Photographing Sports Indoors and Out

Photographing Sports Indoors and Out

Photographing Sports Indoors and Out

 

Almost all of us have times when we need, or want, to shoot a sporting event.

Perhaps your child is in a soccer program, a friend’s kid is on a school softball team, a nephew in high school competes in track, or you’re taking your camera to a professional event.

Regardless of the sport, you can do several things to make the best pictures possible.

 

Catching the Action

First, think about where you want to position yourself.

Think about where most of the action occurs in the sport you’re photographing.

In some sports, you can catch the action coming at you, if you’re positioned correctly.

Sometimes the top of the bleachers is the best place to shoot from, for that high angle, looking down on the court (especially good for volleyball).

With amateur events, you can often move around and try different spots.

If possible, leave the stands and go to the sidelines.

That will put you closer to the action and at the players’ eye-level.

 

Once you begin photographing a particular sporting event, you’ll begin to realize that each sport brings its own sense of timing of the action.

The more you shoot, the better your timing will become.

Even the pros practice shooting at the beginning of a season to hone their sense of anticipation of the action of the game.

The best photos are taken at the peak action; this would be right as the basketball player jumps up to make a basket, just before a volleyball serve or when the cheerleaders have completed a pyramid.

In baseball, action in the infield (catching, throwing, plays at bases and home plate) usually make the best pictures.

In soccer, the most important action usually happens near the goal.

 

COMPOSITION: Think about your composition. Is the background cluttered?

See if you can safely move to another position where you can compose an image that isn’t full of distractions.

LENS CHOICE: More than likely you’re going to want to use a telephoto lens on a Nikon D-SLR, or a COOLPIX camera with a large zoom range.

The most popular zoom lenses often reach out to 200mm or 300mm. The tighter you can shoot (the more you fill the frame), the better the pictures will look.

AUTOFOCUS: If there’s fast action, make sure to change your camera’s autofocus setting to Continuous.

That way it will track the action to keep the photo in focus.

And you may also want to set the AF points to Dynamic Autofocus to make it easier to keep the focus on your subject.

If your camera has scene modes, you can choose the sports setting, which tells the camera that you are shooting sports and will need a fast shutter speed to capture the action.

 

Reactions among players make for great candid photos.

Elizabeth Barbieri
D50, 70-300mm f/4.5-5.6 lens, 1/1250 sec., f/5.6, ISO 400, Matrix metering. Reactions among players make for great candid photos.

 

FOCUS LOCK: If you seem to have trouble following the action and keeping it in focus, try setting the focus at one place and waiting for the action to get there.

For example, during a baseball game, you can focus on a particular base and wait for the runner to get there.

And, if you’re pre-focusing on one spot, use either the focus lock button (often labeled “AF-L, or “AE-L AF-L””) or switch the autofocus to Manual and adjust it by turning the focus ring on the lens.

 

If you would like to read the rest of this artical, please go here: Photographing Sports

 

Photographing Sports Indoors and Out

Understanding ISO Sensitivity

Understanding ISO Sensitivity

Understanding ISO Sensitivity

 

Photography is built on the three pillars of exposure: shutter speed, aperture and sensitivity.

Shutter and aperture are controls for adjusting how much light comes into the camera.

How much light is needed is determined by the sensitivity of the medium used.

That was as true for glass plates as it is for film and now digital sensors.

Over the years that sensitivity has been expressed in various ways, most recently as ASA and now ISO.

 

The “normal” range of ISO is about 200 to 1600. With today’s digital cameras you can sometimes go as low as 50 or as high as 204,800.

The number chosen has two important qualities associated with it.

First, it sets the amount of light needed for a good exposure.

The lower the number, the more light required.

The more light that’s required, the more likely a slow shutter speed will have to be used.

That means low ISOs, like 100 or 200, are most often used in bright situations (like sunlight) or when the camera is mounted on a tripod.

If you don’t have a lot of light, or need a fast shutter speed, you would probably raise the ISO.

 

Understanding ISO Sensitivity

Understanding ISO Sensitivity

 

Each time you double the ISO (for example, from 200 to 400), the camera needs only half as much light for the same exposure.

So if you had a shutter speed of 1/250 at 200 ISO, going to 400 ISO would let you get the same exposure at 1/500 second (providing the aperture remains unchanged).

This is why high ISOs are so often used indoors, especially at sporting events.

Needing a fast shutter speed to stop action, photographers regularly choose ISO 1600 or above.

To read the rest of the artical please go here: Understanding ISO

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Understanding ISO Sensitivity

 

Enjoying the Ride: Nikon D750 Style

Enjoying the Ride: Nikon D750 Style

Enjoying the Ride: Nikon D750 Style

“When you show up at an athlete’s door with six cameras rigged to a car they are pretty impressed,” says Dan Marks, co-founder and co-producer/director of South District Films, referencing a project he’s doing with cinematographer Anthony Arendt and Adam Goldberg, his business partner and also the series producer/director. Jetting around the Unites States has taken the crew to N.Y.C., Cleveland, Baltimore and other cities where they chat with sports names such as CC Sabathia, Steve Smith, D’Angelo Russell, Karl-Anthony Towns and Riley Hawk.

Vice Sports’ Ride Along hits a reality television bulls-eye. Knowing that athletes often have very little free time, the producers invented a way to grab small talk without a big time commitment. They created a recipe that encourages casual, free form, intimate conversation—the Ride Along concept. Shares Marks, “While sitting in an SUV, either to or from practice or a game, we find that athletes are pretty relaxed. It’s an unpretentious setting that encourages open dialogue. They’ll talk about just about anything. Sounds like Jerry Seinfeld’s series on comedians, doesn’t it?”

Continuing, “For the concept to fly, we needed a small form camera that was not intimidating, could capture excellent quality and would work through all conditions. The D750’s compact size makes it easy to rig, as well as travel with. We’re able to capture a true 1080p image at 23.98 fps.”

Enjoying the Ride: Nikon D750 Style

Nikon D750 & AF-S NIKKOR 24-120mm f/4G ED VR lens rigged up to capture driver POV footage for Ride Along.

 

Hooking Up

It generally takes a staff of four to rig and acquire footage for an episode. That single web episode, once edited, runs roughly five minutes or less in length, but the in-transit capture can last 45 to 75 minutes. Marks operates as the on-site director of photography. Tagging along will be an audio operator, one cameraman, plus a rigger. Six Nikon D750 bodies are configured to the vehicle and aimed to record the interviewee from various angles. The capture space is tested well before picking up the athlete. Nikon cameras are placed using suction cup mounts, rods and ball joints supplied by the key grip person. Notes Marks, “An interviewer in the car poses questions, but the show focuses on the athlete. As a result, we have to position each lens to keep that person out of the frame.”

Cameras are always set to 1080p 23.98 fps. A custom flat profile is dialed-in by the DoP, Arendt; that profile is later color graded. “Auto ISO is always turned on and transitioned from 100 to 3200; specific ISO is not really set when shooting. The Auto ISO assists when going in and out of shadows/dark areas; it feathers very nicely,” explains Marks.

If You would like to read the rest of the story go here: Enjoying The Ride With Nikon

Enjoying the Ride: Nikon D750 Style

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