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  • To capture Canadian mountain biker Graham Agassiz’s ride off an 8,000-foot peak in British Columbia’s Coast Range, Jorgen­son relied on his experience as a ski photographer. That and a heli­copter. “Shooting mountain biking is becoming a lot like shooting heli-skiing,” says the Whistler-based lensman. The chopper dropped Agassiz onto a ridge above a scree field, then followed the rider downhill while Jorgenson snapped photos from 300 feet above. He didn’t have much time—Agassiz descended 1,500 feet in less than a minute. THE TOOLS: Nikon D3S, 80-200mm f/2.8 lens, ISO 250, f/5.6, 1/1,250 second

  • Photo: John Wellburn

    In April 2011, on the last day of a month-long trip to Argentina’s Salta Province, Wellburn photographed mountain biker Mike Kinrade, of Nelson, British Columbia, riding off a 30-foot-tall mesa outside a protected area known as Quebrada de las Conchas. “The drop wasn’t even the hardest part,” says Wellburn, of Williams Lake, B.C. “It was the entrance.” To get onto the mesa, which was roughly six feet wide, Kinrade rode down a ridgeline and jumped a 10-foot gap. “He styled it,” says Wellburn. “Then he went back and did it again so we could shoot it from another angle.” THE TOOLS: Nikon D300, 70–200mm f/2.8 lens, ISO 400, f/8, 1/800 second

  • Photo: Derek Frankowski

    The light wasn't right when Frankowski happened upon this unnamed hoodoo near Big Water, Utah. But he knew he had a shot. "I came back five days later, when the evening light was transforming the shapes of the desert," says the Rossland, British Columbia-based Frankowski. He captured pro mountain biker Mike Hopkins dropping off the lip of the 80-degree slope. "I love the sense of scale you get when looking at the rider compared with the landscape," says Frankowski. THE TOOLS: Nikon D2X, 50 mm f/1.8 lens, ISO 200, f/5.6, 1/1,000 second

  • Photo: Andy Bardon

    To capture Mallori Abbott riding across Northern California’s Rainbow Bridge, a 241-foot concrete span just below 7,135-foot Donner Pass, Bardon climbed onto the bridge’s railing, waited for Abbott to pedal into the frame, and triggered an off-camera strobe. “It helped make the photo dramatic,” says Bardon, who lives in nearby Truckee. The strobe filled in the details around Abbott’s face; without it, she’d be in shadow. “That’s the challenge of shooting during sunrise. You get amazing light, but it comes from only one direction.” THE TOOLS: Canon 5D Mark II, 24–105 f/4 lens, ISO 200, f/5.6, 1/180 second

  • Photo: Sterling Lorence

    "Sometimes the best angle for a photo is the most obvious one," says Lorence, of Vancouver, British Columbia. That was certainly the case when he photographed mountain biker Brandon Semenuk in April near Semenuk's home in Squamish. "With a rider like Brandon, you just let his moves do the talking," says Lorence. On the day of the stunt, Semenuk arrived at the jump, took three practice runs, then backflipped over the 35-foot gap. "It was ridiculous how little time it took him to prepare for something so big," says Lorence. THE TOOLS: Canon 5D Mark IV, 35mm f/1.4 lens, ISO 1,600, f/1.4, 1/1,000 second

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