. She also offers her insight on different camera lenses, image format, delivery, and most importantly, creativity.

 

Equipment

Cameras:
z.B. Canon 1D Mark 4, Canon 7D

Lenses:
z.B. Canon Fisheye 15mm f2.8 , Tokina 11-16mm f2.8, Canon 16-35mm f2.8, Canon 50mm f1.2, Canon 100mm f2, Canon 24-105mm f4, Canon 70-200 mm f2.8, Sigma f120-300mm 2.8, Canon 400mm f2.8

Memory card: SanDisk Extreme

Tools: z.B. Photoshop CS4 & CS5 , Photo Mechanic, Adobe Bridge 

 

Photographer: © Romina Amato
www.romina-amato.ch

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