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2015-5-2 08:59| 发布者: jack| 查看: 4001| 评论: 0

摘要: 尽可能多地让自己多接触不同攀岩摄影师的作品,摸索他们的风格。你是否正在拍摄一张具有特殊意义的纪录性报道;是抽象的特写;是要用广阔的风景表现攀岩的环境;是岩壁的造型;是攀爬的姿态;还是要拍出你自己的风格 ...

#1: Decide whether you want to climb or take photographs
If you are climbing and taking climbing photos you’ll only ever get 1 of 2 outcomes…
*Backsides or the tops of heads/helmets
*Snapshots and self portraits (I love these by the way and you should definitely take same of these too!)
Climbing and photographing are activities that don’t mix. I hate it, but you have to suck it down. It’s just how it
is. If you’re trying to take better climbing shots you cannot be climbing at the same time.
There’s a practical side to this too which is that to try to do both you end up having to carry a huge amount of kit.
More ropes, more protection, rigging gear and all your camera kit.
Pro’ photographer Ian Smith echoes this view in our interview. “Be prepared to work hard and be willing to give up
some climbing time. It’s incredibly difficult to both climb and take photographs, so set aside days or half days when
you separate the activities and decide to be fully one or the other.”
Still want to improve your climbing photography? The good news is that you’ve already done the hard part.
# 1: 是爬?还是拍?
    职业摄影师Ian Smith在接受我们的采访中也强调这个观点。“为辛勤工作而做足准备,为牺牲一点攀岩时间而心甘情愿,即要攀

# 2 : Know your camera controls inside-outKnow how to adjust your camera controls without having to think about it. This
frees up your attention to focus on creating the image whilst reacting to the changing environment.
You should know how to change ISO quickly to compensate for the changing light, change aperture/shutter speed, metering
mode etc. This also means you need to be aware of what your exposure metre is reading through the viewfinder. Practice
at home, practice in the garden. Don’t leave it till you’re hanging on a rope investing your day for one must-have
shot. This becomes increasingly important as you add complexity to your setups with fill-flash and remote flash.
Aim to be able to do all of the above and more without missing any of the action. I wouldn’t like to count the times I
’ve been caught out fiddling with camera buttons at the point when a climber takes an unexpected fall. Shooting on
‘auto’ means you have to worry less about settings, but in doing so you surrender artistic control of the image you
capture. For many cameras using ‘auto’ also means you can’t capture RAW files, only JPG, further reducing your

# 2 :自内而外地掌握相机的功能
# 3 : Use the creative controls
If you’re shooting with an SLR or modern compact you have access to the cameras ‘creative controls’. Taking charge of
the aperture and shutter speed gives you control over the depth of field of focus and the extent to which you freeze, or
blur, movement (ideally whilst maintaining a well exposed image).
If you’re aiming for a close-up of a climber’s chalked hand foreground while keeping their face stylishly blurred in
the background then aperture is what you adjust.
    Big aperture = shallow depth of field = low ‘f’ number = f2.8
    Small aperture = large depth of field = high ‘f’ number = f22
If you want to emphasize the movement of a boulderer as they dyno for a hold then shutter speed is the answer.
Experimentation is the best way forward, so review each image and adjust your settings until you get the look you want.
If you want to understand the relationship between aperture, shutter speed and ISO/film-speed (and it’s good that you
do) then go Google.
# 3 通过对相机的控制进行创作

# 4 : Use continuous shooting mode
If your camera has it I suggest switching to ‘continuous shooting’ or ‘high speed’ shooting mode. It can be invaluable as the climber moves through a crux sequence, or if they peel off and take a whipper. Without it you’ll likely capture a frame just before or just after the one you wish you’d got. It’s a little bit of insurance. With it you may catch some images you’d not expected.
Be wary though. You can massively increase the number of images you take (and thus process), so do use it wisely. You don’t want to spend hours editing and analyzing which of 10 indistinguishable images is the best.
# 4 :使用连拍模式

# 5 : Remove clutter from the scene
If you do shoot downwards look hard at the background through the viewfinder. Presumably you want the climber or part of the climber to be the focus of the photo. Make sure there’s no unnecessary background clutter in the frame. It will distract attention away from your subject.
The most common clutter comes form rucksacks, contents spread out across the ground – helmet, gear, bottles, tupperware, shoes, bright clothing. Even other people can be clutter and you can ask them to move away for a moment. It sounds so easy and avoidable, but it’s always surprising how easy it is to clutter the bottom of crag. Be especially mindful if there’s a group of you.
Clutter reduces the impact of your shot so take the time to remove it from your composition. It’s so much quicker to remove it yourself now, (or ask the climbers to shift it so it’s out of frame), than it is to Photoshop it out later. It It gets worse if you’ve shot a sequence and need to use 3 different exposures from a sequence? Now you have to remove it 3 times!
I promise that once you know it’s there you’ll kick yourself later, and every time you didn’t take a moment and move it.
# 5 : 清除画面背景中的杂物
# 6 : Styling matters
If you haven’t spotted it yet in the climbing mag’s you soon will. Red T-shtirts everywhere! There is a reason; they have great impact.
Okay, so it’s not editorial law, but go with this for a minute. You’ve pre-visualized a moody atmospheric shot on the Grit’, and your chosen model has black Ron Hill’s and a black long-sleeved thermal top. There’s no contrast, and you’ve immediately lost your subject and thus any connection people might have had with the image.
Think about the image you’re trying to create and why. It might make sense to discuss it ahead of time with the climbers. It might make sense to have a couple of spare tops with you to hand out. Strong colours generally work well and the contrast they provide adds perceived sharpness to the image. Experiment and see what you think works well.
I agree that there’s a few too many red tee’s out there but I have hope. I’ve seen a lot of great images with textured beanies and muted woolen pullovers. I find them fondly old school and refreshing. The bottom line is that styling does matter.
# 6 : 有设计,很重要

# 7 : Get level with the climber
If you’re after people shots, (faces, emotion, positions), then generally you need to be level with, or better still above and slightly to the side of the climber.
You’ll be able to frame the climber’s face, their body position and a little of the route with some background context.
Sometimes the only way to achieve this will be to rig an abseil, descend the rope and hang around. You may need to ascend the rope when you’re done, so think about what kit you need. (I only needed to learn that one once!). If you don’t know how to do this safely then have someone teach you.
With that in mind don’t forget the easy options for these positions. Can you shoot from the top of the crag? Can you scramble up a nearby boulder or route?
One thing I’ve noticed in these ‘above & side’ positions is that competent climbers spend a lot of time looking down at their feet! So be wary you don’t end up with up with lots of back-of-the-head shots. If the climber is wearing a helmet it may throw shadow over their eyes and face.
# 7 :处于和攀岩者同一高度

# 8 : Watch your composition
Getting your composition right in camera is another huge effort-saver in post-processing, and can make the difference between a front-cover and frustration.
    - Horizons & Horizontals:
Sloping horizons are easy to spot and don’t cut it for editorial work. Correcting them means cropping and losing pixels along with your composition.
    - Gravity & Verticals:
Runners, rope and gear are big giveaways. There’s nothing funnier than quickdraws hanging at angle off a gear loop as if magnetically attracted to the rock.
    - Cropping:
Beware framing too tightly on your scene. With mega-pixel cameras you can afford to crop a bit, but you can’t add missing pixels. I’ve fallen foul of this a few times and had images rejected from publication as a result. Magazines like space, and front-covers demand it. Think about what you are shooting for.
    - Know the rules:
Understand the rule of thirds and other classics. Use them, and break them from time to time.
    - Remember to de-clutter!
# 8 : 注意构图

# 9 : Be respectful and professional
I believe this is fundamentally important, and can set you apart from everyone else wielding a camera at a crag. How you represent yourself is what your reputation is based on. Everything you do conveys a message about who you are and how you work.
    - Respect the climber:Don’t distract them, and be ready to help but only if requested.
    - Respect others:You won’t make friends by throwing your ab’ rope down a popular route just to get into position to shoot someone on the neighbouring line.
    - Check first:If you’re obviously about to take photos of a climber you don’t know, and it’s reasonable to do so, ask them if it’s ok. If they say no, or prefer you not to, then don’t take the picture.
If you have taken photos of a climber then get their name so you can caption the shot and acknowledge them. Send them a copy.
I think its a bit of a cheat when you see “Unknown climber on limestone classic” in a mag. You’re getting exposure from the published images, so make the effort to get the climber some too. In my experience climbers are generally happy to contribute.
# 9 : 尊重和专业
# 10 : Review Review Review
If you are serious about improving then you need to be serious about reviewing and critiquing your work. How do the shots you took today compare to your favourite images from the pro’ climbing photographers?
Pull out your best two climbing photos. Why do you call them your best? What ‘makes’ those pictures for you?
When you’re editing your next shoot, pause before you hit the delete key on the rejects. Pick a couple. Why are you about to trash them? Why are they ‘bad’ photos?
Pick a couple of the ‘keepers’ that didn’t get a top star rating. Why did they miss that star? What would need to be different/improved upon?
It’s okay to be your own harshest critic. But be disciplined and allow yourself to experiment and fail. Know when to silence the inner critic completely or you’ll stifle your own creativity.
Equally good is to have other people give you feedback. Obviously you should only invite constructive, well-intended criticism. The UKC photography forum is one place to look.
In our exclusive interview with top UK climbing photographer Tim Glasby, he repeats the message, “Be honest with yourself about the quality of your work”.
By inviting comment and self-review I learnt I often compose too tightly on the climber and missed out on other compositional elements and context. Once I was aware of this I put more effort into my compositions. Despite strong colourful elements in #10.1 I wish had got further out from the rock so we could see Al’s left arm and feet, and composed a wider shot to get a sense of the position’s height. Being higher than the climber would have helped out here.
# 10 : 再三回顾
    在我们对英国攀岩摄影师Tim Glasby的独家访问中,他反复强调这一点“要坦诚面对自己摄影作品的品质”。
在我们对英国攀岩摄影师Tim Glasby的独家访问中,他反复强调这一点“要坦诚面对自己摄影作品的品质”。

# 11 : Set yourself projects
Improvement requires practice, and that requires motivation. Help yourself by keeping a list of ideas for shots, locations and angles.
Look at the climbing media for inspiration. Recreate the shots you like or challenge yourself to find a new perspective on a classic image. I have a list of different projects that I keep dipping into. Additionally I always think I could improve on the images I already have so I’m always motivated to reshoot certain routes.
# 11 : 设定属于自己的计划
# 12 : Pre-visualise your shot
Okay, this one’s a biggie. It touches on a number of other ideas here and is contrary to some. If you buy that there’s the ‘go and experiment’ approach, then this is the opposite, and it therefore requires more preparation.
The essence of this is that you plan ahead of time, as much as possible, exactly the images you want to create. To do this you’ll need to draw upon your:
    - knowledge of the existing body of climbing photography out there
    - knowledge of routes, how they are climbed, their aspect and crux moves
    - creativity, to find new angles, positions and compositions
    - predetermined plan of what you want to shoot that day
Expose yourself to the work of as many photographers as you can and look at their styles. Are you after documentary coverage of a meaningful ascent; abstract close-ups; wide landscapes showing the context of climbing; rock architecture; body positions; your own style?
If you’re planning for a particular location or route then do some research. Which angles do you like? Which are most common? Can you find a new angle? The UKClimbing website is a good place to start your research.
If you have a strong idea in mind you get the added benefit of minimizing the number of exposures you take and benefit from spending less time behind the computer!
# 12 : 预视你的拍摄
    - 现有的攀岩摄影团体
    - 攀爬线路,线路需要如何攀爬,线路的各个方面和难点的通过
    - 创造力,发现新角度,新体态和新的构图
    - 事前决定拍摄当天的拍摄目标



  • 爱户外,就是爱着开朗乐观和积极向上的精神
  • 玩转泰国
  • 鳅鱼角瀑布玩攀岩
  • 探洞攀岩
  • 迎着风雨展翅飞翔
  • 穿越丁家滩—韭园溶洞—丑儿岭—水峪嘴
  • 攀岩于神仙大峡谷
  • 攀登千山景区--象山峰
  • 我到山上去攀岩
  • 我到黑龙江省森林植物园去攀岩
最喜欢的野外攀岩地点是阳朔,攀冰地点是双桥沟,终极偶像是Ueli Steck(感谢大魏同学

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