Mark Pain is an internationally acclaimed sports photographer with multiple “Sports Photographer of the Year Awards” from the British Press Awards. He has photographed many of the world’s most incredible sporting events during his decades of work, including having shot the Ryder Cup, professional golf’s premier team competition.

To celebrate the 44th edition of the biennial Ryder Cup teeing off today at Marco Simone Golf and Country Club in Italy — pitting the United States squad against team Europe — it is as good a time as any to look at one of Pain’s most famous photos, arguably the first golf photo ever to go viral.

In an interview with Golf Digest, Pain explains how he got the iconic image of Tiger Woods at the 38th Ryder Cup in Wales in 2010 featured at the top of this article. “I remember thinking, ‘Wow, that’s coming straight at me, and that’s pretty nuts,’ I remember looking at the back of the camera and thinking, ‘That looks a bit weird.’ It’s by far the most famous picture I’ve ever taken. It’s such a bizarre moment that it’s real fun actually talking about it,” Pain explains.

The image, which PetaPixel featured when it went viral in 2010, shows a Woods’ chip shot appearing to come straight at the camera as a mass of people, the “gallery” as fans are called in golf, stand behind him, all watching the shot.

Even as camera technology improves, adding faster shooting speeds and better autofocus, a shot like Pain’s is practically impossible to get in 2023. Everyone in the frame, save for a professional camera operator and some pro photographers, is watching the spectacle with the naked eye, not through a smartphone screen as they record the moment. It is a far cry from what major sporting events look like today.

And the crowd is important to Pain’s image — it is the critical context that sets the scene and tells the story.

“Back in 2010, I was the chief sports photographer for the Mail on Sunday — a big British Sunday newspaper. My role as a photographer was to cover a whole variety of sports every week. I was very lucky in those days to be sent around the world doing pretty much all the big sporting events that are played,” Pain says.

“Shooting the Ryder Cup is nothing like shooting golf. It’s a huge event. It’s not just a golf tournament, it’s about personalities as well. In many ways, the golf was irrelevant to me, it’s all about moments, capturing that moment of each competition on that particular day,” he continues.

On the day of the famous photo, Pain was out on the course with Tiger Woods, and the weather, in typical Welsh fashion, was rainy and windy. The wind was so strong that rain coated the front of Pain’s lens almost as soon as he brought it up to shoot. “It was hell,” Pain says.

After not taking many shots during the round because the weather was brutal and Pain needed his cameras to survive through the end of the day, the Sun finally poked through and the rain slowed, just in time for Pain to follow Woods down the 18th and final hole.

“Tiger’s coming down 18 in the Ryder Cup, so there must have been 10 photographers at least covering that particular match. He hits his shot to the left of 18. We have no real idea of where the ball has landed,” Pain says, although marshals were ushering people out of the way, suggesting that Woods had found his way into the rough.

As professional sports photographers, Pain and the others move up around the spectators and often kneel so that fans can see over their heads. As is often the case, Pain had a long lens and a wide-angle lens with him.

“I put my big lens down to my side and got myself technically ready to take the picture of what was going to be happening in front of me,” Pain explains. “I’ve now got Tiger Woods facing me with his caddy talking about the shot, and I’ve got a bank, literally it’s like a terrace, of thousands of people. It laid itself to be a lovely wide, colorful image with lots of faces.”

“I remember focusing on Tiger as he was standing over the ball, addressing the ball, and the Sun has now come out…my ISO was set, my shutter speed was set, my composition was set. I’m doing nothing technical at all. Literally just watching him with my finger over the shutter,” he continues.

As Woods made his shot, sports photography magic happened.

“I thought maybe I had messed up focus-wise because the first frame I saw, the camera shows you the last frame you talk, and that was pretty much white, so I flicked back to the last image, the one everyone knows,” Pain says.

“What staggers me is people’s faces,” Pain says, looking at his photo. “Everyone is looking as though something mad has just happened. Everyone looks like they’re on a film set…You almost couldn’t set this up better in terms of the composition. Every single person here, every golf fan, is watching someone play a golf shot, as opposed to filming somebody play a golf shot.”

Although it looks like Pain was standing directly in front of Woods as he made his shot, he was about 45 degrees to Woods’ right. However, Woods was having a rough day on the course, and his shot was shanked from the rough, coming straight to Pain, who, 999 times out of 1,000, would have been safely out of the way. That 1-in-1,000 event — getting hit by a wayward Tiger Woods golf shot — resulted in a one-in-a-million photo.

Pain was in such shock, having been hit by a golf ball that fell to his feet, and Tiger Woods and his caddy looked so angry, probably more at the bad shot than the fact that the ball had hit Pain, that Pain quickly left the area.

Looking back at Mark Pain’s iconic image, PetaPixel chatted with the photographer about the picture and sports photography at large.

“The Tiger Woods picture is certainly up there as one of the best images I’ve ever taken,” Pain tells PetaPixel. “One of the best, but certainly the luckiest.”

“Great sports photography is all about capturing the moment, and I certainly have never had such a huge number of important factors come together for me in a single image,” he adds.

Pain explains that the composition and light could not have been any better, even if he had complete control over everything. Beyond the fantastic light, fascinating fans in the background, and the picture-perfect moment, Pain notes that the image is made even better because it features Tiger Woods, who remains among the most famous athletes in the world and was undoubtedly the most prominent golfer in 2010.

Golf is typically one of the easier sports that Pain photographs.

“However, photographing the Ryder Cup throws up its own unique challenges. It can be a physical challenge if you’re following a particular match or pairing over 18 holes. You’re constantly playing catch-up as a photographer to get ahead of the players and action and to get in position in good time for your next shot.”

Beyond the struggle to stay in good spots for photos, weather is also a factor. “Shooting football (soccer) or rugby etc. in the rain is fine, as you’re generally shooting from a fixed position on a stool with the usual rain covers etc. However, it’s a completely different challenge if you’re constantly on the move in the rain on an open golf course. It can be a real nightmare, especially as you’re generally carrying at least a couple of camera bodies, one with a big telephoto and another with a wider zoom. So that in itself was a real challenge in the build-up to the Tiger moment — I was literally in camera survival mode at times,” Pain tells PetaPixel.

Pain’s legendary shot has also taken on a cult meme status among golf fans and the internet. One of the spectators, known as “cigar guy,” took on a life of his own in 2010 and still resonates with people today. Pain shared a hilarious Photoshop that someone sent on Instagram this morning.

Often, a great photo is at least partly due to luck. In this case, Pain certainly gives good fortune a lot of credit. However, make no mistake, even though he is lucky that Woods hit a lousy shot that came straight toward him — although the ball probably hurt a bit — Pain’s talent and experience ensured he was not only in the right place at the right time, but that he was able to take full advantage.

Mark Pain’s Amazing Photography Shows Skill, Patience, and a Rich Range of Sports

More of Pain’s sports photography is available on his website and Instagram. Pain also operates the Mark Pain Sports Photography School, where photographers can learn sports photography skills directly from Pain.

Image credits: All images © Mark Pain.

A photographer who takes stunning photos of marine life tells PetaPixel he spends 500 hours underwater each year.

Andrey Savin shoots his photos in the Philippines where he lives and captures all manner of exotic sea creatures; including turtles, squids, eels, and clownfish.

“Underwater, the body works in ‘light’ mode and the brain in ‘turbo’ mode,” says Savin. “You have to analyze everything at once and very quickly.”

Savin, who regularly dives solo, says that while beneath the waves he is looking for “unusual behavior, beautiful natural light, rare sea creatures, successful combination of colors, and expressive faces.”

“This is not a complete list, but those are the aspects that I intuitively use when building a frame. I also try not to make the image look like it was shot with flash, I strive for maximum naturalness and natural beauty,” he adds.

Although Savin doesn’t want his photos to look like it’s been lit with flash — something he achieves time and time again — he does take a lot of lighting down into the deep blue with him.

“I have two cameras: the main one is a Sony A7R IV which gives amazing resolution (I’m switching to the A7R V now) and the backup camera is a Panasonic GH5 with an external recorder Atomos Ninja V (mainly for video shooting),” he explains.

“I use a dozen excellent lenses in conjunction with these cameras. Among my favorites are the Canon 8-15mm fisheye, a Sony 90mm macro for full frame, an Olympus 60mm macro, and an Olympus 7-14mm for micro four-thirds.

“And then there are eight flashes and more than 10 underwater lights. After all, light underwater is a major factor in success. Don’t think it’s all about the number of lumens, not at all. Quality of light and flexibility of control are of paramount importance.”

Savin says that anyone can develop their skills in the water given enough practice, something he has himself in abundance.

“Although I stopped counting the number of dives I do a long time ago, I estimate that I spend more than 500 hours underwater per year,” he says.

“As for photography, it is an endless process. Before every dive, I set clear goals that I want to achieve. This is the key to progressive movement and development of my abilities,” he says.

“I love to test new equipment and cooperate with a number of brands. I am sure that the qualitative leap in skills (both diving and photography) occurs when you move to solo diving — when you can count only on yourself, on your own strength and skills — it significantly increases the level of responsibility and gives complete freedom.”

More of Savin’s work can be found on his Instagram and website.

Image credits: Photographs by Andrey Savin

Bryan Adams says that he feels like “a photographer moonlighting as a singer” in a new interview.

Adams is not only a famed rock icon, but he’s also had a successful career as a professional photographer. In an interview in the latest issue of Classic Rock magazine, Adams revealed that he now actually sees himself as a photographer first and foremost.

He Didn’t See Himself as a ‘Real Photographer’ For Years

In the interview with Classic Rock magazine that was spotted by Digital Camera World, Adams says he always had a keen interest in photography in his early days as a musician.

Adams would carry a camera everywhere and shoot photographs of life on the road and backstage as a musician. However, he initially never shared his images and kept his photography private — as he believed that he was not a “real” photographer.

In the late 1990s, Adams decided to stop hiding his images. The singer started sharing his work and passion for photography with the world.

“The more I did it, though, the more confidence I got in my own work… so I just started taking things into my own hands,” Adams says.

‘I’m Trying to Find Two or Three Frames That Are Different’

Adams says that he takes a relaxed approach to shooting portraits and finds that problems arise when a lensman tries to force a great photograph out of a subject.

“I like to have a bit of a laugh. I don’t want it to be too stressful and I want people to look great,” Adams explains

“I’m just trying to find those two or three frames that are different from anything else.”

Over the last decade, Adams has photographed figures such as Muhammed Ali, Mick Jagger, Kate Moss, and even Queen Elizabeth II. Adams tells Classic Rock magazine that he now sees himself as “a photographer moonlighting as a singer.”

In 2022, Adams was tapped to photograph the 2022 Pirelli calendar. Titled “On the Road,” Bryans shot the likes of Iggy Pop, Cher, Jennifer Hudson, and Grimes for the calendar.

Image credits: Header photo licensed via Depositphotos.

New Delhi: Photographer Gauri Gill has won the prestigious 10th Annual Prix Pictet Photography and Sustainability Award, securing the massive prize of 100,000 Swiss Francs (approximately $109,219). This award is recognised as one of the world’s most significant, if not the largest, prizes in the realm of photography.

The award was announced on Thursday, September 28.

Gauri Gill.

Gill was selected from the shortlist of 12 photographers for her series Notes from the Desert.

Government hospital, Barmer, from the series ‘Notes from the Desert’, 1999-ongoing. Credit: Gauri Gill

Waterwells, from the series ‘Notes from the Desert’. Credit: Gauri Gill

“On my many visits to rural Rajasthan, I have witnessed a complex reality I knew nothing about as a city dweller. To live poor and landless in the desert amounts to an inescapable reliance on oneself, on each other, and on nature,” said Gill.

Hanuman Nath with his daughter and Hem Nath, on Holi day, Lunkaransar, from the series ‘Notes from the Desert’. Credit: Gauri Gill

Jannat, Barmer, from the series ‘Notes from the Desert’. Credit: Gauri Gill Photo:

The Prix Pictet is described as the world’s leading award for photography and sustainability. Founded in 2008 by the Pictet Group – a Swiss multinational private bank and financial services company – the award’s goal is to harness the power of photography to draw global attention to critical environmental issues.

Entry to this competition is only allowed to individuals nominated through Prix Pictet’s  global network of over 300 nominators which includes critics, curators, and other specialists in the visual arts.

Nominators are asked to recommend portfolios that have the power and artistic quality demanded by the prize.

Since it was founded, the organisation says that more than 5,000 photographers have been nominated, “all of whose work in one way or another testifies to the fragile state of our planet.”

“In a world facing unprecedented challenges, from social inequality to environmental crises, it was crucial to turn the lens towards humanity itself. The theme Human provides a platform to explore the complexities, vulnerabilities, and strengths of the human condition. It allows the artists to capture and communicate the stories, struggles and triumphs of individuals and communities around the globe,” Executive Director of Prix Pictet, Isabelle von Ribbentrop, said.

“Through this theme, Prix Pictet aims to foster a deeper understanding of our shared humanity and inspire meaningful conversations about the issues that impact us all. Especially when thinking about the theme Human, I strongly believe that instead of the future of photography, we should think about photography of the future. The power of the image lies in its ability to foreground critical and urgent environmental issues in a visually impactful yet direct way.”

‘Jogiyon ka dera’, Lunkaransar, from the series ‘Notes from the Desert’. Credit: Gauri Gill

Mir Hasan with his grandfather Haji Saraj Ud Din, oldest member of the community, in his last days, Barmer, from the series ‘Notes from the Desert’. Credit: Gauri Gill

Gill’s work emphasises her belief in working with and through community, in what she calls ‘active listening’. For more than two decades, she has been closely engaged with marginalised communities in the desert of western Rajasthan, Northern India and for the last decade with Indigenous artists in Maharashtra.

Her winning series ‘Notes from the Desert’ began in April 1999 when she set out to photograph village schools in Rajasthan. Having grown up mainly in cities, she soon realised that rural schools were a microcosm of a complex reality she knew nothing about.

Visiting the same people and places over decades, she witnessed the whole spectrum of life: drought years and great monsoon; dust storms leading to widespread fevers and floods leading to the rebuilding of homes; epidemics; overwhelmed hospitals and understaffed school; festivals, feuds, celebrations, and prayers.

New homes after the flood, Lunkaransar, from the series ‘Notes from the Desert’. Credit: Gauri Gill

Surmi, daughter of Ismail the Shepherd, Barmer, from the series ‘Notes from the Desert’. Credit: Gauri Gill