How Sports Photographer Kirby Lee Captures Big Moments

Sandisk: You've photographed some of the biggest sporting events in the world. What makes a great sports photograph?

KL: I love to shoot full-frame, very tight, and super sharp. Sometimes I miss the bigger moment, but I want to make high-impact photographs. At the end of the day, we're all shooting the same thing, but I can tell which of my colleagues shot a photo. That's how distinctive our styles are. I approach things very technically. For me, that's high impact over artistry.

Sandisk: Is that penchant for impact what drew you to sports photography in the first place?

KL: I think so. As a kid, I spent a lot of time looking at major sports magazines. The photos always, always amazed me. Yeah, you can watch it on TV, but it's not the same as staring at the still photos. Those images really left an impact on me, and I guess that's what eventually led me down this path.

Sandisk: Right, because you studied engineering before becoming a photographer. How does that mindset influence the way you work?

KL: For me, preparation plays a huge role. When I go to a game, it's honestly like studying for an exam. Preparation, study, executing your game plan, and getting your shots; that's what sets you apart.

Sandisk: What are you looking at when preparing for an event?

KL: I'm looking at stats, following team beats, and tracking storylines. Individual athletes are important, too. For example, with a high jumper, you need to know which side of the crossbar they are approaching from, or whether they have a specific habit or tendency, such as looking backward or to one side.

I've seen the world-record holder in the 100m compete many times. Whenever he finishes a race, he turns his head inside to look at the clock. Once you notice something like that, it's easier to get a great shot. You still need to be in the right place at the right time—and sometimes a little lucky—but preparation can help put you in position to get that shot.

Sandisk: How do you set up your gear when shooting the most watched sporting competitions in the world?

KL: I've shot 15 American football finals and five international multi-sport competitions working for a national daily newspaper, but I am always grateful and honored every opportunity I've received. I never take anything for granted.

This summer, it's all about soccer, where photographers get assigned very small spots, so you can only bring so much gear. I'm bringing a minimum of three camera bodies fitted with a telephoto, medium zoom, and wide-angle lens. If I get permission, I like to set up a remote camera by the goal, too. My cameras will be wired via Ethernet and transmitting directly to a remote editor. I will also have a portable data transmitter as a backup in case there is an issue with the Ethernet.

Sandisk: Sounds like redundancy is essential.

KL: Absolutely. You have to have a contingency plan for everything. I've always got extra batteries and memory cards with me. I just can't afford to miss a moment because of my equipment.

Sandisk: Are there any specific pieces of tech that you've really come to trust?

KL: When Sandisk came out with its version of the CFexpress™ Type A Card, I made the swap instantly. The cards are up to two or three times faster than the product I was using previously.

When I'm shooting 30 frames per second, the difference is obvious. If the write speed of your card is too low, it can literally slow down the camera. You can miss your shot because the card is buffering.

Sandisk: It sounds like you speak from personal experience. Have you ever come close to missing a once-in-a-lifetime image because of your gear?

KL: When I first shot the record-setting 100m dash final in 2008, my card buffered out in the middle of the race—I couldn't do anything. I almost missed that moment because my storage wasn't up to the task.

With the cards I have today, that would have never happened. Pretty much everyone I've introduced to Sandisk's cards has made the swap. The products speak for themselves.

Sandisk: What does it feel like to be photographing such high-pressure events? What's happening in your head?

KL: You have to be laser-focused when you're out there. When I am shooting, it is almost like time stands still. I don't hear the crowd, and everything seems in slow motion. When I watch a replay of something that I have shot, I cannot believe how fast it happened.

Sandisk: Looking ahead, what are your hopes for shooting these huge soccer matches in Los Angeles?

KL: I would like the United States to do well, but my role as a journalist is to tell the story of the game, whether it's good or bad. I'd love to capture a memorable moment that is relevant for longer than the day after the game.

That's always the goal: making an iconic photo.