Eye in the Sky: The Life of a Skydiving Photographer by Kewiki

Alex Bittner, Skydiving Photographer

In June of 2013, I had the opportunity to do my first jump out of a plane. That was just the beginning of my addiction to the sport of skydiving and countless weekends of training. From day one, I had the privilege of meeting Alex Bittner, a skydiving photographer. He shot my first jump and we immediately became friends. Since then, I’ve become a licensed skydiver and have also gained a passion for the sport. In this sport, it’s important to pick a specialty that you want to focus on and train hard. For Alex, that specialty was photography. I recently sat down with Alex to discuss this rare style of photography.

K: Tell us a little bit about yourself.

A: My name is Alex Bittner and I currently live in Ottawa, IL. I am originally from the Daytona Beach area and started jumping in Deland, FL in 2007. So far I have made 1800 skydives, of which roughly 1400 have included camera work. My wife, Jess, and I both enjoy jumping and traveling together and intend to forever or until we die, whichever comes first.

K: How long have you been photographing this sport?

A: I didn’t really start flying camera until the spring of 2010. My first camera jumps were filming a novice 4-way team so that I could learn my systems, equipment, and techniques with a fixed group and not much pressure.

K: Did you have an interest in photography before getting into skydiving photography?

A: Yes, I would call myself an amateur photographer from the age of 15 on. I took photography classes in high school and often shot my friends during various action sports. I also did a backpacking trip through much of Western Europe and developed a taste for architectural photography.

K: What made you want to get into shooting this sport?

A: I honestly started flying camera because it is a good way to get free jumps and work on canopy skills. My season of amateur 4-way led to a full-time slot on the second-best team in the country which meant 500+ free training jumps each season. It also opened the doors for many other paid gigs like record jumps and event photography. I look up to people like Norman Kent, Niklas Daniel, and Rolf Kuratle as my role models in the sport.

K: Obviously this is a passion for you. What are the requirements to be a photographer in this sport?

A: To be a skydiving photographer you have to start by becoming a skydiver, obviously. Once you are a licensed jumper, the United States Parachute Association requires a minimum of 200 jumps before you can wear a camera in freefall, including small cameras like GoPros.

K: What type of equipment do you use to shoot with?

A: I jump with a Sony CX-100 as my primary video camera, a Canon Rebel T2i for stills, and a GoPro Hero 3 Black for fun.

K: What is your favorite shot you’ve taken and why?

A: My favorite skydiving photo so far was one I took of accomplished aerial photographer Norman Kent as he exited a SkyVan with a RED camera on his helmet during 66-ways last summer. (A 66-way is when 66 people join together in freefall in a formation.) Norman is a personal friend and mentor and it was super cool to capture him in his element.

K: If someone is interested in photography in this sport, how can they get started?

A: Getting into skydiving is overwhelming enough as it is. Take your time and become a good, not just proficient, body and canopy pilot before you mess around with cameras on your helmet. I like to think that people should be able to concentrate on the shot and let the parts like getting to the group, getting away from the group, and surviving happen naturally. If you’re still learning those skills, be patient. Strive to be an old skydiver, not a bold one.

K: How risky is it to wear the gear on your helmet?

A: Flying a camera can increase the already risky activity of skydiving in many ways. First of all, it is a huge distraction. There is already so much to think about just to have a safe and successful jump; adding the elements of framing and flying good video or taking stills can take away from your ability to make good, safe judgment calls in the air. Cameras on helmets also add a risky element to parachute deployments. More weight on your head can result in hard openings and injury from them. A careless mounting system can result in snag hazards for lines during the deployment sequence.

K: Thanks so much for taking the time to do this interview. Do you have any final thoughts you’d like to share?

A: In our sport, if it didn’t happen on camera then it didn’t happen. I like to capture moments for my friends to hold onto forever.