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Photo Tips
After many years of sports and assignment photographic
work, we've discovered some important "tricks of the trade" that made getting
great photos not only possible but easier. We've listed some of these tricks,
observations and ideas on this page as a courtesy for others who share as
great a love for photography as we. Of course, these tips may not be applicable
to all situations and for all photographers, but such is the nature of
advice!
Disclaimer: Though we cite specific manufacturers
and products in this section, we do not necessarily endorse any manufacturer
or product over another. They are simply personal preferences.
Cameras, Lenses, Lighting, and Film
In 2002 we switched to digital photography. While this format has some limitations,
it does have great advantage in that the cost of film and developing is eliminated, and one can instantly check
the lighting and other settings by viewing the images on the camera's LCD screen. But the basics still apply, and
we have addressed the most common questions asked of us when we're out
on assignment deal with cameras, lenses, and lighting... the most
basic components of photography. There are no universalities, but there are
some general guidelines to follow for successful photography at sports/action
events.
Digital SLR 35mm cameras have come down in price since their inception,
and are the most widely used format for
sports/action photography--that's what we use. We use Nikon exclusively,
but products from Pentax, Cannon, Olympus, and the other name brands all
have similar capabilities and high manufacturing standards. All of them will
suffice for this type of work.
So called "point and shoot" 35mm cameras, with zoom
or fixed-focus lenses, are insufficient for good sports/action work. They
simply don't have the capabilities that true SLRs have and the results will
prove their insufficiency.
For sports/action photography, you should have a camera
with, at a minimum: continuous autofocus (to have the subject remain in focus
automatically as you pan to follow the action); a fast frame advance (with
at least a 3 fps drive speed: the higher drive speed the better); automatic
film speed recognition; autoexposure settings; and the ability to accept
autofocus lenses.
What about lenses? Generally, we carry loaded and ready
to shoot at least two cameras, usually Nikon D70s with a Sigma 100-500 f5.6/6 zoom on one, and a Nikkor
70-200mm f2.8 on the other.
The latter is good for candid shots along sidelines and for shots on the
field within about 15 feet of the sidelines. The former is used for shots
from sideline action out to about 80 feet (which for most outdoor sports
is about a third or more of the width of the playing field). To catch good shots,
the photographer must move along the sidelines, following the action.
Occasionally we will use a 35-105mm or 1000mm telephoto
on a monopod to get clear, close up shots whether we're standing right next to the action,
or far from it.
Speaking of sunny versus cloudy, the amount of light
is important, but not under one's control: games don't follow the ideal shoot schedule for the photographer!
The best shooting time is from one hour after
sunrise to about 11:00 AM, then after 2:00 PM to sunset during most outdoor
sports seasons. Having the sun directly overhead (hours from about 11:00
AM to 2:00 PM) causes harsh lighting and deeply shadowed eye sockets on the
subjects. Furthermore, when the sun is lower in the sky outside of these
hours, it is best to shoot no more than 90 degrees to either side of the
point where the sun is directly behind you. In this manner you will avoid
sun flares on the lens and prevent overexposures where the subject is heavily
shadowed against a too-bright background.
Mostly cloudy days are best for outdoor shooting. The
lighting is softer, more diffuse, and as a result you can shoot even at the
midpoint of the day and still (mostly) avoid the problems aforementioned
for shooting in full sunlight. Overcast days are not as good, but produce
similar results.
On bright days, shooting in shade is good at any time
of the day. Just be careful to shoot the subject against dark trees or grass,
not with the bright sky as background, and spot meter off the face or skin for best
average exposure setting. Shooting against a bright background
will fool the autoexposure computer, producing a too-dark subject and too-bright
background. Automatic fill-flash and changing the metering to "spot" (taking
a reading off of the subject alone) is a good way to avoid such problems
if you must shoot against a bright background.
A long zoom lens (such as 70-300mm, 100-400 mm, etc.)
allows the photographer to take interesting candid shots on the field and
along the sidelines without letting the subject know he's being photographed.
This leads to more natural, spontaneous photos that more truly record the
emotions and feelings of the subject. Of course, there are also times when
a set-up shot is desired; the shorter, 35-105mm lens works well in these
situations, allowing the photographer to talk with the subject and take the
shot without having to move a great distance away to get the subject in
frame.
Generally speaking, shoot with Aperture Priority. Always
try to keep the aperture to the smallest f-stop setting so that the background
will be blurred and not detract from the subject and the action in frame.
Ideally, an f-stop of 2.8 to 3.5 is desired (such as on a 70-200mm zoom
f2.8), but usually these lenses are beyond most amateur and semi-pro's budget
(the 70-200mm runs over $1,000!). Thus, the next best thing is to use a zoom
such as the 70-300 or 100-400 with f-stop of 4.5 or so, trying to keep the
f-stop to no more than 5.6 with combinations of film speed and moving physically
closer to the subject so the zoom remains in the lower half of its
range.
Protect your lenses by purchasing and mounting a clear
UV filter. These cost no more than $10-$20 each and will save you hundreds of
dollars by preventing the lens itself from being scratched: the filter (which
does not block anything but stray UV radiation) will be scratched first,
and is more easily and cost-effectively replaced if it is scratched.
Other filters can be useful as well. Circular polarizing
filters are useful for shooting outdoor swimming or diving events. [Be sure to buy one
that is specifically made for digital cameras! It does make a difference.] While pointing the
camera at the water in the middle of the pool or lake, rotate the outer ring
of the polarizer until the view through the viewfinder has the least amount
of glare and reflection. This setting will prevent lense flare and glare
on the final print. The circular polarizer is also great if you're shooting the subject
against a cloudy, blue sky... it'll really bring out the colors!
We like to shoot action between a minimum of 1/250 and a
maximum of 1/1000 of a second. Some
low-end amateur SLRs cannot shoot faster than 1/500, so ND filters
may become necessary under conditions of very bright lighting. To produce
some special effects, such as streamers from the subject as he runs, panning
with a shutter speed of 1/30 or 1/60 is desirable, and may also require a
ND filter to achieve the slow shutter speed without using a very high f-stop
setting.
Indoors, we use Nikon SB-80 strobes with automatic
settings for exposure but with red-eye adjustment off. The strobe reads the
aperture settings directly from the camera's computer chip and adjusts output
accordingly. Using an external, supplemental battery pouch helps keep flash
regeneration time to a minimum. Red-eye settings must be off for action shots,
since they don't allow the flash to strobe at the time the shutter release
is pressed, but rather lag to first shoot a pre-flash light before strobing
the main burst. By the time the main burst lights, the action has moved
on.
It is important to check with the various team coaches
and officials at any indoor sports event before shooting to make certain
that your flash photography won't interfere. As a rule of thumb, flash
photography is not permitted at indoor diving or gymnastic competitions.
Under such conditions, you may have to set the camera at ISO 1000, 1250 or even 1600
to compensate, or ask that all of the regular lighting in the facility be
turned on to improve conditions. Note that higher ISO settings, especially over 400, make the image
grainy.
It's always a good thing to check with the team coaches
and officials before a sporting event to determine what specific do's and
don'ts they may have for photographers. We suggest this because there is
no standard for any sports event.
Most high school, youth, and college sports events
are open to the public and do not require a press pass or other form of official
sanction for the photographer to gain access to the event and ply his trade.
However, some events may charge an admission fee, which, unless you are working
for an official news media organization and have a Press Pass or similar
ID to get in for free, you must pay in order to enter the event.
Always try to be unobtrusive. Long zoom lenses (70-300mm,
100-400mm, etc.) are best for this, allowing the photographer to remain at
a distance but still photograph the athletes up close. If you decide to walk
the sidelines of a soccer, football, basketball, or other field event, keep
at least four feet outside of the marked "out of bounds" line. Officials
may ask you to move back even farther, or to refrain from walking in certain
areas. Always comply immediately and faithfully with such requests.
Candid shots of the athletes who are not currently
involved in play can be done up close with a 35-105mm or similar lens. Oftentimes
the athletes will get into the spirit of your work and pose for you ad hoc
or to your specifications as long as you don't require too much time for
them to do so, thus distracting them from the game. (Remember, they could
be called upon to go in as a substitute at any given time.)
Again, flash photography is permissible for certain
events only after you check with the team coaches and officials to make certain
it is acceptable with them. Try to avoid direct, "in the eyes" flash photography
of athletes whenever possible as a courtesy.