SPORTS PHOTOGRAPHY

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Single lens reflex cameras normally come equipped with either a 50mm or 35mm lens. One of these stock picture "eyes" will serve you well . . . when you can get close enough to your subject for the athlete's image to fill your frame. However, standing right next to the action is often downright unhealthful. I know, because I started out that way . . . and—take my word for it—shooting pictures of bucking bulls or skidding dragsters from only 15 feet away can be extremely hard on your heart!

So buy a 105mm or 135mm lens (it will cost around $100 used or up to $200 new) to attach to your trusty SLR. Then you'll be able to take fine, full-frame pictures . . . from safe distances. (Of course, if you can afford to grab hold of an 80-200mm zoom lens, you'll be even better able to get salable shots!)

Along with your fancy camera gear, you'll need a fast black-and-white film. (If you have the necessary developing equipment, you can boost your income with color shots . . . butthough many sporting-event photographers have succeeded with color photos—I've stuck to black-and-white with great success.) I use Kodak Tri-X film, which has an ASA rating of 400. You can, instead, use some other brand but be sure—once you find a film you like—to stick with it. If you do, you'll soon learn its quirks and responses and be able to consistently record the image you want . . . even if your light meter's on the blink. For example, I know that—with Tri-X-I can shoot almost any sunny-day action at an F stop of 11 (at 1/1000 second) and get clear, sharp shots.

IN THE DARK

A decent camera and film will enable you to shoot quality negatives. The rest of the photo paraphernalia necessary to go into business—good developing equipment-will help you make fine prints . . . with a minimum of work and bother.

Buy a compact enlarger ( for around $75 used or $126 new) that can be set up in a trailer or a hotel bathroom when you're on the road. Don't skimp on quality with this purchase, though, because "bargain basement" equipment may take so long to operate-or suffer so many breakdowns-that you'll lose a considerable amount of time (which, as the old saw goes, is money!).

After you round out your darkroom gear with a developing tank, print trays, easel, etc., choose the type of printing paper that's best for you. Here again, find one product—as you did with your film—and stick with it. You'll soon learn the paper's properties and be able to produce consistently professional prints.

I buy 250-sheet packages of resincoated ("RC"), "F" surface, 8" X 10" photo paper. I printand sell-only 8" X 10" shots, which insures that I don't have to waste time resetting the enlarger for various picture sizes or fooling around with a paper cutter in the dark. In addition, the plasticlike resin coating on this paper requires only four short minutes of washing instead of the more usual, timewasting half hour. And the glossy look is a sure-fire customer-catcher.

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