Nov 252009
 

Some of my lenses

Continuing on with my Snow photos 101 section, by far the most common question in my in-box is “what camera or lens should i get?”.  You can view the equipment that I use HERE, but this doesn’t mean that you need all of this to make some great ski or snowboard photos.

Lenses

A professional ski photographer will own lenses that range from a 15mm fisheye all the way up to a 300mm telephoto lens.  Different shooting situations require different setups and they aren’t necessarily all carried at the same time.  By far my most used lens is my 70-200mm zoom lens so something in that range would be a wise choice.  When you are deciding which equipment to invest in, bear in mind that camera technology is evolving at a frantic pace.  Whichever camera you choose now, will be outdated in a years time. Lens technology on the other hand moves at a much more sedate pace.  Very little has changed over the last 10 years aside from the addition of image stabilization to a few lenses.  It therefore makes sense to spend as much as you can on your glass, if you treat it properly a good lens can last you a decade.  Typically you will see a more noticeable improvement in image quality by using higher quality glass, than you would with using a more expensive SLR camera.

Picking a single lens that covers the whole focal length range you need is not the best solution. The larger the zoom range the lesser the image quality so try and split it up into at least 2 or 3 lenses.  A wide-angle zoom such as a 17-40mm or 18-55mm and then a telephoto zoom in the 70-200 range will have you covered for most things.  Once you have mastered these, you can add specialized lenses to your lineup, like a fisheye or large aperture prime lens like the 50mm f1.8.  Prime lenses, those with a fixed focal length, will always yield a sharper photo than their zoom counterparts, but most ski photographers value the portability of a few zooms over a large collection of primes.

Cameras

What camera should I get?  There is no one right answer to this question; a good photographer can make a good photo with almost any camera. Don’t get sucked into the megapixel race though, the majority of images you see in ski or snowboard magazines up to 2009 will have been shot at either 8MP or 10MP and as you will have seen, that’s more than enough for most users.  I would however recommend sticking to the 2 big brands, Nikon and Canon.  Both companies make exceptional sports cameras for professional users and many of the features filter down lower in their product line for beginner and advanced photographers.

Nov 252009
 

Readers of SBC Skier in Canada this year will have seen my series of ski photography tips.  I have decided to put together a new section on my blog which initially starts off with the beginner tips featured in SBC Skier and then moves on further to more advanced information for readers looking for a a little more in-depth info.  Every few weeks I will add a new section to the tips until I have covered the things that most people ask me about.  Hopefully by the end there will be a good collection of information for people to reference.
We will start with the basics and gradually move on to more advanced subjects where I will expand on things a bit further for those wishing to delve a little deeper.

If your ski photos look flat and the snow looks featureless, try shooting them early in the morning or late in the afternoon when the sun is lower in the sky. This will create shadows on the snow and reveal details and textures that are not apparent when the sun is overhead at midday. On a clear day much darker and richer colors will come out in the sky.

For the same reason, try to avoid having the sun directly behind you when you shoot. Creating an angle, even a small one, between you and the sun will introduce more contrast into the brighter areas of your shot by revealing shadows behind objects such as snow drifts, ridges, trees and even individual crystals of snow.

A common miss-conception is that you should never shoot into the sun. Whilst that might apply to some aspects of photography, it can be a great way to bring a dramatic look to your ski photos by creating a back-lit spray of powder or a silhouette against the sky.

Composition

The rule of thirds states that compositional elements and points of interest in a photo should be aligned with either the lines or the intersecting points of an imaginary 3×3 grid on top of your photo (figure 1).

Composing your photos in this way will usually create nicely balanced images that are easier on the eye. From figure 1 you can see that the centre of the photo contains no intersection and no line. A common mistake is to put your subject right in the centre of the photo but aesthetically this rarely works well. Try lining up horizons with one of the horizontal lines or putting your skier subjects at the intersecting points and you will come away with a much more pleasing image.

The “Rule of Thirds” is not a rule at all though; it’s a guideline. Depending on the content of the image, there might be cases where you can make a good image without it but if you are uncertain how to compose a shot, it’s a great place to start. You can also try and look for lines in the natural environment that will draw the eye towards the intended subject of your photo.

Exposure

Most people have experienced taking a picture of a beautiful snowy scene only to discover that the photo they see on the back of the camera looks dark, dreary and gray. Cameras are designed to expect an average scene with an average brightness and the huge amount of light reflecting off snow goes far above that expected value. The camera will often under-expose the shot, mistakenly thinking that the shot is overly bright when in fact there is just a lot more reflected light than an average situation.

Some smaller cameras have a “snow setting” hidden away in the menu, be sure to use this if your camera doesn’t have any manual settings. If you are using an SLR camera and shooting on semi-automatic settings like aperture or shutter priority, you can use your cameras “exposure compensation” function to dial in an adjustment to your exposures. The adjustment will vary depending on the brightness of the day so experiment and try to understand how your camera reacts do different situations, every camera is different. Learning how to read the histogram on the camera will let you know when you have nailed the exposure correctly.

(The use of the histogram and the theories behind light metering go far beyond the scope of this first article. If you are seeking more information please read my longer essay on the subject, available on the website in the coming months.)

Remember photography is about being creative; there are very few hard and fast rules, only guidelines. Get out there, experiment and have fun but these few simple tips will get you off to a good start.




Nov 212009
 

Since the beginning of November Whistler has received 493cm of snow, and it’s still falling. This has smashed the previous record for November with 10 days still to go. Originally the mountains were due to open next weekend on the 27th but with the heavy snowfall early in the month, Whistler Blackcomb pulled out all the stops to get some lifts turning for everyone a few weeks early. Thanks for all the hard work guys!

Mike Henitiuk heading into heaven...

Leboe

A couple of days ago I headed up the mountain with Jeff Thomas from Poorboyz, Mike Henitiuk, TJ Schiller and Riley Leboe as they begun filming for the new movie.  Overnight there had been 2ft of snow to add to the already impressive coverage and it continued to fall all day.  This is the 7th winter that I have skied at Whistler Blackcomb but I can honestly say that was as good as it gets. Bottomless powder.  In fact it was almost too much, the alpine is yet to open so we were left skiing mid mountain lines in the Garbanzo zone.  With that amount if snow you need some steep pitches to maintain speed and it was a struggle to keep moving as the snow piles up above your waist.  We hunted around the same zone all day and eventually found some nice pillow lines for the guys though.

Me - Stoked to be back to work!

Me - Stoked to be back to work!

The long range forecast for this place is equally impressive, looking like we will smash well through the 500cm mark in the near future which would account for half of Whistler’s average annual snowfall in just one month. It’s a pleasant surprise to be back into winter work so early and if this is a sign of things to come this year it’s going to be one to remember.

Riley Leboe all smiles

Big thanks to the Whistler Blackcomb PR guys and girls for hooking our crew of riders up so we could get out there and start to document this crazy weather!

TJ Schiller. Skullcandys workin the pow too!

UPDATE: Here is a sneak peak from Poorboyz with intro from yours truly.

Nov 142009
 

This post is sort of a prelude to a review that i’ll be writing in the next couple of weeks.  Recently the folks at IKAN sent me one of there v5600 to test out while I have been shooting some video with my 7d and 5d.  When I started to take down some notes I realized that there are a few things to be said about using external monitors with these cameras and some of them are characteristics of the cameras and therefore independent of the type of monitor you are using.  I found myself trying to figure out what was caused by the camera and what was the monitor so In order to not confuse the review at all, here are some things worth knowing……

Continue reading »

Nov 102009
 

A nice surprise in my mail box this morning.  I knew about this for a couple of weeks but today was the first time I have seen the finished product.  This is my 8th cover but my first one in N.America so i’m really pleased with this one.

Max Hill is the man on the cover and the shot was taken last April in Whistler, BC.  I had the idea for this shot about 3 years ago but that year at the time we didn’t have the snow for it.  Last year there was plenty in the spring time so finally got to make it happen.  When I took Max and Leigh Powis to this spot and explained that I wanted them to jump over a railing, hand plant on it AND grab their ski they looked at me as if I was mad.  Once they’d given it a couple of attempts though and built a small jump to pop them over the railing it didn’t take any time at all.  I think this shot was only about the 4th or 5th time that Max hit it.

Shot with a Canon 1dMKIIN , 15mm Fisheye , 1/250th , f7.1, ISO 250.  Lit with 1 Elinchrom Ranger and 4 Nikon speedlights all triggered with pocketwizards.

I have made a quick lighting diagram for those interested in that sort of thing.  Click for larger

Nov 072009
 

I hadn’t taken the time yet to try shooting 60fps with my Canon 7d.  But it started to snow heavily in Whistler village this morning and as I watched out of the window it looked like the perfect chance to try it out.  I put the Canon 85mm 1.8 lens on the 7d and opened my front door to get a few shots.

I had mistakenly thought that creating nice slow motion shots with the footage would just be as simple as dropping the 60fps clips into a 30fps timeline in Final Cut Pro.  Actually that’s not the case though.  Doing that just drops every other frame and you end up with regular looking footage and simply setting the clip speed to 50% does not take advantage of all those 60 frames you just shot.  I did a quick search on the net and found a good tutorial by Philip Bloom.  I can only speak for Mac users here I’m afraid but the solution is pretty easy so long as you have Final Cut Studio.

If you have FC Studio you will also have a program called Cinema Tools.  Fire it up and hit command+O to open a clip.  The clip will open in a video viewer and on the right hand side will be a button that says “Conform”.  Clicking on this will bring up a drop down box with various frame rates in it.  Select the one you want (29.97 for example) and then hit “Conform”.  The transformation is instant and requires no rendering, all that is being modified is an internal part of the file that denotes how the video is played.

WARNING:  This process is not reversible.  Once you hit the “Conform” button there is no going back so I highly recommend that you do this process to a copy of the original file.  I created a sub folder called SlowMo inside the folder containing my original files.  Then whenever I found a file that I needed to conform, I copied the original to that folder, Conformed it and then imported it into Final Cut Pro.  Don’t forget that you will also need to transcode the 7d files from H.264 before you do anything.  Make sure you transcode the files before you conform them in Cinema Tools!

I shot about 10 quick shots from my door to have some footage to test this with and the result is below. Winter is nearly back!!  Click though to the vimeo page to watch it in HD.

Winter’s Coming – Whistler, November 7th 09 – 60fps 7d from Dan Carr on Vimeo.

Oct 192009
 

This evening Canon has announced the latest incarnation of the 1 series camera, the 1DmkIV

A quick run down of the key specs:

  • 16 megapixels
  • APS-H (27.9 x 18.6mm) size with a magnification factor or 1.3x
  • New 45 point auto focus system
  • 39 cross-type focusing points
  • High ISO setting up to 102,400
  • 300,000-cycle shutter mechanism
  • 63-zone meter
  • 1/300 standard flash sync
  • Twin CompactFlash and SD card slots
  • $4,999 body only (US price)
  • Available late December
  • 1080p video in frame rates of approximately 30fps, 25fps, and 24fps.
  • 720p HD video at 60fps
  • 10fps continuous shooting speed.
  • Dual digic IV chips

Continue reading »

Oct 142009
 

Almost more than any other question I get asked is ” What camera bag do you use?”  This is the answer…… well, one of them anyway.  F-Stop is a company which specializes in camera bags for the adventure minded photographer.  If you like to ski, hike, climb or ride a bike with your gear these are the bags for you.  My main use for the Satori is backcountry skiing and my previous one saw some heavy action over an 18 month period.  During this time, F-Stop was constantly seeking feedback from a group of action sports photographers including myself and others like pro climbing photog Tim Kemple.  The result of our findings and feedback is this newly updated pack released this month.  F-Stop bags are available in limited stores but also available directly from their web store HERE.  Hopefully the photos at the bottom give you an idea of just how much stuff you can fit in this bag. There is plenty of room in the pack for all my camera gear as well as things like shovel and avalanche probe ( see photos below).  This new version is available in Red, Black or Green.  If you are looking for something similar but a little bit smaller then check out the F-Stop Tilopa.  It is almost identical in design, only slightly smaller.

Most photographers go through a perpetual search for the perfect camera bag.  Well I can finally stop that search, for backcountry ski photography this is THE bag and it will also suit photographers of many other outdoor sports.  The seam-sealed zippers keep your kit safe and dry and the material is incredibly durable.  The last version I had showed hardly a scuff after 18 months of use!

The HUGE internal camera compartment allows me enormous flexibility in choosing what equipment I carry with me and with the excellent harness system I can easily carry 30-40lbs all day long with no problems.

By removing the XL camera block and replacing it with a smaller one I can also use this bag for an overnight camping trip or a weekend trip away to the city where I only need a 1 camera, 1 lens setup with room for clothing and a laptop.

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