SAY THE NAME DAVID CANNON AND MOST PEOPLE WHO PLAY GOLF WILL INSTANTLY THINK OF THE ICONIC SEVE BALLESTEROS CELEBRATION SHOT AT THE 18TH ON THE OLD COURSE DURING THE 1984 OPEN CHAMPIONSHIP, BUT DAVID HAS CAPTURED SO MANY TRULY MAGNIFICENT AND SYMBOLIC SHOTS IN OUR GREAT SPORT OVER THE LAST 40 YEARS IT WOULD BE UNFAIR TO JUST DISCUSS THAT SOLE IMAGE AND IGNORE THE REST OF HIS OUTSTANDING PORTFOLIO. THERE CAN BE NO DOUBT THAT DAVID IS THE MOST RENOWNED GOLF PHOTOGRAPHER IN THE WORLD, MAYBE OF ALL-TIME, AND THIS MAY HE WILL RECEIVE THE LIFETIME ACHIEVEMENT IN PHOTOJOURNALISM AWARD FROM THE PGA OF AMERICA, RECOGNISING HIS UNIQUE CONTRIBUTION TO THE VISUAL HISTORY OF THIS ANCIENT GAME.
DAVID'S CAREER BEGAN WITH RUGBY AND FOOTBALL PHOTOGRAPHY, AND HE HAS PHOTOGRAPHED SOME OF THE MOST HISTORIC OCCASIONS IN THE HISTORY OF SPORT INCLUDING FIFA WORLD CUPS, THE OLYMPIC GAMES, FA CUP SEMI-FINALS AND FINAL, AND OF COURSE MAJOR CHAMPIONSHIP, RYDER CUP AND SOLHEIM CUP GOLF. DURING LOCKDOWN 1 IN APRIL 2020 DAVID WAS KIND ENOUGH TO SPEAK TO ME EXTENSIVELY ABOUT HIS CAREER, PHOTOGRAPHING GOLF, ST ANDREWS AND GIVE BEHIND THE LENS DETAIL ABOUT SOME OF HIS MOST ICONIC SHOTS OVER THE YEARS.
DAVID FIRST SHOT THE MASTERS TOURNAMENT IN 1983, THE YEAR I WAS BORN! SO THE LAST FEW YEARS AS I HAVE MADE MY WAY WITHIN THE SPORTS MEDIA WORLD, SPECIFICALLY GOLF PHOTOGRAPHY AND JOURNALISM, WORKING IN THE SAME ENVIRONMENT AS DAVID HAS BEEN EXCITING, A LITTLE NERVE-WRACKING BUT ALSO A PRIVILEGE. I AM FULL OF ADMIRATION FOR HIM AS A PHOTOGRAPHER WHO TRAVELS THE WORLD, GOING FROM TOURNAMENT TO TOURNAMENT, AND MAINTAINING INCREDIBLE ENTHUSIASM FOR THE JOB.
BELOW DAVID SPEAKS ABOUT 3 OF HIS MOST NOTABLE IMAGES FROM THE MASTERS OVER THE YEARS, AND DETAILS SOME OF THE CHALLENGES OF SHOOTING THE WORLD'S MOST ICONIC GOLF EVENT.
MH: You often refer to two images of Jack Nicklaus at the 1986 Masters as being among the best you have ever captured, specifically the bunker shot and the reaction to the putt at 17. What are the challenges of being a photographer at The Masters and, just like for a player, is gaining experience even more important there?
DC: "Augusta is such a different beast. Thirty-seven years in a row I have been to Augusta and it never really gets any easier. In the early years I was very green as a photographer in many ways and the difficulties of being a photographer at The Masters exacerbates those difficulties.
Not being able to shoot inside the ropes brings it’s own challenges but being tall and British definitely helps. Early on I did not know where to shoot, I was always getting stuck at spectator crossings and never really felt comfortable. But when I did get in the right spots it was a joy to know that the backgrounds would always be clear.
That is a huge plus of working at Augusta. It is rather like a player it takes at least a couple of years to work out the best spots. 1986 was my third Masters Tournament and I got lucky, I reckon by 1990 I was ready to win there!"
LAST SUMMER, DUE TO THE PANDEMIC AND ASSOCIATED RESTRICTIONS, I SHOT FROM OUTSIDE THE ROPES FOR THE VERY FIRST TIME, AT THE HERO OPEN AND AIG WOMEN'S OPEN. I CAN CERTAINLY TESTIFY TO THE FACT THAT IT IS A HUGE CHALLENGE, AND IT MAKES THE ADJACENT PHOTOGRAPHS EVEN MORE REMARKABLE.
IT ISN'T JUST THE TECHNICAL EXCELLENCE REQUIRED TO TAKE THE PHOTO IT IS ABOUT HAVING THE ABILITY TO EXECUTE IN THE MOST PRESSURISED OF SITUATIONS FOR A PHOTOGRAPHER, AND IN AN ENVIRONMENT THEY ARE NOT USED TO SHOOTING IN.
AS DAVID SAYS, IT TAKES EXPERIENCE TO WORK OUT THE BEST SPOTS, MUCH LIKE SHOOTING TOURNAMENTS OVER THE OLD COURSE, EXCEPT WITH THE OPEN THE WORLD'S GREATEST PHOTOGRAPHERS ARE INSIDE THE ROPES, NOT HAVING TO MANAGE ALL THE LOGISTICAL CHALLENGES OF NAVIGATING A GOLF COURSE LIKE AUGUSTA FROM OUTSIDE THE ROPES.
NEXT, WE TALK ABOUT ONE OF HIS MOST RENOWNED LANDSCAPE IMAGES FROM AUGUSTA, THE PAR 3 COURSE DURING THE PAR 3 CONTEST PRIOR TO THE 2011 MASTERS TOURNAMENT.
MH: Your reflection shot of the par 3 course during the Par 3 Tournament at The Masters has got a lot of positive feedback, how did you go about capturing this, and how important is golf course photography as part of your portfolio? Are you commissioned by courses to create imagery for them?
DC: "This picture is one of my favourite general views of Augusta let alone The Par Three Tournament. Whenever I shoot landscapes, I always say to people that the sky is as important as the ground. This picture encapsulates that statement perfectly with a beautiful cloudscape, wonderful reflections, and a beautiful scene on the final hole.
DC: "This picture is one of my favourite general views of Augusta let alone The Par Three Tournament. Whenever I shoot landscapes, I always say to people that the sky is as important as the ground. This picture encapsulates that statement perfectly with a beautiful cloudscape, wonderful reflections, and a beautiful scene on the final hole.
Course photography is very important to me. I call it my hobby, actually it is my secret passion. Nothing inspires me more than getting up at first light or being the last person on the course as another day finishes on some of the most beautiful landscapes in the world.
I do get commissions, though my time is tight with being on the road for twenty plus weeks of the year at tournaments, so I only manage a few each year. Soon, as I reduce my tournament schedule as my retirement approaches, I want to concentrate more on course photography and just a few tournaments to keep my eye in!"
