Incheon, South Korea
By Rob Dawson
To receive messages saying, “Police detained me” and “Running a bit late. Broke my nose,” is not something I expected when editing the Asian Games. With some 10,000 athletes taking part in the 16-day multi-sport competition it was always going to be a challenge to cover such a sporting spectacular, but this was out of the ordinary.
As a picture editor, I was based in the Main Press Centre, sitting alongside colleagues from text and TV. I was often the central point of contact for the six photographers covering the event alongside my main responsibility for picture editing.
I received those two unusual messages when Japan’s Chief Photographer Issei Kato, and Asia Editor-in-Charge Tim Wimborne were setting up and retrieving their remote cameras.
Remotes give us the opportunity to provide an extra angle of coverage, something different from the positions photographers are allowed to shoot from during the games. They allow us to capture pictures from places that would be logistically impossible or unsafe to have a photographer. A favourite spot for remotes is a high viewpoint looking down on the action, directly above the gymnastics floor for example.
With a remote, it’s almost as if we have an extra person covering the event, this also means extra pressure for the photographer. As Olivia Harris found out, in her first time using remotes, you have to think like two photographers and remember to trigger the camera when it will make a strong picture from that angle. This won’t always be the same moment as you’re shooting at ground level.