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Sports photography refers to the genre of photography that covers all types of sports.
In the majority of cases, professional sports photography is a branch of photojournalism, while amateur sports photography, such as photos of children playing association football, is a branch of vernacular photography.
The main application of professional sports photography is for editorial purposes; dedicated sports photographers usually work for newspapers, major wire agencies or dedicated sports magazines. However, sports photography is also used for advertising purposes both to build a brand and as well as to promote a sport in a way that cannot be accomplished by editorial means.
Equipment typically used for sports photography includes a digital single-lens reflex (DSLR) camera or Mirrorless Camera with high continuous shooting speeds and interchangeable lenses ranging from 14mm to 400mm or longer in focal length, depending on the type of sport.[ citation needed ] The proper lenses are very important as they allow the photographer to reach closer or farther as quickly as possible to keep up with the game play. Essential accessories include a monopod or tripod for stability and extra batteries. Longer focal length lenses are typically used to photograph action in sports such as football, while wide angle lenses can be used for sideline and close-up athlete photos.
The preferred camera bodies for modern sports photography have fast autofocus and high burst rates, typically 8 frames per second or faster. The current flagship sports DSLR cameras produced by Canon and Nikon are the Canon EOS-1D X Mark III and the Nikon D6; these are popular in professional sports photography. But there are multiple other camera bodies to choose from. If you are a fan of the latest mirrorless cameras, bodies like the Canon R5, the Canon R6, the Sony A1 and the Sony A9 offer full frame sensors to get the highest quality image without compromising ISO, Aperture, and Shutter Speed in your camera settings.
Different sports favor different lenses, [1] but sports photography usually requires fast (wide aperture) telephoto lenses, with fast autofocus performance. Fast autofocus is needed to focus on movement, telephoto to get close to the action, and wide aperture for several reasons:
Extremely wide apertures (such as f/1.2 or f/1.4) are more rarely used, because at these apertures the depth of field is very shallow, which makes focusing more difficult and slows down autofocus. [2] The main distinction is between outdoor sports and indoor sports – in outdoor sports the distances are greater and the light brighter, [1] while in indoor sports the distances are lesser and the light dimmer. [2] Accordingly, outdoor sports tend to have longer focal length long focus lenses with slower apertures, while indoor sports tend to have shorter lenses with faster apertures.
Both zoom and prime lenses are used; zoom lenses (generally in the 70–200, 75–300, 100–400 or 200-400 range) allow a greater range of framing; primes are faster, cheaper, lighter, and optically superior, but are more restricted in framing. As an example the Nikon AF-S NIKKOR 400mm f/2.8G ED VR AF lens and the Canon EF 300mm f/2.8L IS II USM lens are both fixed telephoto lenses which cannot zoom.
Apertures of f/2.8 or faster are most often used, though f/4 is also found, particularly on brighter days. Particularly visible are the Canon super telephoto lenses, whose distinctive white casing (to dissipate the sun's heat) is recognizable at many sporting events. Of these, the Canon 400mm f/2.8 is particularly recommended for field sports such as football. [1] [3]
This varies with sport and preference; for example golf photographers may prefer to use a 500mm f/4 as opposed to a 400mm f/2.8 as it is a lighter lens to be carried around all day.
Indoor sports photography, as mentioned earlier, can present its own challenges with less distance between the action and photographer and extreme lighting. For example, competition cheerleading allows for photographers to be up close to the action while looking upwards directly into harsh stage lighting against a black background. A different approach to such a situation is to use the prime lens named a "nifty fifty". The shutter speed is extremely fast while still setting the aperture to bring in enough light. In this scenario a budget telephoto lens would produce both dark and blurry images. Using a prime 50mm lens is a budget friendly option for many other indoor events such as school plays, concerts, dance recitals, etc.
Sports photographers may use remote cameras triggered by wireless shutter devices (i.e. Pocket Wizards) to photograph from places they could not otherwise stay, for example in an elevated position such as above a basketball basket, or to be in two places at once, i.e. at the start and the finish - such as at horse racing.[ citation needed ]
In order to minimize motion blur of moving subjects, the light sensitivity ("ISO" value) is increased, which shortens the necessary exposure time to capture sufficient light. The trade-off of increasing light sensitivity is increased noise, so sports photography is most effective in daylight and with higher-end cameras that are equipped with larger image sensors that capture more light and support higher light sensitivities.
Location is often important for sports photography. At big events, professional photographers often shoot from VIP spots with the best views, usually as close to the action as possible. Most sports require the photographer to frame their images with speed and adjust camera settings spontaneously to prevent blurring or incorrect exposure. Some sports photography is also done from a distance to give the game a unique effect.
Getting to know your subjects is critical in capturing emotion. Effects and editing can only do so much for a photo. Understanding who athletes are by having a conversation with them can change your view on the person, making you a better photographer.
Knowing the game. Predicting what happens next in a sports game is critical in understanding how to compose your shot. The action moves fast so you take the time to prepare yourself before going out and taking photos.
Shutter speed is critical to catching motion, thus sports photography is often done in shutter priority mode or manual. A frequent goal is to capture an instant with minimal blur, in which case a minimal shutter speed is desired, but in other cases a slower shutter speed is used so that blur shows to capture the motion, not simply the instant. A particular technique is panning, where the camera uses an intermediate shutter speed and pans with the subject, yielding a relatively sharp subject and a background blurred in the direction of motion, yielding a sense of speed – compare speed lines.
ISO speed is often high (to allow faster shutter speeds) and may be left in auto.
Photos are often taken in burst mode to capture the best moment, sometimes in combination with JPEG rather than RAW shooting (JPEG files being smaller, these allow longer bursts).
While the vast majority of sports photography focuses on capturing a moment, possibly with some blur, the technique of strip photography is sometimes used to instead show motion over time. This is most prominent in a photo finish, but can also be used for other purposes, often yielding unusually distorted images.
In association football, before kick-off, a starting XI commemorative photograph is taken.
The tradition of taking a starting XI photograph has existed since 1863, when one was taken for Wanderers F.C. and following inaugural 1871–72 FA Cup, starting XI photograph became common throughout England. [4]
Taking a starting XI photograph also occurred in 1930 FIFA World Cup, [5] [6] and, at present, in international A matches and international club matches such as UEFA Champions League, taking a starting XI commemorative photograph is included in match day protocols.
On occasion, some teams took both starting XI photograph and full squad photograph in their historic matches, for example, Brazil in 2002 FIFA World Cup Final [7] and Tottenham Hotspur in the 2019 UEFA Champions League Final. [8] [9]
A number of notable international photographers are well known for their sports photography work; Some of them have often worked for the magazines Life or Sports Illustrated.
A single-lens reflex camera (SLR) is a camera that typically uses a mirror and prism system that permits the photographer to view through the lens and see exactly what will be captured. With twin lens reflex and rangefinder cameras, the viewed image could be significantly different from the final image. When the shutter button is pressed on most SLRs, the mirror flips out of the light path, allowing light to pass through to the light receptor and the image to be captured.
A camera is an instrument used to capture and store images and videos, either digitally via an electronic image sensor, or chemically via a light-sensitive material such as photographic film. As a pivotal technology in the fields of photography and videography, cameras have played a significant role in the progression of visual arts, media, entertainment, surveillance, and scientific research. The invention of the camera dates back to the 19th century and has since evolved with advancements in technology, leading to a vast array of types and models in the 21st century.
A rangefinder camera is a camera fitted with a rangefinder, typically a split-image rangefinder: a range-finding focusing mechanism allowing the photographer to measure the subject distance and take photographs that are in sharp focus.
In photography, shutter speed or exposure time is the length of time that the film or digital sensor inside the camera is exposed to light when taking a photograph. The amount of light that reaches the film or image sensor is proportional to the exposure time. 1⁄500 of a second will let half as much light in as 1⁄250.
In photography, bokeh is the aesthetic quality of the blur produced in out-of-focus parts of an image, whether foreground or background or both. It is created by using a wide aperture lens.
The EF lens mount is the standard lens mount on the Canon EOS family of SLR film and digital cameras. EF stands for "Electro-Focus": automatic focusing on EF lenses is handled by a dedicated electric motor built into the lens. Mechanically, it is a bayonet-style mount, and all communication between camera and lens takes place through electrical contacts; there are no mechanical levers or plungers. The mount was first introduced in 1987.
A digital single-lens reflex camera is a digital camera that combines the optics and mechanisms of a single-lens reflex camera with a solid-state image sensor and digitally records the images from the sensor.
The science of photography is the use of chemistry and physics in all aspects of photography. This applies to the camera, its lenses, physical operation of the camera, electronic camera internals, and the process of developing film in order to take and develop pictures properly.
The Canon A-1 is an advanced-level single-lens reflex (SLR) 35 mm film camera for use with interchangeable lenses. It was manufactured by Canon Camera K. K. in Japan from March 1978 to 1985. It employs a horizontal cloth-curtain focal-plane shutter with a speed range of 30 to 1/1000 second plus bulb and flash synchronization speed of 1/60 second. It has dimensions of 92 millimetres (3.6 in) height, 141 millimetres (5.6 in) width, 48 millimetres (1.9 in) depth and 620 grams (22 oz) weight. Unlike most SLRs of the time, it was available in only one color; all black. The introductory US list price for the body plus Canon FD 50 mm f/1.4 SSC lens was $625; the camera body was generally sold with a 30–40% discount.
The Nikon EM is a beginner's level, interchangeable lens, 35 mm film, single lens reflex (SLR) camera. It was manufactured by Nippon Kogaku K. K. in Japan from 1979 to 1982. The camera was designed for and marketed to the growing market of new photographers then entering the SLR buyer's market. The EM uses a Seiko MFC-E focal plane shutter with a speed range of 1 to 1/1000 second plus Bulb and flash X-sync of 1/90 second. It is 86 mm (3.4 in) high, 135 mm (5.3 in) wide, 54 mm (2.1 in) deep and weighed 460 grams (16 oz). Unlike most Nikons of the time, it was available only in black. The EM has no full manual exposure mode capability, but instead was intended to be used by inexperienced photographers who could not easily master the intricacies of shutter speeds and f-stops. There were also significant changes to the EM's mechanical and electrical components to reduce its production cost relative to previous Nikon cameras: dimensional tolerances weren't as tight, there were no ball bearings in the film advance mechanism, and no high-quality titanium shutter. The introductory US list price for the body plus normal lens was only $231.
The Canon T80 is Canon's first autofocus 35mm single-lens reflex camera. It was introduced in April 1985 and discontinued in June 1986 and is part of the T series of FD mount cameras. It is not compatible with Canon's later EOS system and its autofocus EF-mount lenses. Three special lenses, designated AC, were produced specifically for the camera. Other FD-mount lenses can also be used, but without autofocus capabilities.
A bridge camera is a type of camera that fills the niche between relatively simple point-and-shoot cameras and interchangeable-lens cameras such as mirrorless cameras and single-lens reflex cameras (SLRs). They are often comparable in size and weight to the smallest digital SLRs (DSLR), but lack interchangeable lenses, and almost all digital bridge cameras lack an optical viewfinder system. The phrase "bridge camera" has been in use at least since the 1980s, and continues to be used with digital cameras. The term was originally used to refer to film cameras which "bridged the gap" between point-and-shoot cameras and SLRs.
The EF 85mm lenses are a group of medium telephoto prime lenses made by Canon Inc. that share the same focal length. These lenses have an EF type mount that fits the Canon EOS line of cameras.
Lens speed is the maximum aperture diameter, or minimum f-number, of a photographic lens. A lens with a larger than average maximum aperture is called a "fast lens" because it can achieve the same exposure as an average lens with a faster shutter speed. Conversely, a smaller maximum aperture is "slow" because it delivers less light intensity and requires a slower (longer) shutter speed.
This article details lensesfor single-lens reflex and digital single-lens reflex cameras. The emphasis is on modern lenses for 35 mm film SLRs and for "full-frame" DSLRs with sensor sizes less than or equal to 35 mm.
Most digital cameras support the ability to choose among a number of configurations, or modes for use in various situations. Professional DSLR cameras provide several manual modes; consumer point-and-shoot cameras emphasize automatic modes; amateur prosumer cameras often have a wide variety of both manual and automatic modes.
Burst mode, also called continuous shooting mode, sports mode, continuous mode, or burst shot, is a shooting mode in still cameras where several photos are captured in quick succession by either pressing the shutter button or holding it down. This is used mainly when the subject is in successive motion, such as sports photography. The photographer can then select the best image of the group or arrange them in a sequence to study the transitions in detail.
Landscape photography shows the spaces within the world, sometimes vast and unending, but other times microscopic. Landscape photographs typically capture the presence of nature but can also focus on human-made features or disturbances of landscapes. Landscape photography is done for a variety of reasons. Perhaps the most common is to recall a personal observation or experience while in the outdoors, especially when traveling. Others pursue it particularly as an outdoor lifestyle, to be involved with nature and the elements, some as an escape from the artificial world.
The Sigma 200-500mm f/2.8 EX DG lens is a professional-level telephoto zoom lens made by Sigma Corporation. It is notable for being the first lens with an aperture of f/2.8 and a focal length of 500mm. This combination allows very distant objects to be photographed at high shutter speeds in dimmer light, compared to other telephoto lenses. It also allows for very narrow depth-of-field and diffuse bokeh. The main markets for such long, fast lenses are wildlife and sports photographers.
The Nikon F-mount teleconverters are a group of magnifying lenses mounted between the lens and camera bodies using the Nikon F-mount. Currently, 1.4x, 1.7x and 2x converters are available separately; a fourth, the 1.25x, is available only with Nikon's newest 800mm supertelephoto lens.