may be to use a long lens to zero in on your subject. But if you can’t see
your subject well enough and you can’t change your position, it may be wise
to zoom out a little bit to show the climber in context and let the viewer
see more of the action. A 24-mm lens is a good one to use for adventure
photography because it lets you get close enough to your subject but also
include some context.
Another way to bring the viewer into the action is to use a remote camera
and a very wide lens. You can mount a camera on top of a car, on the front
of a motorcycle or boat, or even on the wing of a hang glider. You might
also use a remote camera when your hands are busy doing something else,
such as holding onto a raft. Remote cameras give you and your viewers a
unique perspective and often let you see things that would be impossible to
capture otherwise.
Strobe and Other Lighting
Of course, photographs are all about light. At National Geographic, it’s often
said that even if you have a picture of the Second Coming, if it’s in bad light,
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getting up early and staying up late. You might also experiment with strobe
lighting, which goes off quickly and freezes the action in a photograph. Or
try to set up a tension between two light sources, such as strobe lighting in
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have a little bit of movement, lending it dynamism. Remember, you don’t
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or a headlamp may be just the right piece of equipment.
Planning and Building Images
Sometimes, good images are built over time, meaning that it may well take
more than one attempt in a place to make the photograph you want. Often,
you may revisit a site at different times, adjust the lighting, use a different
lens, or change small elements in the composition until you achieve the
effect you’re looking for.
Planning and close coordination are particularly important in adventure
photography. For example, you may need radios to know when your subjects
will be in position so that you’ll be ready for the action when it happens.