Action, Emotion, and a Third Thing: Soccer Photographers Worth Following
“Capture action and emotion” is the basic assignment for all sports photographers. But in a media landscape where every consumer with a smartphone is also documentarian, how has the role of photography changed? Certainly pressure has increased for pro photographers to produce a higher level product. But, crystal-clear, technically-flawless images are not necessarily compelling ones…without a little something extra, they can feel corporate or plastic.
So what do I like to see in a soccer photographer’s portfolio? I’m glad you asked. Let’s consider the work of renowned photographer Peter Robinson.
Peter Robinson via thesaturdayman.com -- Wolverhampton Wanderers v Coventry City, 3 December 1966
Declared “the world’s greatest living soccer photographer” by the Athletic, Robinson began as a photojournalist in England in the 1960s. His work has been as much a portrait of the game as it has the community surrounding it. He captures action and emotion, but Robinson says that what he really seeks is “confrontation” or what is “out of balance”.
Peter Robinson via thesaturdayman.com -- Pele plays his final game. Giants Stadium New Jersey, 01 October 1977
Peter Robinson via thesaturdayman.com -- Sammy McIlroy Manager of Macclesfield and Roary The Lion , the club mascot, August 1998
When I look at his work, three aspects stand out to me. Firstly, Robinson’s work seems to bend genre. At times it feels more like street photography, or even like a behind-the-scenes of a band on tour. He leaves room for small details and the mundane—even deadpan portraits that you would have a hard time finding on sports-focused social accounts these days. Secondly, he doesn’t discard the imperfect image. Awkward poses, unintentional motion blur, a foggy lens are all consequences of shooting blind on film. These frames possess a texture and spontaneity that digital photography with its infinite chances can sometimes lack. Lastly, when I see his photos I don’t necessarily feel I am being sold a product. I mean, of course I must be, we live in a capitalist society where “myth-making” and “branding” are practically synonymous terms. But maybe his photos lean just a little closer to myth than brand, leaving room for authenticity.
(Robinson has made much of his portfolio available at his website, thesaturdayman.com)
Peter Robinson via thesaturdayman.com--Manchester United v Leeds United, FA Cup Semi Final, Sheffield, 14 March 1970
Peter Robinson via thesaturdayman.com -- Mrs Lily Clark who washes by hand the Peterborough United FC team strip, Here in her back garden in Paston Lane. 7 August 1967
Peter Robinson via thesaturdayman.com -- Ronaldo, Portugal, 2006
Action, emotion, and a “third thing” are what I want to see in a photographer’s body of work. Storytelling, abstraction, composition, process, motifs - anything that shows me the artist’s unique voice beyond their technical abilities as a photographer.
Here are a few that I think are worth a follow:
Abbie Parr is a Minneapolis-based photographer for the Associated Press. She covers various sports, but what really stands out to me is her understanding of light. Notice the way she fills the frame with golden confetti in a moment of celebration, or uses a stark shadow as a framing device in the midst of tension.
Michael Regan is an England-based photographer working for Getty. He has a unique eye for symmetry and centered subjects, which can create a mood ranging from sentimental, to humorous, to uncanny.
When I see the work of Carl Recine, I cannot help but think of Peter Robinson. His eye is on the people as well as the game, capturing the in-between moments and creating a portrait of a whole community. Recine works for Getty Images.
Ethan White began his career as a professional footballer, and later made the transition to professional photography. He has done commissioned work for various athletic brands and clubs, including being the Artist in Residence for Venezia FC, as well as the Atleti Creator’s Club. White is behind much of the velvety, dreamy editorial photo work that the Footy Museum fawns over.