6. Use a reliable telezoom
"If I’m further away from the ring, maybe in the crowd, I use the Canon EF 100-400mm f/4.5-5.6L IS II USM to get close-ups of the wrestlers in the ring. I like that it has double image stabilisation, which enables me to capture pin-sharp images in low light."
7. Use this bluffer's version of the inverse square law
"You don’t get a lot of time with the wrestlers backstage, so instead of re-metering and changing the power of the light every time, I move the light closer or further away from them – it’s much easier to change the aperture on my Canon EOS 5D Mark IV. If I move the light one metre closer or further away, I know that’s roughly one stop. And because I’m shooting RAW files anyway, even if I’m one third of a stop away from where I’d like it to be, I can still bring the detail back in when I process my shots."
8. Use natural light where you can...
"For the Through the Curtain series, where I photographed wrestlers coming backstage straight after a match, I didn’t want any lights to get in the way. Instead, I stood with my back against a doorway, which was wide open, letting daylight fall flat on the subject."
9. ...or use a Speedlite
"I often use my Canon Speedlite 600EX II-RT on a stand with a softbox instead of lugging a studio light around. It takes up less space, and it’s completely wireless so there are no leads to worry about. Because the light is always close to the subject, it still allows me to shoot at ISO100, giving me the best quality image."
10. Experiment with modifiers
"Experience teaches you what not to do – so many of us get stuck in our comfort zone doing what works. I don’t ever want to do that, so I try to change it up a bit. At the moment I’m experimenting with taking the modifier off my octabox so you can see the silver reflective mesh inside it. It gives a different catchlight in the eyes of the subject."