Action Photography

72 Pages·2015·8.919 MB·English

by  Margaret Brown

By Margaret Brown
SPONSOR
AUTHOR
Margaret Brown
[email protected]
CREATIVE DIRECTOR
Melissa Kallas
[email protected]
PUBLISHER
David O’Sullivan
[email protected]
PUBLICATION MANAGER
Pauline Shuttleworth
[email protected]
ISBN 978-1-922156-22-8
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Published May 2015. © Photo Review.
All rights reserved.
Cover image: ©iStockphoto.com/BirdofPrey
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The Photo Review Pocket Guides series
includes Lenses Guide, Post-Capture,
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Compact System Camera Guide.
www.photoreview.com.au
PHOTOREVIEW
CONTENTS
2 12
1. GEARING UP FOR ACTION 2. EVENT SHOOTING
Choosing the most suitable equipment How to make sure you’re in the right
for different situations, whether you’re place at the right time with your
photographing sports, wildlife, theatre, equipment, ready to shoot when
or children in action. action happens.
25 35
3. SHOOTING TECHNIQUES 4. QUALITY CONTROL
Tried and proven shooting techniques Tips on exposure, focusing modes,
to help you secure action shots. and how new face detection/
recognition technologies can be used
to advantage.
46 58
5. CREATIVE TECHNIQUES 6. CREATIVE EDITING
Creative blurring techniques that can Simple editing tools that can be used
suggest or enhance action shots. to add a different dimension to your
action pictures.
GEARING UP FOR ACTION
CHAPTER 1
Gearing up for action
Most photographers enjoy the challenge the action from operating at a distance.
of depicting action in still photos, whether (cid:59)(cid:79)(cid:76)(cid:90)(cid:76)(cid:3)(cid:74)(cid:79)(cid:86)(cid:80)(cid:74)(cid:76)(cid:90)(cid:3)(cid:74)(cid:72)(cid:85)(cid:3)(cid:72)(cid:83)(cid:90)(cid:86)(cid:3)(cid:80)(cid:85)(cid:197)(cid:92)(cid:76)(cid:85)(cid:74)(cid:76)(cid:3)(cid:91)(cid:79)(cid:76)(cid:3)
they shoot sports, dance, wildlife or simply style of the shots.
family activities. The best shots capture the
2. The lighting at the venue
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and/or position – in the instant recorded It can be much easier to shoot
in the frame. Regardless of their expertise, sports in bright sunshine than indoor
(cid:72)(cid:83)(cid:83)(cid:3)(cid:87)(cid:79)(cid:86)(cid:91)(cid:86)(cid:78)(cid:89)(cid:72)(cid:87)(cid:79)(cid:76)(cid:89)(cid:90)(cid:3)(cid:84)(cid:92)(cid:90)(cid:91)(cid:3)(cid:75)(cid:76)(cid:72)(cid:83)(cid:3)(cid:94)(cid:80)(cid:91)(cid:79)(cid:3)(cid:196)(cid:93)(cid:76)(cid:3)(cid:93)(cid:80)(cid:91)(cid:72)(cid:83)(cid:3) venues. But bright, contrasty lighting
criteria when planning an action shoot. can produce blown-out highlights
and blocked-up shadows that may
1. How far you will be from
compromise the picture – unless
your subject(s)
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Different lens focal lengths will be with dynamic range optimisation
required when you can shoot close to to control exposures for JPEGs.
Shorter focal lengths can be used whenever you can get closer to the action. This
shot was taken with a 13mm wide-angle lens on a DSLR camera with an APS-C
sensor. (© Greyson Fletcher.)
2 Action Photography www.photoreview.com.au
GEARING UP FOR ACTION
Superior performance at high ISO 4. Access to subjects
settings and good white balance
Can you guarantee a clear view – or is it
controls are vital for shooting indoors.
obstructed by part of a building, a post or
a tree? Are you at risk of having somebody
3. The types of pictures
bump or grab you at a critical time?
required
Are you looking to ‘freeze’ action or 5. How far you have to
suggest motion with some blurring? carry your gear
Do you want a single, perfect shot or a
Photographers who can set up close
sequence that records an action? How
to a vehicle will have wider equipment
much stabilisation is required to achieve
options than those who have to hike for
your objective? Will you need a tripod or
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as well as when shooting wildlife. A focal length of 300mm (35mm equivalent) is ideal
for such shots. (© David O’Sullivan.)
www.photoreview.com.au Action Photography 3

GEARING UP FOR ACTION
What to look for in a camera
Left: Indoor venues often have relatively
Regardless of whether you choose a
low light levels and may require ISO
DSLR, a CSC (compact system camera)
settings of 800 or higher to ‘freeze’
or a digicam with an integrated lens,
action. Stage lighting can add different
fast autofocusing and good high-
colour casts.
sensitivity performance are the most
critical factors for capturing great action
shots. Steadiness during exposures is
also important, regardless of whether it’s
built into the camera body or lens – or
provided by a tripod or monopod.
The camera should also offer a range
of shooting options, including the ability
to adjust aperture and shutter speed
settings and select sensitivity and white
balance controls to suit the ambient light
conditions. Battery capacity can also
be a consideration; depending on the
length of time you will be shooting and
the number of shots you expect to take.
You don’t want to miss shots through
having to swap batteries after 200-300
shots (a typical limit for digicams and
entry-level CSCs.)
Cameras that can record continuous
bursts of shots can be advantageous,
although continuous shooting has
positive and negative aspects and should
be used with discretion. Sometimes it
will enable you to capture a sequence
of memorable shots but at other times Compact system cameras (CSCs) and
you’ll get nothing but near misses. their lenses are smaller and lighter than
(Check the section on Drive Mode DSLRs and require smaller camera bags,
Choice in Chapter 4 for more information like this convenient Lowepro Photo
and examples of using the continuous Hatchback backpack. (© Jason de Alba
shooting mode for shooting action.) photography 2012.)
www.photoreview.com.au Action Photography 5
GEARING UP FOR ACTION
Unless the camera supports speeds how much shutter and AF lag your
faster than 10 fps, burst shooting modes camera applies and learn to anticipate so
are best reserved for photographing you can press the shutter as the action
longer action sequences, such as birds (cid:73)(cid:76)(cid:78)(cid:80)(cid:85)(cid:90)(cid:21)(cid:3)(cid:48)(cid:77)(cid:3)(cid:96)(cid:86)(cid:92)(cid:3)(cid:74)(cid:72)(cid:85)(cid:3)(cid:90)(cid:76)(cid:76)(cid:3)(cid:80)(cid:91)(cid:3)(cid:80)(cid:85)(cid:3)(cid:91)(cid:79)(cid:76)(cid:3)(cid:93)(cid:80)(cid:76)(cid:94)(cid:196)(cid:85)(cid:75)(cid:76)(cid:89)(cid:19)(cid:3)
(cid:80)(cid:85)(cid:3)(cid:197)(cid:80)(cid:78)(cid:79)(cid:91)(cid:3)(cid:86)(cid:89)(cid:3)(cid:74)(cid:79)(cid:80)(cid:83)(cid:75)(cid:89)(cid:76)(cid:85)(cid:3)(cid:72)(cid:85)(cid:75)(cid:22)(cid:86)(cid:89)(cid:3)(cid:87)(cid:76)(cid:91)(cid:90)(cid:3)(cid:80)(cid:85)(cid:3)(cid:72)(cid:74)(cid:91)(cid:80)(cid:86)(cid:85)(cid:19)(cid:3) you’ve missed it! Practice is the key to
particularly when they move erratically. success for split-second shots.
Slower burst speeds (between four Your camera’s buffer memory will limit
and nine fps) can be used to cover the number of shots you can record in a
predictable movements like bowling balls burst – and it will hold many more JPEGs
or subjects racing on a track. (cid:91)(cid:79)(cid:72)(cid:85)(cid:3)(cid:89)(cid:72)(cid:94)(cid:3)(cid:196)(cid:83)(cid:76)(cid:90)(cid:21)(cid:3)(cid:54)(cid:85)(cid:74)(cid:76)(cid:3)(cid:91)(cid:79)(cid:76)(cid:3)(cid:73)(cid:92)(cid:77)(cid:77)(cid:76)(cid:89)(cid:3)(cid:80)(cid:90)(cid:3)(cid:77)(cid:92)(cid:83)(cid:83)(cid:19)(cid:3)(cid:96)(cid:86)(cid:92)(cid:3)
The camera’s focusing and processing may be forced to wait for 30 seconds or
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are recorded and processed when the you can resume continuous shooting.
shutter button is pressed. Determine
Lens choices
Selecting which lens to use will be
dictated by how far you are from the
subject and the ‘story’ you want to tell.
The ‘speed’ (maximum aperture) of
the lens will also be important as it will
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This, in turn, will affect the ISO settings
you can use.
Unfortunately, many snapshooters
choose extended-range zoom lenses that
cover many focal lengths. While they are
convenient to use, most such lenses are
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in dim lighting. It’s also harder to isolate
subjects from distracting backgrounds
With a maximum burst speed of 15 since the widest apertures may not
fps with full autofocusing and a fast AF (cid:87)(cid:89)(cid:86)(cid:93)(cid:80)(cid:75)(cid:76)(cid:3)(cid:72)(cid:3)(cid:90)(cid:79)(cid:72)(cid:83)(cid:83)(cid:86)(cid:94)(cid:3)(cid:76)(cid:85)(cid:86)(cid:92)(cid:78)(cid:79)(cid:3)(cid:75)(cid:76)(cid:87)(cid:91)(cid:79)(cid:3)(cid:86)(cid:77)(cid:3)(cid:196)(cid:76)(cid:83)(cid:75)(cid:21)(cid:3)
system with 205 Phase Detection AF You need a focal length of at least
points and 153 cross-type detectors, 200mm to 300mm (35mm equivalent)
Samsung’s NX1 camera is ideal for for shooting most sports if you’re sitting
shooting action. (Source: Samsung.) in a grandstand – and also for covering
6 Action Photography www.photoreview.com.au
GEARING UP FOR ACTION
many theatrical performances (where fast
lenses are particularly advantageous).
This range can also be suitable for
photographing wildlife in zoos and parks
and from safari vehicles.
A focal length of 300mm is usually
seen as the minimum requirement for
photographing animals and birds in the
wild as well as for shooting water sports
from the shore. Longer lenses can be
(cid:79)(cid:76)(cid:72)(cid:93)(cid:80)(cid:76)(cid:89)(cid:3)(cid:72)(cid:85)(cid:75)(cid:3)(cid:84)(cid:86)(cid:89)(cid:76)(cid:3)(cid:75)(cid:80)(cid:77)(cid:196)(cid:74)(cid:92)(cid:83)(cid:91)(cid:3)(cid:91)(cid:86)(cid:3)(cid:82)(cid:76)(cid:76)(cid:87)(cid:3)(cid:90)(cid:91)(cid:76)(cid:72)(cid:75)(cid:96)(cid:3)
and many photographers rely on tripods
when shooting with faster lenses. Tripods
with pan/tilt heads are recommended.
Wide angle lenses can work well for
shooting skateboarding and capturing
‘ambience’ shots that show the action in
its context. They can also work for shots
of wildlife and sports action when the
camera is remotely triggered.
Choosing appropriate maximum Long lenses are essential for
apertures requires you to balance your photographing wildlife.
shooting needs (related to ambient lighting
at the subject) against the size, weight
They are also slower to focus in low
and cost of the equipment. Fast lenses
light levels and increase the risk of
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camera shake. They can also amplify
making it easier to focus. But they are
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much larger, heavier and more expensive
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than slower lenses.
occur. Image sharpness and contrast
Some photographers use teleconverter
may also be reduced.
extension lenses to give them more
Batteries and memory cards
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subjects. Unfortunately, they reduce the Battery capacities vary widely.
amount of light reaching the camera’s Professional cameras typically support
sensor so are best used with fast lenses around 1000 shots per charge but
(ideally at least f/2.8 maximum aperture). digicams and entry-level CSCs can be as
www.photoreview.com.au Action Photography 7
GEARING UP FOR ACTION
low as around 200 shots/charge, which
Right; Long telephoto lenses are
may not be enough for an action shoot.
required to get close to the action when
Add-on battery grips can increase
photographing extreme water sports.
battery capacity. Most will hold an
In this shot, slightly tilting the camera
additional battery or accept a set of AA
to make the waterfall more vertical
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emphasises the speed and direction of
camera, they shouldn’t compromise
the kayaker. Use of a fast shutter speed
handling or performance. In fact, some
freezes the turbulent water. (©iStockphoto.
photographers prefer using smaller
com/VisualCommunications.)
camera bodies with an additional grip.
Fast memory cards enable
photographers to capitalise on high burst
capture speeds – provided the camera The SD (Secure Digital) format is the
can support them. The fastest cards are (cid:84)(cid:86)(cid:90)(cid:91)(cid:3)(cid:87)(cid:86)(cid:87)(cid:92)(cid:83)(cid:72)(cid:89)(cid:19)(cid:3)(cid:86)(cid:77)(cid:77)(cid:76)(cid:89)(cid:80)(cid:85)(cid:78)(cid:3)(cid:91)(cid:79)(cid:89)(cid:76)(cid:76)(cid:3)(cid:186)(cid:197)(cid:72)(cid:93)(cid:86)(cid:92)(cid:89)(cid:90)(cid:187)(cid:33)(cid:3)
required for high-resolution cameras with SD, SDHC and SDXC. SDHC and
burst rates of 10 frames/second (fps) or SD cards differ in capacity, holding
higher and those that support 4K video. up to 32GB and 2GB, respectively.
Many professional sports photographers mount their cameras on a tripod with a pan/
tilt head to minimise blurring and make it easier to keep the subject in the frame when
shooting with long telephoto lenses. (© David O’Sullivan.)
8 Action Photography www.photoreview.com.au