This is an excerpt from the book “Sports Photography: How to Capture Action and Emotion” by Peter Skinner.
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Australian butterfly swimmer Pierce Hardy of Caloundra, Queensland,
powers to the end of the pool. Swimmers are best photographed as they
burst above the water. Nikon D1X, ISO 200, 300mm f4 lens, 1/1000 at
f5.6.
© 2008, Peter Skinner, All Rights Reserved
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Virtually every day we see great sports action photographs in
newspapers and magazines. As the term implies, the photographers who
made these images have truly “captured the action.” Because we see them
so often, it can be easy to overlook the skill and talent involved in
producing these attention-grabbing photographs. While luck might be
involved in making great sports shots, invariably luck favors the
photographer who knows what to expect, and is well prepared to
capitalize on that fleeting, never-to-be-repeated moment when something
extraordinary happens.
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Pre-focusing
on a spot and anticipating the peak of action is part of a successful
formula for Brian Robb. Here downhill skier Lindsey Kildow, USA,
competes in the 2005 US alpine championships at Mammoth, California.
Canon 1D Mark II, ISO 160, 300mm f2.8 lens with 1.4x extender, 1/1300 at
f7.1.
© 2008, Brian Robb, All Rights Reserved
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The dramatic image of a skier leaning into a turn after coming over a
crest at break-neck speed was made because the photographer knew the
exact spot where the move would be executed and was prepared for that
definitive shot of a climactic moment. Just before it happened the
photographer reacted as skillfully and professionally as any
well-trained athlete who rises to the occasion at a critical time. In
about the time it takes to blink the moment was over, but it was
captured in
a photograph.
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When
Texas Rangers second baseman Alfonso Soriano broke his bat, Ben Chen
was quick to freeze the action. Canon 1D Mark II, 400mm f2.8 lens, ISO
1600, 1/3200 at f2.8.
© 2008, Ben Chen, All Rights Reserved
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In many ways sports shooters are not too different from the sports
men and women they photograph. Athletes are competitive and so are top
sports photographers. Being prepared, whether you’re an athlete or a
photographer, is paramount. Nothing out of the ordinary might happen,
but when it does you might miss it if you are not prepared.
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Nobody
knew this young Australian hurdler’s shoe would fly off his leading
foot but Duane Hart timed it perfectly. Being prepared is vital in
making shots like this. Canon D30, ISO 100, 200mm f1.8 lens, pattern
metering, 1/1250 at f3.5.
© 2008, Duane Hart/sportingimages.com.au, All Rights Reserved
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Location, Position, And Planning
There is no right or wrong way to shoot sports. It’s an individual
choice based on your own vision, creativity, what you’re trying to
portray, and to a large extent the access you can get to the action.
Most sports are better photographed from specific spots or angles of
view and knowing a sport will help you choose the ideal locations. If
you’re covering a sport such as football, baseball, tennis or any other
game where the boundaries are defined, positioning yourself is dictated
to a large extent by the way the game is played and the area most likely
to produce the shots you’re after.
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Getting
the ball on the racket is a key to great tennis shots like this one of
Maria Sharapova powering into a backhand stroke. A long lens isolated
her from the background. Canon 1D Mark II, 300 f2.8 lens, ISO 800,
1/2700 at f2.8.
© 2008, Ben Chen, All Rights Reserved
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Presuming you are familiar with the sport and know the best angles to
shoot from—or conversely, viewpoints to avoid—you still need to plan
ahead. Some things might seem basic and logical but it’s surprising how
overlooking details can sabotage your efforts. Covering outdoors events
that are spread over a long course such as a cycling road race, a
marathon, triathlon, cross-country ski race, white water kayaking and
similar requires special planning. Scouting ahead of time is vital. And
have a shot list for specific pictures. This can save you trying to
cover everything. Other images apart from the ones you plan will present
themselves—they are a bonus for sound preparation.
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The
intensity of kayak slalom racing is captured as the racer passes
upstream through the gate and starts to look downstream to his next
gate. Canon EOS 1N, 70-200mm f2.8 lens, Fujichrome Provia 100, 1/250 at
f16.
© 2008, Bob Woodward, All Rights Reserved
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Part II
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