Sports Photography with Peter Read Miller – Remote Cameras Part 2

Sports Photography with Peter Read Miller – Remote Cameras Part 2

– Hey, it’s Peter Read Miller
from On Sports Photography by Peter Read Miller. I’m here today with
Jordan Naholowa’a Murph, my good friend, a really
good photographer, a former assistant and
tech at Sports Illustrated, and today Jordan and
I are gonna talk about setting up a remote and some of the things you should think about when you do it. We’ll be right back. (upbeat instrumental music) So Jordan, what are some of the things you should think about
when you set up a remote? – There’s a lot of things to think about. – Yeah, we both know, we both know. – A lot of things. Safety is always a
priority, no matter what. – Yes, yes, yes. – It always comes back to safety, I keep saying that over
and over, and you know? – Can’t say it enough,
can’t say it enough. – Safety, safety, safety. But really, you know, a
lot of young photographers and new photographers
to remote photography get really hung up on the
technology part of it, you know, it’s cool tech
stuff, you know, it’s magic. – Radios and wires and magic
arms and all that, but. – People get a real kick out of it and but people get really hung up on it. You know, you still gotta
make a good picture with it, that’s the whole point of
it, it’s not just for the, you know, just to put a remote camera up, and if that was the point then it would be a big pain the butt,
it wouldn’t be worth it because it’s a lot of work. You really wanna make a
special picture out of it and that goes back to, you
know, safety’s always important, but preparation, preparation, preparation of having a picture in mind
when you set the camera up, previsualization, because
when you set this camera up the lights in the building might be off, the tarps and you know, the
batting cage might be up… – On the field, yeah. – You know, you know, you just never know. You have to, you have to previsualize, you know, what you wanna make. You need to preframe it,
you need to have an idea of where the thing is gonna be. – It’s gotta be in your head,
it’s gotta be in your head, ’cause you’re not gonna be able to see it when you’re actually
setting up the camera. – Exactly, so that’s where
that previsualization and really thinking ahead and
why am I making a picture, maybe it’s an inspiration you’ve seen from a photographer you admire on
their website or in a book, you know, wanting to retry
something or have the idea, or it could be something original, and but you need to have
that picture in mind that you wanna make ahead
of time when you set it up. – Yeah, exactly. – You know, and that goes, you know, from the idea of what moment
you’re trying to capture, but also just the framing,
’cause you’ve gotta, you know, you gotta set your camera and it’s gonna be fixed, it’s
not gonna be moving around. – Yeah, you can’t change
it, it’s gonna be somewhere where you’re not gonna
be, that’s the whole point of doing another angle,
and you will rarely be able to access it during
the game to change anything. – Yeah, so that previsualization
is really important and going, you know,
hitting that nail again about preparation of, you
know, knowing that it’s gonna work, have the confidence in it from being prepared of
you know, making sure your batteries are charged, that you know, double and triple checking. – You have a card in the camera. – Card in the camera, battery’s in there, all those sorts of things
that have been tested out and you know, worked out
those problems ahead of time, that’s really important. – Right. – But having that picture
you wanna make, you know, in your mind, previsualize
is really important, and today we’re gonna, you know, we’re gonna set up, you know, we can imagine this could be
a home plate action camera, you know, maybe behind home plate or inside or outside, first or third base. – So this is a very basic set up, this will serve you in
any sort of situation that you’re in. – Yeah, ’cause this is the same, you know, technical set up we, you know, I can name a bunch of stuff right
now, we use it for a camera behind home base, for a play at home, it’d be for a first or third base camera, it’d be for a looser overhead at baseball to get a shot of home
plate for maybe a reaction or a plate that played from overhead. Basketball, it’d be a corner cam, it could be an overhead
from a smaller gym. – Right. – The same set up would be used for… – Gymnastics, gymnastic, a
different angle on the bar, the beam, or the uneven. – So many different opportunities
to use this same set up so that’s what we’re
gonna teach you right now. So we’re gonna start with
what camera we’re gonna use. If we’re gonna make a
picture behind home plate we wanna get, you know, maybe
the catcher trying to tag a runner coming down third and
sliding into home, you know? – 7200 is a really good all around lens for anything like that. If you’re going, even
if you’re going overhead at a smaller gym that’s
again, a really good lens. If you’re going overhead in
a big arena, Staples Center or whatever, you need a longer lens. But we’re gonna do it with the 7200 today, it’s a good all around choice
for a lot of remote angles. – Yeah, and so going back to
what, I’m gonna keep saying the same words, safety, safety, safety. The very first thing
besides knowing that there’s a battery and a card in
the camera is safety. And what we like to do is use these very, I don’t even know what you
call them, but it’s just a tie, but I’m not sure how strong they are, but they’re hundreds of pounds, these are the kind that
cops use for handcuffs. You know, this is the
greatest thing to use to secure a safety cable to a camera. And it’s really to take the
straps out of the camera and you just feed these through. And this is gonna create a mounting point for a safety cable. Really simple, so now… – The whole camera can
be supported by that. – And if it falls it’s gonna be held up. So what we do is we put these
on, get one on both sides. And you can get these safety cables, or I’m sorry, these zip ties at any large or any hardware store really. – Yeah. Or you can get ’em at
an electronics store, you can get ’em on Amazon. – The bigger and heavier the better, just as long as they
fit through, you know, the strap lug on your
cameras and lenses, yeah. And this is a small lens so
we’re not gonna worry about it on a lens this small
because of the weight, but a larger lens, like a 400
millimeter or 300 two way, those lenses need more
safeties on those directly, but those also have lugs directly on ’em. – They will have a lug that
where you can put it on, this lens does not. – Directly on the lens
barrel, but we don’t need to worry about that with something
this small thankfully. So from there the other
tool we’re gonna use is, or a very necessary item on all these. – The Leatherman. – All these sorts of remote opportunities or yeah, multi tool Leatherman. And a roll of gaff tape. These two things are, you know, essential. You’ll need to use this
to tape down your lenses and you know, flag things,
and keep things in place on your wiring, and this
is gonna be to cut things and to tighten stuff down. So first what we wanna
cut is we’re gonna cut the ends off of our… – Right.
– Our zips. Make ’em nice and clean, and that’s, you know, that’s a thing that, you know, this is a personal preference of mine as I think you know me very well. – Yeah, yeah I do. – I really like having clean remotes, things should, you know,
some photographers have arms going everywhere and things,
you know, just really messy. My personal mentality is that
you keep things really clean and pretty and make things look good ’cause if there’s ever a problem if you have a really
nice clean looking rig. – They’ll blame somebody else
who’s got the sloppy rig. – Exactly, and so taking the extra moments to make things clean and
make it look good like this, it goes a long way. – Yeah, yeah. Okay. – So after that we’ll show
what we’re gonna mount with. – Right, this is… – You wanna talk about the,
the plate and the clamp? – Yeah, this is a ball head,
this actually is a slick ball head, they’re a little hard to, they’re not produced anymore,
but you can find ’em on Ebay. There are a lot of great
ball heads out there, Really Right Stuff, who
else makes a good ball head? – Manfrotto does, really great
stuff, makes great products. Kirk makes great things as well. A lot of different products
you can get up there. – Or you can look for
one of these on Ebay. – These are the best of the best. If you can find ’em on Ebay
or like an old camera store or a used pile, grab them,
they’re special, they’re special. – Yeah, what have you got there? – So this is a standard super clamp, it’s also called a mafer clamp,
a lot of different companies make ’em, Bogen Manfrotto
makes the standard super clamp that everyone is familiar with. – Right, right. – It goes, you know, it
kind of does everything, you know, it’s used 95% of the time, there’s a lot of other specialty clamps or different, different
preference as you know, but you know, the super
clamp does most of the jobs really well. And then from there on the super clamp you gotta put in the mounting spicket you gotta put something
to attach the ball head to the super clamp with. So we use these studs right here which are machine specialty,
specially for the super clamp with a 3/8th inch spicket. So between the quarter 20 and the 3/8th you wanna use a three, it’s stronger. – Yeah, yeah, especially for the slick, I mean depending on what
size whole you’ve got in your head, but it’s
gotta be the bigger one. – The 3/8th, yeah. – Now one thing about super
clamps is they’re also, there are other fittings
you can put on them to mount flash heads, to
mount different things, so they’re very versatile,
they’re really good investment when you’re building your kit for remotes and any kind of photography. – Absolutely, you know, I
inherited a lot of my super clamps from Peter and jobs that
we’ve done over the years and I still use ’em, they might
as old as I am at this point but they’re, you know,
they keep working until, you know, until you retire ’em, so. From there we’re gonna
get that guy together. – We’re gonna put the head on this clamp. – So with this rig what
we’re gonna do, you know, since this camera body
obviously has a mounting point on the bottom which is right here, but the lens also has a mounting point, and since it’s a larger
lens, a little heavier, you know, you don’t want
your frame to move, you know? Going back to previsualization,
previsualization and you know, having a picture
you wanna make in your mind once you set it you don’t want it to move. You don’t want, if that’s
your picture right there that’s not. – Yeah, you don’t want it droop. – So that’s why we’re gonna
use two mounting points today and our second mounting
point that we’re gonna use or second support mechanism
is gonna be a standard Manfrotto magic arm, technically
the variable friction arm. – The variable friction arm, yeah. – That’s the one you
want, you know, this is, I know I get a lot of questions
from other photographers about this and assistants of
you know, just starting out, thinking that the magic arm has a lever, but it’s tension, so once
it, as soon as it gets hit it just moves a quarter inch
and the whole thing comes apart it just falls apart. But a variable friction arm
you get to tighten down, so that’s not moving now,
and you keep tightening it to make it tighter. And so that’s something to remember, a variable friction arm. – Get the knob, not the lever. – Knob, not the lever,
yeah, so that, these two… – And again, super clamp,
going, it’s going in the same socket that we did here. It’s the same super clamp. – Yeah, so a lot of
these, a lot of grip tools are gonna use the same… – Components.
– Same components. Like you know, you
could stick this on that and you just gotta make
sure that the spickets are the same, but yeah, so
this works with the super clamp and then on the other end
of the variable friction arm is a camera platform. They sell these kits together
from any of the, you know? – Right, B&H, Adorama,
Amazon, and all of above. – Yeah, they sell these kits together, but this is called a camera platform, this is what’s gonna
screw into the camera. – Right, right. – So from there let’s start mounting. – All right, I’ll let you
put that on the camera. – In general the way I like to do this is build as much as you can before you start putting it on something. – I was gonna say if
you’re doing an overhead where you’re hanging out over. – And that’s you know,
and just to hit on that, when you’re in a situation
where safety is a factor, you know, if you’re
sitting, if you’re down, if there’s rails down on the ground like you know at a maybe a small college or high school stadium,
you don’t need to worry that much about dropping on somebody because you’re kneeling on the ground, that’s not gonna be much of a situation, but when you’re overhead
at a major stadium or railing, you know, at any stadium, safety’s a major concern,
and at that point before I’d even go out over
the railing to put something on we’d be putting safety cables on. And I think that’s a good opportunity to talk about the safety
cables real quick. The kind we use and why. And these are rubberized
steel braided cables. They’re custom made but
these things can probably hold up a 1000 pounds… – Oh yeah, yeah, yeah. – I wouldn’t, hey I don’t
know, but it’s a lot, it could hold up more than this camera, and with these steel carabiners as well, you know, you gotta make sure it’s safe, and starting from the very beginning before you even get out there… – Put your safety cable on. – You put the safety cable on the rig and a lot of times what I would do when I was up on catwalks… Was I’d put it around my neck, so this can’t go anywhere
at this point, it’s safe. – Yeah, yeah. – Then we just get to our
apparatus and we start, if this is where we wanna put
it this is where we put it. – And if you happen to be
mounting on a square rail there is a little insert in
the jaw of the super clamp that flattens it out so it
mounts on a square rail. – So from here let’s just, let’s
say that this is our frame. – Okay.
– How’s that? What do you think Peter? – I like it, I like it.
– Okay. So we lock this guy down, that’s
how we want our frame to be and now this guy’s locked. Well from there while
you’re on the catwalk or any unsafe situation
you never take more than, you always have two hands
on the rig at all times. And that’s where. – Something’s still loose. Oh I see, it’s probably that. So tightening, making
sure everything’s tight, you don’t want it to move on you. So we probably need to move
them, re-aim the camera a little bit. – Okay, we will. At this point if things move
a little bit that’s okay, you know, you’re just wanting to get safe and that’s the most important. Now it’s safe. If this thing fell apart right now for, it won’t fall apart, but if
it did it’s not gonna fall and hurt anybody. – Yeah, yeah.
– It’s not gonna fall. But here we go, we can tighten
this guy up now a little bit. We get our frame back to where we want. And there we go.
– Tighten it down. – We’re tightened down, we’re good. Well the next thing we wanna
do is get our second arm up and since it’s already
secure this is what we do. – Now you’ve got two hands to work with ’cause you don’t have
to hold the rig anymore. – And you’re safe. So the point of this arm
is purely for support, it’s not gonna bear the
entire weight of the rig, it’s gonna keep it from
tweaking and moving. It’s basically, it’s… – Balance.
– Insurance and balance, yeah. And see how we’re getting
things nice and close together, making it nice and clean. – ‘Cause you may have a
number of photographers who are putting remotes in the same spot, you know, any kind of
big game, a horse race, horse race in particular,
you’re gonna have a row of this. So you wanna take up, you
wanna be the good photographer citizen and take up as little
space as only what you need. – Correct. So what we do is we get, we
keep things kind of loose, we get it nice and close
to where we want it to be, keep a little loose. And we just kind of adjust it till it gets exactly where we want it to be. Which this will work. When we get down here
into the quarter 20 screw in the bottom of our
camera body, now we’re in. And we just kind of adjust
it to kind of make it as small and low profile as we can. Now right now from this
angle it might look kind of wide, it might
look like we’re taking up a lot of space, but in reality
no one’s gonna go behind you, no one’s gonna put a camera
behind another camera. – Right, right, right. – So 99% of the time in most events… – They’re all gonna be
pointing in the same direction so they’ll all be parallel. – So a lot of times on a rail you’ll get maybe six inches, that’s
how much space you’ll get, so you kind of have, it’s
almost like a long skinny piece of real estate. You can put up what, you
can put what you need in that small area. So now in this small area
we’re very well contained. – Yeah. – Yeah, so now a lot of
other cameras can be put here whether by us or by another photographer. – Right, right.
– Yeah. – Okay, so how are we
gonna fire this camera, which is gonna be maybe
hundreds of feet away from us. In this case we’re gonna
use Pocket Wizard Radio, again, this is a kind
of an industry standard, there are other radios out
there, I’m not that familiar, but I know there are. Pocket Wizard makes a whole
line of different units and different price ranges,
this is their Multimax, I think they now have a Multimax two. This is what you wanna call a transceiver, it will both, you can set it to transmit, you can set it to receive. Either way you need two. – Yeah, so what we’re using
again is another super clamp, but we’re gonna use these, this is called an isolation post which
is really just a… – Piece of plastic…
– Piece of plastic. – Or is that a couple of screws? – That’s the right sizing
put inside of a super clamp with a quarter 20 thread to
screw on the back of the radio, it’s all it is, very simple. But what we’re also gonna
do because anything up here is a safety hazard, a
potential safety hazard, so we’re going to use another
safety cable on the radio, and it’s a simple as a
dedicated safety cable with a key ring through the radio. – I mean this radio looks pretty small, but from 100 feet up it would sting. – It really would. So we get the radio on,
and another, you know, a quick little note on
the safety cables is this is a long cable, as you can see this is about three feet long. You don’t wanna just take three
feet and leave it dangling ’cause now if this thing falls… – It’s gonna fall away. – It’s gonna fall at least that far and then it’s gonna start
swinging which it could create more, you know,
there’s more potential… – More problems, yeah. – So what you wanna do
is always remove slack and when you’re doing
this, when you’re wrapping these cables around the apparatus you wanna take the slack
up, but you wanna make sure that you’re actually wrapping
the safety cable around because when you start doing
this with a heavy gauge cable sometimes it, you think
you’re wrapping around it when you’re really not actually
wrapping around the cord. So there we go, so that’s now safe. So our rig is safe. The last piece of the puzzle
technically is the wiring from the radio to the camera. So I’m gonna use the pre-release cable. – Pre-release cable. This is a, these cables
are camera specific, the little switch box
there keeps your camera from going to sleep, so
your camera’s gonna be on all the time. Even if your camera is asleep
and you push the button eventually it’ll fire, but
you may miss that moment that you were going for. So this means the camera
will instantly respond when you trigger it from wherever you are. – And something to also
remember along with that is when the switch is on
it’s the same as having your finger on the shutter
release and pressing it halfway down, which is you
know, turning your meter on your camera. This switch is the same
as taking your finger and sticking halfway down
on the shutter release. So if your camera is set
to front button auto focus right here, having this
switch on is going to make your camera constantly out of focus, so it’s something to remember. A trick that a lot of
us use is we use back, what’s called back button… – Rear button.
– Rear button, back, I’m sorry Back button, out of focus
rear button auto focus, which is using your
thumb button essentially on the back of the camera to auto focus and taking that responsibility away from the shutter release. – Either way you wanna turn
the auto focus off on the lens. – Yes, and so when we get
to that, when we start, you know, focusing our
camera we’re going to tape that down. – Yeah. – Now something we
should’ve mentioned earlier when we were framing our
camera, we’re assuming, you know, I had already
set it at 70 millimeters and that’s really easy to remember, but let’s say I had set it
at 135 where it can go left or right and tweak it,
you’d wanna tape that down immediately, we haven’t done it yet because we were intending
to have a 70 millimeter shot which we don’t need to, you
know, really worry about locking it down immediately,
but that’s something to remember, as soon as you frame it maybe you don’t auto focus it
while you’re getting it set up sorry, you don’t set your focus, but you wanna make sure that
you tape down your zoom. – Yeah, along with your
focus and your aperture. Anything that can move that
will change your picture you wanna tape down. – So when we were setting this
up and we wanna make sure… – Camera is working. – It’s working, so
everything is, you know, we tested it all out, now this is set up, all we really have to do now
is just get our focus set. – Set our framing and focus. – Yeah, double check our framing,
getting it all locked down and test it, and walk away. So we will do our focus
now and this is where always having your tape is very handy. – Now there’s sort of
different photographers think different ways about how
they wanna frame in a remote. It’s very important that
you have some awareness obviously first previsualize the shot, but also the athletes you’re shooting and kind of what they do
and where they’re gonna be. So you’ve got that and
you have your frame, some people just sit
right and tight with that, some people go way out wide. I’m in the middle, I like
to think about what I want and then I like to pull back a little bit, ’cause I don’t wanna cut off an arm, I don’t wanna cut off a leg,
I don’t wanna lose the ball, so I just want a little more room because sports, as a friend of mine, my former boss Steve
Fine says, it’s messy. – Yes. So we’re gonna have our tape ready, it’s easiest to take a bunch of pieces and have ’em ready to go right here so you don’t have to keep
fumbling with your roll of tape. What I like to do, you
know, every photographer kind of thinks differently. The way I like to do it is
have random pieces of tape at different points around the focus ring and the zoom ring. So then if one piece falls off… – Right, right now,
good point, good point. – Some photographers like
to have one big long piece for everything, you know, it’s preference, it’s what works for you. So I’m just gonna kind of put
a bunch of different pieces around, but nothing set yet. From there we would
double check our frame, we wanted to be at 70
earlier, so we get back to 70. We can make some fine adjustments. So this, when you’re using
a double set up like this with the magic arm and a ball head you’d always wanna work backwards. So you’d always wanna
loosen your magic arm first. – Yeah, and then your ball
head, ’cause that’s your main movement, so you wanna be
able to move the camera, tighten it down on the ball head, and then crank the magic arm to support it in that position. – Yeah, and another thing to
remember with the magic arm is you’re never gonna
tighten it down really tight ’cause what’s happening
is you’re creating tension between this mount here on the lens and the camera body, and
some is okay, that’s fine, but if you really crank
down this magic arm it’s gonna keep tightening down and you’re gonna eventually
tweak your lens mount. It happened, like that’s happened, there was a NBA finals where
it tweaked the lens mount just enough where the
aperture couldn’t close down on a lens, and it, actually
no, it closed down the aperture all the way, then everything was… – It was a little dark, yeah. – Everything was a little bit dark and that was purely from,
I’m not sure if it was me or another assistant, I can’t remember, but it was, you know. – It’s probably another assistant. – Someone got a little aggressive tightening down the second arm, so just something to remember. But we’ll just look through
here to loosen up our ball head. Get to where we want, and
generally I keep looking through to make sure the frame doesn’t change when I start tightening
down this second arm. I really just adjust, it’s
kind of like a set screw, it’s just a fine touch
on it, and it’s set. – It’s set. – It’s set, so now the frame’s set, we’re gonna tape down the
zoom because that’s really just for the frame, so we
have two points of contact right here at the tape,
it’s not moving at all. Now the last thing we’re
gonna do is get focused here. – Now you’re focusing a remote,
you’re focusing on a point. You’ve gotta figure out
where that point is. If you’re say doing an
overhead in basketball about eight feet works really
well for NBA and college, maybe a little lower for high
school or the women’s game, but so you’ve got that
point, your lens is usually pretty much wide open, but
at any kind of distance you’re gonna have a little room, you’re gonna have a little room,
it’s called depth of field. So when you’re all set,
when you’re all done you’re gonna have somebody
move through that area, go to your focal point
and then move through and you’re gonna shoot a sequence, you’re gonna hit that
motor drive as fast it’s, as fast as it’s going,
and then you can look at those pictures and you get an idea of how much wiggle room
you have in the frame. – Yeah, where is the sweet spot? – Yeah, yeah. – And going back to focusing,
a really helpful tool is to use a focusing
card, and this is kind of an argument self of you know,
they can be pretty funny, like you know, it’s generally a big card, we’ve used Fed Ex boxes. – I was gonna say, Fed Ex boxes. – We use that a lot.
– Yeah. – Yeah, I still remember. – The envelopes, Sports
Illustrated used to give us to ship film, they had big letters, and so I’m up here, Jordan’s
down on the basketball court, and he’s holding that up,
and that, you can really get, it’s a lot easier than just trying to focus on someone’s face. Again though, the trick in
something, say like gymnastics or some more freeform
sport is figuring out where the athlete you wanna shoot, where they’re gonna be in their routine and how high they’re gonna
be, and finding that spot, and then you have your
assistant holding that and bing, you’re in
focus, you lock it down. Turn off the auto focus on the lens. – So we get it to where we want it, which is right there,
we’re nice and sharp. And from there we stay looking through to make sure focus doesn’t move as we… – [Peter] Tape it down. – As we tape it down because
when you’re dealing with such precise tolerance
just peeling that tape down can move that focus ring just enough to make the picture unusable. So it’s something to remember,
and after it’s taped down, we’re gonna double check it again, and that’s when we’re gonna do our test with the depth of field
or have our assistant walk through, we’ll review
it on the back of the camera, use that digital review to your advantage. We do it all the time. Even a lot of times we take
the card or we transmit it, you know, using our network
down to a big computer screen. – [Peter] Yeah, where
you can really see, yeah. – Bring each monitor
to events so we can see every pixel and make
sure that looks sharp. And that’s another way to do it. But once our focus is
set we’re gonna make sure we’re turned off on our
lens, so we’re gonna set it to manual focus now. – [Peter] Turning off
the auto focus, yeah. – So now it can’t move. And another trick is to
tape up all those buttons, ’cause especially when
these cameras are out, you know, in seemingly
public places at events you just kind of wanna remove temptation from people walking by or
someone that’s too curious. – To just start poking
around in there, yeah, what does this do? – Yeah, we’ve had that happen before… – Oh yeah.
– At games. Specifically I remember
Denver Pepsi Center for some basketball. – Yeah, yeah, and Seattle
back in the Kingdome when they had it. Sometimes you actually have
to put a camera on a railing right in front of a
crowd, that’s a hard thing to get permission to do, but if you do it now you’re entering a whole new world of who’s around your camera,
what are they gonna do. – Yes, we’ve had people
sit in front of cameras for entire events, we’ve,
you know, you lose cameras, you get someone come up
and spill a beer on it, you get someone who gets
adventurous and wants to see what television channel
this camera is working for. – Right, right, right. – You get all kinds of
stuff that happens to them so if you just remove opportunities… – Remove temptation, yeah. – So another thing I like to
do is tape up a viewfinder so then no one gets the
idea to look into it. – There’s nothing to see, nothing to see. – And that’s pretty much… – [Peter] Yeah, yeah, that
is, there you’ve got, okay. Let’s just… – You wanna test it before you leave it. – [Peter] Right, right. There you go.
– Bada-boom. – And you know, you’ll get down,
if you’re down in the court or out in the field or whatever, you know, you’re gonna keep testing
it and you’re gonna try and see if the red light’s going on and there’s a lot to just making sure as much as you can that
everything’s working right up to game time when
you can’t really access it anymore and you’ve gotta think, you gotta bring yourself back to thinking about shooting the pictures
that you’re there to shoot on the floor. Anything you get with
the remote that’s gravy. It could be a great picture,
it could be the picture, but you can’t count on
that, you’ve gotta go with what you’ve got in your hands. So yeah, I think this
is, this is pretty much a good demonstration of
how you set up a remote. We’ll have more in our
series on remote cameras. Stay tuned, stick with the channel, watch, learn, and subscribe. Thanks a lot. (mellow instrumental music)

8 Replies to “Sports Photography with Peter Read Miller – Remote Cameras Part 2”

  1. Great information guys! What settings are you using in a situation of changing light during an event? Would you set the aperture and shutter speed and use auto iso to get the exposure?

  2. Are there times when another photographer will need to move the camera if it's blocking an inch of space for their own? (I would imagine not) Or would they contact the camera owner and try to fit both cameras on there? assuming there is no other rail mechanism

  3. These kind of videos are so much more interesting if you include photos of the installation and samples of good and bad photos from the process.

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