A place for you to learn, get inspired, and keep up to date with all things SmugMug and photography
Sports photography is about capturing “the moment” and all of the raw emotions that come with it. Whether the moment is a loss, a win, a goal, or a save, sports bring out the full spectrum of human emotion. There’s passion and intensity with every move, so it's important to be ready to “tackle” everything that comes your way.
Below you’ll find 6 things to know and keep in mind that will help you capture the perfect sports photography shots, whether you’re wanting to immortalize your kids’ tournaments, sell to sports fans, or you’re simply doing it for the love of the game.
The right camera mode and settings are crucial for all forms of photography, but maybe even more so for the fast-paced world of sports photography, where every second counts. The most important settings and functions to understand and know how to use when shooting motion are aperture priority, burst or continuous shooting mode, shutter speed, and ISO.
You’re likely already watching videos of the sport you’re about to photograph, but have you considered going to YouTube, TikTok, and Instagram to study videos of key players, and to get a better understanding of the game? By watching videos the athletes post of themselves, or that fans post from the sidelines, you can learn what parts of the game are important and worth looking out for.
Being familiar with the game is important. Without knowing the game, you won’t know where to stand or what the right angles are—and knowing the behaviors of the players themselves will give you a better chance at knowing where to be at the right time.
Professional photographers adjust and shift depth of field with muscle memory, but not all of us are pros. And even pros can be caught off-guard with sports photography because they cannot control where athletes are on the field, how a coach instructs their team members to form, or when a cyclist is about to sprint. They could want the subject in sharp focus and the audience in the stands blurred, but another object coming across their path will throw the entire capture off.
The first step is to create a list of situations with shots you’d love to capture, and the depth of field required as the scene could change. Next, watch team practices and scrimmages to get a feel for the distances you’re photographing at. Last is to set up at a location with tons of unknowns (local tracks are great for this) to get some practice adjusting your depth of field in real time.
If you don’t have an extreme team sports venue like BMX tracks or roller rinks, head to a location where the captures on your list could happen and see if you can develop muscle memory to hit the exact depth of field.
Depth of field and sports photography take practice, and when shifting camera settings becomes second nature, your photography will climb to new levels.
Much like the athletes themselves, being prepared for game day as a photographer is all about practice, practice, practice. Get a couple of friends to rehearse some specific plays and moves for you, and experiment with your positioning and angles while they “play.”
Now position yourself about the same distance from where you’ll be when you’re at the event, and try capturing the right moment without knowing what they’ll be doing.
Stadiums, coaches, and even players may ban flash photography from sporting events. Flashes can distract the players and negatively affect the game, not to mention it’s an extra piece of equipment that can delay your ability to capture the action quickly. See if you can visit the arena, track, or venue during events with the same types of lighting that will be available when you’re there, and practice shooting with the ambient light available.
Photography is full of surprises, and sports photography is one of the most surprising subjects to shoot. Someone could dive for a catch, or spring higher off a trampoline because of adrenaline, or launch further from a platform. Look for “action angles” where you can capture the distance, height, or a measure point to drive home the impact of the moment.
Try lowering your tripod or taking a shot from the ground up. See if you can access the roof and focus downwards to the field. Maybe you noticed a signature emblem or static team memorabilia like a championship flag in the background, and the athletes will be crossing by during the event. By lowering your camera even a foot you can capture the action with this signature symbol in the frame.
These angles help you capture a miraculous moment and gain recognition in the field with unique work. By standing out and being original, you can make a name for yourself.
Sports photography is all about practice, and these six tips will help you up your game.
Sports photography isn’t easy. Often done on a speculative basis, success only comes with a great marketing plan, a solid business plan, and a lot of hard work before, during, and after the game. We gathered a few tips to help make the process from shot to sale easier.
Face. Contact. Action. Ball. These are the elements of a great sports photograph. Your ability to get the shot—in sports photography more than any other field—requires more than “f/8 and be there.” Equipment matters since you very likely won’t be able to control the light. Here are a few recommendations:
1. Know your sport.
The ability to anticipate where the action will be, to predict the drama by understanding the rules and rulings, to be prepared for the ecstasy and agony of the competitors are what will set you apart as a sports photographer.
2. Fill your frame with action.
Minimize distracting backgrounds. Choose the right depth of field. Make sure the play or the player is your subject. Shoot tight, crop tighter.
3. Pick the right shutter speed.
In general, you’ll want to freeze the action, so your shutter will need to be fast. If motion blur is desirable to help convey the story or set the mood, a slower shutter speed may work, but you’ll still need to ensure your shutter speed is fast enough to prevent camera shake.
Pro tip: Your shutter speed needs to be greater than the focal length of the lens. Try shooting in burst mode to ensure you don’t miss any of the action. Using strobes? Balance the flash power against flash duration to freeze the action.
4. Get accreditation and/or permission to shoot the sport.
Meet the sports director for the school or club, the president of the booster club, or the director of the league and get their blessing to photograph their players. You should know their needs (yearbook photos, website photos, championship photos, team photos, etc.) and be prepared to include these shots in exchange for the right to photograph the game/league/tournament.
You probably aren’t expecting to head out, take a bunch of game-day photos, and put them up for sale. While you're perfecting your shooting technique, you should also be putting together a strong business and marketing plan, including building your brand name and recognition, your customer base, and your portfolio.
Marketing.
At the stadium.
After the game.
We hope these steps outline an easy strategy to get you started on your way to success in sports photography. Have any tips of your own to share?
Richard Burley is an educator, photographer, and the founder of Epic Action Imagery. He travels the world photographing sporting events from football and hockey to obstacle races like Tough Mudder and Spartan. We caught a moment of his time to talk about luck, sofas, and velociraptors, among other fun details.
SmugMug: Hi Richard. To start with, tell us about yourself!
Richard Burley: I’m a sports and action photographer based in the UK. Prior to taking up photography as my full-time job, I worked in education. Initially as a college teacher progressing up the career ladder to management roles. In 2014, just as my photo business was starting to grow, a conversation about volunteers for redundancy saw my hand shoot up. A few weeks later I packed up my desk and headed out of my office and on to what became a huge adventure. I do still teach a few hours and enjoy that side of my life too, but I fell in love with action photography early.
SM: How’d you get into photography?
RB: I’ve had an interest in photography since I was a child watching my dad in his home darkroom developing photos. It wasn’t until much later that I started to think more seriously about taking photos professionally, but my interest in capturing sport, action, and movement was growing.
I bought my first DSLR with the royalties from a text book I co-authored and started to learn lessons by trial and error. I prefer to learn by experimenting and finding out what works and what doesn’t rather than reading or watching others. The only qualification I’ve actually got is a badge from Cub Scouts. I’m very much self-taught.
SM: Tell us about starting and growing a photography company?
RB: The real start of it was in January of 2010. I’d stopped coaching football and decided I wanted to get into photography, and was shooting semi-pro matches for a friend. But I just wasn’t getting the shots I wanted, because I was convinced I didn’t have the right lens.
So I go to the camera shop, just to look at a new 70–200mm lens…and 30 seconds later I’m walking out with the box. [laughs] And I’m thinking “I’ve just spent the sofa deposit on a new camera lens, this is gonna take some explaining.”
So I told my wife I spent the money we’d saved for a sofa on a camera lens, and she responded “Well you’re gonna have to take that lens and make that money again.” Which I took very literally! I said okay, I’ll start a business.
SM: The right equipment can make all the difference! What happened next?
RB: A couple of months later, I’m shooting the occasional sporting event, making a little bit of money, but still employed full-time with the college, when on a trip to Cambridge with the family I spot a billboard. On this billboard is a picture of someone jumping over burning straw bales, and I thought “that looks like fun, why don’t I see if they’ve got a photographer?”
There’s a concept people in business will often refer to called “luck.” I think I’ve benefited from an enormous amount of luck. This was a billboard for Spartan Race. They’d just started — one event in the US, no events anywhere else, this was their first event in the UK — and they said “you know, we hadn’t thought about course photography, of course you can come!”
That first moment at a Spartan Race really told me what it was gonna be like: I’m set up along the course, waiting for people to come from the right, and suddenly they appear to my left like velociraptors. And that was it. That said to me “don’t ever expect everything. You know that thing where you like things to be predictable? You’re gonna have to part with that.”
SM: What a lesson to learn on the first day. How’d you grow that into the Epic Action Imagery we see today?
RB: Well, one thing led to another and soon Spartan was asking me to shoot their international events. Then other events start asking me to shoot, because they’re pulling from Spartan’s pool of course photographers, and suddenly I’m doing this full time and building teams. I’d call it an accidental business, really. An experiment that got entirely out of hand.
I think I was fairly lucky, again, because I was an educator and a manager in my full-time work before this. I was used to recruitment, I was used to building teams, passing on information, delegating, and allowing people to grow. Everything I did was very developmental.
The whole purpose of education is to help people grow to become better than yourself — and not be intimidated by that, which is a great fit for photography. It’s really something I look for while building a team of photographers: work that makes me stop and go “whoa. I’ve gotta know how you got that.” I’ve had the privilege of working with other photographers that inspire and enthuse me to work hard and to keep learning.
SM: What is it about action photography that calls to you?
RB: I enjoy the challenge of capturing movement at the right time. Facial expressions in sport really tell a story too. Emotions are often amplified in a sporting environment and seeking to tell the story is a challenge that I enjoy. Participants on a Tough Mudder course emerging from ice filled pools or getting zapped by electricity really brings out a range of expressions. And I’ve done a couple of the events myself so I have an inkling of what they’re experiencing.
I enjoy the people too. Sports events have an energy and a vibe that I find motivating. Capturing people overcoming fears or beating their personal bests is a responsibility I take seriously and I work hard to ensure that moment is captured for them to share with their friends and family. There’s been several moments where I’ve captured people who’ve overcome significant changes in their life to achieve a sporting goal. Often I find there’s a bit of dust in my eye when seeing such a victory.
A big motivation for me to make amateur sports people look like pros, giving them an image in which they look truly epic. From my personal perspective I always try to take a picture that makes a person look and feel like Usain Bolt. When they’ve had a bad day and they’re reaching for that beer in the fridge, they can see a picture on the fridge door of themselves leaping over flaming hay bales and think “I am awesome! I am epic!”
SM: Last business question: what’s the biggest challenge in shooting action photography?
RB: The vagaries of the weather, absolutely. I’ve worked in 42 degree heat (108° F) in Bahrain, and I’ve worked in -20 cold (-4° F) in Canada. Thigh-deep snow, I’ve been swatting flies off, days where it feels like someone’s hitting me with a firehose, but I love that. I love being outdoors. To reframe that: I don’t think there’s a challenge apart from loving what you do, really.
Even when you’re shooting the same thing — someone jumping over flames or crawling through mud — how do you tap into the journey they took to get there, to be fit enough to run five miles and leap over these flames? The biggest challenge, and the biggest joy, really, is tapping into the energy and euphoria of these participants each and every time.
SM: What gear do you use to capture those moments?
RB: Canon 1DXs (3 x mk1 and 1 x mk2) with a range of lenses from 16mm to 400mm. I started with Canon in 2006 and have yet to be tempted to try anything else. I am curious to try a few mirrorless options and listen to the experiences of other photographers when considering my kit choices, but the 1DX is a versatile workhorse and has coped very well with the range of conditions that I find myself working in and the image quality means that I can get the images I want.
The lenses I favor for events are the 16–35mm and the 70–200mm. My kit gets a fair amount of scuffing on rocks and hard ground so I use an EasyCover to try to keep my kit protected.
For football, I’ll have the 400mm and 70–200mm as a main set up and the 16mm on a remote camera positioned behind the goal using a PocketWizard set up. The 400mm is my favourite lens. It’s an old-school mark 1 IS 2.8, but so crisp and ideal for capturing the action that unfolds at the other end of the pitch. It’s a little heavy and if the teams change ends before kick off, it’s quite a challenge to run round the pitch perimeter with all the gear. I hear the mkIII may be a little more mobile and I may make the switch in the future.
SM: Speaking of gear, what got you started with SmugMug?
RB: I started with SmugMug in 2013. I met a representative at the PhotoShow and at the time was looking for a platform to host event images in a cost-effective, reliable, high quality, and simple to use manner. I was also in search of something that would let me search my photos by keywords and bib numbers so I could easily sort participant photos. We had to be able to deal with the kind of peak demand that these events generate. Fortunately, SmugMug met all these criteria and I signed up that evening. 4.7 million photos later we’re still going — if I posted one photo every minute, it would take me 7 ½ years to get through them all. We love it.
SM: What’s your most-used or favorite SmugMug feature?
RB: I actually just redesigned the site last week. Part of our post-COVID recovery has been taking the time to think about what we do and why we do it, and engaging with my local business community. I met with a local marketer who told me “your photos are amazing, but man your website’s old fashioned.”
So I tried a landing page, liked the look, and three hours later I’ve got the whole site looking brand new. It was that easy.
In terms of what I use a lot, it’s image library management. SmugMug works as part of our client relationships, so Spartan or whoever can go in and retrieve images easily, and we manage their photo library as part of the business relationship. They tell us what details they want for the photo — keywords, metadata, factoids, you name it — and we’ll get those set up for them.
Photo sharing is a big part of it, too, and obviously sales, which we like because they’re all seamless. It’s also visibility. I can see what photos people are buying, track stats, keep up with what’s popular. Sometimes you get excited about an image as a photographer because all of the elements came together, and you get to see people excited about those same things enough to buy and share them, too.
SM: Lastly, any tips for a new SmugMug user?
RB: Learn. Keep learning. See what others do, interrogate the style, and let that style influence you as you capture your images and organize your site. There’s so many wonderfully talented photographers showcasing their work on SmugMug, it’s a great way to find inspiration and to showcase your own work.
_______
Follow Richard Burley on Instagram and Facebook. Also, visit his website at https://www.epicactionimagery.com.
And, tell us what you think of this interview! Start a conversation on SmugMug’s Twitter, Instagram, and Facebook.
What's "sportraiture?” Simply put, it’s unique portraits of fervent athletes showing themselves doing what they do best. Pro photographer and SmugMug educator Levi Sim has a place in his heart for the passion and thrill of this type of portraiture, and today he's sharing three key tips on how to make it work for you.
When I started photography four years ago, a local photojournalist, Eli Lucero, opened my eyes to sports photography. He said, "You know when you make a great portrait that shows emotion and it's awesome? Athletes are finally performing what they've been practicing, and powerful emotions show on their faces all day. It's great to be a sports photographer."
Ever since then, I take every opportunity I can find to shoot sports.
Still, I'm a portraitist at heart, and I can't help making portraits of people everywhere I go. Here are three tips that let me maximize every opportunity I get to shoot great sports portraits.
Athletes spend many hours every day for many years learning to perform flawlessly. They have worked incredibly hard to have the body and the skills to do what they do. It is disrespectful to put them in front of your lens and then mess around with your camera, trying to figure out the best settings. You owe it to them to be proficient at what you're doing because you're photographing other passionate people.
I'm not saying you have to be a pro who knows everything before you photograph someone. I'm saying that you do your practicing before you shoot the athlete. At the very least, grab a kid from the sidelines and practice your stup right before you invite the athlete over. Then you can be confident that you'll get a good image from that same setup.
I'd also recommend quitting while you're ahead. If you've just taken a good picture with a test setup, don't say, "Let's try this other thing," unless you've also practiced the other thing, too. They'll think you're the best photog in the world if you fire off two frames and have a great picture; if you mess around with the unknown, they'll be frustrated and disappointed.
Practice your setup, take a good picture, and say thank you.
I'm not likely to get the opportunity to spend a few minutes photographing a famous athlete, like John Elway or Danica Patrick. But, if I go to the open track day at the local race track, I'll definitely be able to photograph some very passionate people, and they are likely to let me spend more than a few minutes taking pictures of them.
This is my pal, Jeremy. He's the one who told me about the open track days, so he invited our photography group down to make pictures. The track is crawling with guys and gals who are so passionate about racing motorcycles that they travel across the country to race on a world-class track.
These people spend their lives working to earn money so they can blow it on a few tanks of fuel and a few sets of tires in a single weekend. They aren't the kind who ride because it's cool. They ride because they can't not. These are the kind of people you really want in front of your lens, and they are the kind of people who will be pleased to help make a picture.
It's interesting that when talking to athletes, they can describe the winning goal of a game they played ten years ago. Passionate athletes remember the intricate details of a split second for their entire lives. And if you think about it, that's exactly what we do as photographers, too.
When you make a picture after a game, that picture will be part of their memory and an important piece of the experience. I recommend that you prepare a few techniques that will allow you to create a memorable image—something your subjects will be happy to show off to future generations.
In these motorcycle portraits, the guys just got off the track where they broke speed records passing others around the turn, one knee dragging on the ground and sending sparks flying. They have the courage to get back on their bikes after tipping over and sliding through gravel for a hundred yards. I'm just taking it for granted that you have the courage to approach them and ask to take their picture.
After chatting for a sec about the bike, or the game (or whatever), I usually say, "There's some really good light right over here, and I wonder if you'd let me take a picture of your bike—yeah, with you in it!"
I've never been turned down.
Now, put on your widest lens and get in close. No, closer! These portraits were made within inches of the subject, almost touching their bikes with my lens. I used the incredible Nikkor 14–24mm f/2.8. When you get in close with a wide lens, you make a picture that is distorted and absolutely not normal. And not normal makes it memorable.
The key to these pictures is the lighting. These are all made within a half hour of noon, so the sun is straight overhead, and there is no light in their eyes to fill the raccoon shadows on their faces from their eyebrows and ball caps. My solution is to use a speedlight to pound some hard light back into their faces and the shadows on their bikes. These are hard-looking guys with sunlight casting hard shadows all around, so using a bare-bulb speedlight really fits the scene.
Remember: the speedlight is not mounted to the camera; that would be obvious in the picture and ruin the look. The flash is off to the side, and high, as if it's a little more sunlight from a slightly different direction. Whether you use your camera's proprietary speedlights controlled by the camera, a radio trigger, or an extension cord, you've got to get the flash off the camera to control the direction of the shadows. When using a very wide lens (shorter than 35mm), you can even handhold the flash to the side and it will be enough. I prefer to have my buddy or my subject's buddy hold the flash.
For best results in sportraiture, bring a friend. Or two. The more the merrier! You'll have more people there to help make your vision happen, and more visions to make things happen. You help each other hold stuff, ask each other questions, make the rest of the town jealous by talking about "that great time you spent at the track," which then gets more people to join in next time. Photography is always better with friends.