Digital Camera - Ken Gilbert

108 The DigitalCamera inTerview
MASon’STipS
1learn how your
cameraactually
works, rather than just
relying on the Auto or
program mode.
2learn about
the sport you’re
shooting – what certain
players are likely to do
when they celebrate,
which leg they lead with
over the hurdles, whose
backhand shotworks
in a picture and whose
doesn’t,and so on.
3learn to work
with your lens. for
example, if youwantto
shoot football and you
only have a 135mm lens
to hand, don’t stack it full
of teleconverters and
crop the hell out of it if
you’re trying to shoot
midfield action. Simply
sit behind the goal and
shoot good goalmouth
action instead.
4look at the work
of people who you
regard as good at what
they do and try to see if
you can work out how
theyshottheir pictures,
whatshutter speed they
used and so on. This is
where the knowledge of
howthe cameraworks is
absolutely essential.
5Take pictures – lots
of them. Use and
abuse the fact that you
can instantly learn from
your mistakes. Don’t
keep anything other
than your best. Get a set
of 15-20 shots together,
showing a variety of
techniques and ideas,
show it to whoever will
look at it and learn from
the criticism.
DigitalCamera July2010
2010 Winter
Olympics
Skier pascal bodmer of
Germanyinaqualification
round at this year’s Winter
olympics in Whistler, Canada.
Another expertpanning shot,
this time taken on a nikon D3s
as to what we can and can’t do with the
images.iwould suggestsportsfans with
an interest in photography begin where i did
and that’sgrass-rootsfootball. Befriend a
non-league club and trade pictures for access
to their matches. Learn what worksand what
doesn’t, and above all, enjoy it!”
Capturing the moment
Mason talked earlier about the difference
modern cameras have made to sports
photography. Forhim, the crucial advantage
thatdigital cameras give him is to do with
timing.“when shooting tennis, for example,
getting the ball on the racket, or eveninthe
frame,isahardthing to learn. digital
cameras give you an image review so you
can adjust your timing instantly.in the past,
it could be toolate–the matchwas over
before the films were processed and you saw
that you were hundredths of a second out.”
despitethe claims of some cynics(and
luddites) that modern sports photos are
doctored in Photoshop, Mason affirms that
“Begin whereidid, andthat’satgrass-roots
football.There aresomanyopportunities
at non-league games, andunlimited access...
Learn what works and what doesn’t”
Getty photographers are heavily restricted
when it comes to post-production.“we
aren’t able to change an image in any way,
except to remove sensor dustand tweak
brightness and contrast.”
Photographymagazinesare always on
about shooting rAw, but for Mason, JPeG is
the preferred format for speedy processing.
“Getty decided thatthe advantages of rAw
over JPeGin the editorial department were
fairly limited. But there’snodoubt thatrAw
is amuch betterscenario should therebeany
exposure error; in JPeG we have to rely on
our ability to produce a perfect exposure.”
Mason’s career stretches back over 20
years, so he’s seen lots of changes and
learned lots of lessons. For any sports
photographer,one of the biggestchallenges
is making their work stand out.“you just
have to rely on your abilitytocapturethe
moment,” he believes.“it’s hard at an event
likethe worldCup to produceanything
different, because you’reflanked by other
photographerswith the same viewpoint as
you. F1 is different, as you can wander off
on your own. you’remuch moreincontrol
of your owndestiny. Football is about gritty
action shots–it’snot ‘twinky’,for want of
a better word, it is what it is!
View Clive’s portfolio at globalassignment.
gettyimages.com/Clive-Mason.