“I envision a slight underexposure in the background to make the subject appear sharp and stand out.” To overcome this challenge, he needed a way to position the light source at the climber’s level without fixing it to the rock face. Two years ago, while photographing near Fort Collins, Colorado, Tom Bol used a 24-foot tall light stand to mount a softbox and an open-faced bulb.
Preparation: Bol said capturing such images requires climbing alongside seasoned climbers and guiding them. “These climbing photos aren’t candid shots—they’re carefully timed to catch the perfect expression. When climbers tackle difficult routes, decent photos can be taken with just ambient light, but that’s not what I’m after. I need to give climbers in-depth guidance so we work as a team, rather than you climbing and me just shooting.” Bol himself is a seasoned climber, and usually his friend and teammate secures the rope for him. He then rappels down the cliff to a position just a few feet above the climber, ideal for shooting.
Bol believes the best angle for shooting climbers is from above. “The annoying part is how easily lens caps and flash cards fall—it’s a hassle for whoever’s below.” Setting up light stands around climbers is risky due to the danger of high winds knocking lights off. Bol decided to try mounting photographic lights on a 24-foot light stand. He adjusted the direction and tested the lighting on the ground before raising it to the required height. The lights could then be positioned left or right as needed. The stands were placed on flat ground and stabilized with sandbags. A climbing guide served as his photography assistant, staying on the ground to adjust the lighting.
Photographic Lights: Bol used two 400-watt battery-powered lights, positioned on either side of the climber, about 5–6 feet away. He also employed a wireless transmitter to control the output power of the lights. On this, Bol commented, “Using a rope above the climber really helps—cliff-mounted gear boxes are less prone to swinging.”