photo finishes explained

[Tim Y]

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.