Recently, the world tuned into a live-streamed spectacle where jabs were thrown, stories unfolded, legends were made, iconic photos were taken, memes were generated, and coverage continued long into the night.

No, I’m not referring to the Democratic National Convention, but rather the 2024 Paris Summer Olympics Games. And this year one of Sony’s newest cameras also made its Olympic debut: the Sony Alpha 9MIII, with the world’s first global shutter. 

For Nick Didlick, one of the 1600 lucky and talented photographers at the Paris Games, capturing a variety of sports in a variety of different ways, requires an impressive amount research and care. Also impressive: Didlick has been capturing Olympic moments for forty years!

We caught up with Didlick by email to inquire how Sony’s equipment and camera elements, including Pre-Capture on the a9 iii and the PDT-FP1 transmitter, aided in telling the story of the Paris games. 

There are several photographers covering the same event, with similar gear. How can one differentiate their storytelling at the Olympics? Are there ways to shift your creativity/framing etc that help create an image that is uniquely your own? 

Three things make a difference: Planning, technology, and experience, which are all part of trying to make something unique. At an Olympics, you must rely on all three, but the most important thing is having an idea in mind and a plan. I had a shoot plan 30 days out from coming here, which included the sports, the personalities, and the venue I wanted to cover, so research is a big part of the overall plan. Those plans change, including when you shoot an event at the venue. And always, always watch for things behind the actual event for a truly unique image.

I didn’t realize that Sony has a loan center set up at the Olympics. Were there any lenses that surprised you or shifted your storytelling of the games?

I came with all the gear I needed for my plan (see https://alphasports.pro/paris-2024-summer-olympics/), but I did rely on the cleaning a repair service for some gear. But for many of the photographers, the loan service is essential and part of being at a major sporting event worldwide.

Sounds like pre-capture is an incredible feature when it comes to the Olympics. Were there any other sports that Pre-Capture was integral for? How has this changed your approach when it comes to taking photos?

Pre-Capture is an amazing tool, as is 120fps, but these are tools that can help you make your storytelling unique. But they are probably the least understood menu items. Here at the Olympics, I use them to get that decisive moment that can show viewers a moment they or even the photographer didn’t see. Boxing is a prime example, but Gymnastics Uneven Bars, 100m Dash finish line, and any place with a decisive moment like a finish line Pre Capture and 120fps are great tools.

Sounds like the Sony PDT-FP1 transmitter has been super key in your workflow! Can you share an example where transmitting quickly and efficiently using this tool ensured that you hit your deadline?

The Sony PDT-FP1 is the star of the show here when it comes to photo technology. Everyone who has used it loves it. It makes my camera a truly network-attached device, as well as my laptop and other devices. On a venue, I can send selected (or all) pictures to editors, but even better, while riding a bus to the next venue, I can connect my laptop and send my outtakes as well. While the device is an investment, it saves so much time over a day it’s actually a great investment.

A breakdown of the Sony gear, examples images, tilt shift examples, and strategies can be found at Nick Didlick’s website.