How I got the shot: Olympic sports photographers on composition and entering the industry

How long was it until the photo went viral?

I took six photos of Gabriel surfing and eight of him in the air. Five minutes after taking the images I selected the best ones, plugged my camera into my phone, and sent them to my editor. The photos were first published in Time Brazil 30 minutes later. I had a constant stream of notifications instantly afterwards.

Your phone must have been buzzing…

After Gabriel, I was on to the next surfer – I only had six minutes between competitions heats. By midday, after the competition had stopped, I noticed my Instagram followers had increased, and I had seven emails asking for press interviews. I thought, “What is happening?”

Do you have any control over the boat position?

There’s little to no flexibility to move during competition for safety reasons. The captain manages to stay in the restricted area while also putting the boat in the ideal position to get the best view of the action.

What was your camera settings?

I photograph in RAW and in Manual mode. I always use AF-C and burst mode of 10fps with shutter speed of 1/1250 or 1/2000 secs depending on the photograph. Normally, I like f/8 aperture and Auto ISO because the weather can be so changeable. I set my White Balance to ‘sunny’, around 5500k. I send my files as HEIF.

How did the Z9 perform?

The eye tracking of the Z9 always keeps up with the surfer’s eye, whether on the board or in the water. It’s a fantastic camera. I love the custom controls, I set the 3D Tracking on the custom control of the lens.

How about the lenses?

The NIKKOR Z 100-400mm f/4.5-5.6 VR S is the best lens for competitions when I want versatility and when I’m in a boat and the surfer is further away. I also use the NIKKOR Z 24-70mm f/2.8 S on my second Z9. I love to photograph wide when I capture the crowd or the big Teahupo’o waves.

What makes a good shot?

A good photograph is artistic. I like to use a wide angle to capture the wave as it curls, or the surfer surrounded by a sweeping landscape. I don’t want to zoom in too much, I prefer to show more of the whole scene.

What’s one tip for photographers wanting to go pro?

Cameras are so powerful now, and even more powerful when you learn to use them. Preparation is most important, especially when you are stuck all day on a boat, or you go on a multiple-days photography trip. You’ll need two cameras, lenses, water bottles, food, suncream, rain jacket and more batteries than you think possible. You can’t work for the best event without being ready for any situation. You must deliver the shots to your clients no matter the situation. The good ones, but even the bad! That’s what being a pro means to me.

Pauline Ballet

Paris-based Nikon Ambassador Pauline Ballet has photographed not one, but two Olympics. A specialist in cycling, the freelance photographer has snapped for countless sport magazines and international events including The French Open tennis and Tour de France.

What makes the Olympics magical?

Sport conveys so many emotions, from excitement to frustration. At the Olympics (my first being Tokyo in 2021, and now this year’s Olympics and Paralympics), you witness the athletes’ incredible actions – you connect to their energy. I progress through the non-stop weeks surrounded by the best photographers in the world. That keeps me going, it pushes me to do my best and keeps me focused.

What’s in the bag?

Two Nikon Z9s, NIKKOR Z 85mm f/1.2 S, NIKKOR Z 24-70mm f/2.8 S, NIKKOR Z 70-200mm f/2.8 S and NIKKOR Z 14-24mm f/2.8 S. Depending on the sport, I may also have a NIKKOR Z 400mm f/2.8 S or NIKKOR Z 600mm f/4 S. I have one monopod, five Z9 batteries, a WiFi dongle, two R45 cables, my photography bib, five XQD memory cards, two chamois cloths and clean kit, and cereal bars.

Can you ever have enough lenses?

Sport is technically demanding. You must be ready to cover different distances and change lenses or settings as quickly as possible. I have my set-up already ready, but you still need to anticipate the athletes’ movements and be ready for all possibilities. It’s safe to say that these athletes move….

Manual or Auto?

Manual. I need and like to control everything, anytime. The EVF make this even easier, as it’s impossible to miss the exposure.

Can you photograph every sport at the Olympics?

That would be impossible. Though a freelance photographer, in Paris I worked for French agency KMSP and the French Olympic Committee. They provide a strict schedule, but we were lucky to change sports every day. It’s tiring lugging your gear to different venues – especially when using public transport – but I much prefer that to staying in the same place!

How strict is your positioning?

Photo positions are very strict during the Olympics. Depending on your photography bib and the agency, you are not allowed to go everywhere. I couldn’t plan my position before seeing the venue, but I always arrived more than two hours before the competition started to get my preferred position. For athletics, I had to arrive three hours before to get the position I wanted near the finish line!

You must ace all sport quizzes with your knowledge?

It’s important to know the rules, at least! Understanding the sport you’re photographing allows you to anticipate the action. Although not being familiar with the sport allows you to be more creative and see it differently – but when I photograph a new sport, I’m more stressed…

What about if things do go wrong?

Sometimes you make mistakes with your positioning, and you can’t move. I’ve learned from my mistakes, and I improve by going out of my comfort zone. My stress is my fuel to try my best. I also think variety is very good for creativity, and discovering new sports makes you a better photographer.

What’s a good photo to you?

It’s the magical moment when great emotion or action meets good light and a clean background. Perhaps, there is also history being captured.  

Favourite Olympic event?

Track cycling. I love playing with the speed, the track, the surrounding architecture and the spectators.

Let’s talk about your favourite shot of the 2024 Olympics (above). What’s the story?

I had to photograph French athlete Ninon Chapelle. I had never set foot on the athletics track before, but I had seen incredible photos from the other competitions, and I was excited to go there. I absolutely wanted to photograph the pole vault from a low angle, only I was disappointed when arriving at my location as the light from the top Stade de France stadium created a huge backlight, and I found myself short with my 400mm lens. While doing some test shots on different athletes warming up, I underexposed a little and captured exactly the reverse of what I originally had in mind: the volunteers watching and the accessories with a marked silhouette in the middle of the lines to guide the eye and separate the image.

Greatest lesson from being an Olympic photographer?

I’ve learned a lot about my patience and my limits. It’s always amazing to realise what you are capable of with passion and determination.

Top image caption: Z9 + NIKKOR Z 100-400mm f/4.5-5.6 VR S, 100mm, 1/1600 sec, f/8, ISO 280, ©Jérôme Brouillet via  AFP.