Adventure Photography with Dennis Welsh

Written by Gordon Andersson on . Posted in Sports Photography

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WELSH HIND II Adventure Photography with Dennis Welsh

©Dennis Welsh

Dennis Welsh is a photographer who seldom takes his pictures in a dark and calm studio. But when he does, he uses Profoto lights to take wonderful pictures such as this.

This image is part of a series Dennis did for sports and outdoor apparel company Hind.

“Each year this client wants to make a different statement with the pictures, this time mixing outdoor settings with studio shots, the latter focusing more attention on the product,” says Dennis in a recent interview for Shutterbug. “In post, we drew the color out of everything except the clothing.” The lighting Welsh used was Profoto, with a Softlight Reflector to illuminate the face. There were also a pair of strobes on the background.”

Head over to Shutterbug for the full story, in which you can read more about how Dennis got started, what gear he uses and how he works.

You should also check out Dennis’ website.

Joe Morahan’s Colorful Splashes, Part III

Written by Fredrik Franzén on . Posted in Sports Photography

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 Joe Morahans Colorful Splashes, Part III

©Joe Morahan

Two weeks ago, we published the first part of the story of Joe Morahan’s colorful splashes, in which Joe talked about how the shoot came to be. Two days ago we  published the second part, focusing on the actual lighting setup. This is the third and final part, in which Joe talk about the postproduction that went into the project. In Joe’s own words:

As any creative will tell you, you never really get over the rush of excitement seeing your vision realized. When I first closed my eyes and imagined this series, I wasn’t quite sure how I was going to pull it off. In the end it came down to luck — “when preparation meets opportunity.”

I’ve previously talked about how this body of work went from cool images floating around in my head to practical problem solving on-set. Now, I’m going to talk about the post-production and editing that gave my raw images that shot of adrenaline.

After several days of shooting, nearly a dozen models, thousands of water balloons, and buckets upon buckets of water on my studio floor, I was left with some really neat images. As a visual effects junkie, though, I always want to take my images to the next level. I’m not as interested in photojournalism or “straight” photography, as much as I am in telling a really dramatic and slightly surreal visual story. My favorite images always make me feel like I’m dreaming. Read More

Joe Morahan’s Colorful Splashes, Part II

Written by Joe Morahan on . Posted in Sports Photography

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 Joe Morahans Colorful Splashes, Part II

©Joe Morahan

Two weeks ago, we published the first part of the story of Joe Morahan’s colorful splashes, in which Joe talked about his inspiration for the shoot and how it came to be. This is the second part, in which he gets down to the nitty-gritty details, in case you are crazy enough to try this at home. Here is the full story in Joe’s own words:

I’m no stranger to freezing motion. I majored in industrial/scientific photography at Brooks Institute. I’ve captured tons of speeding bullets and exploding objects using high-speed cameras and triggering devices. The great thing about photographing speeding bullets is that they’re fired using precision mechanics, making them incredibly consistent. It’s all about known factors, and getting your calculations right. Once you know the speed of the bullet, the time it takes to reach an object, and when to fire your flash and camera to capture just the right moment of impact, you can capture an almost identical image each time. Not so with a human subject!

Unlike a bullet with a consistent speed and trajectory, human beings have free will. They can choose to move in a million different directions, in a million different ways. Coordinating the movement of my model with the explosion of the water balloon created quite the math headache! No matter how hard the models tried to stay consistent in their movement and speed, the timing would differ in each take. Read More

Joe Morahan’s Colorful Splashes

Written by Ron Egatz on . Posted in Sports Photography

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 Joe Morahans Colorful Splashes

©Joe Morahan

Photographer Joe Morahan has been on our radar for a long time. We’ve covered his work previously, and his love of high speed sports photography hasn’t diminished since then.

Based in Denver, Colorado, we usually find Joe capturing athletes outdoors. He recently explained a series of indoor shoots which are no less impressive and action-filled than his outdoor work.

“This summer has been so hot, I think I subconsciously needed to do a shoot that reminded me of being a kid, looking for a way to stay cool – an erupting fire hydrant, a neighbor’s lawn sprinkler, a Slip-n-Slide… anything!” says Joe.

“I began imagining a shoot where I could combine my summertime prerogative of keeping cool with my background in high-speed industrial photography, and my current passion for creating sports photography and films.

“Like many photographers, I keep an “inspiration” file going of cool techniques and styles. I soon found an image that was pretty close to what I wanted to achieve: a female athlete hitting a splash with a baseball bat. The effect was just as striking as I had imagined! I started to get really excited about using this technique in my sports photography, and taking it to a new level.
 

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Michael Mueller: Between a Rock and a Hard Reflector

Written by Fredrik Franzén on . Posted in Sports Photography

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dynafit summer14 trailrunning5 Bearbeitet 600x450 Michael Mueller: Between a Rock and a Hard Reflector

©Michael Mueller

Remember Michael Mueller who climbed a mountain with Profoto strobes to shoot ski hikers? Guess what? He has done it again. But this time even faster athletes have replaced the ski hikers.

Michael Mueller’s stunning images for the Dynafit winter collection struck a chord amongst photographers and athletes alike. Seeing perfectly lit skiers fighting their way through a snowstorm is not something you see every day. It was inspiring, regardless of whether you are a photographer or athlete.

So, it should come as no surprise that Dynafit once again contacted Michael when the time came to shoot its summer collection. The assignment was similar: shoot the athletes in a larger than life way, yet with a natural feel. But there were some important differences: it was now summertime and the subjects were fearless alpine runners.

“In a way it’s easier to shoot in wintertime, because the snow reflects the light so you don’t need as many flashes,” says Michael. “We brought three flash heads for the winter shoot. This time we brought six. In addition, we could now only go up to 2,000 meters by car, so we had to hike the final 500 meters to the top.”

 

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