By James Booth
Great action and sports photography comes from being in the right place at the right time, with the right equipment, and knowing what looks good. While reacquainting myself with cycling, I recently took the opportunity to attend a local bike race. While meeting some members of the DICE Racing Team, our local bicycle racing team, I also got some excellent action shots.
As I share these shots with you, like the one in Figure A, I'll also share the secrets of how I got them.
FIGURE A
Here you see the start of the day's final race. (click for larger image)
Preparations
Just like covering a wedding, when covering a sporting event you'll want to get there early. Not only does it ensure you don't miss anything, but it gives you the opportunity meet participants, and get shots of them preparing for the event. In Figure B, you see Iowa Cyclocross champion Bruce Grell preparing for the day's events.
FIGURE B
Shots of the participants getting ready help tell the story of the event you're covering. (click for larger image)
So what is cyclocross? Cyclocross is like cross-country for bicycles. It generally involves a paved portion for the start and finish, with the majority of the race being on grass or dirt. Cyclocross is a timed race with switchbacks and sharp turns, hills, and obstacles such as hurdles (short ones as you'll see, not track hurdles) wherein the rider must dismount and carry their cycle.
When taking shots of individuals, like the shots of Bruce above, and the shot in Figure C of DICE (Double "I" Iowa/Illinois Cycling) coach Donnie Miller warming up, make sure you get their permission first.
FIGURE C
Here you see coach Donnie Miller warming up on a cycling trainer before his race. (click for larger image)
A simple, "Do you mind?" or "Can I take your picture?" will go a long way with participants, as it gives them some degree of control not only over whether you take their picture, but how it's taken. And in this case, it allowed me to meet the team's coach, get invaluable training advice from him, and further establish a relationship with the team I hope to be able to ride with.
Sometimes, showing the sheer volume of equipment and preparation involved in an activity can give viewers a better understanding of the sport. Figure D shows three separate shots, one of equipment that one participant brought just for this race, one of a racer registering, and finally, of the racers in the Beginner's race being briefed just before the start.
FIGURE D
Racing involves a lot of preparation and equipment before you make it to the starting line. (click for larger image)
Positioning
Every type of action event has certain shots that are standard, or familiar. In baseball, it's the moment the ball and bat connect, or when a player tags an opponent out as they're sliding into a base. Scout out the best places for these shots for whatever type of event you're covering. In becoming acquainted with the participants, as you take shots of them preparing, you can ask them where the best place to get good shots would be.
Indoor events present problems with lighting that you won't encounter with outdoor events. In many instances you'll need to compensate for the different types of lighting that are used in stadiums, gymnasiums, and swimming pools. This can be quite simple if shooting digital by creating a custom White Balance profile.
Take a picture of a sheet of white paper, taking up two-thirds of the frame with the paper. Then use this image as a source to create the custom White Balance profile. For film, it can be a bit more difficult to compensate for fluorescent, halogen, tungsten, and the various vapor lighting sources. In most cases, you can get filters and light-specific film for the various types of light.
In some instances, you'll need a long lens to get that great shot. Obviously, you can't be on the field between the pitcher and batter to get that shot of the bat striking the ball, so position yourself on the other side of the outfield fence or wall with a long lens. In some cases, the lens itself may need a tripod if it's large enough. Or, you could steady it on a seat back, or the top of the fence or wall. Techniques like this allow you to be right in the middle of the action without actually interfering. This is where it's nice to have two cameras, one with a standard lens, and one with a longer lens for these long shots.
Getting action shots with some digital and compact film cameras is just going be impossible. The lower end "pocket" type cameras just can't freeze motion due to their slow shutter speed, or the length of time it takes for the processor to capture the image. Keep this in mind if you're expecting to get Sports Illustrated-quality images.
The picture in Figure E, showing members of the DICE team congratulating and conferring after a race, is one that would have benefited from using a longer lens.
FIGURE E
A longer lens would have put me in the middle of this group of racers without actually interfering. (click for larger image)
Sometimes you'll want to get shots of the same thing from two different angles. This is where an assistant comes in handy, or with luck, you can get multiple angle shots of the same thing from two different events. Figure F shows the start of a race, two different races actually, from two different angles.
FIGURE F
Different perspectives show the start of a race. (click for larger image)
Although it's tempting to show images of accidents and injuries, and let's face it, they do make good pictures, as DICE coach Donnie Miller told me, you have to be careful about how the image is presented. It may have the effect of portraying the sport as dangerous, thus making people shy away from it, or be reticent to participate. (How's that Donnie?)
In cycle racing, corners are the locations where accidents are most likely to occur. Fortunately, whether there's an accident or not, cyclists flying around a corner always makes a good shot, as you can see in Figure G.
FIGURE G
That's DICE champion Bruce Grell at the head of the peloton (pack) rounding the first turn of this race. (click for larger image)
Bruce felt this was the highlight of the race for him. Despite being ill he raced anyway, but was determined to be the first to round this turn.
Certain sports have certain things that are integral to the event. In basketball, it's the slam-dunk, in baseball, a slide into home. For hockey and soccer, it's a goal, or a blocked shot. Your position on or around the field will allow you to get these shots.
In cyclocross it's the obstacles. By positioning myself low and on the edge of the race lane, I was able to get the shots in Figure H of the racers negotiating these hurdles.
FIGURE H
Being low and almost on the course put me in the action for these hurdle shots. (click for larger image)
Again, by being practically ON the racecourse, I was able to get shots of these run-ups in Figure I, where the rider must dismount and either push or carry their cycle up a hill.
FIGURE I
Being close, but not intrusive can put you in the action. (click for larger image)
Whatever kind of event you cover, if there's any doubt whatsoever as to where you can and cannot be, ask the officials. If you are asked to move, be polite, apologetic, and ask where a better spot would be. A confrontational attitude is likely to end with you being tossed out and possibly even banned from future events. Plus, it will portray photographers a bad light, making officials and participants reluctant to cooperate in the future.
Along with capturing the beginning of an event, getting the end of it is important as well. The finish line of a race is likely to be crowded with fans, officials, team members, and support crew. This may be an instance where that long lens would come in handy. Luckily, I was able to be right there to catch this DICE rider winning the Beginner race, and this Team Skin rider winning the "B" category. Plan and compose your shots ahead of time and they won't be crowded on one side like the first image in Figure J.
FIGURE J
Always catch the culmination of the event. (click for larger image)
Keep your eyes open for opportunity shots. Just because these riders are competing against one another doesn't mean there's animosity. Many sports foster camaraderie between participants even though they're opponents, like the shot in Figure K.
FIGURE K
Camaraderie between opposing team members. (click for larger image)
In fact, I saw racers and fans cheering all the participants on, even though they may have been on opposing teams.
The aftermath
Even though the event may be over, your job as a photographer isn't. There's the aftermath. The joy of victory, and the agony of defeat so to speak. Get shots of the participants with their family, teammates, and support crew, like the image in Figure E above. Show them celebrating, but be cautious about capturing those who didn't perform well, or as well as they would have liked. They may see it as an intrusion on their grief. Even though his illness didn't let him perform as well as he would have liked, Bruce allowed me to capture him in Figure L after his race.
FIGURE L
Your job isn't over after the event, capture the participants following the action as well. (click for larger image)
Just because you may be outdoors, don't think your shots wouldn't benefit from a little fill flash, as you can see in the above image.
Some sporting events will have an award presentation afterwards. If so, capture that as well. The crowd at the Village Cyclocross thinned out little by little after each race, so by the time the last race started there weren't too many people left, and a ceremony seemed unlikely. So I packed it up. But keep in mind there may be one.
After all is said and done, and you've proofed the images, tossed the junk, and cropped the good ones, give copies to the teams or organizations involved. It will go a long way to being welcome at future events. When you give them copies, also give them a release to use the images on their Web site and in organizational promotions, but make it clear that as the photographer you still retain ownership and copyright of the images. This is to protect both you and the organizations. It makes clear exactly what you, and they, are and are not allowed to do with the images.
Make it clear that if they would like to use the images for something other than what's covered in the release, they merely have to ask and you'll gladly provide them with another release for that purpose. Also, state in the release whether or not any compensation is expected or exchanged.
Conclusion
Anyone can get good action and sports photographs with the proper equipment and an investment in preparation. Get there early to meet the participants and staff. Find out from those involved where you can and cannot go, and where the best shots will be. Be cautious about capturing injury and grief, and how you portray them. A long lens may be helpful and less intrusive in those situations.
Cover everything from pre-event to post awards, and if you're lucky, you may even scoop the local media, with the possibility of selling your images to them. In the case of the Village Cyclocross, the local media was only just arriving when I was leaving, and I haven't seen any of their coverage of the event. Finally, be sure to give the event participants copies of your images, along with a release so they can use them for organizational promotion. It will make you memorable, and welcome at future events. Good luck and good shooting.
I'd like to thank Bruce Grell, Donnie Miller, and all the members of the DICE Racing Team for their input, advice, and for making me feel welcome. Thanks guys!