This section is from the book "Complete Self-Instructing Library Of Practical Photography", by J. B. Schriever. Also available from Amazon: Complete Self-Instructing Library Of Practical Photography.
Pole-Vault And High-Jump. The contestant in the "pole-vault" or the "high-jump" should be photographed just as he clears the bar. Many times he will not perfectly clear it, but will knock it off the supports, in which case one should not waste a plate by making an exposure. Yet, this, at times, is a difficult matter to judge. If one has perfect control of his instrument and exercises
Photos by A. S. Dudley
Illustration No. 93
Athletic Sports - Reflex Camera Work
See Paragraph 473
Photos by A S. Dudley
Illustration No. 94
See Paragraph 484 care, he will learn to judge instantly whether or not the athlete will clear the bar, and make the exposure accordingly. In both of these events the contestants make repeated trials, so long as they do not touch the bar. After each jump the bar is raised a certain height, and another attempt is made. One should watch each event closely, and after the majority of the contestants have been disqualified make a photograph of the remaining one or two who are yet capable of clearing the bar. The most important photograph to secure here is of the man who makes the record of the day. A good photographic record of a high-jump is shown in Illustration No. 93, Figure 4.
High And Low Hurdles. In making photographs of hurdle races the camera should be placed on practically a level with the track, for this will tend to slightly exaggerate the height of the hurdles. In Illustration No. 93, Figure 5, is shown contestants clearing the final hurdles; when making photographs of these the shutter should be released at the instant the leader is clearing the hurdle.
Obtaining Permission To Photograph. If you represent a magazine or newspaper it is a very easy matter to obtain admission to the field-meet and secure photographs of the various events. This is a very important matter to consider, for with the concession, and a ribbon or badge denoting such a privilege, you will be able to go into any part of the field - so long as you do not interfere with the various contestants - and secure your photographs from the best point of view obtainable. Always aim to become acquainted with the manager, or officials in charge, as well as those familiar with the various events and knowing the contestants. This will prove of assistance in selecting the important subjects, thus making your pictures more valuable.
Data. By working in close touch with the management you can obtain accurate information regarding the different contestants, which will enable you to secure a fairly perfect record and full information regarding each of the exposures you make. Your plate-holders should be numbered, and these numbers recorded in your note book. From the program you will be able to obtain the names of the contestants entered in the various events, and by carefully following these you will be able to judge very closely who will be the winners. This is important, for it is the photographs of the winners that are most valuable. The photographs alone would not be of as much value as when some data regarding the event is supplied with the picture.
Market For Prints. Do not confine yourself to one publication alone, but send your prints and data to as many newspapers in your locality as possible. In fact, supply all editors whom you think would desire the prints. Even though the publication may have reporters and press photographers of their own on the field, if your results are superior to theirs, and if you get them in on time, you will stand a good chance of securing a sale for some prints, at least. It is, however, those publications which are not represented that you should exercise the greatest effort to supply with prints. It is advisable, when possible, to make arrangements with the editor before the event occurs, so that he may depend upon you to supply the material.