Going for G-old

Have you been watching the Paris Olympics? Like most big events that I’d like to see (Wimbledon being the annual classic), I usually miss the whole shebang.

This year though, I’ve managed to carve out a little time to catch a bit of the cycling and swimming – the two areas of sport I’m most interested in.

In particular with the swimming, I’ve been trying to pick up some clues for improving my personal performance in the pool. Well, let’s say that’s a work in progress. Most of the athletes have a 40-year advantage on me. Plus they swim every day (for several hours) and spend hours in the gym when they’re not in the pool. I mean really, it’s cheating!

Of course their performances are also enhanced by things like, I dunno, raw talent. They’re coached in techniques to the nth degree, drilled until they want to cry and many have been swimming since early childhood.

Contrast this with my “swimming career”; I left school with only a basic breast stroke, and no real drive to improve even that. As for front crawl (for the Americans reading this, that’s freestyle), until a few months ago, I couldn’t even get off the side of the pool. I was, in short, a drowning windmill.

However since rediscovering the joy of swimming while on holiday last year, I’ve signed up to regular sessions at my local pool, where my breast stroke has blossomed, and I’ve taken lessons in front crawl. I can now just about manage 50m without feeling sick, which is a huge step up from where I was around three months ago.

So why am I wanging on about the Olympics and my swimming now? Well of course it’s so I can shamelessly showcase the fact that 16 years ago, I had the honour of photographing double gold medal swimmer Rebecca Adlington (Becky) when she came to the University of Bath in 2008 to help launch the Youth Olympics.

There is a little more to this tale (not much tho) than just wanting to share an archive photo.

Bearing in mind Becky had only just achieved this huge success in the Beijing Olympics that same year, the attention she received would have been a whole new experience and perhaps slightly disconcerting.

As we settled into one of the university’s lecture theatres for a press call, I was just checking my focus and exposure on Becky when she leaned in to the person sitting next to her and said, “I suppose I’ll have to get used to this,” meaning “being photographed”.

As she sat straight again, she looked directly down my camera lens, and I took the shot you see here.

The comment didn’t strike me as anything more than a very matter-of-fact observation of how her life would change; there was nothing hostile in her tone, and she posed patiently and with good humour for more pictures after the sit-down press conference.

Becky’s career beyond the pool has flourished. Clearly, she got “used to this” a long while ago. I doubt she remembers that moment or her comment back in 2008, but for some reason it always stuck with me. Perhaps because I care how someone feels in front of my camera, even if I’m just doing my job.

On that day, we were both there to do a job. I’m still a photographer, Becky is still in the media spotlight and seeing her presenting from Paris 2024 alongside Clare Balding and Mark Foster reminded me of this one moment.

In the meantime, I’m going to continue with my own swimming career, though I’m not expecting to slip into professional swimming any time soon. That ship might have sailed unless there’s a VERY senior league out there?

 

Clamour over Klamar Pics

Casting around for ideas for today’s article I turned to twitter and asked what people might be interested in reading about.

Twitterer @drinckx alerted me to this little internet storm surrounding AFP photographer Joe Klamar’s photos of the US Olympic team.

From what I can gather, and for reasons not entirely clear to me, it was decided there should be a three-day photo session during which all the US athletes would be photographed on a tight rota by a selection of photographers representing different agencies, all working in mini studio booths at a location in Dallas, each photographer photographing every athlete in turn. Take a look at Vernon Bryant’s blog on the Dallas News and you’ll get the picture.

Now I’m no expert on the reasons behind the set-up. I would have thought it more sensible to have one or two top-end photographers shoot a set of well-crafted images suitable for pool use (one agency required to share images with all the others). Perhaps it was a way to save money, but the set-up sounds like a nightmare to me, with each photographer having approximately 4 minutes with each Olympian. With over 100 athletes to photograph, a Herculean task you might say.

The general consensus is that for Klamer at least, something went a bit pear-shaped. The results look rushed and un-professional, and yet if you find other examples of Klamar’s work he’s a good news and sports photographer. Maybe nothing spectacular, but what is known in the industry as a ‘good operator’. The problem is, now you’ll have to search hard for anything other than criticism of him such has been the rush by those who know nothing of these things to jump in and take pot-shots at him. Armchair photographers thinking they could have done better with their iPhone have comprehensively clogged the search results.

Looking at other examples of Klamar’s work it seems AFP may be at fault here in putting him forward for a task for which he was ill-equipped. News and sport appear to be his areas of expertise, and yet he was put in a studio that even studio photographers might have struggled with – very little room for lights or expansive and expressive poses. Other photographers did manage, but that would suggest they were more suited to the task.

I’ve seen comments suggesting Klamar’s images are meant to be ironic, stripped of slickness and cliché. Well I’m not convinced. If there is a message at all, the images could represent Klamar’s anger at the ridiculous set-up of the summit photo sessions. The tiny booths, the speed with which shots had to be rattled off. His background becoming torn, his lighting rarely being right, background edges in plain view. If he was being brave (rather than just out of his depth) he may have been saying “this set-up is rubbish and I will not pander to the idiots that organised it.”

One thing I am convinced of, this photo-me booth, conveyor belt arrangement cannot have been conceived by a photographer. This is the work of someone with a clipboard and lots of pens thinking they understand what a photographer needs. Yes, other photographers did a better job, but I bet they weren’t delighted by the reduction of the task to a series of snatch images. But if you take a good photo in rubbish circumstances you cant complain because the client will always say “but the photos look great, what are you complaining about?” Which rather misses the point.

For now Klamar’s reputation is somewhat tarnished, but I think he’ll recover once the interest moves onto something else. Maybe a cat playing the piano will distract people back to what the internet was made for.