Back home from the Tokyo Games! First off, I want to thank all who responded here on blog, or Instagram, FB, Twitter to the postings, pictures and ramblings from Japan. It was enormously encouraging to hear questions, interest and a few attaboys along the way. It proved to be a wonderful source of energy to power through the humid slog of twenty hour days at these past summer Games. Many thanks!
Lots of questions! And I’ll continue to gather those and answer as time goes on. One of the foremost sets of questions involved, naturally, gear. So, here we go with “What’s in the bag?”
My hotel room was super tiny, so the only “work surface” was my bed, really. Every morning, I’d figure out what I’d carry, relative to what venue I would be going to. Positions, and the “newsiness” of the day dictated how heavy to travel. When I went to seriously remote locations, or went to a sport just to photograph it for the excitement of what might be there, I could travel a bit on the light side, i.e., cameras and lenses. But when Simone Biles was competing, or a major athletics final was in the offing, the computer, card readers, power cord, and external drive would all bundle into my copious Gitzo backpack, which can hold a ton. Those were long days in the heat–40 to 50+ pounds on my back and shoulders. Long nights as well, downloading, editing and shipping straight from the venue.
On the bed, in something of an order, are four Nikon D6 cameras, one Z 6II and one Z 7II.
DSLR lenses include 800 f/5.6, 600 f/4, 180-400 f/4, 400 f/2.8, 300 f/2.8, 200 f/2, 70-200 f/2.8, an 8-15 zoom fisheye and a TC 1.4 teleconverter.
S series lenses for Z cameras are the 70-200, 14-24 and 24-70, all f/2.8.
And, one non-camera/lens component that was absolutely essential. A monopod. I’ve sworn by Gitzo tripods and monopods for over thirty years, and this Olympics was no different. I had two Gitzo monopods I rotated, day to day.
Do I own all that stuff on my hotel bed? No! At big events like an Olympics, pro photographers are supported by the camera manufacturers who have camera depots at the press center. I’ve been a member of Nikon Professional Services for about 40 years or so, and they are indispensable to the mission at hand. Incredibly hard working and supportive, they make so many things possible for the pro. On the spot repairs, clean and checks, tech advice, and of course, loaner gear. I literally would have very few pictures to show for my time in Tokyo without the help of NPS.
Not all of it goes out with you, of course. You try to go by the maps of the venue positions that are made available for photographers. Lens throws are different for FOP (field of play) positions, than of course, spots up and away in the stands.
The above map was for fencing, and the pic above is at a zoom throw of 260mm. For boxing, given COVID, there was a very tight pool of photogs who could be ringside. Shot the below from a distance, with a 400mm.
Day to day strategies. Is it worth it to risk really big glass and thus miss some context? Or is a zoom called for? Not as tight, but flexibility of viewpoint might be the order of the day. Two telephotos, one on a monopod, one hand held? My bed became a chess board as I planned each day, often at 4-5am. Also on the bed: My credential, tickets to high demand events, like athletics, test tube for the regular spit tests, press center locker key, taxi vouchers, Lysol wipes and business cards. Not seen is the ever present Advil, and, on outdoor days, floppy bucket hat, and sun block. Also spare cards, spare batteries.
The days started on a bus, prior to sunrise, generally. Mask on for the next twenty hours! Off to the venues.
And, given the boatload of gear on the bed up top, one might think it overkill. Used everything, except the 300 f2.8. That one never came along. But all the other stuff played a role, from an 800mm….
To an 8mm….
Thanks to all! More tk….
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thanks for your continuing sharing and enthusiasm. for your craft. I make my $ as a Cinematographer but really am envious of your career. Great work!
I appreciate all this interesting information Joe
Joe, one of the many things I’ve always appreciated about you – and thoroughly enjoyed about the Flashbus tour, as well – was your insight into ‘how the sausage gets made’. Great stuff, and great insight. Hope you and yours are healthy and well.
It’s so fun to hear these stories Joe! Thanks for taking the time to share.
Excellent work as always. Thanks for sharing
Impressive Gear and Photos
I feel like I got a real education hearing about how you managed the day to day of shooting the Olympics without my being there. Why you used certain lenses, etc. This is great stuff for us non-pros. And the images were gorgeous. Thanks, Joe, as always.
Thanks Joe! Sometimes the making of the sausage isn’t particularly pretty, but hopefully the final result works!
Many thanks back to a fellow photographer…
All Best and thanks!
Thanks back to you Alyssa, for stopping by the blog.
Thank you Vahan….appreciate the kind words.
Sir you did great work
Very informative! I will see you in NYC in December.
Outstanding images!! Congratulations Joe!
Thanks for sharing. Would be interesting to know what you used the Z system for?
See you soon, Greg!
Many thanks, Kerry!
Barely used it. I brought it for wide glass work, and there were really no opportunities, after using a Z for a close by remote at the Opening Ceremonies. Best, Joe
Great stuff, Joe! How many batteries & SD cards?
Wow! Great work Joe!! You are indeed my idol! As a general assignment photographer like you, I can appreciate the literal grab-bag of iron you must carry with you just to be sure to have what you need for any given situation. The last photo you sowed, the volleyball girls with the red flag looked like a GOLDEN opportunity to pop up the on-camera flash for that strong back-lit image, instead of having to photoshop the exposure to balance the background with the shadowed faces of the girls. Such a SHAME that the Nikon D810 was the LAST big Nikon that gave us that stop-gap measure huh? This is why I still use the D810.
This is a blog post Joe ! Not only is informational, but multidisciplinary. The way you tell your stories is very authentic and genuine, it really makes you feel in the decision making process, Thank you for sharing in this way! Most of the people have no idea about the behind the scenes of a photo journalist at the Olympic Games and with you we learned that there should be a documentary about it. Again, thank you and congratulations for your unique imagery and anecdotes.
What’s the modification on the foot of the monopod in the photo. Bigger base or travel protection?
Joe, incredible as always, nothing more intriguing and educating than listening to you any time I can . You are the master of the craft, the Nikon man and my inspiration everyday . Amazing work as always, love seeing these images and hearing your stories. Thanks for being you, The Master .
Amazing captures and enlightening details as always. Thanks, Joe, for sharing your stellar vision, experience and brainpower. Yep, I said: BRAINPOWER! ??
Wow! Wow! Wow! Some of the best sports and olympic photography I’ve ere seen. But, I guess I would expect no less from someone with your credentials and experience. Been following your work since the Life magazine cover of the nude water polo team, Thank you for the visual feast. WOW!
Many thanks, Matthew! Wow, thast Olympic nude project is quite a long time ago…..glad to still be photographing Olympians.
Hey Laura…you are too kind….so happy you took the time to stop by the blog and send a note. All the best….