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Sports photography in general, and soccer photography in particular, requires a certain amount of expensive equipment -- if you want photographs that are up to high professional standards. But remember that "if". Most of us aren't trying to sell to Sports Illustrated or Getty Images. We're trying to produce some decent looking pictures of friends, family, and team members in action. Some of the equipment used by amateurs will yield good photos -- if you make a couple of smart equipment choices, take the time to consider what you are doing, and then practice.
Camera Support: One important piece of equipment is a monopod. Whether you're shooting still photos or video, a steady camera will make a significant difference in the quality of your work. For still photographers, it helps you keep the camera up at eye level and at the ready. You don't need to scrimp on a monopod, since good ones can be purchased for less than $100. I recommend Bogen (Manfrotto) and Gitzo. Both companies offer aluminum and carbon fiber models. Bogen uses a lever lock and Gitzo uses a collar lock. Gitzos are more expensive. Try them out in the store.
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| Bogen Metal, Bogen Carbon Fiber, & Gitzo Metal Monopods |
I don't recommend tripods for shooting recreational soccer since there are no advertising boards between you and the players...If players come off the field, you may not be able to move your setup out of the way fast enough.
Film Camera Bodies: An autofocus single lens reflex (SLR) body is what you will most likely need, but autofocus isn't mandatory -- just a lot more convenient.
The efficiency of your autofocus camera is a function of its age and cost. Recent bodies have more sophisticated (and generally faster) autofocus modules. And the more you pay, the more performance you can expect. If you are considering buying a camera, the Nikon, Canon, and Minolta bodies that are on that line between amateur and professional equipment present a balance between between cost and performance. I started this site using a pair of Nikon F100 bodies. Not a cheap body, but it has probably the fastest autofocus of any Nikon film camera, is a little easier to use than the (then) top-of-the-line F5, and is significantly lighter. When shopping, surf the web for consumer feedback. Some of the internet advice is pure bunk, but if you read enough reviews, you should be able to tease out the good information. Also look for things like the battery type, programmable controls, availability of accessories (such as a battery booster/vertical grip).
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| Nikon F100 | Nikon N80 | Canon Eos-3 | Minolta Maxxum 7 |
If you plan on using a camera you already own, autofocus or manual focus, take a look at the lens information below, and then move on to "shooting".
Digital Cameras (Point & Shoot or "P&S"): These are cameras with the lens permanently attached. They are convenient, but none are well adapted to shooting sports, and especially a sport as dynamic as soccer. Most digital cameras have a delay between when you press the shutter button and when the picture actually gets taken. This can be maddening. Lenses usually lack the range of focal length you need for capturing action out on the field, and the controls are not usually flexible enough to allow you to control the picture making process. Over the past couple of years more and more digital cameras have eliminated the optical viewfinder and rely entirely on the LCD screen for viewing. Taking decent soccer photos with this setup will probably be maddening. There are some digital cameras that look a lot like DSLRs (see next topic) but which use a video viewfinder. These will be more effective than standard P&S cameras, but may still have limitations with regard to shutter lag, autofocus speed, and focal length range.
Digital Single Lens Reflex (DSLR): DSLRs are the fastest growing segment of the digital camera market. The main features are an optical viewfinder based on traditional film camera designs, a mechanical shutter, and interchangeable lenses. For a variety of reasons, a digital SLR (DSLR) will be the best choice for your sports photography. With their mechanical shutters the camera's sensor is sitting in the dark between shots. This makes the act of capturing and processing the digital image faster, and results in a higher quality image. There are three tiers of DSLRs:
 | At the top are the high end professional cameras such as the Nikon
D2X/D2H and Canon 1D Mark II and Mark III bodies. These cameras have
minimal shutter lag -- the time between when your finger depresses the shutter button and when the picture
is actually taken. They are rugged and are designed for everyday use
by professionals. Expect to pay between $3000 and $5000 per body.
Used bodies are an option, but do your homework so you know what the pros and cons
are, whether there have been firmware upgrades, etc. |
| Next come the intermediate range cameras, such as the Nikon D200 and
Canon 30D. There will be some reduction in performance, but these
bodies are a good choice if you need to save money. The D200, in
particular, has picked up a large following in short order due to high
resolution, an impressive feature set, and a very reasonable price. I know of some
professional sports shooters who used a high end DSLR as their primary
sports camera,
and use a D200 or 10D as the backup/secondary camera. I'll place the Olympus E-1 in this category for now, since it is available at much reduced prices pending the introduction of a replacement body (P-3/E-3?). The autofocus on the E-1 is marginal (at best) for soccer, unless you are using their best (and overpriced) lenses. (Lest my comments seem harsh, I own an E-1 and find it to be a sweet camera for most other purposes, and ergonomically far superior to any other DSLR -- or film SLR -- I have ever used.) |
| The least expensive DSLRs are bodies the Nikon D40, Olympus E-500 and E-400 (soon to be replaced by the E-410 & E-510),and the Canon Rebel XTi/D400. These cameras sacrifice auto focus speed, external controls, and sequential speed (frames per second). Pentax and Sony also have cameras in this price range. If you are determined to produce good quality photographs, I would avoid these bodies. However, if that's what you've got, just be prepared to work a little harder and accept more missed or unacceptable shots. Because of the slow frames per second (fps) of cameras in this range, do NOT try to use continuous shooting (several shots taken with one longer press of the shutter) for soccer. Use the single frame mode, practice, and try to do a better job of capturing peak action moments. |
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| Nikon D2Hs | Nikon D200 | Nikon D80 | Nikon D40x |
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| Canon EOS 1D Mk II N | Canon EOS 5D | Canon 30D | Canon Digital Rebel XTi (or EOS 400D) |
Lenses: You will need a telephoto or telephoto zoom lens. Those people running around on the field are smaller than they appear -- and small people are even smaller. Remember that the eye and the brain conspire against us. We tend to concentrate on our main subject inside the viewfinder and forget how much empty space surrounds that subject. A telephoto lens helps us reach out and bring those subjects "closer". Lets take a run a some lens choices, starting with expensive, and working down.
300mm f/2.8 -- These lenses are pretty much for professionals or VERY serious amateurs, available from camera manufacturers and from Tokina, Tamron, and Sigma. Used examples from the independent brands can cost upwards of $1000. The wide aperture helps the autofocus work efficiently and allows a narrow depth-of-field (good for isolating your subject from distracting background details). They can be used with a good quality 1.4x teleconverter. (Many pros would consider the 300mm a little short for serious soccer work -- using instead fast 400mm, 500mm, and even 600mm lenses. Pros may use a second camera body with an 80-200mm f/2.8 mounted for close action.) I started with a Tokina 300mm f/2.8 and replaced it with a Nikon lens. The optical quality was almost identical, but the Tokina used camera-driven mechanical autofocus and just wasn't fast enough. Use it at f/2.8 or f/4.
300mm f/4 -- While one f-stop slower, this is a good alternative, though you would want to use it with the aperture wide open. The down side is that when the lights get dim, you are one f-stop behind the power curve. Faced with a decision of a new 300 f/4 vs. a used 300mm f/2.8, I'd go for the f/2.8.
100mm-300mm f/4 -- This is a pretty versatile lens if you're looking to get more serious about sports photography, and I'd recommend one as your first specialized lens. Sigma makes one in their better EX line. Tokina also made one, but it is no longer in current production. Used Tokinas are available for less than $600. May be used with a good quality 1.4x teleconverter.
70/80mm-200mm f/2.8 -- Lenses with this range of focal lengths helped launch professional quality zoom lenses, and are widely used by professionals and serious amateurs. There are several brands and models available. The wide aperture improves autofocus efficiency and allows reduced depth of field. Because these lenses are so popular, manufacturers have been able to make steady optical and mechanical improvements over the years. The down side is that 200mm doesn't give you much reach out into the center of the soccer pitch. These may be used with some good quality 1.4x converters.
Nikon
200-400mm f/4G ED-IF AF-S VRCanon
EF 300mm f/2.8L IS USMNikon
200mm f/2G ED-IF AF-S VRCanon
EF 70-200mm f/2.8L IS USMTokina AT-X 300mm f/2.8 Sigma EX 100-300mm F/4 Nikkor 80-200mm f/2.8 Tokina AT-X 80-200 F/2.8 70/80mm-200/210mm, variable aperture -- Many models available ranging from nice to so-so. Many will list maximum apertures as a range from f/3.5-4.5, or similar. The advantage is price and weight -- some of these lenses typically feature a lot of plastic in their construction. The disadvantage is that by being dimmer than a lens with a wide constant maximum aperture (such as f/2.8), the autofocus will not be as fast, all other things being equal. Some of these lenses are very inexpensive, and you get what you pay for.
Wide-range zooms -- These are typically the 24/28mm-200mm, 80mm-400mm, or 75mm-300mm lenses that many amateur photographers use as all purpose lenses -- sometimes called "super zooms". They are convenient, and are handy for snapshots, but they are not the best for sports photography. The maximum aperture when fully zoomed out is often f/5.6, which puts the lens at the edge of a camera body's autofocus capability. When coupled with a slower focusing camera body, you may find that the lens/camera combination won't work well for soccer, especially for head-on shots. These lenses are also the product of massive optical compromise and often present noticeable distortion at the ends (wide angle and telephoto) of the zoom range. (If you have a choice when selecting a telephoto zoom lens, try and limit the ratio between shortest and longest focal lengths to 3:1 or 4:1.)
For example; I owned a Tokina 24-200mm lens briefly. To say it was "inadequate" for soccer would be charitable. I sold it within a couple of months.
Teleconverters -- You can use teleconverters with your telephoto or zoom lens, but some image degradation is almost unavoidable. Whatever you do, don't cut costs here. Use the camera manufacturer's converter, or a good independent brand (like Kenko's Pro series). I suggest a 1.4x converter, which gives you more reach, only reduces the light by one f-stop, and will probably produce good images. I don't recommend a 2x converter...You loose two full f-stops (if you are using an f/4 lens, you will end up with an f/8 lens) which means slower shutter speeds and probably significantly reduced autofocus performance (or a much dimmer view if you are using a manual focus lens). As a rule, don't use a teleconverter on a lens with a focal length less than 100mm unless it is specifically designed for that use. Above all, make sure that the teleconverter you get will allow autofocus function with the lens you intend to use it with.
Tamron 80-210mm
f/4.5-5.6Tokina AT-X 24-200mm
f/3.5-5.6Tokina AT-X 80-400mm
f/4.5-5.6Kenko Pro 1.4x
TeleconverterAutofocus (AF): Be aware that autofocus lenses may be driven by a motor in the camera body, they may have their own internal motor, or have something called "silent wave" or ultrasonic drive. Lenses with their own internal focus drives are quieter when focusing, and are usually faster than those driven by the camera. This makes a big difference when you mate them to a teleconverter. In some cases teleconverters will not allow lenses with internal motors to operate in the AF mode. Check before you buy to make sure that camera body, teleconverter, and lens can all work together.
Independent vs. Camera Brand Lenses: There is a lot of back and forth regarding the relative merits of independent brand lenses vs. the "biggies" such as Nikon, Canon, Minolta, Pentax, etc. The highest quality lenses of a particular independent manufacturer (such as the Tokina AT-X Pro lenses) are good quality, and solid. And they are usually better quality than the major brands' consumer grade lenses for around the same price. The choice is yours.
Recommendations:
A good kit: A good DLSR amateur kit would be: (a) a Nikon D200 or D80, or Canon 30D, (b) a camera-brand 70-200mm or 80-200mm f/2.8 that uses a focusing method internal to the lens itself (rather than being driven by a shaft from a motor in the camera body). Instead of a new lens, this might be a good used lens (do not get a slower lens just because you want "new", or one with variable aperture), and (c) a good quality 1.4x teleconverter. This will give you framing like a 300 mm lens on a 35mm film camera (without the 1.4x converter) and the ability to work in dimmer settings. The larger aperture will make it a little easier for the autofocus to work. And don't forget the monopod.
Another approach: There are a bunch of used professional DSLRs being traded in these days. A new Nikon D1H cost about $3,000 four years ago. Now they only bring a few hundred dollars as trade-ins. The camera produces 3MP images and while that may seem small, think about what you are using those images for...If you plan on making 24 x 36 inch gallery prints, read no farther. But if you are publishing on the web or making 4x6 or 5x7 prints, 3MP is more than enough. So consider purchasing a used camera like a Nikon D1H and a used 80-200 f/2.8 lens (it could be either a good quality independent, or a camera-brand). Once you have that, all you'll need is an extra battery, some CF cards (512MB will do just fine), and a monopod. This setup will work!!
Where to buy: You can purchase equipment at a local shop, or through the internet.
Local shops -- It may come as a surprise, but your local camera store may be able to match the prices of the internet/mail order dealers. In Northern Virginia Photo Craft stores (in Burke and Fairfax) usually sell Nikon and Canon gear for about the same price as the NYC stores. Photo Craft has a web presence -- click on their ad on the Soccer-Shots home page. In the wider DC area, Penn Camera stores are usually just a little above the internet prices. But local dealers are here, now, and can offer you counter service and advice when you need it. Pay sales tax -- don't pay shipping -- it balances out, and helps to keep local merchants in business.
Internet, new -- I recommend B&H PhotoVideo and Adorama (both New York City dealers) and KEH in Atlanta. My dealings with them have been professional and efficient, and their web sites are comprehensive. There are other dealers in and around New York with less than sterling reputations. They may advertise lower prices, but don't say I didn't warn you. PhotoCraft (Fairfax County/D.C. Metro area) has a web site. Although not as comprehensive as the other three dealers listed, they are updating their site constantly, and are worth a first look, especially if you live in the area.
Internet, used -- KEH, B&H, and Adorama have good used equipment departments and good listings (which are monumental efforts to maintain). KEH made its mark as a used camera dealer and has a huge selection. If they don't have the lens you want right now, chances are they will sooner or later. As a rule of thumb, you will do very well at KEH with the camera brand Excellent Plus rated lenses, and the Like New Minus lenses of third party manufacturers.
Run what ya brung: It's nice to talk about buying all this neat camera gear, but what about using what you have on hand? See the page on shooting.
What do I run? Since you ask -- these days I use a Nikon D1X (usually with a Nikon 300mm f/2.8 AF-SII lens) and a Nikon D1H (usually with a Nikon 70-200 f/2.8 AF-S VR D). (These cameras are getting a little long in the tooth and I plan to replace them in 2007 with either a pair of Nikon D200s or a pair of the upcoming Olympus E-3s.) I have two Nikon 1.4x converters, which may be used on one or both lenses. I often shoot using both cameras while sitting on a stool. The D1X with the big lens is mounted on a Manfrotto carbon monopod, and the D1H with zoom is usually sitting on the ground (or on top of a Domke bag) next to me. I never shoot in the camera's continuous mode. If you want to see which camera and lens I used, look at the picture properties for photos on this site. If there is an "h" in the file name, I shot with the D1H. If there is an "x" I shot with the D1X. (As I revamp the picture galleries, photos shot with digital cameras will have more information under "Details".) I use Aquatech covers for both cameras. I also installed fog-proof viewfinder lenses...You spend a lot of time with the camera up to your eye shooting soccer -- in hot, humid conditions, this really helps.
Equipment | Shooting | Image Management | Examples
(Updated April, 2007)
