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 Order print and ebook editions online at www.talubooks.com All content in Action Photography is protected under copyright and cannot be reproduced in any form without written consent from the publisher. Published May 2015. © Photo Review. All rights reserved. Cover image: ©iStockphoto.com/BirdofPrey Media Publishing Pty Limited ABN 86 099 172 577 PO Box 4097 Balgowlah Heights NSW 2093 Australia Phone: (02) 9948 8600 Email: [email protected] Website: www.mediapublishing.com.au The Photo Review Pocket Guides series includes Lenses Guide, Post-Capture, Printing Digital Photos, Digital SLR, and 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 (cid:76)(cid:90)(cid:90)(cid:76)(cid:85)(cid:74)(cid:76)(cid:3)(cid:86)(cid:77)(cid:3)(cid:91)(cid:79)(cid:76)(cid:3)(cid:84)(cid:86)(cid:93)(cid:76)(cid:84)(cid:76)(cid:85)(cid:91)(cid:3)(cid:182)(cid:3)(cid:90)(cid:87)(cid:76)(cid:76)(cid:75)(cid:19)(cid:3)(cid:197)(cid:86)(cid:94)(cid:3) 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) (cid:96)(cid:86)(cid:92)(cid:3)(cid:90)(cid:79)(cid:86)(cid:86)(cid:91)(cid:3)(cid:89)(cid:72)(cid:94)(cid:3)(cid:196)(cid:83)(cid:76)(cid:90)(cid:3)(cid:86)(cid:89)(cid:3)(cid:79)(cid:72)(cid:93)(cid:76)(cid:3)(cid:72)(cid:3)(cid:74)(cid:72)(cid:84)(cid:76)(cid:89)(cid:72)(cid:3) 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 (cid:82)(cid:80)(cid:83)(cid:86)(cid:84)(cid:76)(cid:91)(cid:89)(cid:76)(cid:90)(cid:3)(cid:91)(cid:86)(cid:3)(cid:196)(cid:85)(cid:75)(cid:3)(cid:91)(cid:79)(cid:76)(cid:80)(cid:89)(cid:3)(cid:90)(cid:92)(cid:73)(cid:81)(cid:76)(cid:74)(cid:91)(cid:90)(cid:21)(cid:3) (cid:74)(cid:72)(cid:85)(cid:3)(cid:72)(cid:3)(cid:84)(cid:86)(cid:85)(cid:86)(cid:87)(cid:86)(cid:75)(cid:3)(cid:90)(cid:92)(cid:77)(cid:196)(cid:74)(cid:76)(cid:38) (cid:51)(cid:86)(cid:85)(cid:78)(cid:3)(cid:83)(cid:76)(cid:85)(cid:90)(cid:76)(cid:90)(cid:3)(cid:72)(cid:89)(cid:76)(cid:3)(cid:89)(cid:76)(cid:88)(cid:92)(cid:80)(cid:89)(cid:76)(cid:75)(cid:3)(cid:77)(cid:86)(cid:89)(cid:3)(cid:87)(cid:79)(cid:86)(cid:91)(cid:86)(cid:78)(cid:89)(cid:72)(cid:87)(cid:79)(cid:80)(cid:85)(cid:78)(cid:3)(cid:94)(cid:72)(cid:91)(cid:76)(cid:89)(cid:3)(cid:90)(cid:87)(cid:86)(cid:89)(cid:91)(cid:90)(cid:19)(cid:3)(cid:90)(cid:92)(cid:74)(cid:79)(cid:3)(cid:72)(cid:90)(cid:3)(cid:90)(cid:92)(cid:89)(cid:196)(cid:85)(cid:78)(cid:3)(cid:72)(cid:85)(cid:75)(cid:3)(cid:90)(cid:72)(cid:80)(cid:83)(cid:80)(cid:85)(cid:78)(cid:3) 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 (cid:90)(cid:87)(cid:76)(cid:76)(cid:75)(cid:90)(cid:3)(cid:94)(cid:80)(cid:83)(cid:83)(cid:3)(cid:80)(cid:85)(cid:197)(cid:92)(cid:76)(cid:85)(cid:74)(cid:76)(cid:3)(cid:79)(cid:86)(cid:94)(cid:3)(cid:88)(cid:92)(cid:80)(cid:74)(cid:82)(cid:83)(cid:96)(cid:3)(cid:90)(cid:79)(cid:86)(cid:91)(cid:90)(cid:3) (cid:84)(cid:86)(cid:89)(cid:76)(cid:3)(cid:92)(cid:85)(cid:91)(cid:80)(cid:83)(cid:3)(cid:91)(cid:79)(cid:76)(cid:3)(cid:196)(cid:83)(cid:76)(cid:90)(cid:3)(cid:72)(cid:89)(cid:76)(cid:3)(cid:87)(cid:89)(cid:86)(cid:74)(cid:76)(cid:90)(cid:90)(cid:76)(cid:75)(cid:3)(cid:73)(cid:76)(cid:77)(cid:86)(cid:89)(cid:76)(cid:3) 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 (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)(cid:92)(cid:90)(cid:72)(cid:73)(cid:83)(cid:76)(cid:3)(cid:90)(cid:79)(cid:92)(cid:91)(cid:91)(cid:76)(cid:89)(cid:3)(cid:90)(cid:87)(cid:76)(cid:76)(cid:75)(cid:90)(cid:21)(cid:3) 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 (cid:90)(cid:83)(cid:86)(cid:94)(cid:3)(cid:72)(cid:85)(cid:75)(cid:19)(cid:3)(cid:91)(cid:79)(cid:76)(cid:89)(cid:76)(cid:77)(cid:86)(cid:89)(cid:76)(cid:19)(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:90)(cid:79)(cid:86)(cid:86)(cid:91)(cid:3)(cid:94)(cid:80)(cid:91)(cid:79)(cid:3) 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 (cid:94)(cid:80)(cid:83)(cid:83)(cid:3)(cid:87)(cid:89)(cid:86)(cid:93)(cid:80)(cid:75)(cid:76)(cid:3)(cid:73)(cid:89)(cid:80)(cid:78)(cid:79)(cid:91)(cid:3)(cid:93)(cid:80)(cid:76)(cid:94)(cid:196)(cid:85)(cid:75)(cid:76)(cid:89)(cid:3)(cid:80)(cid:84)(cid:72)(cid:78)(cid:76)(cid:90)(cid:19)(cid:3) camera shake. They can also amplify making it easier to focus. But they are (cid:197)(cid:72)(cid:94)(cid:90)(cid:3)(cid:80)(cid:85)(cid:3)(cid:91)(cid:79)(cid:76)(cid:3)(cid:83)(cid:76)(cid:85)(cid:90)(cid:19)(cid:3)(cid:87)(cid:72)(cid:89)(cid:91)(cid:80)(cid:74)(cid:92)(cid:83)(cid:72)(cid:89)(cid:83)(cid:96)(cid:3)(cid:80)(cid:85)(cid:3)(cid:73)(cid:72)(cid:74)(cid:82)(cid:83)(cid:80)(cid:91)(cid:3) much larger, heavier and more expensive (cid:90)(cid:80)(cid:91)(cid:92)(cid:72)(cid:91)(cid:80)(cid:86)(cid:85)(cid:90)(cid:3)(cid:94)(cid:79)(cid:76)(cid:89)(cid:76)(cid:3)(cid:197)(cid:72)(cid:89)(cid:76)(cid:3)(cid:72)(cid:85)(cid:75)(cid:3)(cid:78)(cid:79)(cid:86)(cid:90)(cid:91)(cid:80)(cid:85)(cid:78)(cid:3)(cid:74)(cid:72)(cid:85)(cid:3) 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 (cid:84)(cid:72)(cid:78)(cid:85)(cid:80)(cid:196)(cid:74)(cid:72)(cid:91)(cid:80)(cid:86)(cid:85)(cid:3)(cid:77)(cid:86)(cid:89)(cid:3)(cid:90)(cid:79)(cid:86)(cid:86)(cid:91)(cid:80)(cid:85)(cid:78)(cid:3)(cid:75)(cid:80)(cid:90)(cid:91)(cid:72)(cid:85)(cid:91)(cid:3) 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 (cid:74)(cid:76)(cid:83)(cid:83)(cid:90)(cid:21)(cid:3)(cid:41)(cid:76)(cid:80)(cid:85)(cid:78)(cid:3)(cid:75)(cid:76)(cid:90)(cid:80)(cid:78)(cid:85)(cid:76)(cid:75)(cid:3)(cid:90)(cid:87)(cid:76)(cid:74)(cid:80)(cid:196)(cid:74)(cid:72)(cid:83)(cid:83)(cid:96)(cid:3)(cid:77)(cid:86)(cid:89)(cid:3)(cid:91)(cid:79)(cid:76)(cid:3) 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