Sony now makes a G Master 400mm lens that weighs under a kilogram, which puts a super-telephoto in the same carrying class as a standard 70-200mm zoom. If you shoot motorsport, wildlife, or field sports without a monopod, that weight changes how long you can stay out and how freely you can move.
Sony now offers a 600mm super telephoto that weighs under a kilogram and costs $3,699, roughly $10,000 less than the f/4 version most shooters assumed they'd never afford. Reach at this length used to mean hauling a lens over 3 kilograms and paying five figures, so a lightweight option that keeps G Master image quality changes the math for anyone weight-constrained in the field.
Apple TV will shoot part of Friday's Giants at Dodgers game, the last "Friday Night Baseball" broadcast of the season, with 14 iPhone 18 Pro units built into Dodger Stadium, including inside the pitch clock, behind the backstop, on a foul pole, and in both bullpens.
Broadcasting an NBA game takes more gear than you'd probably guess, and the skill required to operate it is even more surprising. The broadcast setup for a single playoff game involves dozens of cameras, miles of cable, and a live production that makes Hollywood look slow.
Technical proficiency and a good eye are extremely important aspects of success for a motorsports photographer, but so is something many photographers do not want to do—planning. The cover photo would lack interest without the sun rising behind the cars.
Outdoor photographer Rainer Eder has teamed up with Swiss mountain sports brand Mammut to produce Pushing Boundaries, a visually arresting photo series that reimagines what athletic determination looks like when it's taken out of its natural habitat.
2026 marked the fifth time I worked IMSA’s season-opening Rolex 24 at Daytona race, but only the third as a photographer. My first two races focused on writing magazine articles; as a photographer, I still have a lot to learn and continue to find my way creatively.
When outlets can fill galleries with “credit-only” submissions, quality drops, prices crater, and working shooters quietly burn out. I’ve been part of the problem. Here’s why I’m done working for free—and how I’m building paid alternatives that serious shooters can copy without burning bridges.
Whether you’re a die-hard football fan or just watching Super Bowl LX for the multi-million-dollar commercials and the halftime show, there is one thing we can all agree on: the sheer scale of the production is staggering.
For years, a favorite working lens as a community photojournalist was the Fujifilm XF 90mm f/2 R LM WR.
By the time I pack up my monopod and walk off the field on a Saturday, my memory cards are loaded with a thousand frames. By Sunday morning, parents are already texting to ask when the gallery goes up. That’s the job: move fast, stay consistent, and tell the story of the game without spending the rest of the week dragging sliders.
The first time the R7 choked on a third-and-short, I felt it in my chest. I was on the sideline, ten yards ahead of the play, finger down, trusting the tiny motor under my thumb to keep up with a world that had just gone from strolling to sprinting.
Tell most sports shooters you’re covering a football game with a 100mm macro and they’ll smile politely, the way you smile at someone who swears by decaf. But youth football isn’t the NFL. The field is smaller, the pace is choppier, and the best stories live within arm’s length of the sideline.
Anyone who’s ever dropped a lens knows the sound—the crunch of glass, the instant nausea, the sinking thought of money disappearing in shards. But what happened in Cleveland during today’s Wild Card matchup takes that familiar dread and multiplies it by six figures.
Eleven years ago, I bought the Canon EF 70-200mm f/4L (non-IS). It wasn’t the lens most people in sports photography recommended. It didn’t have the aura of the f/2.8 — the sideline king, the badge of seriousness, the one that whispers “pro” when you sling it over your shoulder.
But for me, it was enough. More than enough.
The best baseball photographs don’t always happen when the crowd is standing and the lights buzz a little hotter. Sometimes the picture you keep is the one that smells like rosin and bubblegum—the quiet breath between pitches when the game is thinking about what it wants to be next.
In a recent video for B&H’s On Deck: Sports and Storytelling series, one of my favorite sports photographers and Sony Artisan of Imagery Jean Fruth shares how she consistently captures dynamic baseball images.
The opening round of the 2025 US Open was supposed to be a routine night of tennis. Instead, it turned into one of the wildest scenes the sport has witnessed in years, complete with a photographer on the court, a furious Daniil Medvedev berating the chair umpire, and Benjamin Bonzi somehow surviving the chaos to win in five sets.
With every new generation of camera producing larger files and higher bitrates, the demand for faster transfer speeds is relentless. Now, with Apple's M4 Pro and M4 Max chips ushering in the new Thunderbolt 5 standard, the goalposts have moved once again. Can the OWC Envoy Ultra deliver the next step-change in portable drive speeds?
Kevin Jairaj has been the Official Photographer for the College Football Playoff National Championship since its inception in 2015 and has become sought after for sports, weddings, and events in London; Trinidad and Tobago; the Bahamas; the USA; and, especially, his home state of Texas. Kevin has covered multiple Super Bowls and the Olympics.
As Super Bowl LIX approaches, Sony is set to play a major role in capturing the spectacle with an extensive array of cameras and technology.
As an official technology partner of the NFL, Sony will have over 240 cameras in and around the Caesars Superdome in New Orleans, ensuring that fans worldwide get an unparalleled viewing experience.
Get an inside look at what it takes to cover an MLS soccer match at the Seattle Sounders, featuring Sony's flagship a9 III global shutter full frame mirrorless camera, and the PDT-FP1, an all-new portable data transmitter for creators.
The countdown to the Olympic Games is on, and the world shifts focus to the multi-sport event which takes place in Paris this summer. From athletics to equestrian to diving, we explore the best and most versatile lenses for sports photography and crown the best camera body and lens combination for the job.
When you're shooting sports, knowing the game is key. It's about anticipating the action and being ready to capture those peak moments. Timing is everything, and the better you know the sport, the more consistently you'll make great pictures.
Have you ever flipped through an REI catalog with a twinge of despair, or gazed with more questions than answers at the DICK’s Sporting Goods billboard? Perhaps you’ve wondered who shot those jobs and how they got the contract? Standing in the camping section, you suddenly realize why the 20-year-old employee is looking at you oddly.
Even a lot of the people who purchased the new Leica Q3 might not be aware of a feature this camera has that can greatly expand your creative possibilities for using flash. Within the Q3’s beautiful magnesium alloy body lies a secret hidden in plain sight.
In 2019, I wrote about how I would never quit full-frame DSLRs. Back then, I complained about mirrorless cameras for wonky bodies and mediocre autofocus. Today, I’m eating crow.
The announcement of the Sony a9 III set the photography world alight with excitement as it became the first camera to feature a global shutter. In this video from Julia Trotti, she puts the camera through its paces in a sports environment. Let's see how she gets on.
There has been constant talk about the new OM System OM-1 Mark II in Micro Four Thirds Facebook groups since it was first announced. So, is this new flagship camera worth the upgrade?
There's one easy way to find out: watch this comprehensive in-depth review about the OM-1 Mark II brought to you by Thomas Eisl.
Liverpool manager Jürgen Klopp experienced a mix of emotions following his team's significant victory in the English Premier League. His elation quickly turned to concern when he realized he had misplaced his wedding ring during the post-match festivities on Monday, buried somewhere in the grass of the massive pitch.
In the world of sports photography, capturing the perfect moment often comes with its risks, as vividly illustrated during Sunday's NFL game at MetLife Stadium. While the New York Jets and Washington Commanders battled it out on the field, a photographer, engrossed in capturing the intense action, experienced an unexpected hazard of the job.
Nikon’s mirrorless lens lineup is slowly but surely growing, but a good lens selection can’t rely on only first-party offerings. Other manufacturers matter greatly. The new Tamron 150-500mm is a welcome addition to the Z mount, with its long telephoto range, decent aperture, and compact size.
Have you ever walked by a beauty image on the shelf at ULTA or scrolled by a brilliant shot on Instagram and thought: “I want to make images like that”? Or perhaps you are a photographer who saw a picture and thought: “I could have shot that better!” You have the skills, but you don’t know how to break into the commercial market.
Almost all of us have broken a piece of camera gear at some point and felt our hearts sink as we looked at thousands of dollars on the ground. However, I doubt any of us have broken gear as expensive as these shattered lenses.
When it comes to sports portraits and action photography, employing a bit of artificial light can make a huge difference by giving you the ability to shape the look of the frame and add a lot of drama to the image.
It takes years of practice to become good at sports photography. Basketball, for example, is fast-paced, with frequent turnovers. When covering a game, you need to be attentive to all of the action happening on the court. But even if you photograph all of the crucial plays, something may be missing from your coverage.
Have you ever seen the camera pan across the photographers during the World Cup and wondered: "How did they get that job? What is that lens they're shooting with?" Well, Fstoppers, I have all the answers for you.
Lens makers these days are coming up with some incredible options that were unheard of just a few short years ago. That continues here, with the Sigma 60-600mm f/4.5-6.3 lens put up against the Sony 200-600mm f/5.6-6.3 in a battle for the title of best wildlife lens. You could also make a case for it being an action sports lens shootout too.
That's what one of the internet's most popular photographers and reviewers said about the rumored specs on the Canon EOS R5 II, due for release in 2023. Take a look inside to see why he made such a huge statement.
Canon has just released the new Canon EOS R6 Mark II, and it looks like a rather impressive camera. Check out these first impressions to see if this new, upgraded model is a genuine step-up and worth your money.
If you want to know how good your camera is, pushing its abilities as far as they will go is the way to find out. Combining speed, vibration, and low light stretches its photographic capabilities, and flying mud, rain, and thick fog help too.
It's been a fair while coming, but Canon's new EOS R7 is getting some rave reviews. This reviewer says it's been a "runaway success," so see what all the fuss is about.
"Game-changer" is an oft-used buzzword these days, but seldom does the product live up to the hype. See why this photographer is adamant the new Tamron 50-400mm f/4.5-6.3 Di III VC VXD lens is indeed a game-changer.
Sigma describes this lens as its "flagship" lens, but how does it perform in the hands of an independent reviewer? Take a look and find out if it lives up to the hype.
Photographing cars and motorsport is a unique and exhilarating genre of photography, here are 5 good reasons you should try it.
It's a video that has reverberated around the world, with close to 700k views. Now, the true story behind the driver of the boat has come to light.
How do you get “the shot”? The saliva spewing out, as a fighter gets the decisive knockout blow. The sprinters desperately leaning forward in to gain the winning inch as they cross the finish line. The water tracing the swimmer's face as they come up gasping for air.
Part of being an action sports photographer is getting as close as possible to the thrills happening right before you. But how close is too close? See two famous surf photographers come perilously close to losing it all in deathly surf recently.