In most of my previous PhotoFit columns I've been hitting on techniques to get the best exposures for your images - basically making sure your image is sharp. I've been throwing around the term "sharp" a lot, but what that really means is "in focus." Getting your images in focus is the name of the game. I can't reiterate more how critical focus is for an image. No matter how special of a moment that you catch, if it is out of focus, it's worthless. This column will focus on focus, and the secret way to get it: The almighty back button.

All DSLRs share many of the same hi-end focus systems - the most basic being full auto focus. That basically means the camera does the thinking and when you half-press the shutter, it guesses what should be focus and then it takes the image. Turn that off immediately.

Next up is Single Point (apologies, I speak Nikon, but Canon has all the same systems named slightly different). Single point gives you great focus on your center point (or whatever point you select), but it will not adjust if your subject moves forward or back before you hit the shutter. Not useful for fitness.

Nikon D600, Nikon 70-200, 1/500th, F2.8, ISO 6400

Now, let's talk about Continuous Focus. This is where your camera should live. Depending on the body you have, there will be a range of options from D-9 all the way to D-51 which refers to how many active focus points will be used to acquire focus. Quick tip, using less focus points actually helps the camera grab focus faster in most cases, so usually just pick something in the middle of the focus points your camera has.

So now here's the real inception mind-twisting moment. All cameras you've ever used have focus and shutter release connected. What if I told you they didn't have to be? Here's the magic of the back button. Right around where your right thumb naturally goes on the camera is a button named either "AF-ON" or "AF/AE-L" or something along those lines. Activating this button will de-link the shutter from focus. What does this mean? If you hit the shutter button the focus will not change and the picture will be taken whether it is in focus or not. The "back-button" now controls focus. Anytime you hit that button, your active focus point will try to grab focus. Whenever you stop hitting that button, the focus will remain locked on the camera. When you hit the shutter button, this image is taken.

Nikon D4, Sigma 35 1.4, 1/500th, F1.8, ISO 3200

What does all this mean and why is this incredible? Because you can finally keep a focus in focus during a snatch. You can grab perfect focus on a subject's head while they are doing pull-ups. You can nail focus over and over with predictable results that aren't skewed by your cameras overthinking focus computer.

To activate AF-ON each camera is a bit different but the basic steps (on a Nikon camera) are as follows. Go the Custom Settings Menu, select Autofocus. Go to Assign AF-ON button (or assign AE/AF-L) and select AF-ON. Also, you'll have to take a second step on most cameras and go to the AF Activation Menu and select "AF-ON" only. What that does is fully sever the connection between the shutter and the back button.

Back Button focus in action

So first off, using this will lead to a ton of out of focus pictures.... at first. There is a serious learning curve to understanding that cameras now have more than one button. The shutter button just takes images now. And it will do it whether you're in focus or not. You'll need to learn when to hit the back button and when not. You also need to feel out your lenses and know when they are in focus and not. Here's a great example: a kipping pull-up. Let's say we're lined up to the side of the pull up rig. I'm trying to get the subject's head perfectly in focus over the top of the bar. I don't want their hands to be in focus. Using a traditionally autofocus system linked to the shutter button, the camera would grab focus on the hand in front of the head, but not the subject's head (usually). With the back button active, I'm going to stay still and wait for the subject's head to get to the apex of the movement and hit the back button. I'm not going to take the photo though. I'm going to wait for the subject to hit the second pull-up and then hit the button. I'll repeat this process a few times. Over the course of a few reps I'll continue to lock the focus tighter and grab a few more shots. The image wouldn't ever come out in focus before (or would be total luck to get it).

Nikon D4, Tamron 24-70, 1/400th, F2.8, ISO 6400

Another great example -- the snatch. With an autofocus system, it will generally grab whatever is closest to the camera at any point in time. That will generally lead to focus on the hands, the barbell or anything else that jumps out. With the back button, I'll grab focus on the head during the setup position. Once the lift begins, I'll not hit the back button again and this will usually get me an awesome series of in focus images. Note though, if the head comes closer to me or farther away, there's the possibility depending on your aperture, the subject could slide out of the focus plane. In that case you'll need to hit that back button again and recompose.

Here's another great use of the back button: focus and recompose. So composition is always critical in an image. But generally you're working with the center focus point. With the back button - and if the subject is not moving farther from the camera or closer to it - I can set my focus, let go, and then recompose however I'd like and then hit the shutter. This might sound trivial, but when you realize how quickly you can get shots in camera with the composition and focus you want, your mind will soon be blown.

Nikon D600, Sigma 15 2.8, 1/500th, F2.8, ISO 3200

Cautions

Realize that you're now in control of the focus. If you don't hit the back button, the image will definitely be out of focus. But also, if a subject moves closer to the camera or farther away from the camera during a sequence, your perfectly in focus setup will lead to an out of focus catch position. This is where the real art comes in of knowing when to hit that magic button and when not to.

This takes a lot of practice to get the hang of, but gives you full control of your camera in an incredible way. Give it a try, learn it, love it. Comment below if you already use the back button or if you're trying it out now.

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Today we're going to be talking all about composition - specifically wide vs. tight. My basic go-to lens for all things functional fitness - and pretty much everything else - is my trusty Tamron 24-70 2.8 VC. With this lens, I can get a great head-to-toe shot of a single athlete or back up a little and get the whole scene - the athlete lifting, the crowd cheering, etc. But, I can just as easily zoom all the way to 70mm and get that tight detail shot, or the facial expression when someone nails the perfect lift, or get the war face on the way up from the bottom of a squat.

What we're really talking about here is composition and thinking about what you're framing when you take a photo. In my experience, a basic head-to-toe semi-wide shot is just boring. You have two options really: either pull out farther and get the athlete, plus the crowd around, or go tight, zoom in and really capture the details, up-close and personal. You need to separate yourself from the dozens of iPhones and point-and-shoots that will inevitably be in the crowd.

First off - talking about the benefits of the wide shot and some ways to set yourself up for that in an event situation. You need to do more than just make sure you're settings are dialed in, you need to be aware of what's going on in the room. What athlete is about to lift? Is there a crowd around them? Is a friend, loved one, coach, or judge screaming at them? If so, where should you be to capture that in one frame? Are you on the same side as the crowd? You're going to need to position yourself in such a way that you'll be able to capture the movement, but most importantly also capture the crowd in frame. This is a balancing act, because you'll need to make sure your focus is set on your subject, but often must reframe the shot to then include the crowd or other people in the action.

Nikon D4, Tamron 24-70 2.8, 1/400th, F 2.8, ISO 6400 — Nikon D4, Tamron 24-70 2.8, 1/400th, F 2.8, ISO 6400

Here was a great opportunity for me to back up a bit and take in the whole scene: three athletes doing high level gymnastics (and a giant American flag). Capturing the full scene like this helps highlight how awesome an event was and what the scene was like.

Often times though, these ideal dramatic moments don't happen. Shooting wide (let's saying anything between 14-35mm) constantly gets dull. When you look at the images, your eye often doesn't know what to look at. The viewer isn't forced to a foreground or a specific subject in the image and that leads to a dull photo.

Nikon D4, Tamron 24-70 2.8, 1/320, f 2.8, ISO 12,800

So then, let's take this the other way.... start zooming in. With a 24-70 (or any other mid-range zoom) zooming into 70mm will do two things: isolate the subject you're shooting, and also compress your background. Isolating your subject can be extremely useful. Let's say you're shooting in a crowded room, one of the toughest scenarios can be finding a way to separate out your subject (which should generally be your goal) from other athletes or the athlete from the crowd. If I zoom in I can now begin to pull my subject out of the background. Next step, I can now recompose my shot - perhaps focusing on the head, upper body, and barbell, or even tighter to than that.

A few things to be careful of here: once you start zooming you need to understand that you will be cutting off limbs. There is a right way to do this and a wrong way. For example, if you cut off a hand in the middle, it will look bizarre and awkward, but if you get the whole hand in, or no hand, it will look less "weird." There are guides online with some suggested places to "amputate' your subjects, but it should always be something to pay attention to on the edges of your composition.

Nikon D4, Nikon 70-200 VRII, 1/400th, f 2.8, iso 10,000

The other concern is cropping the photo so tight that you don't have any context as to what's going on. If you crop out a barbell or a weight, now you're just left with a sweaty dude/dudette and no explanation of what's happening: is the bar going up or down? How heavy is it? If you took a photo of me deadlifting but zoomed in so tight that it was just my hands on the barbell with the weights cropped out, you wouldn't be able to have any context as to whether I'm lifting 500lbs (unlikely) or 135lbs (more likely). It's not to say you can't do this, but these are things that always need to be in the back of your head as your setting your frame.

The other benefit of zooming in is compression. Once you zoom in, the background of your image will "compress," additionally putting it out of focus and having your subject separate out from the background. On a wide angle shot (14mm, 24mm, 35mm), there is very little, if any out of focus areas (even at f.28) so your subject may not stand out, especially in even lighting. Zoom in tight onto that same subject and ta-da, compressed background and out of focus areas all over, your subject sharp and in the forefront. This effect gets exponentially better the longer the lens you use (I still have dreams about the 200-400 at the 2014 CrossFit Games).

Nikon D4, Tamron 24-70, 1/400, f 2.8, iso 6400

To recap - that head-to-toe shot of a person, while nothing is necessarily "wrong" with it, is boring more times than not. It is a stock shot, something that should be used as a basic coverage image, i.e. 'this happened here." But, the far more dramatic shot that is the difference between ordinary and unique, is to zoom in.

My basic workflow on trying to compose a scene will have me take two images. The first will be a wide shot with the athlete head to toe, noticing if anyone in particular is standing out in the crowd or is on the floor and should be included in the composition. If that's not working, I'll zoom into the subjects head and wait for that moment of exertion and effort: I call it the war face, and that's the moment I'm really looking to capture.

Have at it! Post your experiences and questions to the comments below.

PhotoFit #4 (How I learned to Love Back Button Focus)

PhotoFit #3 (Wide vs. Tight)