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02-24-2009, 05:57 PM | #1 |
turf historian
Join Date: Feb 2008
Posts: 6,455
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photo finishes explained
Classical photo finish cameras were not really popular at most race
tracks until the mid thirties see http://www.horseracegame.com/communi...icksloud/03-02... There was the belief that their introduction would create MORE dead heats but in fact, without the subjective eye of the placing stewards, there were actually fewer. (Dead Heat comes from the old practice of having horses race in separate heats and the winners of heats would then square off. If a heat was tied, no horse advanced from that heat, so for purposes of competition it was called a DEAD heat)..Before the camera, it was the consensus of the stewards that called the official outcome of a race. They still do have final say, but not without the documentation of the official photo. The original set up was a slit camera (with a second back up camera in case there was a malfunction) placed exactly on the finish line with a rotating device behind the finishing post (to document the date and race number) and a mirror (so that obscured images on the grandstand side of the camera could be differentiated by their reflection from the track side) After one calibrated the average speed of the horses at the conclusion of a race (for exposure purposes) the operator would begin the exposure a bit before the horses passed the narrow slit at the finish line and then continue exposing a long film strip as each successive horse came across. This would have to be chemically finished, fixed and rinsed and then shown (usually with a viewer to enlarge it for the stewards view) for the official order of finish, Once that was determined, a print was then called by the stewards for public view. This required the photographer to be both fast and very accurate. The prints then would be distributed around the course for public viewing. The official order was also called to the chartman for purposes of reporting to the DRF. the chartman, having made notes about the race, would then write the description of the contest. Now most courses are going to scanning digital cameras which are much faster and far more accurate and easy to use. My track uses the Finish Lynx system http://www.finishlynx.com/ This is also used in the Olympics, swim and track meets. We have an "orange target" post on both the inner and outer rails and it the camera is in proper alignment, there will be a thin orange line both above and below test scans. We have a federal regulator from the Canadian Parimutuel Association who comes randomly to test this feature. The races will not start unless he has viewed that the camera is properly aligned. The digital camera has the advantage of no film, ease of recording to a computer format, rapid creation of digital images for the public as well as very accurate assessment of close finishes which can be viewed concurrently on both my computer screen and on the stewards screen below me. Once a race finishes, I send the entire image to the stewards and they call out the official order, okay it as official, and request, if necessary which positions to create photos for the public.I often will hold a photo until an inquiry is adjudicated and have the graphic overlay ability to place "disqualified" over the offending horse. Our scan rate is based upon the average speed of a horse at the finish line and when a late straggler comes through going much slower, their image is elongated as it takes a great time to move through the scan. Also those funny images of horses legs that are elongated and we called "skis" are due to a leg moving backwards while the scan advances so the image is again elongated. The real challenge (for any photographers out there who understand f stops) is when there is a dark shadow of the grandstand right along the finish line with bright sunshine coming from the track side. The exposure difference can be 6 f stops so neutral density filters have to be place right along that margin so the exposure evens out. Dodging and burning on the fly so to speak. Another challenge is when you are all set up for that exposure and clouds come along wiping out that difference right as they are coming to the line. Sometimes you have to guess the best exposure in times like that. When it starts to get dark (another advantage of digital over silver based film) is the gain control on the digital image which can add light to darkened exposures. When it does get too dark for that and the lens is wide open, you have to do a test shot with your lights in between races to set up for them. Once they are needed, the rest of the photos are easy as the infield lights at night will be constant. An interesting job.
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