assignment for a Mexican magazine, photographer Annick Donkers found herself angling for an invitation to a particular car wash outside of Mexico City. On some nights, this car wash transforms into a venue for the hardcore wrestling style called Lucha Libre Extrema. Illegal in the city for its brutality — Annick told me there are “basically no rules” — it’s difficult for journalists and outsiders to get invited. Once inside, she had to protect her camera for fear that it might get shattered when she approached for close shots of the wrestlers. Intrigued by the appeal this extreme sport holds for spectators, which include women and children, Annick says her work aims to observe but not judge. For Polarr, we spoke about the project.
Here’s a 10-minute video titled “One Shot” that offers a behind-the-scenes look at the Olympics from the photographers’ perspectives
“On the weekends they are superheroes or villains,” Ghent photographer Kevin Faingnaert says of Europe’s underground wrestlers, “during the week, they are postmen, carpenters and office employees.”
Vasiliy Kolotilov found out about an American football league in Russia where most people discover bizarre, out-of-the-ordinary things: the internet. After a bit of investigation, he pitched a piece on the Spartans — a local football team in Moscow — to a newspaper. In March, he attended some training sessions and published the article. But that wasn’t enough.
Ahead of this year’s historic matchup, pitting the Chicago Cubs (last win: 1908) and the Cleveland Indians (1948), TIME asked sports photographers who covered the World Series throughout the years to select the images that moved them most.
This summer alone Al Bello photographed the Belmont Stakes, the Olympics, the U.S. Open, and the Baseball playoffs
To capture great sports photography you have to follow five basic rules that can apply to any form of photography but are especially important for sports photography. They are 1) Composition 2) Light 3) Background 4) Subject/Content 5) Practice.
During his long career, David Turnley has dodged gunfire, shaken hands with world leaders, witnessed the toppling of regimes and won a Pulitzer Prize. But what has given him perspective, he said, are memories from an indelible part of his college years: a 1973 stint as a walk-on — along with his twin, Peter — on the University of Michigan’s storied football team.
What follows is a small sampling of the hundreds of racers that appeared out on the salt flats to see how fast their equipment can take them. It is hard to express the scale of the racing out here without some form of arial photography, so I have focused on the desolation of racing out here.
From its earliest days, still photography’s ability to freeze action has naturally complemented the fast-moving world of sports. “To play and to watch sports is to be in the moment. Still photographers are masters of moments,” says Gail Buckland, curator of the Brooklyn Museum’s exhibition Who Shot Sports: A Photographic History, 1843 to the Present. Comprising more than 230 images throughout three large galleries, the herculean survey runs through January 8, 2017. It’s accompanied by a 344-page coffee-table book from Knopf.
Hundreds of photographers have gathered in Rio to follow the action in the Olympic arenas, swimming pools, racetracks, and more
“I was carrying three remotes and my handheld camera,” Cameron Spencer tells TIME. “So when he was sprinting, I had four cameras firing,”
In the much anticipated rematch of the men’s 200m butterfly at the 2016 Rio Olympics, Chad le Clos spent much of his time playing mind games staring down Michael Phelps both in and out of the pool. He spent the moments before their semifinal race shadow boxing in front of Phelps, who responded with a meme-worthy #PhelpsFace death stare. So the narrative entering the finals was whether le Clos had awoken the sleeping giant, and would pay for his indiscretion. How could a single photo encapsulate that?
Being a top photographer at the Olympics takes meticulous planning, razor-sharp instincts, visual virtuosity and the ability to recognize drama – attributes that Chang Lee, a staff photographer for The New York Times, has in abundance. This week, he is in Rio de Janeiro covering his eighth Olympic Games. Despite that experience, he says he has found it more difficult to shoot each successive trip.
The Photo Brigade presents a special Olympic sports photography panel featuring sports shooter veterans who have collectively shot dozens of Olympic Games over the years. Gary Hershorn(Reuters/freelance), Julie Jacobson (Associated Press), Al Bello (Getty Sport), and Robert Deutsch (USA TODAY) talk with moderator Steve Fine (SI/NYT/Flipboard) about past experiences in covering previous games and what they think about the upcoming games Rio from a technology perspective, news perspective and sports perspective.