5. Moving Target
ISO 100 • 1/15 sec. • f/11 • 200mm lens
The Tricks to Shooting Sports and More
Now that you have learned about the professional modes, it’s time to put your newfound knowledge to good use. Whether you are shooting the action at a professional sporting event or a child on a merry-go-round, this chapter will teach you techniques that will help you bring out the best in your photography when your subject is in motion.
The number one thing to know when trying to capture a moving target is that speed is king! I’m not talking about how fast your subject is moving, but rather how fast your shutter is opening and closing. Shutter speed is the key to freezing the moment in time—but also to conveying movement. It’s all in how you turn the dial. There are also some other considerations for taking your shot to the next level: composition, lens selection, and a few more items that we will explore in this chapter. So strap on your seatbelt and hit the gas, because here we go!
I took the D750 to Scarborough Downs, in Maine, to put it through its paces capturing fast-moving action. I got there early to dial in my settings and watch the jockeys warm up the horses. The weather was horrible, with cold rain steadily falling, and aside from the jockeys and horses, I was the only soul outside. These guys were covered in water and mud, and yet this guy still gave me the thumbs up as he went past. I got some other great shots of the races that came later, but this shot was my favorite from the day.
Stop Right There!
Shutter speed is the main tool in the photographer’s arsenal for capturing great action shots. The ability to freeze a moment in time often makes the difference between a good shot and a great one. To take advantage of this concept, you should have a good grasp of the relationship between shutter speed and movement. When you press the shutter release button, your camera goes into action by opening the shutter curtain and then closing it after a predetermined length of time. The longer you leave your shutter open, the more your subject will move within the frame, so common sense dictates that the first thing to consider is just how fast your subject is moving.
Typically, you will be working in fractions of a second. Just how long those fractions are depends on several factors. Subject movement, while simple in concept, is actually based on three factors. The first is the direction of travel. Is the subject moving across your field of view (left to right) or traveling toward or away from you? The second consideration is the actual speed at which the subject is moving. There is a big difference between a moving sports car and a child on a bicycle. Finally, the distance from you to the subject has a direct bearing on how fast the action seems to be taking place. Let’s take a brief look at each of these factors to see how they might affect your shooting.
Direction of travel
Typically, the first thing that people think about when taking an action shot is how fast the subject is moving, but in reality the first consideration should be the direction of travel. Where you are positioned in relation to the subject’s direction of travel is critically important in selecting the proper shutter speed. When you open your shutter, the lens gathers light from your subject and records it on the camera sensor. If the subject is moving across your viewfinder, you need a faster shutter speed to keep that lateral movement from being recorded as a streak across your image. Subjects that are moving toward or away from your shooting location do not move across your viewfinder and appear to be more stationary. This allows you to use a slightly slower shutter speed (Figure 5.1). A subject that is moving in a diagonal direction—both across the frame and toward or away from you—requires a shutter speed in between the two.
Figure 5.1 Action coming toward the camera at an angle can be captured with slower shutter speeds than action moving perpendicular to your position.
Subject speed
Once the angle of motion has been determined, you can then assess the speed at which the subject is traveling. The faster your subject moves, the faster your shutter speed needs to be in order to “freeze” that subject (Figure 5.2). A person walking across your frame might only require a shutter speed of 1/60 of a second, whereas a cyclist traveling in the same direction would call for 1/500 of a second. That same cyclist traveling toward you at the same rate of speed, rather than across the frame, might only require a shutter speed of 1/125 of a second. You can start to see how the relationship of speed and direction comes into play in your decision-making process.
Figure 5.2 A fast-moving subject that is crossing your path will require a faster shutter speed.
Subject-to-camera distance
So now we know both the direction and the speed of your subject. The final factor to address is the distance between you and the action. Picture yourself looking at a highway full of cars from up in a tall building a quarter of a mile from the road. As you stare down at the traffic moving along at 55 miles per hour, the cars and trucks seem to be moving slowly along the roadway. Now picture yourself standing in the median of that same road as the same traffic flies by at the same rate of speed.
Although the traffic is moving at the same speed, the shorter distance between you and the traffic makes the cars look like they are moving much faster. This is because your field of view is much narrower; therefore, the subjects are not going to present themselves within the frame for the same length of time. The concept of distance applies to the length of your lens as well (Figure 5.3). If you are using a wide-angle lens, you can probably get away with a slower shutter speed than if you were using a telephoto, which puts you in the heart of the action. It all has to do with your field of view. That telephoto gets you “closer” to the action—and the closer you are, the faster your subject will be moving across your viewfinder.
Figure 5.3 Due to this action’s distance from the camera, a slower shutter speed could be used to capture it.
Using Shutter Priority (S) Mode to Stop Motion
In Chapter 4, you were introduced to the professional shooting modes. As discussed there, the mode that gives you ultimate control over shutter speed is Shutter Priority, or S mode, where you are responsible for selecting the shutter speed while handing over the aperture selection to the camera. The ability to concentrate on just one exposure factor helps you quickly make changes on the fly while staying glued to your viewfinder and your subject.
There are a couple of things to consider when using Shutter Priority mode, both of which have to do with the amount of light that is available when shooting. While you have control over which shutter speed you select in Shutter Priority mode, the range of shutter speeds that is available to you depends largely on how well your subject is lit.
Typically, when shooting fast-paced action, you will be working with very fast shutter speeds. This means that your lens will probably be set to a large aperture. If the light is not sufficient for the shutter speed selected, you will need to do one of two things: select a lens that offers a larger working aperture or raise the ISO of the camera.
Working off the assumption that you have only one lens available, let’s concentrate on balancing your exposure using the ISO.
Let’s say that you are shooting a football game at night, and you want to get some great action shots. You set your camera to Shutter Priority mode and, after testing out some shutter speeds, determine that you need to shoot at 1/800 of a second to freeze the action on the field. When you place the viewfinder to your eye and press the shutter button halfway, you notice that the f-stop is blinking. This is your camera’s way of telling you that the lens has now reached its maximum aperture and you are going to be underexposed if you shoot your pictures at the currently selected shutter speed. You could slow your shutter speed down until the flashing stops, but then you would get images with too much motion blur.
The alternative is to raise your ISO to a level that is fast enough for a proper exposure. The key here is to always use the lowest ISO that you can get away with. That might mean ISO 100 in bright sunny conditions or ISO 6400 (or higher) for an indoor or night situation (Figure 5.5).
Figure 5.5 Sometimes the only way to stop action under the lights is to crank up your ISO.
Just remember that the higher the ISO, the greater the amount of noise in your image. This is the reason that you see professional sports photographers using those mammoth lenses perched atop a monopod: They could use a smaller lens, but to get those very large apertures they need a huge piece of glass on the front of the lens. The larger the glass on the front of the lens, the more light it gathers, and the larger the aperture for shooting. For the working pro, the large aperture translates into low ISO (and thus low noise), fast shutter speeds, and razor-sharp action.
1. Look at the exposure values (the shutter speed and aperture settings) in the lower portion of your viewfinder or on the rear LCD after pressing the info button.
2. If the aperture is flashing, then it’s time to increase the ISO (A).
3. Select the higher ISO by observing the control panel while pressing and holding the ISO button on the back of the camera and rotating the Main command dial to the right. Once the desired ISO is selected, simply release the ISO button (B).
4. If you now see the aperture setting has stopped flashing in the display, shoot away. If you still see the aperture flashing, repeat steps 2 through 4 until it is set correctly.
Using Aperture Priority (A) Mode to Isolate Your Subject
One of the benefits of working in Shutter Priority mode with fast shutter speeds is that, more often than not, you will be shooting with the largest aperture available on your lens. Shooting with a large aperture allows you to use faster shutter speeds, but it also narrows your depth of field.
To isolate your subject in order to focus your viewer’s attention on it, a larger aperture is required. The larger aperture reduces the foreground and background sharpness: the larger the aperture, the more blurred they will be.
The reason that I bring this up here is that when you are shooting most sporting events, the idea is to isolate your main subject by having it in focus while the rest of the image has some amount of blur. This sharp focus draws your viewer right to the subject. Studies have shown that the eye is drawn to sharp areas before moving on to the blurry areas. Also, depending on what your subject matter is, there can be a tendency to get distracted by a busy background if everything in the photo is equally sharp. Without a narrow depth of field, it might be difficult for the viewer to establish exactly what the main subject is in your picture.
Let’s look at how to use depth of field to bring focus to your subject. In the previous section, I told you that you should use Shutter Priority mode for getting those really fast shutter speeds to stop action. Generally speaking, Shutter Priority mode will be the mode you most often use for shooting sports and other action, but there will be times when you want to ensure that you are getting the narrowest depth of field possible in your image. The way to do this is by using Aperture Priority mode.
So how do you know when you should use Aperture Priority mode as opposed to Shutter Priority mode? It’s not a simple answer, but your LCD screen can help you make this determination. The best scenario for using Aperture Priority mode is a brightly lit scene where maximum apertures will still give you plenty of shutter speed to stop the action.
Let’s say that you are shooting a baseball game in the midday sun. If you have determined that you need something between 1/500 and 1/1250 of a second for stopping the action, you could just set your camera to a high shutter speed in Shutter Priority mode and start shooting. But you also want to be using an aperture of, say, f/2.8 to get that narrow depth of field. Here’s the problem: If you set your camera to Shutter Priority mode and select 1/1000 of a second as a nice compromise, you might get that desired f/stop—but you might not. As the meter is trained on your moving subject, the light levels could rise or fall, which might actually change that desired f-stop to something higher like f/5.6 or even f/8. Now the depth of field is extended, and you will no longer get that nice isolation and separation that you wanted.
To rectify this, switch the camera to Aperture Priority mode and select f/2.8 as your aperture. Now, as you begin shooting, the camera holds that aperture and makes exposure adjustments with the shutter speed. As I said before, this works well when you have lots of light—enough light so that you can have a high-enough shutter speed without introducing motion blur (Figure 5.6).
Figure 5.6 A sunny day means you can use Aperture Priority mode to lock in a large aperture while the camera sets a fast shutter speed.
The ISO Sensitivity Auto Control Trick
There is a very cool trick that can get you the best of both worlds and that won’t sacrifice your shutter speed or aperture. With the ISO Sensitivity auto control feature, you can set the camera to automatically select an ISO that keeps you at your preferred shutter speed, while using the largest aperture and lowest ISO possible. It will also put an upper limit on the ISO to keep you from getting too much noise in your images.
Here’s the way it works. If I am shooting an activity that requires a shutter speed of 1/800 of a second, I set that as the minimum in the auto control settings. Then I decide that I can deal with the noise that is produced with an ISO up to 6400, so I set that as my maximum sensitivity. Since I would always like to use the lowest ISO, I set the low ISO sensitivity to 100. Once everything is set, the camera will now adjust my ISO without any interaction from me, letting me shoot at my desired shutter speed at the lowest possible ISO and largest aperture setting possible. How you determine the acceptable noise level is entirely up to you and your particular output needs. In some cases, just getting the shot is paramount, and a noisy shot of the peak moment is not a problem at all. In other cases, you might care more about the noise level, which will force you into slower shutter speeds or investing in a faster lens to get a wider aperture. We are always making these sorts of tradeoffs and there is no one-size-fits-all answer.
Setting up the ISO Sensitivity auto control feature
1. Press the Menu button, and then use the Multi-selector to get to the Shooting menu.
2. Press the Multi-selector to the right to enter the menu, and then locate the ISO Sensitivity Settings feature (A).
3. Press the Multi-selector to the right to enter the setup screen.
4. Press the Multi-selector to the right, select the lowest ISO that you wish to use (ISO sensitivity), and press the OK button (B).
5. Press the Multi-selector down to highlight Auto ISO sensitivity control, and then move the selector to the right and select On to activate the feature (C).
6. Use the Multi-selector to choose Maximum sensitivity (D). This will be the upper limit of your ISO.
7. Finally, select the Minimum shutter speed that you want to use while shooting (E). This will be completely dependent on the speed necessary to stop the action you are shooting.
With everything set up, you can begin shooting without fear of constantly having to change the ISO. This technique is also quite helpful when working in varying light conditions. As you are shooting, you will notice the ISO Auto warning in the lower portion of the viewfinder along with the adjusted ISO setting. With the improvements in high ISO capture in the D750, I’m finding that I really love the flexibility this setting provides. Once you have the settings dialed in, you can enable and disable Auto ISO Sensitivity Control by pressing the ISO button and rotating the Sub-command dial to turn it on or off as needed.
Keep Them in Focus with Continuous-servo Focus and AF Focus Point Selection
With the exposure issue handled for the moment, let’s move on to an area that is equally important: focusing. If you have browsed your manual, you know that there are several focus modes to choose from in the D750. To get the greatest benefit from each of them, it is important to understand how they work and the situations where each mode will give you the best opportunity to grab a great shot. Because we are discussing subject movement, our first choice is going to be Continuous-servo AF mode (AF-C). AF-C mode uses the focus points in the camera to track a moving subject and then lock in the focus when the shutter button is completely depressed. As the subject moves, the camera uses something called predictive focus tracking to anticipate where the subject will be moving and then adjust focus accordingly.
Selecting and shooting in Continuous-servo AF focus mode
1. Press and hold the AF-mode button on the front of the camera.
2. Rotate the Main command dial until the AF-C designation is visible in the viewfinder, the top control panel, or the rear LCD after pressing the info button (A).
3. The camera will maintain the subject’s focus as long as it remains within one of the focus points in the viewfinder or until you release the shutter button or take a picture.
You should take note that holding down the shutter button for long periods of time will cause your battery to drain much faster because the camera will be constantly focusing on the subject.
When using the AF-C mode, you can change the AF-area mode to specify how the focus points are used. There are two modes to choose from.
Single-Point AF. This mode allows you to select a single focus point. The camera will ignore all other points and utilize only the point you specify. To select a point, set the camera in Single-Point AF mode by holding down the AF-mode button and rotating the Sub-command dial until you see the single-point designation. Next, use the Multi-selector to select the desired focus point, which will be highlighted in the viewfinder. You can lock in your point selection by rotating the lock lever to the L position.
Dynamic-area AF. This mode uses a focus point of your choosing as the primary focus, but uses information from the surrounding points if your subject happens to move away from the point. You can select from three different areas: 9-, 21-, and 51-point. The area you use depends on how much subject movement there will be.
Setting the AF-area mode to Dynamic
1. To set the AF-area mode, press and hold the AF-mode button on the front of the camera.
2. Rotate the Sub-command dial until you see the desired setting in your viewfinder, control panel, or rear LCD after pressing the info button.
Select a focus point as described in the Single-Point AF section. Pressing the button in the center of the Multi-selector will reset your focus point to the center position.
Note that the AF-area mode is used to select the method with which the camera will focus the lens. This is different from the AF point, which is a cluster of small points that are visible in the viewfinder and are used to determine where you want the lens to focus (Figure 5.7).
Stop and Go with 3D-tracking AF
If you are going to be changing between a moving target and one that is still, you should consider using the 3D-tracking AF mode. This mode mixes both the AF-S and Dynamic modes for shooting a subject that goes from stationary to moving without having to adjust your focus mode.
When you have a stationary subject, simply place your selected focus point on your subject and the camera will focus on it. If your subject begins to move out of focus, the camera will track the movement, keeping a sharp focus.
For example, suppose you are shooting a football game. The quarterback has brought the team to the line and is standing behind the center, waiting for the ball to be hiked. If you are using the 3D-tracking AF mode, you can place your focus point on the quarterback and start taking pictures of him as he stands at the line. As soon as the ball is hiked and the action starts, the camera will switch to tracking mode and follow his movement within the frame. This can be a little tricky at first, but once you master the technique, it will make your action shooting effortless.
To select 3D-tracking, simply follow the same steps listed for selecting Dynamic AF-area mode but instead select the 3D-tracking mode. It is important to know that the 3D-tracking AF mode uses color and contrast to locate and then follow the subject, so this mode might be less effective when everything is similar in tone or color.
Manual Focus for Anticipated Action
While I utilize the automatic focus modes for the majority of my shooting, there are times when I like to fall back on manual focus. This is usually when I know when and where the action will occur and I want to capture the subject as it crosses a certain plane of focus. This is useful in sports like motocross or auto racing, where the subjects are on a defined track and I know exactly where I want to capture the action. I could try tracking the subject, but sometimes the view can be obscured by a curve. By pre-focusing the camera, all I have to do is wait for the subject to approach my point of focus and then start firing the camera.
Take a look at Figure 5.8. While on summer vacation in Maine, I spent a lot of time watching the hummingbirds come and go from the feeder. Instead of trying to track and focus on a hummingbird in flight, I set up my camera to focus on the feeder and switched into manual focus. Then I just waited for a bird to come to the feeder and triggered the camera with a wireless remote. Since the feeder was on a shaded porch, I also used a flash to pop in a little extra light.
Figure 5.8 Pre-focus the camera to a point where you know the subject will be, and start shooting right before they get there.
When you want to use manual focus, just rotate the Focus-mode selector to the M position or set the focus switch on your lens to M (as discussed in Chapter 1). The camera will be able to assist you in focusing your camera using the focus points. Simply move the focus point over the area where you want the camera to focus, press the shutter button halfway to wake the rangefinder, and then turn the focus ring on your lens. When the camera is focused, you will see a circular in-focus indicator in the bottom of your viewfinder. The camera will hold this focus until you rotate the focus ring again or reactivate the AF system.
Keeping Up with the Continuous Shooting Mode
Getting great focus is one thing, but capturing the best moment on the sensor can be difficult if you are shooting just one frame at a time. In the world of sports, and in life in general, things move pretty fast. If you blink, you might miss it. The same can be said for shooting in Single Frame mode. Fortunately, your D750 comes equipped with a Continuous High (CH) shooting—or “burst”—mode that lets you capture a series of images at up to 6.5 frames a second (Figure 5.9). You can also select Continuous Low (CL), which allows the user to customize the desired frames per second by using the Custom Settings.
Figure 5.9 Using continuous mode means that you are sure to capture the peak of the action. Using the continuous shooting mode causes the camera to keep taking images for as long as you hold down the shutter release button. In Single Frame mode, you have to release the button and then press it again to take another picture.
Setting up and shooting in continuous shooting mode
1. Press the Release-Mode dial lock, on the upper-left corner of your camera.
2. While pressing the dial lock release, simply turn the Release Mode dial to either CL or CH. CH will provide up to 6.5 frames per second and CL will provide one to 6 frames per second, based upon the user’s preference. To set up CL, go to d2 in your Custom Settings menu. (For more on this, refer to page 103 of the electronic user’s manual.)
Your camera has an internal memory, called a “buffer,” where images are stored while they are being processed prior to being moved to your memory card. Depending on the image format you are using, the buffer might fill up, and the camera will stop shooting until space is made in the buffer for new images. The camera readout in the viewfinder tells you how many frames you have available in burst mode. Just look in the viewfinder at the bottom right to see the maximum number of images for burst shooting. As you shoot, the number will go down and then back up as the images are written to the memory card.
A Sense of Motion
Shooting action isn’t always about freezing the action. There are times when you want to convey a sense of motion so that the viewer can get a feel for the movement and flow of an event. Two techniques you can use to achieve this effect are panning and motion blur.
Panning
Panning has been used for decades to capture the speed of a moving object as it moves across the frame. It doesn’t work well for subjects that are moving toward or away from you. Panning is achieved by following your subject across your frame, moving your camera along with the subject, and using a slower-than-normal shutter speed so that the background (and sometimes even a bit of the subject) has a sideways blur but the main portion of your subject is sharp and blur-free. The key to a great panning shot is selecting the right shutter speed: too fast and you won’t get the desired blurring of the background; too slow and the subject will have too much blur and will not be recognizable. Practice the technique until you can achieve a smooth motion with your camera that follows along with your subject. The other thing to remember when panning is to follow through even after the shutter has closed. This will keep the motion smooth and give you better images.
In Figure 5.10, I used the panning technique to follow the horses as they came past. I set the camera to the continuous shooting mode, and I used Shutter Priority mode to select a shutter speed of 1/25 of a second while the focus mode was on Dynamic. Even though my aperture was f/8, I knew that the panning motion would blur my background.
Figure 5.10 Following the subject as it moves across the field of view allows for a slower shutter speed and adds a sense of motion by blurring the background.
Motion blur
Another way to let the viewer in on the feel of the action is to simply include some blur in the image. This isn’t accidental blur from choosing the wrong shutter speed. This blur is more exaggerated, and it tells a story. In Figure 5.11, I took many shots with a nice fast shutter speed and froze my son in his tracks, but I also decided to slow down the shutter speed and let the motion tell part of the story too.
Figure 5.11 The movement of the go-karts coupled with the slow shutter speed conveys a sense of action in the shot.
Just as in panning, there is no preordained shutter speed to use for this effect. It is simply a matter of trial and error until you have a look that conveys the action. I try to get some area of the subject that is frozen. The key to this technique is the correct shutter speed combined with keeping the camera still during the exposure. You are trying to capture the motion of the subject, so use a good shooting stance or even a tripod.
Tips for Shooting Action
Give them somewhere to go
Whether you are shooting something as simple as your child’s soccer match or as complex as the aerial acrobatics of a motorcycle jumper, where you place the subject in the frame is equally as important as how well you expose the image. A poorly composed shot can completely ruin a great moment by not holding the viewer’s attention.
The one mistake I see many times in action photography is that the photographer doesn’t use the frame properly. If you are dealing with a subject that is moving horizontally across your field of view, give the subject somewhere to go by placing them to the side of the frame, with their motion leading toward the middle of the frame (Figure 5.12). This offsetting of the subject will introduce a sense of direction and anticipation for the viewer. Unless you are going to completely fill the image with the action, try to avoid placing your subject in the middle of the frame.
Figure 5.12 Try to leave space in front of your subject to lead the action in a direction.
Get in front of the action
Here’s another tip. When you’re shooting action, show the action coming toward you (Figure 5.13). Don’t shoot the action going away from you. People want to see faces. Faces convey the action, the drive, the sense of urgency, and the emotion of the moment. So if you are shooting action involving people, always position yourself so that the action is either coming at you or at least perpendicular to your position.
Figure 5.13 Shooting from the front with a telephoto gives a feeling that the action is coming right at you.
Shoot in Manual mode to lock in your exposure
Aperture Priority and Shutter Priority modes are great, but sometimes it pays to just do things yourself. If you find yourself shooting in an environment where the action is moving across backgrounds that will play havoc with your meter readings, you might just do better at setting up your shot in Manual mode.
While at the beach with my family, I was shooting the cousins playing in the surf. The meter was having trouble with the dark water and breaking waves, so after doing some trial and error in Manual mode, I settled on a combination of settings that would freeze the action, provide a wide enough depth of field, and not blow out the highlights on the white water (Figure 5.14).
Chapter 5 Assignments
These assignments will give you practice with different ways of capturing subjects in motion and keeping them in focus.
The mechanics of motion
For this first assignment, you need to find some action. Explore the relationship between the speed of an object and its direction of travel. Use the same shutter speed to record your subject moving toward you and across your view. Try using the same shutter speed for both to compare the difference made by the direction of travel.
Wide vs. telephoto
Just as with the first assignment, photograph a subject moving in different directions, but this time, use a wide-angle lens and then a telephoto. Check out how the telephoto setting on the zoom lens will require faster shutter speeds than the lens at its wide-angle setting.
Getting a feel for focusing modes
We discussed two different ways to auto focus for action: Dynamic and 3D-tracking. Starting with Dynamic mode, find a moving subject and use the mode to get familiar with the way the mode works.
Now repeat the process using the 3D-tracking AF mode. The point of the exercise is to become familiar enough with the two modes to decide which one to use for the situation you are photographing.
Anticipating the spot using manual focus
For this assignment, you will need to find a subject that you know will cross a specific line that you can pre-focus on. A street with moderate traffic works well for this. Focus on a spot on the street that the cars will travel across (don’t forget to set your lens for manual focus). To do this right, you need to set the drive mode on the camera to continuous mode. Now, when a car approaches the spot, start shooting. Try shooting in 3- or 4-frame bursts.
Panning is a great way to show motion. To begin, find a subject that will move across your path at a steady speed and practice following it in your viewfinder from side to side. Now, with the camera in Shutter Priority mode, set your shutter speed to 1/30 of a second and the focus mode to Dynamic. Now pan along with the subject and shoot as it moves across your view. Experiment with different shutter speeds and focal lengths. Panning is one of those skills that takes some time to get a feel for, so try it with different types of subjects moving at different speeds.
Feeling the movement
Instead of panning with the motion, use a stationary camera position and adjust the shutter speed until you get a blurred effect that gives the sense of motion but still allows you to identify the subject. There is a big difference between a slightly blurred photo that looks like you just picked the wrong shutter speed and one that looks intentional for the purpose of showing motion. Just as with panning, it will take some experimentation to find just the right shutter speed to achieve the desired effect.
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