Boston, MA 041811 Kenya's Geoffrey Mutai who won the 2011 Boston Marathon, shown here in a neck to neck with fellow Kenyan Moses Musop near Kenmore Sq. Mutai set a record of 2:03:02 in the men's elite category of the 115th Boston Marathon on April 18, 2011. Ryan Hall, who led early on and for much of the race on Monday, ended up coming in fourth place, with a time of 2:04:58, a new record for an American runner gets a chest-full of water while trying to retrieve a cup from a volunteer. And an enthusiastic man dressed as a woman cheers as the men's elite runner pass his location near mile-marker 12. (Essdras M Suarez/ Globe Staff)/MET BEHIND THE SCENES: This was my fourth or fifth time covering the marathon. Perhaps my second on the men's elite media/ photographers' truck. Let me explain to you how this works. You get to the starting point in Hopkinot about 3-4 hours before the runner leave. Then you sit in the truck for about 30 minutes before they get going. Then after you have secured your pre-assigned spot, you sit in an awkward position on a wooden plank while on the back of a retro-fitted pick up truck while strapped in to your seat by what seems to be a stapled-job type seat belt. So this is not the best situation if you are prone to motion sickness, i.e me. You need to have at least two cameras going, one with a big heavy telephoto and another one with a smaller telephoto and having a monopod helps. You are sharing your hard-as steel seat with at least two more shooters who have as much or more gear as you do. So you are continuously bumping and elbowing each other and not all of it is on purpose. Add to that the fact that you have to hold the lens upright while the truck shakes, compose, expose, and focus. The resulting is a formula for a very stressful shooting situation. So when you do get good shots from your precarious perch while speeding down a bumpy road, the feeling of satisfaction when you nail the shot is definitely larger than normal. (:-) TECH STUFF: Two cameras, two lenses: a 500 F4 and a 70-200 F2.8 w a 1.4 TC on it. ISO: 400-640, Speeds:1/1600th of a second to 1/2,500th of a second, WB: cloudy. EXTRA NOTE: I forgot to mention you wake up the next day with a bruised brow since you really can't take your eyes off the lens for most of the ride since you want to make sure you don't miss anything. So I don't think I'll be doing too much winking today.
Boston, MA 041811 Kenya's Geoffrey Mutai who won the 2011 Boston Marathon, shown here in a neck to neck with fellow Kenyan Moses Musop near Kenmore Sq. Mutai set a record of 2:03:02 in the men's elite category of the 115th Boston Marathon on April 18, 2011. Ryan Hall, who led early on and for much of the race on Monday, ended up coming in fourth place, with a time of 2:04:58, a new record for an American runner gets a chest-full of water while trying to retrieve a cup from a volunteer. And an enthusiastic man dressed as a woman cheers as the men's elite runner pass his location near mile-marker 12. (Essdras M Suarez/ Globe Staff)/MET BEHIND THE SCENES: This was my fourth or fifth time covering the marathon. Perhaps my second on the men's elite media/ photographers' truck. Let me explain to you how this works. You get to the starting point in Hopkinot about 3-4 hours before the runner leave. Then you sit in the truck for about 30 minutes before they get going. Then after you have secured your pre-assigned spot, you sit in an awkward position on a wooden plank while on the back of a retro-fitted pick up truck while strapped in to your seat by what seems to be a stapled-job type seat belt. So this is not the best situation if you are prone to motion sickness, i.e me. You need to have at least two cameras going, one with a big heavy telephoto and another one with a smaller telephoto and having a monopod helps. You are sharing your hard-as steel seat with at least two more shooters who have as much or more gear as you do. So you are continuously bumping and elbowing each other and not all of it is on purpose. Add to that the fact that you have to hold the lens upright while the truck shakes, compose, expose, and focus. The resulting is a formula for a very stressful shooting situation. So when you do get good shots from your precarious perch while speeding down a bumpy road, the feeling of satisfaction when you nail the shot is definitely larger than normal. (:-) TECH STUFF: Two cameras, two lenses: a 500 F4 and a 70-200 F2.8 w a 1.4 TC on it. ISO: 400-640, Speeds:1/1600th of a second to 1/2,500th of a second, WB: cloudy. EXTRA NOTE: I forgot to mention you wake up the next day with a bruised brow since you really can't take your eyes off the lens for most of the ride since you want to make sure you don't miss anything. So I don't think I'll be doing too much winking today.
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