Six pro shooters drop photo knowledge for your domepiece

Equipment

I carry my camera gear in a full-on backpacking pack, one that gives mad back support. // In my must-have kit, I always carry Pocket Wizards. They transmit radio signals to off-camera flashes and strobes. I also carry Ziploc bags — they have a million and one uses. // If you’re shooting climbing for possible publication, bring extra clothing for your climber(s). Make sure your model has outfits of different colors (preferably bright); it sucks when your climber gets lost in the background.

If you shoot in cold weather, buy some trigger-finger mittens/ gloves. They’re designed for hunting, but they work great with cameras. // One mistake I made when I started shooting digital was to not invest in good glass from the very beginning. As my passion and skill grew, I found myself wanting sharper images with more artistic blur; I ended up selling my substandard lenses at a massive loss.

When shooting routes, I always bring a RAD (Rapid Ascent/Decent) system. It’s comprised of a Grigri, ascender, pulley, a few locking biners and a foot loop, a little travel umbrella, a reflector, and a lightweight tripod. // You need an SLR (single lens reflex) where you have control over your exposure. A 10-megapixel camera is pretty standard, and sufficient for most publications. For lenses, I’d recommend a fast 50mm prime, a good telephoto zoom, and a good wide angle.

When I’m out shooting, I often bring: a ropegun (I can climb, but I can't climb 5.13); a second rope, for stability, especially if I’m hanging in space with nothing off which to brace; in winter, five or six batteries (stash them inside a few layers of clothing, to keep them warm); and a good bag that holds a variety of lenses.

Things (besides camera and lenses) I always bring shooting: gaffer’s tape (peels off most things without leaving residue); extra batteries; an inverter for the car to charge everything; a multi-tool/pocket knife; enthusiasm; beer money; and bungee cords, tow hitches, and/or a friend with a truck.

Skillz

The most important skill for a climbing photog? Patience, patience, patience. I spend more time sitting on my ass in the dirt waiting for the right moment than anything else.

When you finish a shoot, immediately upload your photos, format your memory cards, and recharge all your batteries. You want to avoid scrambling prior to a shoot because you were lazy in keeping house. // If possible, scout the location prior to the shoot and figure out the optimal angles and light placements. If you know what you’re doing on the day of the shoot, you can relax and focus on interacting with your subject and solving any unexpected problems that may arise.

First, I look at light direction. Second, I suss the line to predict if the action will be left or right facing. From that basic info I look for the angle with the least amount of clutter or hot light. It’s different every time and sometimes I determine the best possible shot will be a silhouette. If there’s no good solution, I'll put the camera down and go climbing. // I spend a bunch of time with my camera body, becoming fluent with the controls, in order to be quick on the draw. Same with lenses . . . a mentor of mine once told me that it takes two years to become fluent with a given lens. I’d agree with that. // I’ve studied the "rules" — as a photographer, a graphic designer, and as the son of a sculptor. I’ve spent time shooting within those confines, and it's a worthwhile exercise, but as the comprehension increases, so does the understanding of how to successfully break the rules.

A lot of new shooters fail to ‘shoot through the play,’ as we call it in sports photography. You'll see someone snap a photo, get up, and stare at the back of his camera. Meanwhile, the climber goes flying off the climb and does three flips but the photographer misses the shot because he doesn’t have his camera up. Or the opposite mistake: a shooter will stay in one spot and take about 4,500 images of the same thing . . . // The majority of ‘perfect’ shots require seeing ahead — what pros call the difference between ‘making’ a picture and ‘taking’ one. This means anticipating action and knowing what something is going to look like, then camping out and working the situation until the perfect moment comes along.

Words o’ Wisdom

Butt shots: don’t take ‘em. White T-shirts: burn ‘em. Blown out Backgrounds: yikes!

To avoid disaster, think safety first — not only about your anchors and other objective hazards, but things like not dropping a three-pound lens on someone below you, or avoiding collision with a falling sport climber. // All rules are made to be broken, but the rule of thirds is a good one to start with — it holds true 95 percent of the time.

I made my share of beginner’s mistakes: shooting in bad (uneven) light, blowing out highlights, focusing in on details and thinking it was soooo artsy. And that was learning the hard way, with film. // Three tips for avoiding disaster on a day out shooting: 1) be flexible, 2) try to do things differently, and 3) don't get in the way of someone’s send.

Regardless of composition, color, or even focus, a perfect shot must evoke emotion. —Speed For the beginner trying to figure out where to spend their money, I’d say in gas, good food, and climbing trips. Just get a basic camera body and a kit lens and then get out there and start doing it.