As you can see from our last post on traveling and packing the majority of our traveling burden can be blamed on our lighting equipment. What we choose to bring on any given trip depends on the goals outlined by the story and the shot list (on an editorial shoot) or the creative brief (on a commercial shoot).
The creative brief for this trip included outside sculpted portraits at night with gells and light painting, lit daytime action, product focused environmental lifestyle, and a variety of studio set ups. We’ll break these post down into 4 categories: On hill action, improvised studio, lifestyle, and creative (light painting etc.).
Unfortunately we can’t show any of the final imagery until Spyder’s 2012 product is launched.
We were honored with the opportunity to beta test the new Pocketwizard FlexTT5 Nikon System and wanted to write this post on a few of our findings. The product is on the market and available to consumers now and they’re definitely worth checking out. This is not a full review, plenty of those already exist, just a highlight of a few things we loved about them.
We tested for two weeks on a Spyder shoot in Portillo, Chile (check out it out here) and have been shooting the system non-stop since we got it in our hands. The FlexTT5 system is working great and there is a ton of exciting technology that’s changing what we can do with off-camera flashes.
We’ve had an amazing relationship with Red Bull throughout the years that has crossed almost every category of our competencies. We’ve been a part of the Red Bull Media House team for almost 5 years and have shot a huge variety of athletes, events, and musicians.
We put this slideshow together as a quick tour through our years of shooting everything Red Bull. It was a challenge, as curation always is, sorting through the tens of thousands of frames. We edited and re-edited, feeling that one shot or a whole shoot was more worthwhile than another. In the end, photography is subjective and almost certainly there is someone who would be more or less happy at either end of our vacillations. There is a ton we left out but we feel it landed on comfortable length and selection. We’d love to hear your feed back.
Enjoy [at full screen]
This winter we purchased a 40″ archival printer from Digital Arts Aspen and it’s been sitting for way too long. This past week we finally fired her up and printed 4 canvas prints as part of a Battery621 event celebrating Chris Davenport’s Everest Summit and successful ski of the Lhoste Face. 2 Photos are from Davenport’s camera on Everest and 2 are from Mike Arzt and Ian Fohrman of Davenport in Portillo Chile.
We built the internal frames out of poplar wood in our shop and headed over to the Like Minded Productions home studio finishing work to learn how to stretch and wrap the canvas. These guys are super pro and I would recommend them any day for your art production needs.
We auctioned off the prints at the party with all proceeds going to the Colorado Avalanche Information Center. It was Dav’s choice of charity and makes us all feel like we are racking up a bit of backcountry karma by cutting the check. It’s a service we use on an almost daily basis during the winter and it feels good to give back.
We’re also beyond excited to have the new art making capability in house!
We just returned to Denver from a quick trip to Mammoth Lakes to shoot lifestyle with Julia Mancuso, TJ Lanning, and Jake Zamansky. The photos were primarily for European marketing materials and the brief was simple product-focused naturally lit photography.
Due to our car full of dead cell phones and an unfortunate and unnecessary detour sign we ended up getting the scenic tour of Tahoe’s surrounding area en route to Mammoth. Though the drive took close to 3 hours more than it should have, we traveled through some amazing landscapes and found several questionable ways to entertain ourselves on the road (photos below).
Ian Fohrman wrote a 3 part series for Powder.com on his trip to AK during the worst snow year in 30 years as well as some coverage of WESC and Tailgate AK for ESPN.
“I already had my plane ticket and a deposit on an RV when the news started trickling in. It didn’t take long before my entire crew had bailed and the event I was going to cover was rumored canceled. Just like that, I was on a solo mission to Valdez in the worst snow year in recorded history with a 29-foot RV and nothing to do.”
This year Red Bull brought Cold Rush, the coolest backcountry event in skiing, into our backyard and we were there to help with a range of services from branding and trophy creation, to logistic help, to photography (Ian is also writing a feature piece for one of the main snow mags on the event).
Not enough can be said about the challenges of bringing a full scale production deep into the backcountry and the precision in which Red Bull was able to execute this monumental feat. Rounding up 18 of the world’s best skiers in the middle of the season is a feat in itself but the chance for 3 days of free heli time in a world class venue and a laid back contest atmosphere was too much to pass up. Pep Fujas hosted the event and consulted on location scouting and jump building. To Pep’s full credit the venues each day allowed for some ridiculous action to go down.
Shooting a backcountry ski event with 4 photographers is an interesting exercise in teamwork in a field that is usually driven by a singular vision or, at most, a collaboration of an athlete a photographer. Each day we would scout the venue together and combine our respective photographic visions and skill sets to come up with a plan that could cover the shot list for the day. The Red Bull and Silverton crews were more than accommodating with our logistic needs to execute against the photo plan.
Knowing how we wanted to shoot the event we were able to take the Cold Rush rustic mining theme and run with it to create the tough, durable, badass looking pieces that would tell the Cold Rush story when captured as 1’s and 0’s and distributed around the world. Video of the creation process
coming soon here now!