Image provided by: University of Oregon Libraries; Eugene, OR
About Oregon daily emerald. (Eugene, Or.) 1920-2012 | View Entire Issue (Nov. 24, 1982)
that will show speed and give the illusion of motion Long lenses will compress the action, giving the photo a vitality, but when panning, stick with wide-angle lenses Following a skier down the moun tain is one effective method Ryan uses to capture the feel of skiing Here a wide-angle lens should be used, preferably a 24 mm or 28 mm, which is prefocused to its hyper focal distance, the place where far away objects as well as close ob jects will remain their sharpest Hold the camera low. at about knee height, and fire away It helps to have a motordrive — and plenty of film Says Ryan, "You may waste a lot of film, but then, again, you may get that one great photo, too time. The time of day you choose to shoot can make or break your shot Early mornings and late afternoons are best The reason is simple, col ors are richer and deeper, plus the long shadows that are cast will give the snow more texture and help de lineate distance Try to frame your subject with the sunlight behind Rim light always makes a subject look good, and with the light com ing from the rear, the snow will sparkle if it's flying Other goxl times to shoot are on foggy days, when the colors will be muted and subtle Rvan himself pre fers early morning when mist or ice crystals hang in the air and steam is rising oil creek beds The most im portant thing, says Ryan, is to stay alert "A shot from one place on a hill can be boring, he says, "but live hours later, when the light strikes it lust so. it can be extraordinary places. The tuck to good ski pho tography. as in any kind ot photog raphy, is anticipation, knowing or sensing when something interesting is about to happen Ski the course once and find that ideal spot, then plant yourself there and wait Things to look tor include knolls, or a roll mg terrain, where a skier might be come airborne for a split second Also, look for fresh powder, which will spray gracefully as a skier goes t>y. or any area where a ->kier will be making fresh tracks These can pro duce powerful images Don't overlook the unusual van tage point, such as a counter hill, or even a ski lift Keep your eyes open for things such as saturation of color, pieces ot machinery, clothes, etc In conclusion Ryan advises to keep shooting, learn the rules, then break them Photography is noth ing but calculated luck. ' he says, over a long period of time, the chance of your snapping a great photo steadily improves That final 500th of a second where you actually snap the photo may be luck, but the fact that you have put yourself in the position to snap it is where the real skill comes in ' i_^_ i i — Not the Allen - lust a documentary filmmaker caught In action by artist, photographer David Peters. I**! H * ' Freese Frame can be a picture of yours! We re Hggi j» serious about this. And you will be rewarded. a( jjjp I Freeze Frame needs individual photographs. JL ML JkMW &MH JHwmI JhMM They can be arresting, quirky, awe-inspiring or « m mm -pH even silly. They can be lucky "caught" moments or something specially ar ranged, but most of all we want a fresh quality, an air of the unexpected. Subject ■*“ ” -“*■ matter can be anything, but the pictures must amuse, intrigue, fascinate or even stun the viewer. We yearn to be knocked out. Figura tively speaking. Each photograph we select, whether black-white or color, will earn $35. Plus publication, along with your photographer's credit, of course. You may send as many photographs as you like; be sure to include a stamped, self-addressed envelope of sufficient size so that we may return them. Make sure your name and address Is clearly printed on each picture. We won t be able to acknowledge receipt of each package, so please be patient and serene. Break buys first rights only; the photographer retains ownership. Send your beauties to Freese Frame. 1680 North Vine, Suite 900, Hollywood, CA 90028.
