Climbing Photography El Potrero Chico
Introduction
If you are like most people who pay a lot of money for a fancy camera, you don't know how to use anything on it except 'auto'. There are other features on your camera and they are not as scary as you probably think. If you already know the basics go ahead and skip down to 'Death to the Butt Shot'.
Basic Photography Concepts
Shutter Speed
Shutter speed refers to the length of time the shutter is open. Shutter speed is measured in fractions of a second (1/1000 second is a fast shutter speed, 1/2 second is a slow shutter speed). A shutter speed of 1/125 or faster will typically offer sharp results when the camera is hand held. If the shutter speed is slower then 1/125 you will typically require a tripod (or stabilize the camera on a rock). Action shots may require a fast shutter speed (1/500 second or faster) to produce sharp results.
Slow shutter speeds can create a blurring effect implying movement. High end digital cameras have a shutter speed priority setting that is appropriate when taking action shots.
Aperature
Aperture refers to the amount of light which enters the camera (onto the film or digital sensor). The amount of light which enters the camera is controlled by the camera's diaphragm. Most cameras permit you to set the aperture (both digital and film cameras). Aperture is measured in 'F-Stops' typically ranging from f/1 to f/45. The smaller the numeric value of the f-stop the larger the aperture is. Therefore f/1 is a large aperture and f/45 is a small aperture.
The main advantage of setting apertures manually (in the climbing world) is to control the 'depth of focus'. 'Depth of focus' (DOF) is the range of distance (from the camera) that will be sharp in the picture. A large 'depth of focus', created by a small aperture, will have the foreground, subject and background in focus. If you are trying to include the background of the image (or trying to be Ansel Adams) definitely use a large DOF. Small DOF, created by a large aperture, will only have the subject in focus. The background and foreground will be blurred (example: the picture of the bee). Mid-range aperture values (f/8-f/11) will create intermediate results.
Small DOF can create interesting effects if you are focusing on a 'crimp' or want to add more emphasis on the climber. Most digital cameras offer an 'aperture priority' setting (they will determine the shutter speed and you specify the aperture). This is a great tool to start off with before transferring to the full manual settings.
The 'Micro' setting found on most cameras is ideal for extreme close ups and create a small DOF. The 'Micro' setting is often labeled as an image of a flower on digital cameras.
Relating Shutter Speed and Aperture
Shutter speed and aperture settings determine how much light the film (or digital sensor) will obtain. Film (or digital sensors) require a certain amount of light to create a correct 'exposure'. An image which obtains too much light, 'overexposed', will be dark or black. An 'underexposed' image will be light or white. Therefore creating the correct balance between aperture and shutter speed to obtain the correct amount of light is critical.
In basic terms the aperture is how big of a hole the camera opens and shutter speed is how long that hole will be open. Therefore if you plan to use a small aperture setting (especially in low light) a longer shutter speed will be required. Choosing a happy median is a science and takes practice. An example of a difficult shot is when you are looking to take a picture of a climber doing a 'dyno' (a fast move). You decide that you want the entire background in focus as well as the climber. If you use an extremely small aperture the shutter speed requirement will enlarge increasing the chance of the climber being blurry. Therefore selecting a mid-range aperture is appropriate.
The 'manual' setting is defined when the user sets both the aperture and the shutter speed. Both digital and film cameras will show information regarding the exposure level when you are in 'manual' mode. This allows you to determine if the picture will be under or over exposed. Many photographers take three pictures when looking for optimal results. They take one 'correctly' exposed, one slightly overexposed and one slightly underexposed. Then they inspect all three for the optimal image.
Filters and Lenses
There are hundreds of filters on the market. A cheap filter that offers excellent outdoor photography results is the 'Polarizer'. The 'polarizer' enhances the clouds offering a dramatic sky (see picture on left). 'Polarizer' are a fairly cheap lens and can be purchased for fifteen dollars. A 'UV lens' is a cheap solution to protect your lens from scratches and can be purchased for ten dollars.
A wide angle lens increases the range of view and is useful for photography where you are fairly close to the climber. Telescopic lens permit you to take up close photographs of climbers from a distance.
Optical versus Digital Zoom
Digital cameras come with two types of 'zooms'. There is 'optical zoom' and 'digital zoom'. 'Digital zoom' should not be used. 'Digital Zoom' is created by blowing up a portion of a recorded image therefore greatly reducing the quality of the picture. 'Optical zoom' uses a lens to zoom into the object and therefore does not reduce the image quality.
Camera Tricks
Multiple Image Setting
Most cameras offer a multiple image setting. This setting permits you to take numerous (normally five) pictures in a very short period of time. If you are preparing to take a picture of your partner doing a desperate move you can set it to the 'multiple image setting' and take five pictures in a second. These pictures are spaced evenly therefore increasing your chance of obtaining the 'perfect' shot.
This feature is not unique to digital cameras but digital cameras have the advantage of not 'wasting' film. The downside to digital cameras is that many models require you to decrease the image quality when using this option (due to the speed that data can be written to the memory card).
Using Inner Camera Filters
Most digital cameras try to promote their product by bragging about 'Black and White', 'Chrome' or other photography modes. In reality all photographs are being captured as a full color photograph then being sent through an equation that creates the desired effect. If you own a powerful image editing software (i.e. Adobe Photoshop) I recommend always capturing your images using the standard mode. This gives you the highest quality image possible and permits you to change the image as needed later on (while having the option of using the original photograph).
Filler Flash
A classic problem in outdoor photograph is having your subject in a shadow and a bright background. Generally speaking this will cause your subject to be black and the background correctly exposed. Using a filler flash can help in this situation. If you are using an automatic camera (or option) focus on the background. Setting the focus as the background is done by aiming the camera at 'half dome' (the mountain) pressing the button half way down so that the focus is locked and then framing the picture as desired.
The camera will likely measure the reading on the mountain and therefore determine that a flash is not necessary. Therefore make sure to set the flash on manually.
Framing
Framing through windows, spires, mountains, pillars, reflections in sunglasses and much more can create interesting effects and nice compositions. Alweys keep your eyes open for a good framing opportunity.
 Butt Shot Death to the 'Butt Shots'
If you have been climbing over one year you have an amazing collection of 'Butt Shots' (see right). They are easy to make because there is no setup required but definitely create the most over-redundant, boring climbing shots in history. For starters looking at butts all day just isn't cool and secondarily they rarely show action or emotion.
This article will suggest ideas of avoiding the 'butt shot' and creating better climbing photography without budgeting in a helicopter.
Photography from the side
The concept of going to either side of the climber may seem obvious but is often forgotten. This technique is improved if their is a hill on either side allowing you to gain some height on the start of the climb. By taking photographs from the side you can include both a background and the climbers face.
'Photography from a side' allows for great a close up showing the emotion on the climber's face. This technique allows you to capture the climber's face when they are looking down or sideways which is not possible when photographing above the subject.
Photography from the side [Advanced]
Setting up a fixed rope on another route (then the climber is leading) is one of the best options when trying to take good climbing photographs. This technique allows you to take photographs at the same height as the climber and capture beautiful backgrounds and extreme close ups. If you have a set of ascenders (or similar equipment) use these to allow you to change positions during a photography session (though only plan on using 2 or 3 positions because moving faster then the climber is difficult).
Photography above the climber
If the climb does not have an overhang you can take photographs during the entire climb from the climb's anchor. Taking photographs from directly above the climber gives an extreme sense of depth (showing the height of the climb). The 'rope trail' also adds a nice effect.
 New River Gorge I suggest leading the climb yourself, hauling your camera (in a case) then pulling up your rope. Make sure your rope does not hang in the area being photographed. I highly recommend having the climber lead because having two ropes trail up and down the whole climb is not aesthetic from this angle.
Similar to 'photography from the side' you can use ascenders to adjust your position mid-climb. Generally speaking though a good zoom will eliminate the needs for adjusting your position.
The difficulty of this technique is that climber's (believe it or not) rarely look up. Most of the time the climber is looking down (for their next foot placement).
If there is an overhang part way through the climb you can setup an anchor just above or just before the overhang for impressive, powerful photographs (though make sure you are not hanging on top of the key hold).
Color of Clothing
Try to convince your climber to wear light colors. Dark colors tend to blend with the rock. An example is the picture on the right of a climber rappelling during a thunderstorm. This image would have been worthless if the climber was not wearing a red helmet. The red helmet contrasts with the environment allowing the climber to easily to be recognized.
The Floating Photographer
 Pole Setup Note: 'Rock Climbing Photography 301' presumes you have advanced rock climbing knowledge. Review alternative sources for information on creating anchors and fixed lines.
Have you ever seen climbing photographs taken from angles that would force the photographers to be floating in space? There is a decent chance that the photographer was literally floating in space. Being 'pinned' to the rock is a major disadvantage to climbing photographers and greatly reduce the angles which pictures can be taken from.
To create a 'floating' setup you need to choose the optimal spot to take your photograph from because moving is very difficult.
Equipment Two strong poles, often made out of PVC pipe due to their light weight, are needed. The length of the poles determine how far the photographer will be from the rock. I suggest starting off with ten to fifteen foot poles.
Two pieces of webbing are needed. The length of the webbing should be the length of each pole plus two feet (to allow tying knots).
Four carabineers and enough protection to create a main anchor and two multi-directional sub-anchors (if bolts are not available).
Setup First thread one piece of webbing through each pole and tie a 'figure eight on a bite' on each end. Clip a carabineer through each 'figure eight on a bite'.
Climb (or rappel) to a main anchor point (at least 20 ft directly above your photography point). Setup the main anchor and tie a fixed line to the main anchor. Rappel down the fixed line on an auto locking rappel setup (i.e. petzl gri gri) to the photography point. Haul up the two poles (with carabineers and webbing setup). Shift five to ten feet to the left (of the photography point) and setup a sub-anchor. Clip one of the poles to the left sub-anchor (leave it hanging). Shift five to ten feet to the right (of the photography point) and setup a sub-anchor and clip the other pole to this anchor (leave it hanging).
Continue rappelling until you are at the base of both poles. Swing to both sides and clip the low carabineers (on the poles) to you. You have now created a triangle. By ascending the rope you will be pushed away from the rock by the poles creating a 'floating' photography point. Snap away.
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