I want to be passionately connected to climbing and with people sharing the same landscape as their playground. Having mountains as my canvas, painting the stories with my camera. I also believe in strong work ethic, while finding motivation in my own failure.
Constantly on the search of untold human stories, from the hardest rock climbing grades to explorers, pushing their limits an redefining the current status quo in the outdoors industry. Everyone has a story that can change the world, and often the most meaningful messages come from the most unexpected characters.
Forever inspired by the natural world, a lifelong passion for climbing and desire to explore allowed me to travel the world from small climbing areas around Prague to the beautiful peaks in the Alps, majestic Yosemite Valley, and remote expeditions into thin air in Nepal, Tibet, and the Andes.
I have worked with top athletes in the climbing industry and the largest outdoor brands alike to create stories that engage on the global stage.
Previous Clients / The North Face / Black Diamond / IFSC / Patagonia / Tenaya / RED BULL / Adidas Terrex / Five Ten / SCARPA / LA SPORTIVA / SIMOND
PARIS 2024 : through the lens
Fun stroll through Paris, my current home town, with Matt Groom. Chatting about sport climbing photography and what it feels like being an Official IFSC Photographer.
MEMBER OF 1% FOR THE PLANET
Jan VIRT is giving back 1% of all sales, not profits, to environmental causes. Committing to donate 1% of annual sales to support environmental organizations focused on the environment.
'Currently, only 3% of total philanthropy goes to the environment and, only 5% of that comes from businesses. The planet needs bigger support than this, and our growing network of business members are doing vital work to increase giving and support on-the-ground action. We're excited to welcome Jan Virt to our global movement,' says Kate Williams, CEO of 1% for the Planet.
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FAQ
What gear and equipment do you normally use?
I shoot on Canon mirrorless system for the past five years.
During the IFSC competitions, I typically use Canon R3 with RF 70-200mm f2.8 for 70% of my photos. But I also have RF 28-70 f2.0 for low light conditions and when close to subject. Wide angle RF 15-35 f2.8 for creative angles or to show the venue.
For shooting climbing, I still go with RF 70-200 f2.8 since I love to separate the subject from the background, but I would also use RF 15-35 f2.8 when I want to show the depth below the climber. RF 28-70 f2.0 is a great lifestyle lens producing excellent, sharp images, but when the weight plays the role, I would leave it behind.
Can I see your work in person?
Nothing can replace the feeling of having your photos displayed printed on the wall. I have recently started to expose at various places. Last year, I had my stand during the Salon d'Escalde in Grenoble and considering participating again in Paris in January 2025. My work has been also displayed in Arkose climbing gym in Paris. Sign up for my newsletter to find out about my next exhibition.
Do you have to be a climber to take photos of climbing?
I do believe that in order to create amazing work, one has to be strongly connected with the subject and environment we want to document. If I'd want to go photograph for example kayaking or surfing, I would want to hold the paddle or hop on the surf board. I want to get to meet athletes and people having the same passion and understand what's their drive, challenges, ups and downs. So being a climber yourself is a huge help, but don't try to shoot something that doesn't speak to you personally.
What drives you to shoot climbing and climbing competitions?
Climbing is my passion that started more than 15 years ago. I have never pursued one single discipline and always wanted to explore bit of everything.
Alpine climbing for it's adventure, epic fails and huge learning potential how to respect mountains. Yosemite and big wall thought me to be more organised, efficient while climbing and sorting gear. Any five or ten minutes lost on belay, times 30 pitches, can make a difference if you finish the climb in three days or if you to spend another cold bivy somewhere on the wall.
Rock climbing and bouldering for its sheer pleasure of athleticism and tribe. There's no better day spent bouldering than attempting similar boulders, finding beta and sharing laughter along the way.
Himalayas thought me patience and many times it was those mountains where I reached the bottom, both physically and mentally.
How is it to shoot sport climbing competitions?
Many times, it's the same athletes competing as you would meet rock climbing outside. It's not the discipline, it's the people that matter.
People tend to think that climbing on plastic is boring, but to me, being present and having the front row seat at high profile competitions such as IFSC World Cups, World Championships and Olympics is fulfilling and energising. We work very long days, 15-18 hours is no exception. After each competition round, I have to return back to press office and do a quick ingest, sorting and basic edit on top 10 photos which are immediately submitted for social media and online use to IFSC. Afterwards, I have to edit the rest of the selects and put captions on each photo into the metadata. If time left, I would to post on my own social channels, but many times, I prefer to have something to eat, before another long round starts.
What are the challenges of shooting from the static line?
Outside of obligatory safety and efficiency of working in altitude, it's all about being prepared...and even if you arrive prepared be ready for everything to change and still deliver.
When shooting hard rock climb, I would scout location prior, see the angles and possible options for static line setup. Are there any easier routes around which I can climb and set the rope myself or do I have to rely on talent to set it up? Perfect example was Flatanger in Norway, where setting up your own static line somewhere you'd like, while working under tight timing is almost impossible, since all routes are 8c+ and harder. If in Saint Leger in France or Ceuse, options are much easier and give flexibility for various angles based on the light conditions and intended feeling.
It's always important to be mindful of other climbers trying their projects and not to use bolts or anchors from their lines. And there's nothing more embarrassing, then when it takes you half an hour to jug the 40m line, while the climber is ready to go for the send and is waiting for you to "gri-gri" your way up. Having the systems dialled is crucial.
What are your favorite places to climb at?
Chamonix for it's landscape, classic climbs and history. Yosemite valley for big walls and trad climbing. Fontainebleau for it's magical forrest, proximity and many times humbling boulder problems that force you to train harder.
What are your go to backpacks for climbing photography?
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