Tim Kemple is an action-sport and lifestyle photographer based out of Salt Lake City, Utah. Visit his website here.
PetaPixel: Can you tell us a little about yourself and your background?
Tim Kemple: Sure. I’m a photographer and film maker based in Utah. I grew up on the East Coast and spent my weekends as a kid climbing, skiing and wandering. I started carrying a camera to document my adventures. Read more…
This photo is the greatest sports photo of all time — at least according to Sports Illustrated. The magazine has published a gallery containing 100 of the greatest images (from an American’s perspective), and the #1 image is the above shot of Michael Jordan hitting the game-winning shot to help the Chicago Bulls beat the Utah Jazz and win the 1998 NBA Finals in 6 games. Read more…
A couple of weeks ago, photographer Mike Simons of Tulsa World covered the annual college football game between the Oklahoma Sooners and the Texas Longhorns football. Known as the Red River Rivalry, the series considered one of the greatest rivalries in American sports. To capture what photographing the conclusion of such a big game is like, Simons decided to wear a GoPro camera on his head to record a first-person point of view. Read more…
As we shared last week, being a sports photographer at the Olympics is a difficult task: battling a round-the-clock schedule and a sea of competing photographers, hauling around a boatload of gear from venue to venue is just the least of your concerns.
Ever wonder what it’s like to be the world’s fastest man winning a gold medal at the Olympics? Usain Bolt wants you to know.
After sprinting to victory in the 200m race today, Bolt proceeded to run over to the photographers’ pit, commandeer a Nikon DSLR from one of the photographers, and snap super wide angle views of what he was experiencing. The photographer, Jimmy Wixtröm of Aftonbladet (Scandinavia’s largest paper), left the event with memories of a lifetime and a memory card containing epic images that are the envy of many a sports photographer. Read more…
Nate Jones over at Metro was recently looking through Getty Images in search of Olympic beach volleyball photos, when he came upon an interesting/”gross” discovery: some of the photographs focused on the body rather than the athlete or the sport. While other Olympic sport photos focus on action and emotion, it seems that certain beach volleyball photographers are intent on snapping images of behinds.
We’ve seen some very heavy-duty gear lugged out to cover the Olympic games in London this year: some robotic rigs, an 800mm lens that could easily weigh more than the average lady gymnast, and of course, the usual suspects in a packed camera bag. But Guardian photojournalist Dan Chung is traveling light: he’s covering the games with a simple iPhone setup.
Using different combinations of an iPhone 4s, a clip-on Schneider lens and a pair of Canon binoculars, Chung has been live-blogging all aspects of the games. His photos yield surprisingly crisp results, indoors, outdoors and even underwater through a viewing window — which again reinforces the old photographer’s adage that the best camera is the one that’s with you.
Chung uses the Snapseed app to do in-camera/phone edits. You can check out more of Chung’s work on his Guardian blog.
Sports photographers sitting close to the action occasionally take a beating when athletes leave their field of play. This happened yesterday to Reuters photographer Mike Segar while he was shooting the Olympic basketball game between Spain and Australia. While trying to dive for a loose ball, Spain’s Rudy Fernandez slammed into Segar and injured his head. Segar has written up an interesting post on what it was like to suddenly find the cameras pointed at him:
As the smoke cleared and I looked up, Fernandez was basically lying in my lap head down eyes closed. He rolled forward slightly, moved his hands to his head, moaned loudly and stopped moving. He was in my lap, clearly injured on his head. I could see blood on his fingers on top of his head and apparently he was now unconscious for a few seconds, or nearly so. At this point I was not a photographer. I suppose I just kind of instinctively rubbed his arm and shoulder, kept my hands on his back and held him a bit and said “stay still, stay still man… You’re all right.” I didn’t actually know if he WAS all right at all, but all I could do was to try to comfort him for the 20 or 30 seconds it took the Spain trainers, players and staff to rush to his aid. Anyone would do the same for anyone else injured in their lap, right?
I looked up and realized that fellow photographers and TV crews were shooting the incident from all possible angles. I was in the center of this wreckage but I was not really hurt. A camera with a wide angle lens was somewhere in the strewn mess of my equipment at my side and for a moment I thought to try to find it and take pictures, but with Fernandez lying bleeding on my feet and me the only one trying to help a bit, that wasn’t going to happen.
The Olympic games in London this year makes London the first city to have hosted the modern Olympic Games three times. The previous times were in 1908 and 1948. Here are some photographs captured at the 1908 Olympics 104 years ago, during a time when megaphones were used to announce events, top hats were all the rage, and dresses were worn by female competitors (this was the third games in which women were allowed to compete). Read more…
This behind-the-scenes video by the Associated Press gives a neat look at the various robotic cameras the agency will use at the London Olympic Games (earlier this month we shared some of Reuters’ rigs). Fancy remote-controlled rigs will allow for many photographic firsts, as cameras will be found in locations that were previously inaccessible. Wired writes that despite their usefulness, robotic cameras are causing some human photogs to sweat:
“We are essentially able to put cameras and photographers where they’ve never been before, capturing images in ways they’ve never been captured,” [Fabrizio] Bensch said. “For example, I’ve installed a robotic camera unit on a truss, 30 meters high — in a position where no photographer has been in a previous Olympics.”
For [Mark] Reblias, those are positions you just can’t compete against. With the traditional remote-control cameras, if the subject showed untethered joy five feet out of frame, you were out of luck. Now if Reuters is able to get that shot, “well, there’s nothing I can do,” he said. “Maybe I’ll have to upgrade my gear and make a robotic system. It’d be expensive, it might be a cost I have to take on.”