Shooter’s Guide for
Race Photographers
For Contractors and Employees Only – NOT FOR REDISTRIBUTION
Version 2.0, June 2013
Introduction
This shooting guide will outline some fundamental techniques
and settings which are the standard for Capstone photographers. Our
intent is that effective use of these techniques will result in images
which are more consistent from one photographer to another as well
as images that capture the Capstone “style” our customers have come
to expect and appreciate. The guide is not meant to replace your own
knowledge and skill as a photographer. Since every situation is unique,
we encourage you to think on your own and apply your best judgment
in how to capture the very best action photos for our athletes.
Canon vs. Nikon
• The terms in this guide
generally use the
nomenclature of Canon
equipment
• These settings and
techniques also apply to
Nikon equipment, though
the terminology may differ
slightly
• Acceptable Camera Bodies:
– Canon
• 20D, 30D, 40D, 50D,
60D, 70D
• 5D (all models)
• 1D (all models)
• 7D
– Nikon
• D300, D600, D700,
D800
• D3 or D4
Lenses and Other Equipment
• Recommended Lenses
– 70-200 L f/2.8, with or without IS.
This lens is highly recommended
for all photographers and will be
used in 95% of scenarios
– 70-200 L f/4, with or without IS. A
good “budget” lens if shooting
outdoors with ample lighting.
Tripod collar required (purchased
separately)
– 24-70 L f/2.8 is a good secondary
lens for wide angle shots
– Lens Hood – Your lens should come
with a standard hood. These
reduce lens flare and glare when
shooting towards the sun. It
addition, they add protection to
your lens from stray mud and
debris.
• Other Helpful Equipment
– Camera grip is STRONGLY
recommended
– UV Filters – We recommend using
a good quality filter (B+W Brand)
for your lens. There is some
benefit to reducing UV glare, but it
also provides relatively inexpensive
protection for your expensive lens!
– Monopod – A good monopod will
not only give you better stability
when you shoot, but it will also
make it much more comfortable to
shoot as well.
Landscape vs.
Portrait
•Most shots should be
taken in the portrait
orientation as running
athletes are typically
vertical subjects
•Group shots and some
bike/swim shots are
sometimes candidates for
landscape orientation
It is mandatory that your
auto-rotate setting for your
camera is set to “ON”
File Types and Quality
JPEG vs. RAW
• The high volume and pace
of race photography
requires that we shoot in
JPG.
• Typically, the largest
resolution is to be used.
Compression
• Some JPG compression will
reduce the file size and at
the same time will not
perceptibly degrade the
image quality.
• Canon 1D JPG Compression
should be “7”
• All other Canon models use
“step” compression
Camera Settings for
file type, size, and
quality
•
•
•
•
•
Each camera model is different and
each scenario will yield varying
results
Ideally, we need the JPEG images to
be approximately 2-3 MB each.
Please conduct a few test images
prior to the race start to ensure your
file and quality settings are
appropriate.
By keeping file sizes in this range, we
can increase the number of images
per media card and reduce file
processing time. This in turn means
more images and faster turn around
time to the athletes.
Please see your lead photographer if
you have any questions or problems
with these settings.
DO NOT SHOOT IN RAW. There is
NO exception to this rule and your
pay will be docked if we find RAW
images on your media when it is
returned. RAW images require more
processing which costs more and
lengthens the turn around to the
athlete!
Camera Model
Setting to be used
Canon 20D
Canon 30D
Canon 40D
Canon 50D
Canon 60D
Canon 70D
Canon 1D
Most models will require “L” (or
Large) with “Step” (or normal)
compression.
Most of our athletes order 8x10
or smaller. We have found that
resolutions of 2000 pixels wide x
3000 pixels high is just perfect.
Canon 5D
Canon 7D
Nikon D300
Nikon D600
Nikon D700
Nikon D800
Nikon D3
Nikon D4
On Nikon Models, you’ll want to
use the “Size Priority”
compression option and look for
a resolution of 2000 pixels wide
x 3000 pixels high with a file size
of approximately 2-3 MB
Set your camera clock to LOCAL time!
(If you are using multiple bodies, set clock properly on ALL of them!)
Time does not need to be to the second, but should be accurate within 1 minute.
Auto-Focus Settings
• Sharp focus is critical to your success on race day.
• Ensure that the auto-focus switch on your lens is set for
AF
• Ensure auto-focus mode on your camera is set to “AI
Servo.” If you are a Nikon shooter, you’ll want to use
AF-C Continuous.
• If you use “one-shot” auto-focus mode will almost
always result in unacceptable photos.
• Ensure you have a single auto-focus point selected.
• Ensure the 70-200mm f/4 lens is set for a distance of
2.5-infinity to minimize focusing time
Aperture Settings
• The Capstone “style” is for a
very shallow depth of field.
This is achieved by opening
your aperture.
• Set your camera mode to Av
and dial the aperture to 4.0
• Doing so will ensure a good
consistency between your
images and other
photographers on the team
(as well as photos that are
pleasing to the customer!)
Drive Settings
• Set your drive to multi-shot
mode so that your camera
will take multiple photos
while the shutter release is
depressed.
• 3-4 photos per second is a
good speed
• Some cameras have a high
speed mode (8 FPS or
higher), but this is generally
too fast for our purposes.
Set the shutter repeat to
“low” on these cameras to
get about 3 FPS.
Make sure that you
are getting about 3
frames per second.
You may need to use
a lower setting on
some models!
Shutter Speed and ISO
• Race and action photography generally require a shutter speed of
500 or higher.
• When you are shooting in Av or A mode, your ISO will automatically
adjust.
• Start with ISO = 100 and check your shutter speed. If it is 500 or
lower, increase your ISO until your shutter speed is consistently
above 500.
• Keep your ISO as low as possible for the conditions. High ISO will
result in digital “noise” which will degrade the picture quality.
• Monitor your shutter speed frequently as you shoot, time of day,
weather conditions, and your location can alter your lighting
greatly. Adjust your ISO as necessary to maintain a shutter speed
above 500.
Exposure Compensation
•
•
•
•
For most cameras and conditions, an
exposure compensation of zero will
produce good shots.
Please monitor your histogram
frequently to determine your overall
exposure and adjust the
compensation accordingly.
The subject should be properly
exposed. It is not a major concern if
the sky, water, road or other
background objects are “blown out”.
Severely backlit subjects should be
handled by increasing your exposure
compensation. Try +2/3 or +1. Even
up to + 2 1/3 is ok. Don’t forget to
reset your exposure compensation
when you move to a less backlit
situation.
Both of these
images are
back lit, but
handled well
with exposure
compensation.
White Balance
•
•
•
For the majority of our work, one of the
three standard available white balances will
produce natural-looking (and pleasing)
colors.
– Sunny
– Shadow
– Cloudy
DO NOT SHOOT IN AUTO WHITE BALANCE.
There is NO exception to this rule and your
pay will be docked if there are unusable
images due to this setting on your media
when it is returned. These images require
more processing which costs more and
lengthens the turn around to the athlete!
Monitor and adjust your white balance
frequently throughout the event as light
conditions can change throughout the day.
The (BAD) result of
auto WB!!
Selecting a
Location
•Try to select a location where
the lighting is suitable (i.e.
avoid backlit situations) and
where the background is
pleasing.
•Try to avoid rusty guardrails,
trash bins, portable toilets,
and orange cones in the
background when you are
choosing a location.
•When working in pairs,
position yourself on the
opposite side of the course as
your partner so you can get
the best variety of shots
possible.
Multiple Shots
•
At each position on the course and
finish line, you should take 3-4 shots
of each athlete whenever time and
conditions permit.
– Athlete may have their eyes
closed during one of the shots
– Your focus may not be perfect in
any one shot
– You should strive to get that
“feet off the ground” shot
wherever possible!
• 3-4 images per photographer x 4-6
photographers will result in a nice
selection for the athlete!
We’d rather have too many images to
sort and process than not enough!
Whole Body Framing
• Ensure your subject is properly
centered in each image.
• Don’t shoot until the subject is at
least 2/3 the height of your
viewfinder. Smaller subjects will
generally result in unacceptable
photos. On the other hand, if the
subject’s feet and head are at the
extreme bottom and top of the
viewfinder, the image will not be
able to be cropped and printed
properly by our post-production
team. So be sure to leave some
margin on all sides of the
viewfinder.
• Center the photo on an athlete’s
hips, not their head!
Upper Torso Framing
• As an alternative to Full
Body Framing, you can
choose to frame just the
upper torso of the
athlete, typically from the
knee, or mid-thigh up.
Please coordinate with
other photographers in
the area to ensure there
will be sufficient full –
body shots before
choosing to use upper
torso framing.
Various Framing Errors
Off Center!
Too Tight – Upper Torso
Too Wide!
Too Tight – Full Body
Crooked!
Promo Shots
REQUIRED from every photographer at every race!
Mud Races
•
•
•
At mud and obstacle races, you will be
stationed at either a particular obstacle or
at the finish line for group photos. Due to
the constant flow of athletes throughout
the day, it is imperative you stay where
you are assigned and do not take it upon
yourself to change locations without
speaking to your lead photographer first.
Your lead will ensure that you are at an
obstacle where bib numbers will be
visible, which is absolutely essential for
our post processing team to successfully
tag images.
At mud races, we encourage you to stay
far enough away that your camera
equipment will remain a safe distance
from mud and water. If at anytime you
feel your equipment is compromised,
please speak with your lead photographer
about your concerns.
Zombie Races
• Zombie events pose a unique
opportunity to us as
photographers to create some
amazing images for the athletes.
They can also be some of the
most fun events to work!
• Your lead photographer will
assign you a position where they
feel will provide good quality,
interesting, and sellable images
for our athletes.
• Group/team photos are essential
to these events, so if you are
stationed at the finish line with
the zombies, have fun with it!
Safety on Race Day
•
•
•
•
•
•
•
•
During all points of your shooting assignment, remember that SAFETY COMES FIRST for yourself,
the athletes, spectators, race officials and the general public.
Do not shoot in the middle of the road, or any area where you may get “run over”.
Do not climb anything other than ladders approved for use by the team, or balance precariously
while you shoot.
If you ever feel that a situation is even remotely unsafe for anyone, take the following actions:
– STOP SHOOTING IMMEDIATELY
– Move to a safe location
– Figure out how to make the situation safe, contact a race representative if possible
– Only one the situation is resolved should you resume shooting
Severe weather, such as nearby lightning, calls for your own judgment as the weather the situation
is unsafe.
Consider safety if your assignment requires that your drive a vehicle from one location to the next.
Chances are, there will be athletes, spectators and race employees on the same path.
You will never be punished or reprimanded for stopping photography where a legitimate safety
issue exists.
Also be aware of your surroundings and the people around you. All too often, a photographer’s
equipment such as tripods, camera bags, and even lenses and back up camera bodies can be taken
by a not-so-honest race bystander. Make sure your equipment is secure and within your view at all
times.
Don’t Panic!
It is always challenging shooting action, especially when there are so many
athletes to be photographed. You may feel like you are doing something
wrong if you miss an athlete, but don’t panic!
Choose an athlete, frame them in your viewfinder, press your shutter button
half way to activate the autofocus, wait one second, then fully press the
shutter button and let the camera take 2-3 shots. The move to the next
athlete and repeat the process.
If you miss someone during this time, don’t worry. That’s why we shoot with
multiple photographers at multiple positions throughout the course. If you
didn’t get them at that spot, you’ll get them at the next spot, or someone else
will!
As you work more races, you will get more comfortable and soon it will be like second nature to you!
Race Day Procedures
1.
2.
3.
4.
5.
6.
7.
Meet your lead photographer at the designated meeting spot (usually near the start line). S/he will provide you
with your memory cards, any t-shirt or ID you will need, and a cheat sheet of information for the day.
Format all your cards, make sure your camera settings are as described (both in this guide and on your cheat
sheet) and the clock is set properly. Take a few test shots once arriving at your assigned location to ensure the
setting are accurate for the conditions.
Shoot! Have Fun! Make sure you are shooting for the bib #’s (as that is how we sort and tag the images). Also,
a good rule of thumb is 2000 images minimum for the event. We generally look to see you get 750 “keeper”
images (i.e. in focus, bib number visible, framed properly, correct white balance and exposure etc) per hour.
Promo Shots, Promo Shots, Promo Shots. We expect that EVERY photographer takes promo shots… not just the
lead. Walk around pre/post event and take images of runners warming up, families with their loved ones who
are racing, vendors and sponsors (and the athletes/spectators enjoying these amenities), banners, anywhere
the logo for the race and/or sponsor is, medals, giveaways, celebrities making an appearance etc.
After the race, immediately hand in your memory cards to the lead photographer. The t-shirt is yours to keep,
as we hope that we will work with you again in the near future. If you are a first timer, we will provide you with
a check for 50% of your agreed upon rate to show you that we are a legit company and that we will not stiff
you. Go home, enjoy the rest of your weekend… there is NO post processing work!
Invoice us. To keep a good flow of paperwork through our home office, we would be very appreciative if you
could be timely in getting your invoice to us. (You do want to get paid, correct!?) Invoices MUST contain: Your
name (business or personal depending on who the check needs to be made out to), address, phone number,
event date/time, event name, rate offered for event, mileage/tolls/parking incurred (with receipt!) on race day.
A blank excel file form can be forwarded to you upon request.
Payroll is generally cut every two weeks, on a Friday. We MUST receive your invoice by Wednesday in order to
process it in time to make the check run. Feedback (both good and bad) will be provided with your check.
Invoice Example
Notes:
• A legitimate invoice should contain all
the pertinent info we would need to pay
you (as outlined on the previous page).
We will reject an invoice and ask you to
make a new one if we feel there is not
enough information provided. Your
standard invoice you use for your
business should be just fine. We ONLY
will cut a check after a valid invoice is
received.
• If we have agreed to pay you mileage,
we will reimburse you at $.50/mile after
40 miles round trip. So that means if
you drove 99 miles, we will pay you
$29.50 (99-40 miles = 59 miles x $.50)
• If you paid tolls or parking, please
provide receipts. We will not pay these
expenses without one. (Please note, we
do not pay for food or lodging unless
discussed previously, do not include
these items on your invoice unless you
have written/email permission from
Janine or Meghan!)
INVOICE
XYZ Photography (Or Joe Smith)
Address
City, State, ZIP
(555) 555-5555
Bill To:
Capstone Photography
6 Way Road
Middlefield, CT 06455
QUANTITY
1
54
1
2
INVOICE NUMBER
INVOICE DATE
EVENT NAME
EVENT DATE
DESCRIPTION
UNIT PRICE
Day Rate for ABC 5K
Miles (94 miles total round trip - 40)
Parking (See attached Receipt)
Toll for I-90 (See attached EZ-Pass statement)
536524 (or leave blank)
MM/DD/YYYY
ABC 5K
MM/DD/YYYY
AMOUNT
75.00
0.50
5.00
1.00
$75.00
27.00
5.00
2.00
SUBTOTAL
109.00
$109.00
DIRECT ALL INQUIRIES TO:
MAKE ALL CHECKS PAYABLE TO:
PAY THIS
Name
Your Company, Inc.
AMOUNT
(555) 555-555
email: [email protected]
Address
City, State, ZIP
THANK YOU FOR YOUR BUSINESS!
The items highlighted in yellow are REQUIRED for payment!
Thank You!
Thank you for working with us on these
events. Our business would not be what it is
today without an awesome network of
photographers throughout the US. We hope
that this guide has been informative, especially
if you are new to the team! Have fun while
working, enjoy your day, and remember that the
athletes as well as Capstone Photography
appreciate all your hard work and amazing
images that come from every race!