If I had to choose one word to describe this photograph, it would have to be “clean”. Plain and simple, this photo is so very clean. The lighting is balanced and even, the composition is proper- the natural shape of the dirt points your eye directly to the rider. The action is framed nicely in front of some dark trees, helping the subject to pop from the background. The colors are pleasing and the timing is perfect. I really like how his tires are covered in dirt and contrast against the dark green trees.
“I was riding Freedom 40 with all the dudes one day taking a bunch of runs, and I realized I should probably pull the camera out before it gets too dark. I set up on this particular dub because I haven’t shot it yet, and Henny was snapping some mean bad boys, (opp tabes). I used 4 flashes and shot it with my trusty Hasselblad 500cm. I think this is Ektar 100 film.
With the lighting I used 4 strobes. 1 up high lighting Hennessey from the left at 1/2 power. Another flash rigged halfway up that same lightstand lighting the landing at a 1/4 power with a diffuser. The 3rd flash was camera right at 1/2 power lighting the lip/ back of the landing. And the 4th flash way camera right lighting the lip at 1/2 power. I think I shot it at 1/500 f/6.3″
Check out more of Eric’s riding here.
More of Kyle’s work can be viewed here.
Add your images to the Flickr group for a chance to be picked for next week’s photo.
If you know lighting, you know that Profoto is synonymous with quality but also very expensive. If you are as lucky as French photographer Christian Van Hanja, you get hooked up with a couple of their B1‘s and have a promo video filmed of you shooting with them.
Long story short- this is one of the crazier BMX photos you will ever see. I always knew that flatland had the most potential for experimental shots because of its more stationary nature and no need for obstacles. Now until someone can float a handrail down a river, we only have this spectacular flatland shot.
“Terry Adams has always had a ton of crazy ideas, but the difference between him and most people is that he always seems to find a way to make his crazy ideas come to life. I learned this early on when I first started shooting with him, which led to an incredible friendship more than seven years ago. Terry and I have shot in more unique locations than we can even count, but this past April topped everything.
When I got a call from Terry asking if I wanted to fly to Florida to shoot him riding on water he didn’t even get a chance to finish his sentence before I screamed, “Yes!” The next thing I knew I was chest deep in a lake at 5:00am shooting photos of Terry playing Jesus as the sun was coming up behind him.
I got a handful of good shots from the morning, but this one where Terry is doing a plastic man and the sun is between his arms like he’s holding it on his shoulders quickly became my favorite BMX photo I’ve ever shot.
I have to give a huge thank you to Terry for inviting me to be a part of his special Red Bull project, and I also have to give him props for being able to do some really crazy shit where most riders wouldn’t be able to do anything at all.
This photo sat on my hard drive for seven months, but finally got to see the light of day when the 2014 Flatland Calendar was released, and I can’t think of a better photo for the cover this year! Calendars are free and come with every order you make on flatlandfuel.com while supplies last.
Date Shot: April 20, 2013
Location: Orlando, Florida
Camera: Canon 5D Mark II
Lens: Canon EF 70-200mm f2.8
Focal Length: 80mm
Shutter Speed: 1/2000
Check out Tony’s portfolio here.
More of Terry’s riding can be seen here.
You can see a little more of how this shot happened from this video.
“Camera: Canon 5d MK III
Video: Magic Lantern RAW 14 bit (updated every day, checked demo files every day)
Audio: Seperate recording
Grip: Steadycam/ vest
Plus: Gas and lyco explosions.
RAW Workflow with Magic Lantern:
Check newest Magic Lantern builts every day. Record. Check footage, write down timecode and some meta data, import video and audio, double safe.
There was no post workflow that satisfied me, I do not want to work with davinci, so I had to figure out my own.
Transferring RAW to DNG. Importing DNG in After Effects. Doing wb, lights and stuff in ACR.
Import into sequence. Create proxys.
Open in Premiere.Doing everything except colour correction and degraining.
Uncheck proxys, cc.
I really love Magic Bullet Colorista. It also works in 16 bit, and it can do everything Davinci can.
Animated masks, keying, working together with Magic Bullet Looks.
Also the Magic Bullet Denoiser works great for me, Neat Video was not stable and did not get the results I wanted.
(Check this: If you turn on “Motion” in Magic Bullet Denoiser, rendering time almost doubles)
I had like 200 GB of RAW Material, plus the cr2 files from timelapse and hyperlapse.
The final export took 12 hours.
Thanks to Magic Lantern RAW, I had full 14 bit video. Did not export the whole 6:30 min clip uncompressed yet, but expect it somewhere at 30 GB.
There is no comparing to 8 bit video, “normal” dslrs gives you. It`s not about resolution, 4k, 120fps and stuff
-it’ s all about dynamik range.”
-Sas Kaykha, The Gadget Films