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My Lens Choices for Weddings

Jerry Ghionis discusses his favorite lenses for wedding photography

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What is XQD and Why Should I Use it?

Benefits of the XQD media card format explained

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Benefits of Using the AF-ON Button for Autofocus

Three pros discuss using the AF-ON button for AF control

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Better Sports Photography

Which settings should you use depending upon which sport you're photographing

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How to Choose Your Next DSLR Lens

What to look for when choosing your next lens for your DSLR

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Taking Better Photos of Your Kids at Play

Taking photos of your kids while at play make great images; next time you’re…

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First Look: The All-Seeing, 360° Nikon Action Cam

Corey Rich describes his experience shooting with the KeyMission 360

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10 Tips for Better Camera Panning

Dave Black's tips for camera panning

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Photographing Dogs: Capturing Action

Tips for taking better photos of your dog in action.

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Action Photography: Shooting in Extreme Locations

Photographer Beth Wald doesn't just shoot from the sidelines; she's in…

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7 Tips & Tricks to Taking Better Wedding Photographs

Joe McNally on how to take better wedding portraits

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High Speed Sync: A Flash Technique To Add a Pro Touch to Your Photographs

Kevin Kubota on auto FP high speed sync flash…

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A Basic Look at the Basics of Exposure

The relationship between aperture, shutter speed and ISO is the basis of every…

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Photographing Commercial Assignments with a Sports Angle

Find out how quick veteran photographer John Huet needed to be…

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Moviemaking 101 – 6 Tips On How To Make A Video

Six helpful tips when making movies your camera

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What is Your KeyMission?

Elijah Wood on the KeyMission 360

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Cliff Mautner

Wedding and portrait photographer Cliff Mautner is a Nikon Ambassador. Learn more about his photography.

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Speaking For Themselves: The Veterans Portrait Project

The power of portraits

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Want Better Landscape Photos? First Check Your Definition of "Landscape"

Tony Sweet offers tips for better landscape…

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Photographing it All

With experience as a newspaper photographer and close to 20 years with Sports Illustrated, George…

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The Edge: Drum Circle

Mike Corrado on shooting concert photography using remote cameras

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Rich Clarkson: The Right Place at the Right Time to Get the Shots

Rich Clarkson, an acclaimed photojournalist, who…

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FOCUS First: A System for Better Photos

Mark Alberhasky's 5 step system for taking better pictures

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In the Moment

Commerical photographer John Huet love to make it up as he goes along.

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Shooting Long Exposures:

Deborah Sandidge on shooting long exposure landscapes and cityscapes

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Understanding Auto ISO

Auto ISO can simplify shooting under changing lighting conditions

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Sports Shooter Academy Workshop

Sports Shooter Academy gives you the opportunity to work with pros in a hands-on…

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Dave Black

Sports and commercial photographer Dave Black is a Nikon Ambassador. Learn more about his photography.

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Destination Latin America:

Blaine Harrington on photographing Latin America

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Top Photography Tips from Nikon School Instructors

Learn photography the easy way, at Nikon School

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New Directions: The D750 Inspires Creating, and Sharing, New Images

Lindsay Silverman shoots with the D750 DSLR

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Joey Terrill

Commercial photographer Joey Terrill is a Nikon Ambassador. Learn more about his photography.

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Lucas Gilman

Adventure sports and multimedia storyteller Lucas Gilman is a Nikon Ambassador. Learn more about his…

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Summit Series of Photography Workshops

Come to the Summit for the ultimate workshop experience in all areas of…

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What to do When you Need Stills while Shooting HD Video

Shoot simultaneously or save a frame options with the D4 or D4s…

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Andrew Hancock

Sports photographer Andrew Hancock is a Nikon Ambassador. Learn more about his photography.

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Bill Frakes

Photojournalist, documentary filmmaker and educator Bill Frakes is a Nikon Ambassador. Learn more about his…

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Deanne Fitzmaurice

Photojournalist and filmmaker Deanne Fitzmaurice is a Nikon Ambassador. Learn more about her…

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Lindsey Byrnes on Rock & Roll Photography

Video interview of pro shooter Lindsey Byrnes on photography and getting…

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Photography Lighting Tutorial Part 1 - Control of Color

Go on location with Joe McNally for a video tutorial on lighting…

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Repeating Flash Lighting Technique

Joe McNally uses the technique of repeating flash to capture the grace of balletic…

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Robin Layton

Fine art/portrait photographer Robin Layton is a Nikon Ambassador. Learn more about her photography.

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Photography Lighting Tutorial Part 2 - Control of Color

Go on location with Joe McNally for a video tutorial on lighting…

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Joel Sartore

Conservation photographer Joel Sartore is a Nikon Ambassador. Learn more about his photography.

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Halloween & Autumn Harvest Photography

Take better photos during the colorful fall season

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A Brand New VR World

Learn more about Virtual Reality and the KeyMission 360

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No Limits: For Better Photos, Think Like a Photojournalist

David Handschuh on thinking like a photojournalist

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Zoom Lens Maximum Aperture: Fixed and Variable Apertures

Zoom lenses can have either a fixed maximum aperture or a…

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Brian Skerry

Photojournalist Brian Skerry is a Nikon Ambassador. Learn more about his photography.

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Joe McNally

Commercial photojournalist Joe McNally is a Nikon Ambassador. Learn more about his photography.

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Outdoor Pursuit

Bill Hatcher photographs the impossible—well, let's say the extremely difficult.

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Shooting Wirelessly with Nikon’s WR-1 Wireless Remote Controller System

Learn how easy it is to shoot wirelessly with the…

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Six Steps to Lighting Magic with Joe McNally

Follow lighting expert Joe McNally's instructions for easy flash photography…

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Understanding Focal Length

Focal length, usually represented in millimeters (mm), is the basic description of a…

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Corey Rich

Adventure photographer Corey Rich is a Nikon Ambassador. Learn more about his photography and multimedia work.

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How to Choose Your Next Nikon 1 Lens

Go beyond your Nikon 1 camera's kit lens

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Wherever the Adventure…

Underwater photos & movies with the COOLPIX AW110

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Photographing People Using Wireless Lighting Techniques

Tom Bol's images inspire new ways of taking a portrait photo.

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Pete Turner: Master of Color Photography

Pete Turner is a master of color, but he's also a master of content and mystery.

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Using Teleconverters

Teleconverters let you extend your photographic reach

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Photographing Sports Indoors and Out

Almost all of us have times when we need, or want, to shoot a sporting event. Perhaps your child is in a soccer program, a friend's kid is on a school softball team, a nephew in high school competes in track, or you're taking your camera to a professional event. Regardless of the sport, you can do several things to make the best pictures possible.


Catching the Action

First, think about where you want to position yourself. Think about where most of the action occurs in the sport you’re photographing. In some sports, you can catch the action coming at you, if you’re positioned correctly. Sometimes the top of the bleachers is the best place to shoot from, for that high angle, looking down on the court (especially good for volleyball). With amateur events, you can often move around and try different spots. If possible, leave the stands and go to the sidelines. That will put you closer to the action and at the players’ eye-level.

Once you begin photographing a particular sporting event, you’ll begin to realize that each sport brings its own sense of timing of the action. The more you shoot, the better your timing will become. Even the pros practice shooting at the beginning of a season to hone their sense of anticipation of the action of the game.

The best photos are taken at the peak action; this would be right as the basketball player jumps up to make a basket, just before a volleyball serve or when the cheerleaders have completed a pyramid. In baseball, action in the infield (catching, throwing, plays at bases and home plate) usually make the best pictures. In soccer, the most important action usually happens near the goal.

COMPOSITION: Think about your composition. Is the background cluttered? See if you can safely move to another position where you can compose an image that isn’t full of distractions.

LENS CHOICE: More than likely you’re going to want to use a telephoto lens on a Nikon D-SLR, or a COOLPIX camera with a large zoom range. The most popular zoom lenses often reach out to 200mm or 300mm. The tighter you can shoot (the more you fill the frame), the better the pictures will look.

AUTOFOCUS: If there's fast action, make sure to change your camera's autofocus setting to Continuous. That way it will track the action to keep the photo in focus. And you may also want to set the AF points to Dynamic Autofocus to make it easier to keep the focus on your subject. If your camera has scene modes, you can choose the sports setting, which tells the camera that you are shooting sports and will need a fast shutter speed to capture the action.

FOCUS LOCK: If you seem to have trouble following the action and keeping it in focus, try setting the focus at one place and waiting for the action to get there. For example, during a baseball game, you can focus on a particular base and wait for the runner to get there. And, if you're pre-focusing on one spot, use either the focus lock button (often labeled "AF-L, or “AE-L AF-L”") or switch the autofocus to Manual and adjust it by turning the focus ring on the lens.


Exposure

The three things that control a photograph's exposure are shutter speed, lens aperture and ISO.

SHUTTER SPEED: The longer the camera’s shutter stays open the more light enters. To stop action, a fast shutter speed is needed; the exact shutter speed needed depends on the subject you’re shooting. To avoid blur, try to get your shutter speed fairly high; 1/500 should be the minimum and 1/1000 or above is even better. You may have to raise your ISO for the shutter speed you want to use.

APERTURE: Lens aperture, called an f/stop, is the size of the hole in the lens that light passes through. The larger the hole (smaller the f/stop number) the more light is passed and consequently the faster the shutter speed can be. Each lens has a maximum f/stop which limits how much light can pass through the lens. A "fast" lens has a very wide open f/stop (such as f/2.8 or f/1.4) and a slower lens may only be able to open to f/3.5. Some zoom lenses have a variable aperture which means the further you extend the zoom, the slower the lens becomes. [We’ll discuss this in more detail in a bit.]

ISO: The ISO setting controls the sensitivity of the camera to light. A higher ISO setting (ISO 1600 or 3200) is more sensitive to light and allows a faster shutter speed (or a lens with a slower maximum aperture) to be used.


Added Challenges of Indoor Sports

Indoor sports can be especially challenging to photography for a number of reasons. Often, the venue—whether a professional sports arena or high school gym—is not well lit. And, the lighting may be a mix of unusual colors such as florescent, tungsten and mercury vapor. Digital cameras need to know the color of the light coming from the light sources in order to make sure the final image displays correctly. Since each type of lighting is a different color the camera must compensate (just like our eyes and brain do). In these situations a custom preset white balance (if your camera supports it) may yield a better result.

A camera's built-in flash generally has a fairly short working distance, perhaps to 10-20 feet, or less in a large room with no nearby walls or ceilings to help reflect light. A more powerful hot-shoe mounted flash can extend the working distance of the flash, but may still have trouble lighting all but the closest subjects in a large gym or arena. Be sure to check with the coach, referee, or event official before using a powerful flash, as sometimes flash can be distracting or dangerous to the players.

When professional sports shooters are on assignment covering indoor sports, they’ll often have access to rig lighting in the arena’s rafters, so the flash lighting comes from above and therefore isn’t aimed into the players’ eyes. We all can’t be so privileged, so we have to use photographic technique and our gear to our advantage instead.


Compensating for Low-Light

As we learned above, to capture the action of fast moving athletes, you generally need to use a fast shutter speed to stop the action. In order to use a fast shutter speed a lens that allows a lot of light in, one with a fast maximum aperture is required. If your lens is not fast you can boost the ISO value to compensate, but be aware of the limitations when using high ISO settings. In many cases, as in high school gyms, the light level is sometimes so low that even with a high ISO (like 1600) and aperture of f/5.6, the fastest shutter speed that can be used still will not be fast enough to stop action. In these cases the only option is to use a lens with faster maximum aperture, such as one that opens to f/2.8.

To further complicate indoor sports shooting, generally you will be far from the action and a long focal length will be needed to "zoom in" on the subject. Most zoom lenses are "variable" aperture which means that as you zoom their f/stops become smaller and gather less light. A variable aperture lens might have an f/stop range of f/3.5-5.6, which means its widest aperture is f/3.5 and when you extend the zoom, the widest aperture closes down to f/5.6. A "constant aperture" lens, like the AF-S NIKKOR 70-200mm f/2.8G ED VR II lens has a fast f/2.8 aperture through its entire zoom range and is an ideal indoor lens for sports. Another option would be to use a fixed focal length lens, such as the AF-S NIKKOR 85mm f/1.8G. At first it can be more difficult to shoot with a fixed focal length lens (since you can't "zoom" in and out) but these lenses are generally much faster and more economical than a fast zoom lens.

While there are many different options and settings available on most cameras, the settings below will give a Nikon D-SLR user a good starting place for indoor sports shooting.

• Set the exposure mode to Aperture Priority and set the f/stop to it's widest settings (i.e. f/2.8, f/4 or f/5.6)

• If your camera has an Auto ISO feature, turn it on and set the Max Sensitivity to ISO 1600 and the Min Shutter Speed to 1/60 of a second. You may need to adjust this setting if you find that 1/60 of a second isn't fast enough to freeze the action.

• Focus settings can vary greatly depending on the sport you are shooting. In general, one of the "Dynamic-area AF" modes will be the best for many sports.

For COOLPIX users, the basic "A" Auto shooting mode will generally be the best option, however, in dimly lit venues many compact digital cameras won't have high enough ISO settings or lenses with fast enough apertures to stop most action.

Other great images can be made of the gear on the field, such as a pile of hockey pucks or baseball bats leaning against a fence.

While shooting indoor sports can be challenging, with good equipment, some skills and practice it's possible to get well-exposed, sharp photos in most locations under most conditions.

Finally, remember that just because the action is over, the emotion isn't. Those moments can be just as important as the action shots.

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