Skiing and Snowboard Photography
Colorado kids grow up on skis and boards. Here is how I photograph them doing what they love, in conditions that challenge both the athlete and the photographer.
Why Ski and Snowboard Photos Are Different
Shooting skiing and snowboarding is unlike any other youth sport I cover. The athlete is moving downhill at speed, the environment is blindingly bright, temperatures can be brutal, and I am standing in snow up to my knees trying to hold a camera steady with frozen fingers. It is one of the most physically demanding types of photography I do, and also one of the most rewarding.
The results are worth it. A kid carving through fresh powder with the Rockies behind them, snow spraying off their edges, goggles reflecting the sky. Those images look like magazine covers. And for families who spend every winter weekend at Eldora or Winter Park, these photos become the defining images of their kids' childhoods.
Exposure and the Snow Problem
Snow is the biggest technical challenge. Your camera's meter wants to make everything medium gray, which means snow comes out dull and underexposed in auto mode. I manually overexpose by 1 to 2 stops to keep snow looking white and bright. Without this adjustment, every photo would look dingy.
Bright sun on snow also creates intense contrast. A kid in a dark jacket against white snow is a nightmare for auto exposure. I meter for the skier and let the snow blow out slightly in the highlights. The alternative (metering for snow) turns the skier into a silhouette.
Overcast days are actually easier to shoot. The clouds act like a massive softbox, evening out the contrast and wrapping the light around the skier. Colors pop more on cloudy days, too. Red jackets and blue goggles look incredible against soft gray snow.
Positioning on the Mountain
I cannot ski and shoot at the same time (well, not safely), so positioning is about picking the right spot and waiting. Here is how I approach it:
- Race courses: I set up at gates where the skier's body is angled and dynamic. Hairpin turns, flush sections, and the finish line are my primary positions. For NASTAR and BVSD team races at Eldora, I know which gates produce the most dramatic body angles.
- Freestyle and terrain parks: I position below the jump or feature, shooting upward so the skier or boarder is framed against sky. This makes the air time look massive and gives a clean background.
- Powder and groomer runs: I find a spot off the side of the run, below the skier's line, and shoot as they pass. The key is anticipating their turn radius and being in the spray zone (but not too close).
- Chairlift and base area: For candid and lifestyle shots, the loading zone and base lodge are full of great moments. Goggle adjustments, high-fives after a run, the proud exhaustion of a long day on the mountain.
Cold Weather Gear (For Me)
Staying functional in the cold is half the battle. Here is what I deal with:
- Batteries die fast. Lithium-ion batteries lose capacity in cold temperatures. I keep 3 to 4 spares in an inside jacket pocket against my body heat and swap them every 30 to 45 minutes.
- Lens fog. Moving between a warm lodge and the cold slope fogs lenses instantly. I keep my camera outside (or in an unheated bag) and only bring it into warmth during extended breaks, inside a sealed plastic bag to prevent condensation.
- Gloves are a compromise. I need finger dexterity for camera controls but also need to keep my hands warm. I use thin liner gloves with grip patches and stuff hand warmers inside. Full ski gloves are impossible to shoot in.
- Snow on the lens. Constant wiping. I go through a dozen lens cloths per shoot day. One snowflake on the front element can ruin a frame.
What I Capture
Beyond the action shots, here is what rounds out a ski or snowboard photo set:
- The nervous shuffling in the start gate before a race run
- A coach's last-minute instructions, breath visible in the cold
- The spray of snow as your kid makes a hard stop
- Goggle reflections (I love catching the mountain reflected in goggles)
- The moment they unclip at the bottom, helmet off, cheeks red, grinning
- Siblings waiting at the bottom, watching their brother or sister come down
Living in Boulder means the mountains are right there. Eldora is 45 minutes from my house. Winter Park is an hour and a half. I shoot ski and snowboard events from November through April, and I am on the slopes myself on days off. I know these mountains. I know where the light hits, where the trees frame the shot, and where the background opens up to show the Continental Divide.
Working with Ski Teams and Schools
I work with several youth ski programs in the area. For team shoots, I coordinate with coaches on the race schedule and course layout so I can be at the most impactful gates. For ski school groups at Eldora and Winter Park, I coordinate with instructors so I can follow the group and capture progression throughout the lesson.
If your kid races with the Eldora Mountain Ski Team, the Boulder Freeride Team, or any BVSD ski program, reach out before the season starts. Season-long packages are available, and I can cover multiple race days so you end up with a full season of images, not just one event.
Frequently Asked Questions
Which ski resorts do you shoot at?
I regularly shoot at Eldora (closest to Boulder), plus Winter Park, Copper Mountain, Loveland, and A-Basin. For specific race events, I will travel to wherever the team competes along the Front Range corridor. I also shoot at Eldora's race hill for BVSD ski team events.
How do you handle the cold and snow with camera gear?
My cameras and lenses are weather-sealed, and I use insulated covers for extended cold shoots. I keep spare batteries warm inside my jacket (cold drains batteries fast). I also carry lens cloths constantly because snow hitting a warm lens creates fog instantly. Preparation is everything in winter shooting.
Can you photograph my kid during a ski lesson or ski school?
Yes, I can coordinate with ski schools and instructors. I typically position myself at key points on the learning slope or race course where your kid will pass by multiple times. This way I capture progression throughout the lesson, from the nervous first run to the confident one an hour later.
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