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|| News Item: Posted 2011-01-05

Joel Hawksley's Favorite Image of 2010
“I learned a lot over the next sixty minutes of play…”

By JOEL HAWKSLEY, Ohio University

Editor's Note: For this issue of the Sports Shooter Newsletter I asked students that are members of or had attended one of the Academy workshops to submit their favorite photo of 2010 and write a short piece about it. This image could be from a favorite assignment, show something they had learned or is something of a personal nature. The one requirement was, the image had to have special significance to them.

Photo by Joel Hawksley

Photo by Joel Hawksley

DeVaughn Washington
A lot of things had to go right to make this picture possible. The camera, a Nikon D3x mounted eighty feed above my head, had to receive the radio pulse from the MultiMAX in my hand. Another radio had to also receive that same signal, at the same time, and trigger the four strobes mounted around the arena.

Yet the most critical part of making this image wasn’t a piece of a equipment or the dumb luck of catching DeVaughn Washington’s single eye looking through a hole in the net; it was a 2007 Sports Shooter Newsletter article by Robert Beck that guided me through the incredibly complicated process of time-aligning multiple cameras with one set of strobes. (

Leading up to the Bobcats’ game against archrival Miami, I was looking for something different to do besides the ordinary remote cameras I was used to using. The game would be the 185th Battle of the Bricks, one of the best basketball games I have covered at Ohio. I went with four cameras: overhead 70-200mm, floor 20mm, concourse-level 85mm tilt-shift, and hand-held 24-70/70-200. While only three of the four worked consistently, I learned a great deal about working with different camera and lens models in a larger system of remotes.

After doing a test run at the women’s game the night before, I got everything locked and loaded for the big game. I worked out the last few tweaks, and went to shoot from my floor position. I learned a lot over the next sixty minutes of play, as I was forced to think of what moments would work best from the multiple angles I had to work with. In the end, I had a few dozen sets of images from the remotes that stood out, but none as much as the one above.

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