I’ve said it before- the tuck no-hander is one of my least favorite tricks. However, this photograph transcends my distaste for the tuck and I’m pleased to present this week’s photo. There’s a perfect balance of dirt and trees, with the rider nestled comfortably in the dark area of pine. The red shirt plays off the green background quite amazingly and the small speckles of dark blue evening sky combined with his orange grips round off a pleasing color palette. The lighting is great, the timing is on point and using the dirt in the foreground in the bottom-left corner keeps your eye contained within the image.
“This photo is of my buddy Augie Adee doing a tuck no hander in Bakersfield, CA. I haven’t really shot much at his house this year so, when I got a text saying Mike Saavedra and a group of guys from France who he calls the French Connection were coming to town I grabbed my gear and drove over to Augie’s house. He has an amazing back yard set up going from crazy dirt jumps to a mini ramp. I had to wait until the sun began to go down so they could ride the trails, soon the sun went down enough to shoot. I decided to set up my flashes on the second jump that’s a right hand hip after I got everything set up, I began to shoot a few shots as they warmed up. and like always my cowboy studios trigger began to not want to work on my main flash after I put some fresh batteries in it fired. After I got my flashes figured out Augie threw this amazing looking tuck which he had to do twice. I would like to thank Augie for having to do this twice.
Canon 55-250 lens
Canon 270ex flash (left hand side of the jump)
Vivitar 550 fd flash (right hand side)
Cowboy studios flash triggers
See more of Jeff’s work here.
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The first thing I noticed about this photo was the way the vertical lines are perfectly vertical. This is something I always try to achieve in my photographs. It is never actually necessary to do so, but in some fields of photography (especially architectural) you always want the verticals (of a building) to be straight up and down. It just looks so, so clean. Besides that, I liked the way the overpass cuts off the upper-right corner, containing the entire frame and not letting a white sky spill onto the background. The lighting is simple yet effective. The two red signs in the background are a nice touch of accent.
“I shot this photo of Joe Bolden doing edger foot jams on a windy cold Saturday. We met up with Houston street rider Brian Peters who then took us to this amazing spot under a freeway in Houston, TX. Btw, if any out of town riders are rolling through Houston & looking for street spots to ride, Brian Peters is your man. Back to the photo, we originally were here to get video street clips which we did but soon after busted out the photo camera to get some photos as well. Joe Bolden handles his street weapons with skill and fury and possess the ability to hurl edger foot jammers into objects, impale them on sharp objects or throw them off ledges. Other than it being unbelievably windy this day and the strong wind knocking over one of my flashes and breaking it, we had no hassles by any one. Anytime you have a Saturday of bicycles, coffee and friends, its sure to be a great day.
Camera: Canon EOS Rebel T3
Exposure: 0.01 sec (1/100)
ISO Speed: 200
Flash: Sunpak & Vivitar 28FD (courtesy of Zipps. I still have it dude!)”
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We shot this photo in Tulsa, OK in March of this year. The spot is called “Hell Ditch” and it’s rather amazing. I had Damian Racut film me setting up and shooting this so that I could make a walkthrough video. I was kinda drowsy, only getting a few hours of sleep on a hotel floor the previous night so I was not 100% mentally acute. My Canon flash wasn’t firing every time and I didn’t realize that. I’m pretty sure it didn’t fire for the final image but oh well.
Thanks to Scotty for doing numerous euro tables, Damian for filming the walkthrough, Rob DiQuattro for comedic relief and Bobby Simmons for moral support.
As a holiday gift, here’s an outtake shot of Rob airing from the other side that you can also have for wallpaper (unfortunately neither of my flashes on the right fired):
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Here is the making of this photograph:
Hasselblad 500 C/M
80mm T* f/2.8 lens
Kodak Ektar 100 film
2x Lumedyne 200w Action Pack
Canon 580EXII (did not fire)
5x PocketWizard Plus II’s
Digi- Canon 1DIII, 50mm f/1.4 lens
The final image was scanned on an Imacon Flextight X5 scanner and large format prints were made on an Epson 9880 printer (prints are available for purchase)
Posted in Art, BMX, Gear, Photo, Tech
Tagged Canon, Damian Racut, Hasselblad, Hell Ditch, PocketWizards, Rob Diquattro, Scott Marceau, Scotty Wemmer, Tulsa, Vivitar
I chose this photograph to mark the beginning of fall, because I think this is about as summer as it gets. The tones are so warm that I can nearly feel it. The composition is incredible and the lighting is more-or-less perfect. It’s an ultra clicked invert and I wouldn’t be surprised to see this on the cover or in the spread of the next Woodward brochure.
“This photo of Dan was shot in July at Woodward East. We originally decided to shoot a footjam on the 18ft. mini-mega ramp quarter, but a giant cloud came over the ramp and pretty much ruined the photo. The resulting sunset through the clouds, however, prompted me to ask Dan if he would be down to shoot something a few hundred feet away in The Cage.
We showed up right as the sun was disappearing over the horizon. The first thing that grabbed my attention was the pastel-like quality of the clouds facing southwest, behind the vert wall. I asked Dan if there was anything he would like to shoot on it. He simply responded ‘Table’, which was all I needed to hear. Since the sun had gone down by this point, I set out to mimic the last few moments of daylight via the use of three flashes.
All of the flashes used were gelled, no white light was used. The main light is an Einstein coming from camera left about 10-15 feet away from Dan, gelled with a ‘soft amber key’ to mimic the warm glow of a lamp high above. A one-stop sheet of diffusion material was also used to soften the edge of the light. The rim light was an AB800 about 50 feet back-camera right and aimed directly at the vert wall, feathered a considerable amount to the left in order to keep the light on the vert wall and not as much on the bank on the right side of the frame. This light was used to mimic the natural rim light effect that the sun would have normally. A 1/2 CTO was used to give this a slightly warm, more realistic feel. The third and final light was a Vivitar 285 hidden behind the vert wall, pointed at Dan, also with a 1/2 CTO, just for a little bit of underlight/separation.
I shot this wide open at f/4 in order to further enhance the soft quality of the clouds in the distance. Dan did the table twice, and this was the result.
Canon 5D Mark II
Canon 70-200 f/4
Alien Bee 800
Vagabond Mini battery packs
Pocket Wizard Transcievers
Various gel sheets”
More of Josh’s work can be seen here, and more of Dan’s riding can be seen here.
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This week’s photo is proof that you don’t need a rider to be doing a crazy trick to make a great photograph. I’ve always been a fan of the super-wide environmental shot and this is a prime example. The most difficult part is lighting the rider without having the light source in the photo, but Leo did a great job with this. It’s busy but not cluttered. This would make a perfect magazine cover.
“We shot this just east of I-35 on this huge hill which has the banks that Shane gapped over the stairs. It’s funny I actually didn’t like this photo because I felt like I could’ve gotten more of the road into the city but with the bushes in the way of the bump and the pole sticking out of the ground I couldn’t shoot it how I wanted. I was actually bummed all night until I realized everybody loved the shot. I’m my own worse critic. I like to be hard on myself so I usually don’t know if its good or not.
I had one Vivitar 285 HV at 1/2 power off to the left side of the subject (Shane Goldstein) on a light stand.
I was shooting with a Canon 1D Mark II N with my newly purchased (same day) Canon 70-200 L f/4 I seriously fell in love with it its amazing what kind of composition you can come up with a telephoto lens.
The picture was shot at 1/320 sec. at f/5.6″
Check out more of Leo’s work here.
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