Miami, United States
As national soccer teams and the photographers who have been covering them start to trickle home from the Brazil World Cup, it’s time to revisit the “On the Sidelines” project.
This Reuters Pictures project was billed as a chance for photographers to share “their own quirky and creative view of the World Cup”. I thought that I’d examine what has been achieved.
As a way of introducing the project, let me use a comparison. I’m intrigued by the notion that an animal that has been caged, but is well fed and well treated, will not exchange freedom from its pen for the uncertainty that this freedom might bring.
Likewise, working as a photographer at the World Cup comes with a kind of cage of security. You know what you are going to do, what time you are going to do it, and what is expected of you. You need to capture pictures of great sporting action, goals, celebrations, red cards and, of course, every important incident, be it Suarez’s teeth marks or the collision that led to Neymar’s broken vertebra.
For editors too, life can fall into a regular pattern. First, arrive at the office two hours before the start of the game and make sure all the technology works, and that tests have been received from the photographers.