MPB Meets: Sports Photographer Theo Lowenstein

This week, we speak to Theo Lowenstein about his journey and gear, his portraiture and emotion in images. At just 23, he’s landed a gig as videographer and lead editor for United World Wrestling—the governing body for amateur wrestling, which includes the Olympic Games. Let’s hear from Theo.

MPB: Please tell us about your background and your journey.

TL: I'm a photographer and videographer working out of London, UK. There's one major life experience that influenced me in my career: I am lucky enough to have a creative and inspiring father, who pushed me into different classes as a young man. One of these classes was darkroom film photography—which was for an older, nostalgic generation, but I did it at the ripe age of 12! My father bravely showed me the photographic process before the digital era. I loved the class and carried on shooting throughout my life.

MPB: How did you land the job with UWW?

TL: I want to say I fought through a room of over-qualified prize-winning photographers and videographers to stand triumphant as the winner. But life isn't always so cinematic. A good friend of mine, who liked my work, mentioned that there was a job going on and I should send in my portfolio. I did, they liked it, and I was hired. I guess the moral of the story is... to have friends?!

MPB: What’s your main role there, has it evolved over time?

TL: I started off as a camera operator and progressed to become the competition team’s lead videographer. As most international competitions were canceled during the lockdown, I have edited short-form documentary content for the last six months.

MPB: What’s the most valuable thing you’ve learned since being involved in sports?

TL: Flexibility. You won't always get your perfect scenario, so you have to be creative and work with what you have. Saying that planning is an essential aspect of the creative process. It shouldn't be disregarded.

MPB: When you’re shooting portraits, what do you look out for?

TL: When it comes to people, I think it's more about an emotional quality. If an athlete has lost a match or just got through by the skin of their teeth. There's a true genuine mood, which I don't think can be recreated.

MPB: What kit do you use?

TL: For video, I use the Sony PXW-FS5 and the Sony A6500. I also use the Sony A7 III for photos and video—it's a real workhorse for both disciplines. As for lenses, I have the Sony G master 24-70mm f/2.8 GM with me at all times. Also, the Sigma ART 35mm f/1.4 DG HSM FE, the Zeiss 55mm f/1.8 ZA Sonnar T*, the Fujinon MK 18-55mm T2.9 MFT, the Fujinon MK 50-135mm T2.9 FE, and the Canon 300mm f/2.8 L IS II USM. A special mention to the Godox AD200, as it's so mobile you can take it anywhere and get great strobe portraits.

MPB: What's next?

TL: I'm currently focussing on commercial client work. But, long term, I’d like to be part of some community-based documentary projects. Anything that has social capital can cause long-lasting change.

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This article is part of the MPB Guide to Sports Photography, our comprehensive look at how to create sports photography, with camera recommendations, advice and interviews with experts.