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Topics covered
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A few things to consider before you set off
Communication is key
Freeze
The need for speed
Bright light
Snow setting
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A few things to consider before you set off
- IT MAY SEEM OBVIOUS, but the first thing you should consider before heading off into the snow is the temperature. You may have wrapped up warm, but what about your camera? Batteries don't react well to the cold as it reduces their output, so keep it warm by carrying it under your coat to share your body heat. And carry extra sets of batteries in a warm place too!
- Digital cameras automatically white balance and therefore the snow in your images should correctly appear to be white. If they don't, check your camera's instruction book to find out how to manually white balance the scene.
- On grey overcast days, use a graduated filter to colour the sky while leaving the foreground natural.
- The sunlight during the early morning and late afternoon offers unique photography opportunities due to reflections and colours. This is particularly true in the snow. At a low angle the sun casts long shadows and adds contrast to your subject that otherwise might not be there if it were directly overhead. Knowing where the sun is in relation to your subject is important any time of day. Keep the sun at a right angle to your shot early or late in the day and behind you when it's high in the sky. Try out a variety of vantage points to discover the most dynamic viewpoint. Don't forget to add some colour to the photograph as it will create a dramatic effect with the white snow.
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Communication is key
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When it comes to shooting action on the slopes, the golden rule is in the timing. The starting point is to know where to position yourself so that you'll be in the right location when your skier or snowboarder flies by.
Before you set up for the shot, agree on exactly where you will set up, where they will pass you, and - most important - agree on a signal from you to indicate when the skier should start. Make sure they know how long it will take you to set up: you have to get to the agreed location, set your poles or detach your board, take off your gloves, get out the camera, get it ready, and set yourself and the camera for the shot. Only then are you ready!
Tell the skier not to budge until you give the signal - for example, wave your arms over your head. Freeze!
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Freeze
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To get a head-on shot, you need to set up in their path. You can use a slower shutter speed than you might first think to 'freeze' a subject that's moving toward you, even though the same slow speed wouldn't freeze a subject moving perpendicular to you. You can pre-focus on the spot where you expect to take the picture. Autofocus is great, as long as you make sure your subject is in the centre of your viewfinder. In fast-moving situations, this may be difficult and your camera will still focus on whatever is in the centre. The trick to getting a well-focused photo of an off-centre subject is to use 'focus lock'.
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A final note on this subject - often cameras take a brief moment to focus and set the exposure, which results in a moment's delay between you pressing the shutter-release and the picture being taken. Get to know your camera and if it has this sort of delay, then watch out! Otherwise you may press the button at the critical moment and the camera may record just an empty patch of snow. Anticipating the movements of the skier and using the pre-focus technique described above can help overcome this.
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The need for speed
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Panning is another method of getting a great action shot. Set up so the skier will move past you on the perpendicular. If you freeze the action by using a very fast shutter speed (1/1000 sec), you may end up with a picture in which nothing appears to move. The skier would be frozen motionless. The trees would be frozen motionless too and the entire picture would look static. Create the illusion of motion and speed by panning with the skier. The reason for doing this is to capture the image of the skier in sharp focus against a blurred background. The key to good panning is twofold: first, use a slow shutter speed (1/30 sec), follow the subject in your viewfinder as they approach you, keep them there as you shoot, and keep following them after the shot has been taken. Your objective is a smooth motion.
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And, action! Freezing motion can produce very dramatic results in other situations.Where the position of the snowboarder or skier is in mid-air, freezing the motion can make them appear as through they're flying through the air! Also, flying bits of snow, say 'action' to the viewer.
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Bright light
Good exposure is the real key to good skiing pictures. On the slopes, you'll typically be shooting where the snow and the sky are very bright. Your built-in meter interprets brightness to mean that you don't need much exposure. The result is that most pictures taken on the slopes are underexposed. The snow looks great, and so does the sky, but the skier is all-too-often a dark silhouette. Make sure that if your subject is the skier, then set your exposure for them, not for the snow.
To get the right exposure, take a closeup reading of the skier's face before they set off, and set your exposure accordingly. Use that exposure setting when you later take the shot. If you can't take a close-up reading, take a 'substitute reading' on your own skin. If your skin tone is approximately the same as the skier's, the setting you get should be close enough. Remember that you must make certain the area you read is in the same lighting and same angle relative to the light as your subject.
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 | You could also take an incident reading with a light meter. The incident reading will read the light, not the subject matter. It should place the brightness of the snow, the sky, and the skier exactly where you want them. If you are trying to freeze a skier coming towards you, try using fill-in flash. The light of the flash compensates for the brightness of the snow and sky behind the skier. On the other hand, realise the limitation of your flash unit. It probably has a range of 10 to 15 feet.Don't expect it to light up the mountain.
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Snow setting
| Many compact digital cameras, including the Olympus µ [mju:] DIGITALs and µ [mju:]-mini DIGITALs ranges, feature a specific beach and snow scene setting. When selected, this automatically controls the exposure for this specific type of setting. This setting is usually illustrated with a split symbol that features a snowman on one side and a windsurfer on the other.
Getting rid of glare Unfortunately, the bright sun and pure white snow also causes glare and can make it difficult to frame your shot in the camera's LCD display. If you can't use an optical viewfinder or attach a hood to shade the screen, you need to call on every photographer's best friend - duct tape. You can make an improvised hood from the tape, just large enough to shade the display and allow you to see what you are shooting!
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