Seb Rogers: mountain bike photography

A hat-trick of What Mountain Bike covers

I've been a bit slack keeping up with my published cover shots lately. Which is how I find myself with three consecutive What Mountain Bike covers to share:

Nikon D3, 80-200mm f/2.8, 1/250sec f/6.3 @ ISO200, two radio slaves

Nikon D3, 80-200mm f/2.8, 1/80sec f/6.3 @ ISO800, two radio slaves

Nikon D3, 24-70mm f/2.8, 1/200sec f/7.1 @ ISO640, two radio slaves

There's something these three covers have in common: none of them are shot wide. The shortest focal length in use was 70mm, and the longest 130mm. Why does this matter? Because, as students of any of my courses will know, long lenses take the viewer away from the action and slow things down. Looked at another way, shooting a mountain bike in close with a wide lens is a good way to involve the viewer in the action, adding a dose of drama and movement even in situations where there's not much of either happening. Step back, put a longer lens on, and the viewer involvement decreases. 

In other words, the further you are from the action, the more you're relying on visual cues to impart the sense of movement. It's very easy to take a boring shot of mountain biking on a long lens, particularly from head on. There needs to be something going on to grab - and hold - the viewer's attention. Usually, in the absence of obvious movement, it's all about implied movement.

So in the first shot, we've got a climbing rider working the bike hard, out of the saddle and about to put in a power stroke. Timing is critical in an image like this - bike upright and pedals level just won't cut it. The fact that the rider's smiling doesn't imply hard effort (although it works in this context, because publishers like readers to feel that riding a bike is fun), but his body position does. You won't be able to see it here, but there's also enough movement in the front tyre's tread to show that the bike's moving. 

The second shot also makes use of the rider's body position and facial expression, but it's helped along by a slow shutter speed and the added interest of plenty of backlit spray. The bike's hauling - and you know it. I actually tried some wide shots of this corner and they didn't work as well...

The final shot is all about the rider's position on the bike - elbows bent, body low and pushing the bike into the corner. The shutter speed's higher than I'd like on this one, but what you can't see is that as soon as i'd taken the shot the rider needed to straighten the bike and push it the other way into a berm. My attempts at slowing things down just resulted in too many shots with blurred handblebars or face. The first isn't ideal; the second is a definite no-on. Details matter, and it's my job to get them right.

Cover: IMBA calendar 2012

For the second year running the guys at IMBA have chosen one of my images to run on the organisation's calendar. Which means a prime chunk of British riding will be adorning the walls of IMBA supporters across north America and the rest of the world. Nice.

That's riding skills guru Clive Forth sticking his elbows out high above Patterdale and Brother's Water on a blustery February day, by the way. 

IMBA is the only organisation I donate images to. It's my way of giving something back to the sport that's enabled me to earn a living over the past couple of decades. Although it's a US-focussed effort, they're arguably the only orgnanisation with anything approaching a global reach to understand the needs - and campaign on behalf of - mountain biking.

You can buy your copy of the calendar here.

Cover: Cycling Plus Nov 2011

Although I spend most of my riding and shooting time on bikes shod with fat tyres, there's more to life than mud-packs and compression damping settings. Road is massive right now. A perfect storm of resurgent British pro cycling fortunes, subsidised bikes for riding to work, rising fuel prices and a whole bunch of other factors are conspiring to drive (no pun intended) more people out of their cars and onto bikes.

As a result, road bikes are sexy again. And, although there are some differences in the way that road and off-road bikes need to be shot, the basic principles are the same. So, although I sold my own road bike years ago (I was weary of dealing with the stress of too many near-misses caused by poor driving), it's great to be involved again with a sport that's very much alive and kicking.

Nikon D3, 14-24mm f/2.8, 1/320sec f/9 @ ISO200, two radio slaves

To prove the point, here's my first Cycling Plus cover in, ooh, over a decade. Smooth Tarmac, blue sky, warm sun... what's not to like? I gave my neck muscles a good workout by lying in the middle of the road for a beetle's eye view of the passing rider. It almost makes me want to go out and buy a road bike again. Now that can't be bad...

Cover hat-trick

Despite appearances to the contrary on this 'ere blog, I've been pretty busy over the summer. So much so that, a couple of months back, I scored three magazine covers in a single month. And here they are.

1. MBUK, Sep 2011

Easily one of my favourite covers of the year, this is a stream crossing shot with a dramatic vibe courtesy of some punchy Photoshop pre-press by the guys at MBUK. Although the contrast, colours and sky are completely OTT, I love it. It's unusual to see a frozen water-splash on a cover, but it adds a certain something (and it just happens to be shot on one of my all-time favourite trails - Smith's Combe in the Quantocks).

2. What Mountain Bike, Aug 2011

Two rider cover shots are very hard to get right. There's not much space to cram both bikes and riders in, it's hard to avoid the second rider getting lost behind cover furniture, and then there's the timing to worry about. Still, this one came together very nicely. With a British summer theme and a location I'd come across previously on a route guide shoot (the patchwork quilt background is subtle but a vital part of the shot's overall feel), I shot a number of variations on the same theme. The longer lens shots brought the background forward more, but the dynamism of this wide shot won the day.

3. Cycle, Aug-Sep 2011

This is a stock image from several years ago. In fact, it was the first time I'd used my D2X for a commissioned shoot and, in the event, I was glad I did. Shot in mid summer in Cumbria, the weather on this day was gloomy and overcast. Out in the open I was fine at middling ISO values, but here under the trees the only way I could get a shot was to crank the ISO to 800, the aperture wide open to f/2.8 and keep my hand steady at around 1/200sec at the long end of my 80-200mm. These days it's a shot I wouldn't think twice about, but the D2X was maxed out at ISO800 and I had to use some careful - and fairly heavy - noise reduction at the raw processing stage. Even so, it's a nice shot and proof that you don't need the latest gear to produce commercially viable images.

Cover: MBUK August '11

The new MBUK thudded onto my doormat just before the weekend... and it's got one of my pictures on the cover. This is one of my favourite MBUK cover shots for a while, featuring ace rider Mike Smith, a Whyte something-or-other... and a whole load of bracken. It's very British and very summery, right down to the puff of dust being kicked up by Mike's rear wheel.

Nikon D3, 24-70mm f/2.8, 1/250sec f/6.3 @ ISO200, two radio slaves

It was also a lot of fun to shoot. I've probably mentioned before that UK magazine covers tend to be rather formulaic. On the face of it, that should make things easier, right? There's a check list of things that all need to be right, so you can be sure as you're working that you've got a shot that'll fit.

Well yes... and no. In practice a prescriptive cover style can end up being a bit like a visual straitjacket. Recently, though, a complete contents page-up redesign on MBUK has liberated the cover a little, giving the mag's art ed - and me - a bit of creative leeway on this one. Summery green was the theme, so off we went looking for plenty of bracken fonds. This was the last shot of the day and I wasn't entirely sure I could pull it off, because I couldn't see Mike as he approached the corner at a rate of knots. I had to pre-position my camera where I thought he would emerge, listen carefully, then match his speed and squeeze off a single shot as he turned in.

The out of focus bracken in the foreground adds depth to what could otherwise have been a fairly flat image... and although there's no blue sky (or even any sky at all) in shot you can just tell it's summer.

I'm often my own worst critic, but I like this shot a lot and it'll be finding its way into the tearsheet section of my portfolio. That's always a good feeling...

Cover: What Mountain Bike May '11

One of my least favourite times of year is February. There are any number of reasons for my dislike of this particular month, including (in no particular order):

- the fact that I have to face up to my Christmas-fuelled credit card bill,

- continuing rubbish weather and short days,

- a lingering sense of guilt that, although salads are out of season, I really can't stand any more cauliflower.

It's also one of the most challenging times of year from a professional point of view. Editors are under pressure from publishers to sell great big piles of magazines in the spring. So there's all kinds of caffeine-fueled talk of blue skies, short sleeves, nice scenery and inspirational trails. Which is nice. But the reality (and if you're reading this in the UK and ride a mountain bike throughout the year, you'll understand exactly where I'm coming from) is that the skies are often overcast, sensible riders are well covered up against the elements, the scenery is a uniform dull greeny brown and the trails are usually hidden under a couple of inches of slime.

We could, of course, head somewhere warmer, sunnier and altogether more pleasant-looking in February. Except there isn't the budget for that... and UK mag readers tend to dislike the idea that journos are jetting off in the winter to ride dry, sunny trails for a few quick photos before heading down to the bar for a cold beer. 

Still, once in a while fortune smiles on the photographer tasked with shooting the 'no pressure but it has to look warm and sunny and lovely' May cover. As it did this year, despite the fact that I decided to head to Wales. Which, as any resident of this island knows, is not renowned for its clement weather - and particularly not in February.

Not only did the sun shine, but it was genuinely warm. The foliage even conspired to look green rather than drab, and the air had the kind of crispness that I associate with desert climates in the spring. I got an email from the art ed after I'd sent through some low res samples asking what magic I'd performed in Photoshop. To which the answer was... absolutely nothing. This is a rare UK magazine cover with natural sky, just as it was recorded by the camera. I kid you not.

What the picture doesn't show is just what a tight spot I was in. I got cramp in my right leg from wedging myself into the bank of soil and rock next to the trail, and I was very glad of the horizon-stretching qualities of my trusty 14-24mm.

Cover: Cycle Apr - May 2011

We've been having some unseasonably warm and sunny weather here lately, so it seems appropriate that the new issue of Cycle features a summery image of mine. Nice and simple, late summer afternoon, dusty trail, backlit... and one of the rare cases when I actually put my D3's autofocus to good use. Reminds me of long, hot rides with friends. And that can't be bad.

Cover: MBUK April 2011

Nikon D3, 14-24mm f/2.8, 1/320sec f/7.1 @ ISO200, two radio slaves

When MBUK called and said they wanted a Lake District cover with some ballsy riding, added rocks and scenery in the background, I knew exactly where to go. It's a spot I've used a couple of times before, with an unusual combination of trail and backdrop in exactly the right places to fit on a UK mag cover. Props to Neil, who transformed this steep roller with a narrow and iffy run-out into a ballsy wheelie drop.

There was a feature attached to the cover too, making for a full shooting day. No complaints from me though - the Lakes is one of my favourite places anywhere in the world. How can you go wrong with scenery like this?

Nikon D3, 80-200mm f/2.8, 1/2000sec f/4 @ ISO200

Nikon D3, 14-24mm f/2.8, 1/60sec f/16 @ ISO200

Shooting the action closer in is a bit more challenging in this spot though, because the obvious angles face south. Why is that a problem? Cos it tends to mean strong backlighting. And, at this time of year, the low sun means it's often in the frame too. Cue flare and a lot of lighting issues.

In the days of film I'd probably have stuck a flash on top of the camera, set it to TTL -1 stop, and fired away. The results would've worked in terms of evening out foreground and background lighting levels but, well, it wouldn't have looked great. Now, thanks to the wonders of digital, I can use a combination of remote flash and careful raw file processing to make it look the way I saw it on the day.

Here's the result:

Nikon D3, 14-24mm f/2.8, 1/320sec f/9 @ ISO200, two radio slaves

There's no way I could have achieved such a balanced result with film... at least, not in a reasonable time frame. I would've needed a Polaroid back, a bag full of film, a rider with a great deal of patience... and no pressing need to get a whole load more shots done on the same day.

Film is dead. Long live digital...

Cover: MBUK January 2011

It's always nice to be appreciated. The other day I received this in an email from MBUK's art editor: "I think the latest cover you shot is one of my faves for the year. Amazingly sharp, sweet shot, love it. More in 2011 please!"

Nikon D300, 24-70mm f/2.8, 1/320sec f/9 @ ISO200, single radio slave

The irony is that this was one of the last handful of shots on the day, taken by way of mopping up at a backup location that we didn't spend long at because I didn't think it was working particularly well. Which just goes to show... something. Perhaps that you can't always judge on the day how things are working out. Or that it's possible to try too hard. Either way, a bit of appreciation goes a very long way for us fragile-egoed photographers.

Oh, the tilt? That's the rider. Check the trees in the background if you don't believe me...

Four covers and a biketest

I've got a bit of catching up to do on the covers front, so here are four from the past few months:

Nothing much to say about these, other than that climbing shots are harder than they look to get right, climbing shots involving two riders harder than that, and Santa Cruz is a nice place to shoot the occasional mag cover. Oh, and the top left cover has two Photoshop blunders - one very obvious and one not so - that crept in at the 'fettling for pre-press' stage. No prizes, but top marks for observation if you can find them.

The bike test? That went with the bottom left cover, which we shot in the Lake District. It has to be one of my favourite places out of season, and this picture - which is far from the best riding picture I've taken but which I love for its sheer Britishness - sums it up for me.

Nikon D3, 17-35mm f/2.8, 1/320sec f/8 @ ISO200, two radio slaves

The day threw some spectacular cloudscapes at us with occasional shafts of sunshine lighting up the valley below, and I used my special HDR-lite technique (no, I'm not sharing it with you... some things are sacrosanct) to keep the detail in the sky.