Photographers at gymnastics events often position a remote-controlled camera on a catwalk pointing down at the balance beam or the uneven bars. It’s a safe bet for great pictures.
But on the last day of the U.S. Olympic gymnastics trials in June, held in St. Louis, I climbed to the other side of the arena to put my remote camera above the vault, hoping I could capture Simone Biles performing one of her signature moves, the Yurchenko double pike. It’s a move so dangerous that no other women attempt it in competition.
You don’t see many bird’s-eye pictures of the vault because they’re hard to pull off: The action happens quickly and you only have one shot at the perfect moment. (There are plenty of chances to photograph a gymnast on the uneven bars or balance beam.) But I figured it would be worth the effort if Biles pulled off the move.
Biles can fly so high that it’s hard to focus the camera ahead of time on where you think she will be. To prepare for overhead photos, I usually ask someone on the floor to raise a monopod high in the air holding a piece of cardboard with an X on it, so I can focus on the X. But Biles can fly higher than anyone can lift the cardboard, so this shot came down to guesswork.
When it was Biles’s turn on the vault, she decided not to perform the Yurchenko double pike, opting for a less strenuous vault to protect her ankles ahead of the Olympics. But when I finally got to see the picture, even though it wasn’t the famous move I was hoping for, I was happy with it. I had never seen a remote picture of the vault from a catwalk, and it looked great.