One of the unique aspects of working on major sporting events such as the Olympics is the use of remote-editing systems. To those photographers out there who plan on working in the industry some day, this kind of technology comes as a bit of a shock after years of doing your own thing. To cut a very long and complicated story down to size, at every key location at every venue, AFP came on-site before we arrived and laid ethernet cables from a main hub through to our photo positions. Once we arrived and started shooting an important race or stage, we would connect our cameras to these cables via a Nikon WT-4 transmitter. This means that as I work, whenever I shoot a frame that I like, I press two buttons on the back of the camera to mark the image and it is instantly transmitted to the editor a few miles away in the Whistler Media Centre where he can edit, caption and file the image straight away. As you can imagine, this has both pros and cons.
On the plus side, the images are immediately out of your hands, leaving you free to concentrate on shooting the event. Also, the editor will be in charge of captioning the pictures so aside from recording an audio-tag on any important images using the microphone on your camera, the hassle is taken totally out of your hands. This leads to the negative side. Unless you know your editor is capable of “seeing” the images within your pictures and trust he/she is capable of working on your images as you would yourself, it’s a hell of a worrying feeling to send your hard-won pictures off into the digital ether and just hope that they’ll go onto the news wire as you would like them to be seen.
hehe. 
getty will get stuff out quicker like that
