14 Mountain Bike Photographers Answer: Things They Wish They Knew When They Started
As things open up again, following the COVID-19 Pandemic, mountain biking is getting back into full swing.
As more people are hurling themselves down hillsides on their two-wheeled contraptions, they want to have their photo taken. Having only a limited knowledge of mountain bike photography myself, I decided to ask some people with more experience.
Here are their takes:
Sergi Barnils - Flash
(Left: photo of Sergi)
Barcelona native Sergi Barnils, is a regular photographer of the UCI Mountain Bike World Championship.
He brought up a very specific piece of photography equipment that is incredibly common in mountain biking, but mentioned it for the reason that he doesn’t use it himself:
Flash.
(left: mid-air shot of Marcelo Gutierrez)
“Even though I studied photography, I forgot about shooting with flashes. I think that’s why nowadays I only shoot with natural light. So I would have liked to know more about flashes before.”
Make it stand out
Mountain biking is a sport formed off the back of mother nature, with riders racing across rocks and roots as they ramble down hillsides. So using natural light seems like the way to go, complimenting nature’s features.
Scott took to mountain biking 15 years ago, joining some of his neighbourhood friends in the sport. At age 16, with the money from a summer job, he bought a camcorder and began recording his mountain bike sessions. Scott’s love for filmmaking has manifested itself over the last 12 years, and he began shooting as a full-time professional 5 years ago.
Despite being primarily a mountain bike filmmaker, he also does his fair share of photography, and his input on this question applies to photography as much as video. In fact, many of the points he brought up apply to many industries, even outside the creative realm.
Scott said:
“I think it's important to know the value of your work. When you're starting out, it's hard to transition from working for ''exposure'' to actually getting paid, but turning it into a business is the only way to move from hobbyist to professional. It took me a long time to realise that you're charging not just for your time on the job, but also for the experience, and equipment, you bring with you. It's pretty cool that working in the outdoor industry can be both creatively fulfilling on a personal level, and also effective advertising for clients that you work for.”
(Shot of Dean Tennant)
Perhaps the best point Scott makes here is one that seems like common sense, yet a lot of people miss: you have to make a business from your work.
You’ll never be able to become a full-time photographer, filmmaker, or artist of any kind if you don’t generate enough income to support yourself.
“I've felt impostor syndrome at various stages in my career and it was important to know and realise that you're allowed to make money with this job. You shouldn't feel guilty about it just because it can be fun.”
(Shot of Garett Buehler)
Impostor syndrome is something that many professionals feel at some point in their career, regardless of their industry. In order to combat this, we must know and appreciate the value of the service we offer and the content we create.
Global Mountain Bike Network photographer Jack Gill has been to all corners of the world with his work. Based in the UK, Gill has also shot MTB photos across Italy, France, Canada, Australia and elsewhere.
When I asked what he wishes he knew earlier, he told me:
(Shot of Fabien Barel in Molini Di Triora, Italy)
“People. I wish I'd known more people: be that contacts in the industry, riders that have a good style to shoot or other photographers to learn off (in mountain biking or not). Over the years, I've learned so much from others, been helped out by friends and contacts in the industry and have got to work with some great riders which all culminates in making you a better photographer and takes you further into the industry and the cycle (no pun intended) just continues.”
(Shot of Sam Hill in Linga Longa, Australia)
Jack’s advice reminds us that we shouldn’t underestimate the importance of our contact list. Whether those contacts are your client list, potential mentors or people who, themselves, have a great contact list of their own they can tell about you.
It’s not just about what you know, it’s about who you know.
Check out Jack’s work on Instagram
Jacob Gibbins - The Importance of Collaboration
Bristol-based creator Jacob Gibbins also mentioned the importance of people in his work. Being both a photographer and filmmaker for the last 14 years, Jacob knows what it’s like to work solo and as part of a larger crew.
With teamwork being a regular part of his work, he summarised it in a short and sweet answer, telling us:
(Left: Shot of Brendan Fairclough)
“the end product is almost always better when you work together with other talented creative people”
Jacob’s answer reminds us of the importance of the people we know and work with. However, Jacob’s answer tells us not just how they can further our careers, but how they can directly influence and improve our work.
(Photo of Kade Edwards at Whistler)
Teamwork and collaboration is just as important in photography as it is in filmmaking. There is always the need for clear communication between the subject (the riders, in this case), the photographer and the client (which may be a whole organisation, e.g. Red Bull, rather than just the rider themselves).
Team work makes the dream work.
Check out more from Jacob on Instagram or Aspect Media’s website.
Ale Di Lullo - The Impact of Social Media
(Sam Reynolds at Red Bulll Rampage)
Ale Di Lullo has had his work published since 2004. He has won photography competitions such as Whistler’s Deep Summer Photo Challenge and Red Bull Illume. Over this extensive career, he has seen the rise of today’s social media platforms, and its repercussions for photographers.
Ale’s response was unlike any other. He shared with me his view on the takeover of social media in the photography world.
“[I wish I’d known] that all the photos would have been seen by millions only on a phone screen, through a social media application that lives off of photography, but doesn't pay, nor protect the rights of, the owners.”
This response was eye opening but, for many younger photographers like myself, somewhat poignant. I shared more emails with Ale, a conversation which has ultimately forced me to reconsider the viability of photography as a career for myself in 10, 20 or 30 years time with this current trend.
(Image of Sam Pilgrim)
Ian Collins - Shooting with Primes and a Full Frame Body
As well as being an Editor for MTB Mag, Ian Collins is a commercial and editorial mountain bike photographer based out of Aptos, California. He’s worked for some big names, including commercial clients like Oakley, Trek Bicycles and Santa Cruz Bicycles and editorial work for ESPN, Red Bull, Mountain Biking UK and, of course, MTB Mag.
Ian is one of the few people I questioned who mentioned camera equipment. Making his tech recommendations, he said:
“I think I would have taken a different approach more from a gear standpoint. I would have been less fussed about trying to get a setup that covers the whole range with 3 different zooms (super wide, mid wide and telephoto) and would have started using prime lenses sooner than I did. I love that primes make you move around and walk around all over your "scene" which often makes you accidentally stumble on rad new angles. Plus they look nicer and let more light in. I also would have switched to a full frame camera sooner.”
“So yeah, a used full frame body and 3-4 primes are a great way to start and learn a lot on a budget.”
(Image of Brendan Fairclough)
I also found the mention of prime lenses very interesting. Many photographers are giving up zooms, and the practicality they bring, for the sharpness of primes. Primes are usually cheaper than zooms, but zoom lenses cover the focal length equivalent of multiple primes. So it may be confusing to figure out which is better bang for your buck. However, if you’re willing to use your legs a little more to move closer to the subjects then primes are the better option as they often have wider maximum apertures (again, more light is always helpful in sports) and give sharper images.
Primes are also lighter. Two or three light primes, around 400-500g each, are still not as heavy as a big zoom like a 70-200mm f/2.8 weighing 1,310-1,490 grams!
Personally, I upgraded from one crop factor body to another, now using a 7D Mark ii. Of course, going with a full frame body helps to increase the final image quality. Sports photography is all about short shutter speeds, so a full frame sensor that captures more light means you can dial that shutter to even faster speeds to freeze the action with less noise.
(Shot of Brandon Semenuk)
Sam Egan - Time Spent Travelling
Sam Egan is an action photographer from Kamloops, BC. Through his business, Cedar Line Creative, he primarily photographs snow sports. However, he also has plenty of experience photographing things on two wheels and the answer he gave applies equality to snow sport or mountain biking.
Bringing up the subject of travelling with his work, he said:
"When I started out as a freelancer, I wish I would have known how much time spent I'd need to spend on the road and away from home to make a go of it. The opportunities and experiences have been tremendous, but for every day shooting on the trails there are many more spent behind the scenes driving, camping out, doing recon and waiting out conditions or subjects."
Many kinds of photography have the potential to take people all over the world. From landscape work to sport and action. Many of the photographers mentioned in this post have travelled to all corners of the world with their work.
But be careful, large amounts of travel will ultimately be incredibly fatiguing. Imagine having major jet lag following a long flight and having a long photo shoot the next day. There’s also the vast difference in climates that globe-trotting creators face, from sweltering heat to some severe chills.
Duncan Philpott - Mix it Up
(Duncan himself)
Sheffield based photographer Duncan Philpott has shot photos of bikes in a range of locations. From the rather local North Wales to foreign lands like Italy or Colombia. In his work in a range of places, he has gotten to experience variety in cycling, photography, and peoples ways of life.
He mentioned the importance of variety in his answer, saying:
"Photography is a wonderfully diverse thing, as is cycling. When I was younger both aspects focused on capturing the raddest action. This tended towards head-on, tight, photography all the time and shutting out my mind’s eye to so many other elements in a scene that could have improved composition or given the viewer a bit more from the photo. It also led to a broader look at my photos seeming quite stale, with not much variety.”
(Isabeau Courdurier racing the streets of Calda)
The importance of variety and experimentation within our work cannot be undermined. As mentioned by Duncan, the same style of shot repeated too many times can become repetitive. By constantly trying new angles, lighting situations, focal lengths, etc you will find many more setups that work well and discover which ones don’t. The best way to take great photos is to take bad ones too.
Duncan also brought up composition, a topic in photography with ever-changing trends. He said:
“You also have to remember that every photo is telling a story 99% of the time to someone who wasn't there, you can choose what to include and exclude and the content of the picture is king! Wish I thought more about this when I was younger rather than getting caught up in all the gear hype."
As important as it is to not get caught in the gear hype, I’d like the draw your attention to something else said in there. Notice what Philpott has mentioned here, our role as photographers is to tell stories. A photo can be tack-sharp, have as many megapixels as you can imagine and be technically brilliant but if it doesn’t tell a story, it’s not a great photo.
Stay creative and experimental with your work.
Check out Duncan on Instagram
(Image of Matt Walker)
Jackson Parker - It takes time.
Canadian photographer and filmmaker Jackson Parker has, in his years of creating, discovered that the process takes... well, years. It’s not a straightforward path to becoming a creative of any form, with sports content apparently being no different.
(Shot of Brett Rheeder styling it out)
In his answer, Parker told me:
“I think a big thing that lots of people myself included always forget is that skills aren't built overnight. When I first started, I was anticipating that I'd be a full time filmmaker/photographer within a very short time period. In reality it takes years and a ton of patience to come out successful. It's still a struggle for me to be a full time filmmaker, especially in action sports.”
We’ve all heard the saying that “Rome wasn’t built in a day” and Jackson’s answer reminds us all that neither is a skillset, a client base or a sustainable career. These things require time, patience and work.
The quality of your work will also improve as you slowly grow your arsenal of camera equipment. Unless you’ve got a load of cash burning a hole in your pocket, it will be a while before you buy the best gear.
(Image of Grffin Paulson)
Check out more of Jackson’s work on Instagram.
Nathan Hughes - There’s always room for improvement
British photographer Nathan Hughes has quite the trophy cabinet in action photography, being AMB Photographer of the Year and winning Singletrack Magazine’s Image of The Year in 2018.
However, Nathan believes that his work can be better still. In his answer he stated:
“I wish I’d known that your progression never ends as a photographer. There are so many ways you can always improve, even without bike and camera technology constantly moving along as they do. Photography constantly throws creative problems at you to be solved, but even if you came away from the instance with an amazing shot, you could have dialled another angle or anticipated something extra.
I think it’s very dangerous to ever think you have ‘mastered the art’ and any complacency or laziness will quickly show in your images. So to always expect to have to keep pushing on your initial talent is key.
Of course we need to be careful not to go overboard and be overly critical and lose confidence in our work which can make creativity nose-dive. Easily done!”
(Image of Cam Zink)
(shot of Jamie Edmondson)
We all need to avoid the creative nose-dive at all costs. The good news is, of course, that we can dodge it through self-awareness, ensuring that we are always on our toes and not getting too comfortable with our current standards.
As mentioned by Nathan, there is no true mastery in photography as the field is constantly evolving and the definition of great photography is ever changing.
You can see more of Nathan’s shots on his Instagram or website
Chris Davies - Under-Promise, Over-Deliver
“I think it's really important to agree with your client exactly what it is they need from the outset. You can go off and shoot some really creative, cool content but if it's not what they envisioned, or what they needed then you're unlikely to get hired again. In the business side of photography and film, you'll be judged on the success of your work to the client, not how great it looks so it's worth working with your client to make sure it delivers on both angles, looks great and delivers their message in a way that engages their audience to buy their product or service. Take time to plan and agree with your client what they will be getting before you go and shoot. Under-promise and over-deliver.”
Chris Davies is a travel and adventure sports photographer based out of North Wales, with work published in places like Singletrack Mountain Bike Magazine, Women’s Walking and Women’s Cycling, and Turning Pro Magazine. Chris offered some very useful advice for the world of commercial photography and filmmaking, but the key principles he outlined to me apply in many different aspects of business. He said:
(Shot of Harry Houghton)
(Shot of Ben Jones)
Be sure to keep in mind what Chris has pointed out here: you will be judged on the success of the work for the client, not how good it looks. Now, I hate to tell creatives to play by the books because I, also, love doing my own thing. However, sometimes it is not best to go completely with your vision on a project, but instead focus on the client’s vision and implement bits of your own style where appropriate.
The second key principle, and one that applies to almost the whole world of business, is setting realistic expectations with the client of what the finished product will look like and then producing something better. By already promising an effective and well-made piece of content that the client is happy to pay your fee for, and then going above and beyond, will always leave them smiling (and much more likely to recommend you).
Andy Vathis - Weighing up the Numbers
Andy Vathis is a Canadian photographer, born and raised in Montreal. He’s been taking photos since he was a teen, getting more serious about his hobby while in college. He’s been photographing on the mountain bike scene for around 7 years now and has landed his photos in some impressive places, including Freehub magazine.
“I think going into it, I wasn’t conscious that I was doing ‘mountain bike photography’ at all but rather just documenting my friends and I enjoying the trails and local race scene.”
The key to being successful in many careers is to enjoy what you’re doing, rather than seeing it as work. Andy’s story captures this perfectly, as he didn’t set off with the goal of becoming a “mountain bike photographer” but was having fun photographing his bike rides with friends. Andy also mentioned a lot about money. Talking both about the coin coming out of your pocket to buy camera gear, but also how much you should demand for your work. He told me:
(Image of Brook Macdonald)
(Image of Jack Moir)
“Once things started to fall into place and I made a move towards making this a career, I already had a grasp of what it would take to do it properly. A big hurdle was the massive initial costs with gear and travel that you have to commit to right off the bat. However, the age-old question of what to charge was the biggest learning curve. It comes down to knowing your worth and how it stacks up to going rates in the industry.”
Working for yourself in any industry will usually involve some upfront costs. Due to the startup shopping list involving cameras, lenses, lighting, software and more, the initial costs of going solo in photography can be astronomical. However, working as a high-level photographer can be very profitable.
Weigh up the numbers for yourself when considering new gear.
See more of Andy’s work on his Instagram
Sidenote: In googling Andy’s name, I found an article of his for PinkBike, in which he shows photos he shot on film while covering world championships. Check it out here.
Trevor Lyden - Everybody Wants A Piece Of The Pie
Now living in Oregon, Alaskan-born adventure photographer Trevor Lyden has always lived for the outdoors. From mountain biking to skiing and snowboarding to kayaking, he chases the thrills that nature provides and takes some awesome photos at the same time.
However, Trevor is not alone in his love for being cold, wet and uncomfortable while taking photos. There’s a lot more crazy people - I mean “outdoor photographers” - to compete with. Trevor mentioned this in his answer to me, saying:
“What I wish i knew when I started was how much being a professional photographer would always feel like having to compete for work. I love what I do, but it can be quite stressful when there are so many talented photographers out there all wanting a piece of the pie.”
(Shot of Kyle Jameson)
(Shot of Cody Kelley)
In the creative industries, we can somewhat create new pies all together by creating niche and unique work. However, others will eventually click on and follow suit if your pie is profitable. This makes you a trendsetter, although you now have to compete for work once again.
This echoed a conversation I had with Ale Di Lullo (whose answer is given earlier in this post) in which we discussed how, although the demand for photographers is increasing, the number of aspiring photographers is increasing faster. This results in less paid work for all photographers, but especially those with less experience and portfolio
Everybody wants a piece of the pie.
Check out more of Trevor’s work on his Instagram or website.
Hanna Retz - Don’t Be Scared To Make Mistakes
German photographer Hanna Retz covers a range of genres. Aside from her work photographing product, lifestyle, real estate and more, she has an amazing portfolio of sports shots. Covering primarily motocross and mountain biking, mud seems to be her speciality.
In her answer regarding mountain bike photography, Hanna advises to not be afraid of certain things. Firstly, she mentions making mistakes and taking below-average shots, saying:
“I think I am glad to grow with my mistakes and experience I made, it is the process which forms you and give you a own style.”
“Be open to any ideas which are popping in your head, don’t think this is a bad idea, just try it out, sometimes the weirdest ideas are the best. The most important thing is to have fun in what you are doing, don’t force you to get an amazing shot every time when you went out with your camera, not every day is a banger-shot day.”
She also tells us not to be afraid of the riders we want to photograph, explaining:
(Shot of Tobey Miley)
“What I wish I knew in the beginning is: do not hesitate to ask good riders if you can shoot with them. Just ask, they don’t bite. If they say no, ask another one. The shots you will get with good riders are way better then the shots you do with your homies (except if you have really good and stylish homies).”
Now, I happen to be friends with some pretty good riders. However, this may not be the case for many of you. Although shooting with your friends is always good practice for learning the fundamentals and experimenting with new styles, you’ll be able to take things to the next level with higher-level and higher-profile riders.
Don’t be scared to make mistakes.
Check out more of Hanna’s work on her Instagram and website.
(Shot of Max Kruse)
To Finish…
I hope that this collection of tips from professionals around the world will help you in your photographic adventures, whether you’re photographing mountain bikes, football, or applying these tips outside of sports photography.
If you’ve found this post useful (or if you just wanna help me out) share it with some friends!
I’d also love to give a massive thank you to all the photographers who contributed to this post with their answers. This has been in the works for months as I kept finding new people to ask, and I also wanted to publish it as COVID lockdown measures began lifting and people returned to sport.
Keep shooting!
