Preface: Our Publisher and Editor-In-Chief is one of our staff photographers. She also has an interest in the sport of boxing. Part of learning how to capture boxing events involves studying the work of other, recognized and celebrated boxing photographers. One of those men is Chris Farina. And aside from being a really nice guy, he is generous with his time and has made introductions for the magazine with key people in the boxing world. Thank you Chris for all your help.
ISM: What sparked your interest in photography as a profession? Did someone in your childhood point you in this direction? Did you take classes in photography or are you mostly self-taught?
CF: My mom introduced me to photography when I was nine or ten years old. I already had an interest in boxing, because I was reading my dad’s Ring magazines. I can remember listening (yes listening) on the radio to live updates of Ali-Frazier from the Garden. My dad was in radio in Las Vegas and I would go with him to local boxing cards and constantly try to sneak to ringside and to take photos. I had to keep a low profile or I would be thrown out by my collar. Eventually, one of the photographers took a liking to me. He said, “Leave that kid alone” and convinced the PR guy to allow me to stay. That was where I learned my craft. That was the beginning of my journey.
I was self-taught up until my mid-20’s, then found a mentor named David Lee Waite. He was a great teacher and encouraged my efforts until his death some 15 years later. We shared a studio, complete with darkroom and print room in Las Vegas. Without his guidance, I don’t know how far I would have gotten.
ISM: Looking back, were you an artistic type in search of a medium…and photography best accommodated your vision and skill set? Or has your talent evolved with your technique?
CF: A bit of both actually. As I said, the sport of boxing has always been my passion. I recognized the “art” in boxing and wanted to capture those moments for others to see. Photography was the means to that end.
ISM: Can you remember your first camera and take us through the changes in equipment you’ve worked with up to the present day? Is learning how to edit your captures with software now an essential part in creating a final product?
CF: My first camera was an old 620 film camera my mom gave to me. Later I started shooting boxing with a $50 film camera from Sears and I got some killer shots with that camera. I shot film for 20 years then in the late 90’s transitioned into digital. It was difficult transition. I had to learn the digital formats, learn the software and buy all new gear and computers etc., but that was the future, so there was no alternative. It was a new technology/the future and I had to relearn a whole new craft, adapt to a new way of shooting /processing the images and learn the technology. It took a while to get accustomed to it. I also had to adapt to a new kind of workflow which was different than film.
ISM: When you approach a new sport (or subject), how long does it take before you feel comfortable with your capture percentage (the ratio of pictures you want to keep versus the total number taken)? What are you looking for in terms of composition when shooting sports?
CF: I used to cover a lot of other sports, but now I focus primarily on boxing. In the past, I shot everything from weddings to babies. Also a lot of editorial assignments for major newspapers and magazines like People and Time and Business Week (to name a few). A lot of red carpet and awards shows, nightclubs. Oscars, Golden Globes etc…many years…Corbis Images.
Now in boxing, I shoot a lot of frames. For example: At the most recent Manny Pacquiao fight I must have gone thru roughly 13,000 frames. That’s a lot of editing. It may seem like a lot but out of those I only keep a small, select amount.
As for composition I try to shoot tight as possible. You want to follow the action and the direction of the movement. I hate to say it but good composition is something you just have to develop or instinctually have an eye for. You know it when you see it. I study the fighters and see what habits they are showing and shoot accordingly. Each boxer photographs differently. Each one has a pattern, a style, a certain way he throws punches and I try to break down their habits so I can anticipate their punches.
ISM: If you were to offer one piece of advice to novice photographers about finding great shots, what would it be?
CF: I would say always be prepared. Great shots will present themselves, so it is up to the photographer to be prepared to handle them. You have do your homework, know your equipment, understand the sport, anticipate the shot and never put your camera down until the action is over. If you see the punch, then you missed it.
Preface: Our Publisher and Editor-In-Chief is one of our staff photographers. She also has an interest in the sport of boxing. Part of learning how to capture boxing events involves studying the work of other, recognized and celebrated boxing photographers. One of those men is Chris Farina. And aside from being a really nice guy, he is generous with his time and has made introductions for the magazine with key people in the boxing world. Thank you Chris for all your help.