The reality is today’s digital cameras have leveled the playing in sports photography.  Any decent  photographer can capture good action images on the field, the floor, or the ice. 

But truly great sports photographers gives their audience images that they wouldn’t normally see, either from the stands, the arena video board or on television.  Those images are memorable, and make you ask “how did they do that?” 

One of the answers is remote cameras. 

The benefits of using remote cameras are enormous.  Remotes allow you to get the shot, even when your primary view is obstructed by players on the field.   Remotes overcomes the challenge of not being at more than one place at a time.   Remote give you access to places that are unsafe or interfere with the play.  But most importantly, remotes allow you to differentiate yourself from all the other photographers shooting the same game. 

This article is intended is to convince you on the benefit of using remotes.  It then gives you the step-by-step details on how to achieve these shots using remote-controlled cameras.

Needed Equipment

Most sports photographers already have a wide array of cameras and lenses.  Using remote cameras will require you to add some new gear.  Fortunately,the cost is relatively low compared to the investment you’ve already made. 

The basic hardware doesn’t change from sport to sport or venue to venue.  What changes is where you install the equipment. 

At a minimum you’ll need the following equipment:

·     Two cameras with lenses for the type shot you anticipate taking.  The first camera is your primary, or transmitting, camera. This is the camera you hold in your hands to take images of the game.  The second camera is the remote camera. 

·     Two transmitters that enable the cameras to communicate.  The PocketWizard Plus III and Plus IIIe are most often used in sports photography.  The two models vary only in the level of firmware that controls the camera, with the IIIe being most advanced.  Firmware for the Plus III models can be upgraded.  This article assumes the use of the IIIe.

·     Two firing cables to connect the PocketWizard to the camera body.  In theory, a firing cable is only required for the remote camera. But in practice it’s best to also use a firing cable on the transmitting camera so you will never miss a shot. The type of firing cable varies by camera brand and model. The PocketWizard wiki identifies cables for a wide variety camera brands and models.

·     One clamp to secure the remote camera.  Manfrotto clamps and accessories are often used.  The type clamp you need depends upon where you placing your remote. There are three basic choices:

1.    Clamp with Magic Arm -   The Magic Arm is a 360-degree articulating connector used to position the camera. One end of the Magic Arm screws into the tripod mount of the camera or the lens.  The other end inserts into the clamp that is attached to a rounded post or flat angle iron.  This configuration is often used behind basketball backboards, or above the playing field in catwalks, overhangs, and balconies.

a.    Manfrotto 244RC Variable Friction Magic Arm with Quick Release Camera Bracket

b.    Manfrotto 035 Super Clamp without Stud

c.    Manfrotto 037 Reversible Short Stud, with3/8" & 1/4"-20 Threads (Brass)

2.    Clamp with Ball Head – The clamp with ball head is used in situations like the Magic Arm, but when less manipulation is required to angle the camera. 

a.    Manfrotto 492 Micro Ball Head

b.    Manfrotto 035 Super Clamp without Stud

c.    Manfrotto 037 Reversible Short Stud, with3/8" & 1/4"-20 Threads (Brass)

3.    Mini-tripod or Folding Z-Head – These clamps are used when the remote camera is set at floor level, like at the base of a basketball pedestal, called the mouse hole, and behind a soccer goal. 

a.    Manfrotto PIXI EVO Mini Tripod (Red), or

b.    Magnus Folding Z-Head (works best for the basketball mouse hole)

·     Two safety cables to stop the camera from falling if the clamp came loose.  One cable threads through a fitting on either the camera, lens or clamp, and the other through the camera strap. 

a.    Impact Safety Cable (32")

·     One roll of gaffer’s tape to secure all settings and connections.

PocketWizard Set-up

The PocketWizard transmits and receives radio signals.  Its performance depends on its placement, the presence of nearby radio interference, and the radios’ orientation and position relative to each other. 

Whenever possible, maintain a line of sight between radios.  The radio signals can bend around some obstacles, but they will go through obstructions like walls or scoreboards.  Keep antennas parallel and make sure radios are not near any large metal, concrete, or high water-content objects. Do not let the antenna touch any metal.

Poor reception between radios can have several causes.  The solution is usually as simple as movingthe radio a few inches or feet away from the problem area.

Assemble the rig is a convenient spot before moving to the remote location.  Safety is the number one priority.  Do as much as possible ahead of time.

1.    Install the PocketWizards on to the hot shoe-mount of both cameras.  Insure the connection is snug. 

2.    Connect the firing cable to the PocketWizard and to the remote-control terminal on both cameras. Consult your camera’s owner’s manual for the remote-control terminal location.  The camera is now communicating with the PocketWizard.  Use the gaffer’s tape to secure the remote-control terminal connection. 

3.    Disable the hot shoe on the remote PocketWizard by holding in the D button on the PocketWizard until the display changes to from Ch to Cd.  This indicates the PocketWizard's hot shoe is disabled.  The PocketWizard will revert its original Ch state when powered off. 

4.    Use the LR (Long Range) mode on the transmitting PocketWizard and Rx LR (Receiving Long Range) mode on the remote radio.

5.    Select a Channel and Zone using the Channel Up/Down Buttons and Zone Toggle Buttons. Set both PocketWizards to the same Channel and Zone.

6.    Fully pressing the TEST button on the transmitting PocketWizard radio fires both cameras. Fully pressing the shutter release on the transmitting camera will achieve the same result. 

7.    Half-pressing the TEST button on the transmitting PocketWizard wakes up the camera and makes it respond more quickly and consistently.  Half-pressing the shutter release on the transmitting camera will achieve the same result.  You’ll want to wake-up the remote camera when there’s been a lull in the action.

Camera Setup

There are two remote camera setup scenarios:above the field of play; and on the field of play. 

Remote cameras can be setup above the field of play in catwalks,overhangs, balconies, or behind basketball backboards.  These installations have the potential of creating a safety risk if the camera were to become loose and fall.  Extra precautions are be taken in the setup to minimize the risk.  Complete the setup  in a safe and convenient location. 

For setup above the playing field:

1.    Secure the Magic Arm or ball head to the threaded tripod mount on the camera or the lens.  I prefer attaching to lens tripod mount because it balance the weight. 

2.    Insert the stud into Super Clamp and connect the Magic Arm or ball head to stud. 

3.    Thread the one safety cable through the camera.  I prefer attaching a BlackRapidR5 fastener to the tripod mount of the camera, and threading the safety cable through the fastener.  Thread the second safety cable through the camera strap. 

Remote cameras can be setup on the field of play, such as at the base of a basketball pedestal, called the mouse hole, or behind a soccer goal.  Safety is less of a concern,provided the remote camera does not interfere with the play. 

The setup on the playing field is straightforward: screw the mini tripod or the folding z-head into the camera’s tripod mount. 

Installation

There are two remote camera installation scenarios: above the field of play; and on the field of play.  Both scenarios require you to pick a location that gives you a well composed image  and has line of sight to your shooting location during the game. 

Installation of the remote camera above the field of play has the greatest potential for risk of falling objects.  Remove loose objects from your pockets and take great care not to drop anything.

For installation above the field of play:

1.    Clamp the setup to a rounded post or flat angle iron. 

2.    Secure both sets of safety cables around a railing or post.

3.    Set-up the shot for the desired composition.  Tape down the zoom ring on the lens using gaffer’s tape, if you are using a zoom lens. 

4.    Set-up the exposure.  Use shutter priority mode (1/1000thsec).  Set ISO as high as possible to maximize the depth of without affecting image quality.  An f/stop of 5.6 to 8 is ideal, provided the image is not grainy. 

5.    Pick a spot on the field to focus the lens,first using autofocus. Tape down the focus ring on the lens using gaffer’s tape.  Switch the lens to manual focus. 

6.    Disable either the camera’s or the lens’ Image Stabilization. 

7.    Confirm both triggers are set to same channe land zone.  Use test button to confirm everything works.

Closing Thoughts

Game time is approaching, and you’re almost ready to begin shooting.  Here are a few more things to consider.

Your remote camera will now take an image every time the primary, or transmitting camera, takes a picture.  This means you will be taking twice as many images than before.  I strongly recommend you tag or protect images of your best shots on the primary camera during the game. 

After the game, when you have download images from both cameras, go to the tagged images, and then look for images taken from the remote at the same moment.  Flag the keepers from the remote camera for editing. 

This technique works best if you synchronize the clocks of both cameras down to the second.  This minimizes the searching while looking at images from the primary and remote cameras. 

Consult my article on Workflow:What Problem Are You Trying to Solve? for more information on tagging or protecting images. 

Another helpful idea involves the one-shot autofocus release setting on the primary camera.  When not shooting with the remotes, I normally set the one-shot autofocus to focus priority, meaning the camera will only take an image when the images is in focus.   However, when using remotes, I change this to release priority.  This allows the primary camera to fine, thus firing the remote camera, giving a potentially good shot, even when the primary camera is out of focus.

Wrap-up

Using remote cameras at sporting events is a very powerful tool.  Remotes allow you to differentiate yourself from the dozens of other photographers shooting the same game. 

Using the remote cameras give you more looks at whatever is happening on the field.  Remotes allow you to take images from locations you can’t normally be in.  Remotes also provide cool and unique angles of the sports action you wouldn’t normally be shooting from.  Remotes also allow you to catch a second angle or supplementary angle of a play or moment that’s happening.  After all, you can’t be in two places at once when the big play happens. 

There are some drawback to remotes.  Remotes do take time to setup, and take more time to review.  And you must very attuned to potential safety risks from improperly secured remotes.  Beyond this, I’m sure you will find if worth the effort when that special moment occurs. 

About the Author

Andy Nietupski founded TTL Sport Media in 2015after a corporate career of business start-ups and turn-arounds.  TTLSports Media helps sports organizations optimize their business results using the latest digital sales and marketing techniques.  TTL Sports Media publishes thousands of pieces of content annually and curates a catalog of more than 160,000 items on behalf of its client’s interests. 

Copyright 2024 Andy Nietupski and TTL SportsMedia