So you want to be a sports photographer?

Laurence: My uncle, Dave Jones, was a professional photographer with the Press Association, and he played a huge role in sparking my passion for photography. He gave me an old Nikon FM2 with a 180mm f/2.8 manual focus lens, and we’d go to football games where he’d offer me feedback. Afterwards, we’d head to the local agency where he worked to process the films. This opened the door to my first job within the company: working in the picture library developing and archiving negatives and transparencies. Eventually, I made my way out into the field as a photographer covering sport.

Since then, I’ve covered every Football World Cup since 1994 and multiple Summer Olympics, including London, Rio, and Tokyo. Most recently, I led Getty Images editing operations for the Paris Games. I had the privilege of being the official photographer for the England cricket team for nearly ten years, traveling around the world with them. I even created a photographic book focused on village cricket From the Boundary’s Edge. In 2010, I was honoured to win the SJA Sports Photographer of the Year award. I have been a staff photographer with Getty Images for over 25 years and in 2017, I was promoted to Chief Photographer at Getty Images. By 2022, I had advanced to Director of Content with a focus on expanding our editing operations globally.

Nikon magazine: What is your go-to kit?

Frederikke: I have the Z9, the Z8 and the Zf. They’re just insane. In sports, high frame rate is vital all three always deliver. I use the NIKKOR Z 400mm f/2.8 TC VR S for 90% of my images – it’s the best money I have ever spent. I usually always photograph at f/2.8 because most games are at night, so you need to let in a lot of light. Also, it offers that really lovely, blurry background – the bokeh is so beautiful and it really makes the subject stand out.

Laurence: I love the Nikon Z9. The silence is the first noticeable factor. Many sports events, like Wimbledon, insist you use mirrorless because it puts athletes off less. Golf and gymnastics are other examples. The eye recognition is incredible. I actually use the custom buttons to switch in and out of eye recognition. You can really work your composition so much easier with the camera doing all of that for you.

Typically, I’m operating five camera bodies at once. Although, at the European Championship final during Covid, I was firing 12 cameras (handheld and remote), which was incredible. I’ll have the NIKKOR Z 400mm f/2.8 TC VR S and Z9 balanced between my legs on the monopod, as I’m picking up the NIKKOR Z 70-200mm f/2.8 VR S to capture a goal and then a NIKKOR Z 24-70mm f/2.8 S at my feet for close encounters and wide shots. In addition to my handheld equipment, I use two Nikon D6s as remote cameras in the back of the net with the AF-S NIKKOR 24mm f/1.8G ED. I have to switch between lenses fast, and if you’re not well versed in that you’re going to miss pictures.

Nikon magazine: What’s your typical set-up and strategy?

Frederikke: I usually sit by the corner flags. That’s my favourite position. But it’s not always possible, so I like to sit where I can capture the action from the sides. If a player is running from the left towards the right, I’ll keep him on the left side of the photo, and the ball is typically on the right side. I use Manual mode with a 20fps burst mode, and AF continuous. If it’s dark I’ll usually go for 1/1600 sec shutter speed, and if it’s bright up to 1/2500 sec or even higher. I always photograph in RAW, which is quite uncommon for sports photographers. But it works for me, and I later get the chance to play around with editing in Adobe Lightroom. The way I edit depends on what the images are for. During and after the game – when I send the photos to my agency, who then sells them to newspapers and news agencies – I do a quick correction, touching up White Balance, contrast, highlights, shadows, white and blacks. The photos I post on my Instagram are quite different from the ones I sell for editorial use – I like to differentiate by desaturating all the colours (especially greens and yellows) and lowering the clarity slightly.

Laurence: When I’m aiming to freeze the action, I usually shoot at 1/2000 secs or faster, almost always wide open at f/2.8. This allows me to blur the background for added impact and ensure the subject fills as much of the frame as possible. Regardless of the sport, I focus on making the most of the available light and environment, paying close attention to details like the background to maximise the shot’s impact. I also do thorough research before each event, staying on top of key editorial narratives with a focus on capturing the biggest stars in sport.

Speed of delivery is critical in our editorial operations. We process thousands of images in real-time, so we typically photograph in JPEG for efficiency, while still maintaining exceptional quality. For commercial projects or portraits, we switch to RAW to achieve the highest possible image quality.

Nikon magazine: What advice can you give aspiring sports photographers?

Frederikke: Work really hard, otherwise no one’s going to see your photos and you won’t get paid. You must be proactive. Start by building a portfolio. Go and photograph your local team and just learn.  When you’ve built a portfolio, you can approach agencies who can give you access to professional leagues and tournaments.

Laurence: I agree. You don’t need an amazing sporting venue. People assume you need to be inside Wembley Stadium to take great football photos, and that couldn’t be further from the truth. It’s more important to get to know your kit and make adjustments in real time without looking at the camera. Don’t use auto exposure. Work out what your camera’s doing manually. Make mistakes and learn from them. If you’re doing loads in post, then you’re not doing your job as a photographer. Also, networking is 100% important. Do your research, present yourself in the right way and show your best content. Think about the impact you’re having with every conversation and with every portfolio you show.

The full kit list

Frederikke: Nikon Z9, Z8, Zf plus NIKKOR Z 24-70mm f/2.8 S, NIKKOR Z 40mm f/2, NIKKOR Z 70-200mm f/2.8 VR S, NIKKOR Z 400mm f/2.8 TC VR S and a monopod.

Laurence: Three Nikon Z9s, two D6s, plus NIKKOR Z 24-70mm f/2.8 S, NIKKOR Z 70-200mm f/2.8 VR, NIKKOR Z 400mm f/2.8 TC VR S and AF-S NIKKOR 24mm f/1.8G ED. I also have the AF-S FISHEYE NIKKOR 8-15mm f/3.5-4.5E ED, a monopod and a Mount Adapter FTZ II.