Taking a camera into the
harsh, cold elements of a ski
area presents its share of prob
lems. Clare may be blinding,
lighting may be tricky, cold
may be intense. Snapping off
a few photos of decent quality
can be a genuine case of skiing
on thin ice. If needn't be.
by Bill Braunstein
quick look at some of the
photos on these pages
should give you the in
spiration to reach greater
heights. Some of these
were taken by Paul Ryan, who was a
staff photographer for Ski Magazine
from 1968 to 1970 His other credits
include director of second-unit pho
tography for Daws nf Htumt (an
Academy Award winner for cine
matography!. camera operator for
the film Fines a stint with ABC
Sports and a recently finished
three-dimensional film for Walt
Disney World In Florida titled (what
else? I'A Child * Imaiiimilion
Ryan is no stranger to ski slopes,
both in tin-, country and in Europe
After graduating from college, he
quit an engineering job to take up
ski racing ft was during this time
that he developed his interest in
photography that eventually led him
to Ski Muiiicmi'
I think it was the motion, and the
freezing of motion that attracted me
to photography, he says In any
event, Ryan has skied the world over
and has photographed more than
SQ different resort areas learning
the do.s and don ts In the process
He rates Vail arid Sun Valley as two
of the most photogenic areas be
cause of their rolling hills
After about 20 years of photogra
phy Ryan confesses that the thrill of
opening up a package of freshly de
veloped film never wears off It s a
magic moment when the film ar
rives he says I can never wait
until I get home. I have to look at it
right there Ryan, of course is
rarely disappointed with his results
Here are some pointers he offers tor
tolks looking to preserve a skiing
expedition on film
N.
Brftfftf tilthI. fait shutter speeds
and itilt ulated luck help capture a
tkler’t airborne lop I left I and a rut
err Intensltp (rlphtI S>tuiior> and
plbtenlnp inow (above rlphtt cre
ate u mood of iolltarp trallbla:lnp
NOKM i lA-.I s