Section II Shooting
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control access to the scene. Depending on local
regulations, independent (freelance) photo-
journalists may obtain credentials.
The photojournalist is also called on to shoot
a variety of civic, business, and community
events, Figure 9-20. Typical of such assignments
are groundbreaking ceremonies for new
buildings, speakers at civic meetings, school
ceremonies, spelling bees, local celebrations or
festivals, and award luncheons. Such assignments
are often referred to as “grip and grin” events,
in which the participants shake hands and smile
for the camera. The major challenge in such
assignments is to avoid the tired photographic
cliché—such as the “grip and grin”—and find
a fresh approach that results in a visually
interesting, storytelling photo. One problem is
that participants often expect the photographer
to shoot the cliché (they do not see it as such)
and resist taking part in anything different. This
calls for some persuasive ability on the part of the
photographer (good “people skills” are an asset in
many photographic situations).
Large metropolitan newspapers often
have staff members who specialize in sports
photography; photographers at smaller
publications handle sports assignments as well
as regular news and feature pictures. As noted
earlier in this chapter, knowledge of a given sport
and its specific types and locations of action is an
asset, Figure 9-21.
Figure 9-20. Civic events, such as this groundbreaking
for a new high school, are common assignments for
photojournalists. By including part of a billboard
and a piece of heavy construction equipment, the
photographer helped the photo tell a more complete
story. (Henry Bros. Construction photo by Larry Morris)
Figure 9-21. In hydroplane racing, the most dramatic
action takes place in the turns. Knowing where the
best action shots can be made for a given sport is an
important asset for the photojournalist.
Almost all outdoor sporting events
take place on large fields, making use of a
long telephoto lens a requirement for filling
the frame with dramatic action. Such long
lenses (1200 mm is a common focal length
for professional sports photographers) are
impossible to handhold because of physical
size. Since a traditional tripod is bulky
and hard to reposition quickly, sports
photographers typically use a monopod for
support, Figure 9-22. Combined with the
photographer’s legs, the monopod provides a
form of tripod that is easily repositioned and
steady enough for sharp images. Long telephoto
lenses—whether used on a monopod or a
tripod—are attached with a lens collar, rather
than the tripod mounting screw on the camera
body. This prevents strain on the lens mount
from the weight of the lens, as well as better
balance for the camera/lens unit.