Photography News Issue 71


“Doing sport photography

Do youmix it up during thematch? Or are there spots that always work, like the try line?
 DR: Typically, Getty Images has one photographer in each corner of the pitch to ensure all of the key angles are covered. Photographer spots are numbered fromone to100 behind the goal posts, and Getty typically reserves one and 100. Photographers can then move if they want to and, as Getty is the major visual media agency, it has priority over positions. PN: Which lenses do you use throughout thematch andwhy? 
 DR: The standard lens I will use at the matches is the Canon EF 400mm f/2.8L IS II USM, but I also have the EF 1.4x III teleconverter if I needmore reach. I will also take a Canon EF 70-200mm

PN: What do you think are the best sporting pictures you’ve taken?
 DR: I’d say the most memorable image that I took was of JonnyWilkinson’s drop goal in the 2003 RugbyWorld Cup Final. It was such a magic moment in English sport. I even got to go to the dressing room afterwards to celebrate with the team. Jonny and I are still close to this day – we even go on the odd holiday together! PN: In your opinion, whatmakes good sport photography froma technical point of view? DR: I prefer ‘peak of the action’ photography. I really admire an image that shows the speed or the reaction of the players, such as in football and rugby. They are perfect for this because they’re so kinetic. Great sport shots also

need to show the spirit, the passion and the split-secondmoments that sumup the event. PN: You said you played sport yourself, so do you think that a good knowledge of the game you’re shooting can help you capture better images?What are some examples of this? DR: Yes, knowledge of the game, the teams and particular players to watch certainly helps, but more than anything, I’ve found that it was building up experience that has helped developmy sport photography skills. A bit like top-level sport, it’s largely about persistence, so if something doesn’t work the first time, you just have to try something different. This, combined with the accessibility Getty

Images has, means you’re well equipped for the occasion. PN: Atmatch time, what’s going through your head? Do you have a particularmix of shots youwant to get? Or is it simply about concentrating on the vital moments of action?
 DR: We have a mixture of clients who require different types of images, so there’s always plenty to think about. Some clients prefer wider, more dramatic shots, while others prefer the ‘sport news’-type action pictures, which are all about the action. I always endeavour to provide a large selection for use over various platforms. PN: Where do you tend to position yourself during a game, andwhy?

is brilliant. It’s prettymuchas close as you can get tobeing on the pitchplaying”

Issue 71 | Photography News 21

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