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I was caught up in the expressive power of SLR camera

I initially studied cinema during my college days, but gradually migrated to photography because I was attracted to the idea of independent creation: films required lots of people and equipment, but with photography, I could fulfill my creative vision independently. I was constantly in the photography department, and through sheer luck I found a bargain on a Nikon F with a 50mm f/1.4 NIKKOR lens. Thus began a long relationship. MASAKAZU WATANABE

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I remember the day I was hooked. It was after looking at results of a portrait I had shot of a college student at her part-time job, taken in a chaotic parking lot, her figure finely emphasized against beautifully blurred background. I had taken the shot casually and without much thought, but the image quality was incredible. This is how I became hooked on the power of Nikon and NIKKOR, and why I continue to shoot with this equipment.

"My fingers are steeped in NIKKOR"

My career in sports photography began with skiing. It was natural for me as I was an avid skier myself. I learned the fundamentals of sports photography while working as the photographer of ski school, shooting the stance and form of ski instructors and their students so that they could compare the shots and improve their technique.

At the time I was shooting with a borrowed 135mm attached to my Nikon F. Obviously, continuous shooting was needed, but these were the days before motor drives and auto focusing, and the subjects were coming towards me very quickly. In order to make the shot, I had to train myself. I practiced every morning by focusing on approaching cars and pedestrians. Eventually I was able to sense the distance and adjust the focusing ring instinctively, as if my thumb and index finger became a part of NIKKOR lens. That feeling of smoothness and resistance remains a strong muscle memory in my fingertips.

"Strength and endurance: crucial for both athletes and telephoto shooters"

Most sports photographers are not allowed to approach their subjects, which means telephoto lenses are our main tools, with a 300mm f/2.8 frequently considered the standard lens. From the age of MF lenses, this, the "San-ni-pa" ("three-two-eight" in Japanese) has been the main lens for my creative needs.

After years of ski photography, my induction into the world of 500mm lenses was shooting the motorcycle world Grand Prix. Nikon had just released the new 500mm f/4 that was half a stop brighter than the 500mm f/4.5 from the other brands. I couldn't contain my joy over being able to use this spectacular lens. The 400mm f/2.8 quickly became an indispensable piece of equipment as I began to take on more general sports assignments, including the Olympic games. I must also mention the 200mm f/2, a lens considered the world's brightest, and a treasure in my camera bag.

Lenses like the 300mm, 400mm, 500mm and 600mm require sports photographers to be physically strong. You must have the balance and stamina to skillfully handle these big and heavy lenses for long periods of time. That is especially true for photographers like me, who hike deep into snow-swept mountains and run around racetracks with a 300mm and 500mm on my shoulders. Although difficult, I am willing to push my own body if my pictures show the athletes doing the same. Capturing the magnificence of their accomplishments is reason enough for me to stay in shape.

"Digitalization brought so many advantages"

Digital SLR cameras drastically broadened the potential and range of expression available for sports photographers. This is partially due to the Nikon DX format, which increases the focal length to 1.5 times of my lenses. This means a lot to sports photographers like me who depend on telephoto lenses to capture the moment. Now my lighter 300mm lens instantly becomes equivalent to my heavy 450mm lens while still maintaining its brightest apertures. This fact alone offers many advantages in terms of mobility.

For shooting backcountry skiing, the 70-200mm f/2.8 is excellent when attached to the D300. For motor sports, I use the 500mm f/4 attached to the D300 with a 1.7X teleconverter in between for a super telephoto effect of over 1200mm. This makes unbelievable handheld zoom-in capability possible - something that's never been achieved before.

In addition, the D3's Nikon FX format CMOS sensor makes beautiful images in dark places, performing incredibly during night games and indoor sports. Lenses like the 14-24mm, 24-70mm, 400mm, 500mm and 600mm are optimized for the FX format, which uses even the peripheral edges of the image circle for remarkable edge-to-edge detail, thanks in part to high-end NIKKOR technologies like Nano Crystal Coat. Being able to use these incredible lenses with the D3 and D300 is a pure joy to me.

"NIKKOR is my most dependable partner"

Whether it was at below-freezing slopes or rainy circuits, NIKKOR has been working properly for me under these extreme conditions for 27 years, allowing me to concentrate on pursuing my creative vision. I completely trust Nikon and NIKKOR as a dependable partner, and feel satisfied with all my heart that I have been using Nikon and NIKKOR. Beyond that, I can't help thanking the Nikon engineers for the craftsmanship and dedication required for them to create such amazing tools.