Mariners: See You at Home
(Nikon D3, Nikkor VR 200-400mm/f4.0 lens @ 200mm, ISO 500, 1/1250th sec.,f4.0)
The thing about photographing baseball is you can go innings, no — make that games — no, make that ENTIRE HOMESTANDS without having an opportunity to make a great action photo. When Seattle’s Eric Byrnes tried to score from third and the throw home beat him by a couple of yards, he had no alternative but to try to bowl over Detroit catcher Alex Avila, who held onto the ball for the out. I was on assignment for Sports Illustrated magazine, so I uploaded the frames to them right away since their deadline was that day.
So much of baseball is routine — routine strikeouts, ground balls and fly outs, that when something spectacular happens, one has to be prepared. Or lucky. I guess I was a little of both with this frame. I got even luckier when Sports Illustrated published the photo over two pages in their “Leading Off” section, with the headline, “Tools Shed”.
Seattle Sea Gals Tryouts
- (Nikon D3, Nikkor 24-70mm/f2.8 lens @ 24mm, ISO 1600, 1/40th sec., f2.8)
Annual tryouts for the Seattle Sea Gals were held last weekend, with 28 women making the team out of the 52 finalists. The Sea Gals are the sideline dance troupe for the Seattle Seahawks, and finals were held at Qwest Field, where the aspirants performed two dance routines and answered questions from the judges.
(Nikon D3, Nikkor VR 70-200mm/f2.8 lens @ 102mm, ISO 1000, 1/250th sec.,f2.8)
- (Nikon D3, Nikkor VR 70-200mm/f2.8 zoom lens @ 86mm, ISO 1000, 1/250th sec.@ f2.8)
Sounders FC: Fucito Wins It.
(Nikon D3, Nikkor VR 200-400mm/f4.0 lens @ 240mm, ISO 800, 1/1600th sec.,f4.0)
Seattle Sounders FC Michael Fucito celebrates after scoring the game-winning goal in the 92nd minute against Kansas City at Qwest Field in Seattle.
(Nikon D3, Nikkor VR 200-400mm/f4.0 lens @ 220mm, ISO 800, 1/1600th sec.,f4.0)
Fucito substituted late into the match, then scored when he took a quick throw-in from teammate Brad Evans and one-timed a low hard shot past the diving Kansas City goalkeeper.
(Nikon D3, Nikkor VR 200-400mm/f4.0 lens @ 240mm, ISO 800, 1/1600th sec.,f4.0)
One of the key components of a successful sports photo is a clean background. You can see in the first photo that the background is clean. It would have been a better frame if I would not have had to crop out his feet (it feels awkward the way it is currently cropped), but the background is better than in the third photo (directly above). The orange of the Home Depot sign, combined with the two photographers, seem to take away from the moment, and this is the second best frame of the series.
It was a great goal – and while I shot 18 frames during the entire sequence with my Nikon 200-400mm zoom lens, only one frame “jumped out” as the one with the best combination of emotion, clean background and solid (while certainly not perfect), composition.
Mariners: Opening Day
(Nikon D3, Nikkor 14-24mm/f2.8 zoom lens @ 16mm, ISO 800, 1/500th sec.,f3.5)
Opening Day is the most special day of the baseball season, if for no other reason than every team is tied for first place. Each team has its own unique way of introducing the players to the fans for the first time of the year, and the Seattle Mariners are no different (can you use “unique” and “no different” in the same sentence? Seems weird). Through the fog of a smoke machine (or is it the smoke of a fog machine?), Seattle’s Ichiro Suzuki runs onto the field prior to the Mariners’ home opener.
Seahawks: It’s Up, It’s Good!
Olindo Mare made this 46-yard field goal to give the Seahawks a 19-17 lead with five minutes remaining, but Chicago rallied for a 25-19 victory in the final minutes. While Mare converted on 4-6 field goal attempts, his two misses proved costly and those six points were the margin of victory for the Bears. For more photos from the game, see my Eye on the Hawks blog on the Seahawks website.
Seahawks: The Calm Before the Storm
As fans, we are constantly aware of the violent fury of football, whether we are watching at home on TV, or from the 50-yard line at the stadium. There are many quiet moments that surround the games, however, and those moments remind us that the sport is played by real people — not superheroes in helmets and pads. Here, Seattle’s first-round draft choice Aaron Curry collects his thoughts before his first regular season game as a pro.
While most of us see the beginning of a game as the opening kickoff, players arrive hours before the game, and slowly build their emotions to a crescendo by game time. Seattle defensive tackle Colin Cole, 330 pounds of rock-solid fury in the middle of the line during games, spends quiet time on the phone with his wife hours before the action begins.
Seattle’s new head coach Jim Mora finds some solitude as he gathers his thoughts in his makeshift coaches office on the road at San Diego.
Players in the locker room before a preseason game in Kansas City are quiet during the moments before they hit the field for pregame introductions.
Defensive end Lawrence Jackson gets himself pumped with music before the game.
In Seattle’s home locker room at Qwest Field, rookie wide receiver Deon Butler, center, with teammate Ben Obamanu, prepares mentally for the game at hand.
Players and coaches take a knee in their locker room before walking into the din of 60,000 screaming fans at their home opener at Qwest Field.
Seeing the Seahawks: Training Camp
I’m very fortunate to work for the Seattle Seahawks as a team photographer — it’s a great organization committed to excellence and doing things the right way. Despite covering the team for over a decade as a sports photographer with the Seattle Times, seeing the team from the inside has brought me a new perspective as well as a new set of challenges. My access is better, but that doesn’t take away the responsibility I feel to show our fans the toughness, the competitiveness and the heart our players, coaches and staff exemplify every day as they work towards their ultimate goal — a championship.
Seahawks safety Brian Russell cools off during the heat of training camp.
We think of football as a fall sport, but training camp begins in the summer, and the second of two-a-day practices often occurs amid the late summer sun. Seattle’s training camp is held on the shores of Lake Washington, at the Virginia Mason Athletic Center.
Defensive lineman Craig Terrill, a six-year veteran, breaks the monotony of training camp by finding some time alone with his guitar between two-a-day practices. Terrill is an accomplished musician who performs with his band in the offseason.
Seattle rookie linebacker and first-round draft pick Aaron Curry is treated like any other rookie — carrying the helmets of veteran teammates back to the locker room after practice.
Seafair: I’m on a Boat!
And no, I don’t got my flippy-floppies.
But having spent the early years of my life living only two blocks from the “pits” of the annual Seafair unlimited hydroplane races, I still get a kick out of photographing these big, fast, if a bit balky, flying boats. Having grown up in awe of the sport, it’s pretty cool to now have an all-access pass to the event as a photographer for the annual Seafair races on Lake Washington.
If you’re reading this and you’re not from Seattle, the following will all seem very strange. I don’t blame you. It’s a weird sport. The hydroplanes literally fly on top of the water, skimming along with only three points of the boat in touch with the water — the front two sponsons and the back of the boat.
But it’s a pretty sport because the boats go fast, and when they do they leave huge sprays of water (called “roostertails”) in their wake.
Back when I was a kid, the boats were powered by loud piston engines rescued from old World War II fighters, like the P-51 Mustang. The noise was so loud you could hear it from a couple miles away. Today’s boats are powered by quieter turbine engines. The cool sound is gone, but the newer engines are much more reliable, and the racing is better.
As well as boat races, the biggest air show of the year takes place over the race course. The Navy’s Blue Angels are an annual guest, thrilling crowds not only on race day, but for the three days prior as the practice their routine over the lake.
Even after seeing their routine year after year, it’s still an amazing show.
My job on Seafair Sunday is to create images that make the event look cool and fun. I shoot from the shore, the air (as seen in the aerial at the top of this post) and I spend the last hour or two of the afternoon shooting from a boat (thanks, Dave and Lorrie!). This is so I can capture the crowds on the shore, the racing and also the unique crowds of people on boats that line the race course along what’s known as the “logboom”.
Boats pay to tie up the log boom that circles the course, and a weekend-long party takes place, interrupted only by the Blue Angels and the occasional hydro race. I doubt many of the revelers know the outcome of the races.
But there is a winner, and this year the race was won by veteran driver Dave Villwock, who was showered with the bubbly stuff on the stage after he accepted the trophy.
At Seafair there are good pictures to be had around every corner, and the chance to shoot fast boats, faster jets and crazy people on a summer day is always a a great time for me.
Sounders FC: Barcelona’s visit was a kick in the grass.
Yowch. That’s a bad pun.
Sorry. Couldn’t help it.
Actually, this is a kick in the AIR. Famed FC Barcelona footballer Thierry “I have no interest in playing for the Sounders FC at this time” Henry contorts and fires a bicycle kick shot back over his head and that of Seattle Sounders FC defender Jhon Kennedy Hurtado during their international friendly earlier this month. The shot sailed high, but he made it look soooooo easy.
And seriously, while we are talking about bicycles. I have friends who are crazy about the Tour de France. Skinny guys on bikes. Yes, I get that they’re super-human. Still, people who argue that watching golf is boring, shouldn’t also argue that watching baseball and cycling is any more exciting. Got that, Jim?
On Top of the World with Messi.
Thanks for finding me yet again after another, and hopefully final move of my blog and website. Special thanks to my amazing wife Kari for the redesign, and for my friends Grover and Allen over at Photoshelter for the integration of my archives.
Trust me when I say that I haven’t been slacking over the past month, despite the absence of posts.
There is so much for me to catch you up on. (And yes, that’s me, the former English major ending with a proposition, but really, these days a sentence reading “There is so much upon which to catch” is even more awkward, isn’t it?)
Is there a rule against starting three straight sentences with the letter “t”?
Many of you pointed out to me how cool my job can be after witnessing the midair refueling of a jet fighter over the Pacific Ocean. If you’re a soccer fan at all, the photo shoot I’m going to share with you might even be cooler.
The shoot came about in a cryptic phone call from Suzanne Lavender, the awesome director of corporate communication for the Sounders and Seahawks. Would I be available for a quick shoot at the Space Needle? Had to be low-key, because it would attract attention from the media and the public, and while that was the goal, all parties involved wanted the shoot to be quiet until the photos were taken.
Sounds good to me. FC Barcelona was in town to face the Seattle Sounders FC in an international friendly, so I assumed it had to do with Barcelona. Then I found it not only involved Barcelona, it involved Lionel Messi. Not only did involve Lionel Messi, it involved Messi on TOP of the Space Needle.
For those of you who aren’t familiar with Messi, he’s currently regarded as the best player in the world right now. Need proof? Check out this video. Need more? Search “Messi” on YouTube.
Met Suzanne and my now-good-friend Gabe Gabor at the base of the Needle at the appointed time. Gabe is this awesome PR man from Miami, who is multilingual and is a “get things done” kind of guy. He’s working with FC Barcelona on their international tour, so he’s also a little freaked out. To put it in perspective, to the rest of the world, FC Barcelona’s soccer team as popular as the Chicago Bulls of the Michael Jordan era, the New York Yankees and the Dallas Cowboys. They do EVERYTHING big. And they want to do it perfect. Gabe is feeling the pressure.
So the first thing Gabe says to me as he hops out of a still moving car, is, “We are NOT going to f*ck this up, right?”
Uh, no?
Looks at me. “You up for this? We gotta be PERFECT!”.
Okay, I get it. Best soccer player in the world. Top of the Space Needle. Let’s go.
Messi and his handlers aren’t due for 45 minutes. Gabe wants to make sure everything is in order. Security, path, sightlines, photo angles. There will also be a helicopter circling shooting as well.
We start to discuss the shoot when it becomes clear to me — Gabe thinks we are only going to the Observation Deck of the Needle. I am under the impression we are going to the TOP of the Needle — somewhere people rarely get to venture.
I tell him, hey, aren’t we taking Messi to the top? Yeah, he replies. To the Observation Deck. That aint’ the top, I tell him. I think we’re going to the roof.
Dave Mandapat, marketing director for the Space Needle arrives and says, yes, we’re going to the top. Gabe is more than a little freaked out. Needs to scout it.
Up the elevator we go to the Observation Deck. Through a back door and up a steep metal ladder. Tight turn, then another ladder. Gabe is behind me, muttering, “No way, man. No way. Do you who this guy IS?”
Through a trap door and we are on the square roof of the Space Needle, right below the spire. The city spreads out before us. There is an inner railing around the trap door, then another outer railing. I skip through the inner railing to check out the photo possiblities. Gabe is clinging to the inner railing.
It will be perfect for Messi, I tell him. The light is a little hazy, but it will work. They’d planned to have him juggle a soccer ball, but it is a bit gusty, and no one wants a ball falling from the top of the Needle onto the ground below. Even if it was last touched by the best soccer player on earth.
So it’s a go. Gabe warns, “now if Messi says no, it’s a no!”
Dude. It’s Lionel Messi. He’s 5′6″ of badass who battles through huge defenders for a living. He won’t be scared.
Messi shows up, and we head up the elevator.
FC Barcelona has brought their photographer, and we have a video guy as well. Messi doesn’t blink an eye headed up the ladders. I go first, so that when we emerge from the trapdoor, I can go to the outer railing and he will follow.
He’s not nervous at all. Leans on the outer railing and starts taking pictures with his cell phone. Total badass. Everyone else but me and him are near the inner rail.
We’re waiting for the helicopter to arrive from Boeing Field, but it’s delayed. Gabe is asking, “what could the hold up be?”. Oh, some small group of pilots named the BLUE ANGELS is waiting to take off first (they’d been in town for Seafair).
Meanwhile, Messi chills. He could be sitting anywhere — his living room at home, another hotel suite, the team room at Camp Nou. Only he’s on top of Seattle, most of this soccer-rabid city unaware he’s perched on the city’s most-recognizable landmark.
Helicopter shows up. Messi holds up commemorative scarf like we’ve shown him. He walks the outside of the roof, making a circle for the helicopter while we hide behind the base of the spire so as not to get in the shot.
It works out great. Easy pictures to shoot because, hey, it’s Messi, and you’re on top of the Space Needle.
We head down to the Observation Deck for some more photos. Dribbling, juggling, the works.
By now, the crowd knows someone important is around. How fast they figured it out was Messi is beyond me, but by the time we get down there (about 15 minutes, tops), there are hundreds of fans with jerseys, scarfs, posters and cameras waiting for a glimpse of him.
Back down the elevator and Messi hops into a waiting Suburban, back to their hotel. He’s been at the Space Needle less than 30 minutes.
Gabe is finally relaxing.
The photos get released to the media. My former colleagues at the Seattle Times initially don’t want the photos. “Who is this guy?” they ask.
Meanwhile, the photos are a hit worldwide. Clips start coming in from everywhere.
Best part? While we were up waiting for the helicopter, FC Barcelona’s photographer grabs a shot of me with Messi.
Two little guys on top of the world.
Sounders FC: Another colorful match.
Seattle soccer fans saw bright blue skies on Saturday, Sounders players only saw the black of Chicago keeper Jon Busch's jersey, and Freddie Ljungberg saw red, courtesy of referee Baldomero Toledo.
Sounders FC played to a 0-0 (that's "nil-nil" to those of you in the know) draw with the Chicago Fire at Qwest Field, despite having multiple chances to score.
Before the game, I saw some kids with great painted faces. They were in the shade of the tunnel where the players enter the field, and the open shade made for a soft light.
Check out this dude's ears — how about that contrast from the paint?
(Nikon D3, VR 70-200mm/f2.8 lens @ 180mm, ISO 200, 1/500th sec.,f2.8)
Love this guy's face — eyes, teeth, smile, paint.
(Nikon D3, VR 70-200mm/f2.8 lens @ 150mm, ISO 200, 1/500th sec.,f2.8)
One of my duties for the team is to document pregame. This procession of players in the starting lineup walking with local kids is always fun.
(Nikon D3, Nikkor 24-70mm/f2.8 lens @ 24mm, ISO 200, 1/500th sec.,f4.0)
At midfield, captains C.J. Brown of Chicago and Kasey Keller of Seattle met for the coin flip with referee Baldomero Toledo.
(Nikon D3, Nikkor 24-70mm/f2.8 lens @ 24mm, ISO 200, 1/250th sec.,f4.0)
Seattle controlled much of the pace of play in the first half, and only great stops by Chicago keeper Jon Busch kept the Sounders from scoring.
Busch denied Fredy Montero along the right side of the net.
(Nikon D3, VR 200-400mm/f4 lens @ 290mm, ISO 500, 1/1000th sec.,f4.0)
On a corner kick, one of eight for Seattle, Busch came out and leapt among the big bodies of Chicago's C.J. Brown and Seattle's Nate Jaqua.
(Nikon D3, VR 200-400mm/f4 lens @ 310mm, ISO 400, 1/1000th sec.,f4.0)
Later in the first half, Jaqua fired point blank, only to have Busch make the stop on the left side.
(Nikon D3, VR 200-400mm/f4 lens @ 300mm, ISO 500, 1/250th sec.,f4.0)
Chicago's Cuauhtemoc Blanco's free kick in the second half hit a wall of Sounders, denying the Fire a chance.
(Nikon D3, VR 200-400mm/f4 lens @ 300mm, ISO 400, 1/1000th sec.,f4.0)
Tempers flared through out the match because of rough play. With Chicago playing a man down due to a red card issued to John Thorrington, Seattle looked to have an advantage. However, that advantage was quickly negated when Seattle's Freddie Ljungberg was issued a yellow card for "simulation" (i.e. "flopping"), which was quickly followed by another yellow for "dissention" (i.e. "arguing"). Love how polite the language is, don't you?
(Nikon D3, VR 200-400mm/f4 lens @ 290mm, ISO 500, 1/2000th sec.,f4.0)
Ljungberg's ejection left both teams with ten men, and he left to a mixture of cheers and jeers.
(Nikon D3, Nikkor 24-70mm/f2.8 lens @ 35mm, ISO 200, 1/500th sec.,f4.0)
Seattle had more chances in the second half, but couldn't break through. Fredy Montero hit the corner of the post with a shot and Nate Jaqua had another great chance in the second half. After getting by Chicago's keeper Busch, Jaqua had the ball knocked away by another defender before Jaqua could put it home.
(Nikon D3, VR 200-400mm/f4 lens @ 220mm, ISO 200, 1/1600th sec.,f4.0)
A tough draw for Seattle, but they maintain second place in the west. Players and fans alike were frustrated by the draw — missed goal opportunities and the red card for Ljungberg dulled what otherwise was a beautiful afternoon at Qwest Field.
Marathon Man.
ROCK 'N' ROLL, DUDE!
My specific job that day was to photograph the race leaders throughout the course. This meant riding on a motorcycle facing backwards as we moved ahead of the lead group.
I either had the best or worst assignment, depending on how one looked at it. Most of the photographers thought it was pretty cool. However, one experienced marathon shooter looked me dead in the eye and said, "You're crazy. I did it once, Never again."
Party on. I was fitted with a helmet and matched with a rider. I asked one of the experienced video guys if he had any advice. He told me to scout the bikes and choose one that didn't have too wide of a seat, and didn't have raised handles for the rider to hold onto. He said that after a couple of hours, raised hard plastic handles are NOT friends of your thighs.
I wasn't really nervous. The Rock 'N' Roll Marathon series is a big deal, professionally run, with events all over the country. They'd keep me safe, right? Before I hopped on the back of my BMW motorcycle, I shouted at my driver through the muffled helmet. "You've done this before, right?". He answered, "Ridden this bike? Yes. Ridden someone backwards at a marathon? No.".
Okay, now that we had that settled (two rookies leading a marathon), we were ready to go.
There wasn't much time to think once the race started. Luckily, we were weaving through streets of Tukwila and south Seattle that weren't really photogenic, so I had some time to get my bearings. The race organizers wanted me to focus not only on the leaders, but also to make images that showed the landmarks of the city as the runners made their way through the course.
Participants stretched near the starting line before the race:
(Nikon D3, Nikkor 24-70mm/f2.8 lens @ 28mm, ISO 200, 1/320th sec.,f2.8)
(Nikon D3, Nikkor 70-200mm/f2.8 lens @ 70mm, ISO 400, 1/1250th sec.,f2.8)
(Nikon D3, Nikkor 70-200mm/f2.8 lens @ 120mm, ISO 400, 1/1250th sec.,f2.8)
(Nikon D3, Nikkor 24-70mm/f2.8 lens @ 24mm, ISO 200, 1/125th sec.,f7.1)
(Nikon D3, Nikkor 24-70mm/f2.8 lens @ 24mm, ISO 200, 1/1600th sec.,f3.2)
(Nikon D3, Nikkor 70-200mm/f2.8 lens + 1.4 ext @ 240mm, ISO 400, 1/1600th sec.,f6.3)
(Nikon D3, Nikkor 70-200mm/f2.8 lens @ 200mm, ISO 4000, 1/400th sec.,f4.0)
(Nikon D3, Nikkor 70-200mm/f2.8 lens @ 120mm, ISO 400, 1/2000th sec.,f4.0)
(Nikon D3, Nikkor 70-200mm/f2.8 lens @ 200mm, ISO 400, 1/1250th sec.,f4.0)
(Nikon D3, Nikkor 24-70mm/f2.8 lens @ 24mm, ISO 200, 1/1250th sec.,f4.0)
(Nikon D3, Nikkor 70-200mm/f2.8 lens @ 170mm, ISO 200, 1/1250th sec.,f4.0)
(Nikon D3, Nikkor 70-200mm/f2.8 lens + 1.4 ext. @ 280mm, ISO 200, 1/1600th sec.,f4.0)
(Nikon D3, Nikkor 70-200mm/f2.8 lens + 1.4 ext. @ 280mm, ISO 200, 1/1600th sec.,f4.0)
Sounders FC: That Winning Feeling Again.
After seven weeks without a win, Freddie and Fredy came to the rescue and each scored a goal to lead the Sounders FC to a 2-1 win over the visiting San Jose Earthquakes.
It was another great evening with pleasant temperatures in the 70's and a full house of fans decked out for a win.
(Nikon D3, VR 70-200mm/f2.8 lens @ 200mm, ISO 320, 1/400th sec.,f2.8)
Shooting the action of Major League Soccer is always a blast, but the artsy-fartsy photographer side of me (it's not a big side, I mean, I don't wear black turtlenecks to the matches) was on the lookout for nice moments. I found this young flag bearer preparing for the pregame ceremonies and waited for some nice composition.
(Nikon D3, VR 70-200mm/f2.8 lens @ 200mm, ISO 400, 1/500th sec.,f2.8)
As a former journalist (that seems very weird to say, er, write), I have many friends in the sports media world who scoff at soccer. Too many ties, they say. Not enough action. While a couple of players are around the ball, the rest are standing around. Clearly they're not real athletes like football or basketball players.
Well, check this out as Fredy Montero leapt and corralled this long pass with his foot while still in midair before landing and controlling the ball deep in the San Jose half.
(Nikon D3, VR 600mm/f4.0 lens, ISO 1600, 1/800th sec.,f4.0)
I often get asked what the game looks like from the field level where I shoot. Photos shot with a long telephoto lens really don't show the perspective I see, but this shot of a Sebastien LeToux corner kick will give you a pretty good idea.
(Nikon D3, Nikkor 24-70mm/f2.8 lens @ 24mm, ISO 800, 1/1000th sec.,f2.8)
As in past Seattle matches, physical play was common. Multiple yellow cards were served to San Jose, who while entering the game with a subpar record, seemed bent on making Sounders FC lose their temper. After all, with the number of red cards the Sounders have amassed so far this season, making them angry seems like a reasonable strategy.
However, the Sounders held their emotions in check much of the match, and defender Tyrone Marshall and Earthquakes defender Ryan Johnson each smiled as they tied up on a corner kick into the San Jose area.
(Nikon D3, VR 200-400mm/f4.0 lens @ 250mm, ISO 1600, 1/800th sec.,f4.0)
Once again, opponents had to deal with the speed and skill of rookie Steve Zakuani on the left side. Here he left Chris Leitch is is wake on a first half run.
(Nikon D3, VR 600mm/f4.0 lens, ISO 1600, 1/1000th sec.,f4.0)
LeToux got a leg up on San Jose's Aaron Pitchkolan.
(Nikon D3, VR 200-400mm/f4.0 lens @ 400mm, ISO 1600, 1/1000th sec.,f4.0)
Seattle kept the ball in the San Jose end for much of the first half and failed to capitalize on at least three chances before Freddie Ljungberg put one home in the 42nd minute. I was shooting from left of the goal (as the players were facing) and the shot came from the left so I didn't have a great angle. But Ljungberg turned towards me and ran in my direction. The first frame is with a 200-400mm lens zoomed all the way out, and as you can see I am cutting off feet and the composition is tight.
(Nikon D3, VR 200-400mm/f4.0 lens @ 200mm, ISO 1600, 1/1000th sec.,f4.0)
I switched to the wide-angle camera (24-70mm) that I had around my neck in time to make a nice frame when Steve Zakuani came over to celebrate with Ljungberg. Here's the full frame, followed by a cropped version. Which do you like?
(Nikon D3, Nikkor 24-70mm/f2.8 lens @ 55mm, ISO 800, 1/1000th sec.,f2.8)
(Nikon D3, Nikkor 24-70mm/f2.8 lens @ 55mm, ISO 800, 1/1000th sec.,f2.8)
When I teach and when I speak to groups, I always preach the importance of staying with the scene and shooting, versus stopping to look at the review screen to see "if you got it". This paid off as even though I thought I had a nice frame of Zakuani and Ljungberg, when the rest of the players came over, the video board read "GOAL" and everything came together.
(Nikon D3, Nikkor 24-70mm/f2.8 lens @ 55mm, ISO 800, 1/1000th sec.,f2.8)
Here's a different angle than I usually shoot. From the top of the box, I was able to look in to see Patrick Ianni heading a service towards the San Jose goal.
(Nikon D3, VR 70-200mm/f2.8 lens @ 180mm, ISO 1600, 1/800th sec.,f2.8)
Moments later, Fredy Montero scored but ran the other way to celebrate. You're never going to get every moment, so make the most of the ones that come your way.
I stayed for a bit longer in that spot and caught a decent frame when San Jose goalkeeper Joe Cannon came out to save a ball as Sebastien LeToux charged in.
As the game entered the final minutes, I took some chances and tried to shoot really tight with a 600mm lens wherever the ball went. Trust me, out-of-focus shots of socks and shoes and turf are NOT where it's at. Made one okay frame when Seattle's Stephen King and San Jose's Jason Hernandez battled in the air in the San Jose area.
(Nikon D3, VR 600mm/4.0 lens, ISO 3200, 1/800th sec.,f4.0)
The game got physical towards the end as San Jose scored to come with one goal of a draw and Seattle tried to retain possession. When LeToux came over to the corner I was shooting from, San Jose's Aaron Pitchkolan dumped him towards the sidelines.
(Nikon D3, VR 200-400mm/f4.0 lens @ 200mm, ISO 4000, 1/800th sec.,f4.0)
The Sounders held on for a 2-1 win to get back on the good side of the ledger, and after the game head coach Sigi Schmid was still coaching as he pulled defender James Riley over for some quick postgame instruction.
(Nikon D3, Nikkor 24-70mm/f2.8 lens @ 24mm, ISO 1600, 1/640th sec.,f2.8)
However, the fans were happy as the team finally got a victory, even if it was over the last-place Earthquakes. A win is a win, and the Sounders desperately needed one.
(Nikon D3, Nikkor 24-70mm/f2.8 lens @ 24mm, ISO 1600, 1/400th sec.,f2.8)
There was a nice moment on the field after the game when Freddie Ljungberg picked up his five-year old godson for the traditional team salute to the fans in the south stands.
(Nikon D3, Nikkor 24-70mm/f2.8 lens @ 24mm, ISO 1600, 1/400th sec.,f2.8)
I'll be shooting plenty of soccer in the next couple of weeks. Sounders FC plays again this Wednesday, and then the following weekend.
Thanks for reading!
Sounders FC: Tying One On (Again)
Seriously, dude, what's your excuse this time? Why so long between updates.
Well, I don't want to use it as an excuse, but on Tuesday I had to shoot a group portait of the 2009 Seagals.
You wanted to be my assistant for that shoot? I called you, I left emails and a text and you never responded.
Tough work but someone had to do it. Might as well have been me. Photos to come, soon.
Back to the weekend, and our beloved Sounders FC, who once again played well enough to win, but didn't, settling for a 1-1 draw with the Columbus Crew.
The Crew are the defending M.L.S. champions, which they won under current Sounders FC head coach Sigi Schmid, so that was one of the story lines.
Could this young fan be any cuter? The color of her eyes even matches her scarf.
(Nikon D3, VR 70-200mm/f2.8 lens @ 125mm, ISO400, 1/125th sec.,f2.8)
Seahawks head coach Jim Mora was presented with the honorary Golden Scarf before the game. He's a big Sounders FC fan, and brings his family to games. But more on that later.
(Nikon D3, VR 200-400mm/f4.0 lens @ 270mm, ISO 800, 1/400th sec.,f4.0)
Sounders players and coaches huddled before the start of the game. It was a warm, pleasant evening and a perfect night for soccer.
(Nikon D3, Nikkor 24-70mm/f2.8 lens @ 24mm, ISO 800, 1/250th sec., f4.0)
The game was closely contested, and in the first half Seattle's Tyrone Marshall got himself above Columbus's Emmanuel Ekpo to win a header.
(Nikon D3, VR 600mm/f4.0 lens, ISO 2000, 1/800th sec.,f4.0)
After Columbus scored to take a 1-0 lead in the first half, Seattle had a great chance when Freddie Ljungberg was taken down in the box. However, his penalty kick was wide of the mark and a great opportunity was missed.
(Nikon D3, VR 200-400mm/f4.0 lens @ 240mm, ISO 2500, 1/800th sec.,f4.0)
Fans at Qwest Field reacted after finally, an official's call had gone the Sounders way, only to be wasted.
(Nikon D3, VR 600mm/f4.0 lens, ISO 2500, 1/800th sec.,f4.0)
Seattle goalkeeper Kasey Keller continued his stellar play, stopping a straight on shot by Ekpo.
(Nikon D3, VR 600mm/f4.0 lens, ISO 2500, 1/800th sec.,f4.0)
Nate Jaqua tangled with Columbus's Eddie Gaven, as the Crew worked hard to smother Seattle's forwards.
(Nikon D3, VR 600mm/f4.0 lens, ISO 2500, 1/640th sec.,f4.0)
In the second half, Jaqua finally worked himself free and made a perfect strike on a volley after a nifty pass from Freddie Ljungberg.
(Nikon D3, VR 200-400mm/f4.0 lens @ 280mm, ISO 3200, 1/800th sec.,f4.0)
The ball rocketed into the top of the net and the celebration was on.
(Nikon D3, Nikkor 24-70mm/f2.8 lens @ 70mm, ISO 1600, 1/640th sec.,f2.8)
By the way, the guy lower right high-fiving? Yep, that's Coach Mora. Told you we'd come back to that.
(Nikon D3, Nikkor 24-70mm/f2.8 lens @ 66mm, ISO 1600, 1/640th sec.,f2.8)
Can't have an M.L.S. game without cards being given out. At this rate, maybe Hallmark should be a presenting sponsor (*note to self — call league office). After Columbus goalkeeper Andy Greunebaum illegally touched a back pass, Seattle was awarded a free kick at the six-yard mark. Defenders are by rule supposed to be at least ten yards from the ball, so they should have been on the goal line. Referee Michael Kennedy was doing his best to keep the Crew defenders back, and when they crept up he finally got tired of it and issued cards.
(Nikon D3, VR 200-400mm/f4.0 lens @ 270mm, ISO 3200, 1/800th sec.,f4.0)
The rest of the match was physical, as Columbus was fighting for a draw on the road and Seattle pressed for a victory to end their own recent run of draws.
Jaqua found himself sandwiched between two Crew defenders on a corner kick.
(Nikon D3, VR 200-400mm/f4.0 lens @ 240mm, ISO 3200, 1/800th sec.,f4.0)
Later, Ljungberg left Columbus defender Gino Padula on the Field Turf. Yes, this was quite likely a hand ball, and no, it wasn't called. Ljungberg made off with the ball anyway, and that might have been the reason for the non-call.
(Nikon D3, VR 200-400mm/4.0 lens @ 400mm, ISO 3200, 1/800th sec.,f4.0)
After the game, Seattle head coach Sigi Schmid hugged his former player Alejandro Moreno, who scored the lone Columbus goal.
(Nikon D3, Nikkor 24-70mm/f2.8 lens @ 62mm, ISO 1600, 1/500th sec.,f4.0)
After settling for the draw on their home turf, Seattle's Fredy Montero sat somewhat dejectedly on the bench until teammate Steve Zakuani came by to offer support.
(Nikon D3, Nikkor 24-70mm/f2.8 lens @ 36mm, ISO 1600, 1/500th sec.,f4.0)
Sounder FC next plays at home on June 13, on the Xbox 360 Pitch at Qwest Field.
Thanks for reading!
Seahawks: OTA’s with the O-Line.
O.T.B. — Off Track Betting.
But O.T.A.?
Here's a hint — it's a football term.
Off-Tackle…Attack?
Try this: Organized Team Activity.
Otherwise known as "football practice". But unlike the other forms of practice in the NFL (regular practice, training camp, and mini-camp), OTA's are voluntary — players are not required to attend, and there is no contact allowed.
New Seahawks head coach Jim Mora has his team fired up to improve on last season's poor 4-12 showing, so all of the off-season workouts have been well-attended.
I was shooting stuff of only certain players like third-round draft choice Deon Butler, who changed his number to 11, after wearing 85 for the first minicamp.
As I worked my way around the field, I noticed the offensive lineman working on a drill involving a blocking pad and some mats. They were pretty close to the edge of the field, so I wandered over. Any chance to use a wide-angle lens at football is cool — mostly because it is a different angle than we get most of the time.
One thing about football practice is that except for the football staff, no one really knows how long each drill lasts. Seems like just when I get settled for a shot, the horn blows and every one runs away to a different part of the field.
So hustling over, I started shooting quickly. Wanted to get something "in the can" before the drill ended. My best hope was that I had at least a couple of minutes to shoot before they changed drills.
The first shot is, well, back-focused (focused on the players in the background, not the foreground). I shouldn't have to tell you that this is unintentional, just a result of moving too fast. Yuck.
(Nikon D3, Nikkor 24-70mm/f2.8 lens @ 38mm, ISO 400, 1/1000th sec.,f4.0)
After that, I find a low angle so that I can make the players loom larger as they dive into the block. Only problem is that the coach holding the blocking pad has moved to my side and so now I'm a bit blocked.
(Nikon D3, Nikkor 24-70mm/f2.8 lens @ 48mm, ISO 400, 1/1000th sec.,f4.0)
Luckily, the coach changes side and the angle opens up. One challenge here was the exposure. Bright sun in the background, players in dark jerseys jumping into a dark mat. If only fill flash were allowed. Actually, not. Fill flash would make the exposure better, but would introduce an artificialness to the photo that would suck. And no, I don't know if artificialness is even a word.
With the frame below (rookie Andre Ramsey), I feel I'm getting somewhere. But other photographers and television cameras have wandered over, and they're right over my head. I prefer the low angle, but I'm kind of contorted on the ground and having a tough time keeping the horizon level and the camera as low to the ground as possible.
(Nikon D3, Nikkor 24-70mm/f2.8 lens @ 66mm, ISO 400, 1/1000th sec.,f4.0)
When Rob Sims goes through, I think I have a usable frame. I can see his face, his body position is good, and the pad is in midair. Now I can experiment a bit more.
(Nikon D3, Nikkor 24-70mm/f2.8 lens @ 48mm, ISO 400, 1/1250th sec.,f4.0)
The more the players hit the mat, the more it slides, and soon I have a nearly perfect horizontal composition. Good for the position of the bodies, not so good for the faces, but hey, I'm shooting wide-angle, no one has hit me, and the coach doesn't seem to mind that I'm close to the action. Remember that with the wide-angle lens, I'm about 10 feet from the players. In the realm of pro football practices, that's much closer than one usually gets. This one is of Mansfield Wrotto taking his turn.
(Nikon D3, Nikkor 24-70mm/f2.8 lens @ 45mm, ISO 400, 1/1250th sec.,f4.0)
Coach didn't like that first try (and I didn't either, but for not the same reasons), and on Wrotto's second try I made a frame that has better body angle,but he's not high enough off the ground to create any separation.
(Nikon D3, Nikkor 24-70mm/f2.8 lens @ 36mm, ISO 400, 1/1250th sec.,f2.8)
Satisfied that I made the photo I was looking for, I just went looser on the last turn before the end of the drill. The result is a more classic looking football picture.
(Nikon D3, Nikkor 24-70mm/f2.8 lens @ 26mm, ISO 400, 1/1250th sec.,f2.8)
It's always fun finding a new angle and new opportunity. I feel completely geeky when I break down a simple picture like this, but I figure I have to push myself on every frame or I won't get better.
Seahawks: Aaron Curry Arrives in Seattle.
As a contract photographer for the Seattle Seahawks and the Seattle Sounders FC, I am getting to witness the culture of sports from another angle — that is, the side behind the doors typically closed to the media.
Today I had the opportunity to jump behind those doors with the Seahawks.
The biggest sporting event of the weekend (with apologies to my Sounders FC mates) wasn't even a game or a match. It was the NFL draft, and in it, the Seahawks had the fourth overall choice.
As head coach Jim Mora quipped, "it's not a position we want to ever be in again". That's because if you're picking fourth, it means you had one hell of a sh*tty season the year before. To anyone's reckoning, a record of 4-12 fits that bill.
But that's so last year, and with a new coach and a healthier roster, the Seahawks are on the rise.
With the fourth pick in the weekend's draft, Seattle selected linebacker Aaron Curry out of Wake Forest. Curry arrived late Sunday evening, accompanied by his fiancee and his mother. By 9am they were on their way to the Virginia Mason Athletic Center, headquarters of the Seahawks, and I was waiting to document Curry's big first day in Seattle.
Curry was accompanied by Seahawks director of player development Maurice Kelly, and a cameraman from NFL.com.
Upon first arriving at the VMAC, Curry walked up to the building and raised both fists and yelled, "yeah! this is IT!". Unlike many high draft picks who are flown to the city of a prospective suitor for the purposes of pre-draft interviews, the Seahawks were discreet about their desire for Curry so no such visit was arranged.
(Nikon D3, Nikkor 24-70mm/f2.8 lens @ 32mm, ISO 800, 1/200th sec.,f6.3)
The four pillars of the franchise's mission statement are emblazoned in large print in the lobby, and by all accounts, Curry will fit the bill.
(Nikon D3, Nikkor 24-70mm/f2.8 lens @ 65mm, ISO 1250, 1/100th sec.,f6.3)
Curry appeared tired, albeit just briefly, on the elevator ride up to the offices of head coach Jim Mora and team president and general manager Tim Ruskell. "Just for a second," said Curry, of his yawn. "Our plane was delayed last night and I was up early today because I wanted to get this day going!".
(Nikon D3, Nikkor 14-24mm/f2.8 lens @ 16mm, ISO 1250, 1/8th sec.,f2.8)
Up in the coaches offices, Ruskell and Mora handed binoculars to Curry so he could see the bald eagle that flies over the outdoor practice field which borders Lake Washington.
(Nikon D3, Nikkor 24-70mm/f2.8 lens @ 48mm, ISO 1250, 1/125th sec.,f4.0)
His tour continued with a visit to the draft room, where Seahawks staff had gathered over the weekend to select players, including, of course, one Aaron Curry.
(Nikon D3, Nikkor 24-70mm/f2.8 lens @ 42mm, ISO 1250, 1/60th sec, f3.2)
Curry marveled at the size of the new indoor practice facility, and endured some playful teasing from veterans who were working out.
(Nikon D3, Nikkor 14-24mm/f2.8 lens @ 16mm, ISO 1250, 1/250th sec., f2.8 + flash)
The players' locker room is new and plush, with recessed lighting and wood fixtures. Curry took in the size of the room and wondered where the linebackers sat.
(Nikon D3, Nikkor 14-24mm/f2.8 lens @ 17mm, ISO 1250, 1/40th sec., f2.8 + flash)
Kelly, the player development man, quickly said, "not so fast, man, the rookies dress IN HERE" and opened the door to a small room with black metal lockers and harsh florescent lighting. Curry laughed and said, "Okay, I see how it is. That's good. We'll bond down here, us rookies".
(Nikon D3, Nikkor 14-24mm/f2.8 lens @ 17mm, ISO 1250, 1/25th sec., f4.0 + flash)
In the equipment room, Curry posed between huge movable storage units that hold every type of football gear imaginable.
(Nikon D3, Nikkor 14-24mm/f2.8 lens @ 17mm, ISO 1250, 1/40th sec., f6.3 + flash)
A trip to the players lounge, outfitted with computers, flat screen televisions and video games with customized chairs gave Curry a moment to reflect on how his life was about to change.
(Nikon D3, Nikkor 14-24mm/f2.8 lens @ 24mm, ISO 1250, 1/40th sec., f5.6 + flash)
Finally it was time to change into a suit and head up to his first press conference with the Seattle media. His first "Welcome to the NFL" moment came just before he took the stage when a team official handed him a jersey with his name and number on it, then gave him instructions on how to hold it in front of the cameras.
"You mean hold it up in front of me? That's all big time! Wow…Really? Man, I see that on television and it's a big deal." Guess what, Mr. Curry, you're a big deal, too. In front of the lights and cameras, he looked at ease, and handled himself comfortably.
(Nikon D3, Nikkor VR 70-200mm/f2.8 lens @ 160mm, ISO 1600, 1/250th sec., f4.0)
After the official press conference it was time for one-on-one interviews.
(Nikon D3, Nikkor 14-24/f2.8 lens @ 21mm, ISO 1600, 1/200th sec., f3.2)
Like most athletes, as soon as the suit wasn't needed, he changed back into more comfortable clothes, and made his way out of the VMAC with a day full of memories and an handful of hats. A true player, he couldn't help but stop at a nearby television to watch just a little more draft coverage.
(Nikon D3, Nikkor 14-24/f2.8 lens @ 24mm, ISO 800, 1/40th sec., f3.5 + flash)
Curry flew back home tonight, but will return in time for the start of this weekend's minicamp.
It was fun for him, but it was also a fun day for me, combining some of my journalism instincts (find storytelling moments) with my new job (getting behind the curtain and sharing what I see).
Thanks for reading and thanks for your patience as I have been taking more time between posts.
iPhoning It In at Sportsshooter Academy VI.
The past three weeks have been a whirlwind. It’s not like I didn’t have time to blog — I did. But I used that time to rest and spend time with family — priorities, right?
Now I have a chance to catch my breath, catch up on the blog, and catch up on my sleep. I’m lucky and grateful for all the opportunities that have come my way in the recent weeks.
In that time I shot the Seahawks first mini-camp of the season, did some work for a non-profit, flew to California to teach at a workshop, and then shot the first home series of the Mariners season. Because I was in California, I wasn’t able to shoot the Sounders FC home game against the Kansas City Wizards.
Let’s start with the workshop.
The Sportsshooter Academy started as the brainchild of my good
friend Robert Hanashiro of USA Today, who also started the
Sportsshooter newsletter some years ago, then evolved it into the most
popular website for sports photography in the world, Sportsshooter.com.
Along
the way he wanted to keep giving back so he started his now-famous
“Sportshooter Luaus”, which were two-day workshops full of speakers and
breakout sessions featuring such photography luminaries as Bill Eppridge, Vincent Laforet, Brad Mangin, Peter Read Miller and Robert
Seale.
Although Bert has been inviting me to help with the
Academy for years, this was the first time my schedule allowed me to
participate.
I was fortunate to be invited to participate as one of the faculty of what essentially is a four-day, intensive workshop where participants spend the day shooting sports under the watchful eye of veteran photographers. The nights are spent editing and critiquing. The next morning, there is a quick slide show of the each participants favorite images along with faculty critiques and then we hit the streets (or in this case, horse tracks, boxing rings, baseball diamonds and beach volleyball courts) in order to do it all again.
Thanks to the generosity of Nikon, in particular Bill Pekala and Ron Taniwaki, the students had access to a bevy of top-of-the-line Nikon gear. Want to shoot a Nikon D3 with a VR 400mm/f.28 lens? Nikon loaned it to you. Longer? Smaller? More? Nikon not only loaned equipment but the underwrote the entire cost of the workshop for participants. That’s right. Each student attended for FREE, thanks to Nikon.
Boy, what I had been missing! It was four days of fun andteaching, but also LEARNING for yours truly.
I arrived at 9:00 am after an early morning flight, and was whisked from the airport to the academy hotel by 9:20. By 9:30 I was giving a presentation in front of 50 participants. My job was to send them out the door to their first assignment, inspired and ready to work.
By offering them 10 tips on how to make better sports photos, I shared some of my knowledge gleaned from nearly 20 years in the industry. Not sure how much of an impact my talk had, but that night I was treated to some wonderful imagery captured by the participants over the course of the day.
My first day was spent teaching remote cameras and baseball shooting. We started at a junior college game, then were along the foul lines at a Division I game between Irvine and Long Beach State. While the students wandered seeking the best positions and the best angles, I wandered around with my iPhone taking pictures between bouts of answering questions and offering advice.
This isn’t supposed to be an ad for the iPhone, but we did think it funny that while the students were running around with top-of-the-line Nikon D3’s and D700’s, most of the faculty was taking pictures with iPhones.
Spare bats and balls, along with some fertilizer wait for use in a groundskeeper’s shed:
Used baseballs sit in a bucket waiting for batting practice.:
Players from Fullerton College prepare in the dugout for their game with East Los Angeles College:
Fullerton’s lineup card:
One of the Academy participants seeks a different vantage point after reaching the top of the dugout via a convenient ladder:
A reliever for Fullerton takes his warmup tosses in the bullpen:
Over the four days I saw some great photos and also some brave mistakes, but more importantly I met some incredible people and learned so much myself. If you are EVER able to listen to Dave Black speak or offer a critique, lend an ear. His attention to photographic detail is unmatched and I was taking copious mental notes every time he uttered a word. Add that Dave is as humble and personable as he is knowledgeable, and well, it’s just a treat to be around him.
Also on the faculty were Matt Brown, a freelancer who works for a number of universities and athletic conferences in Southern California, Wally Skalij and Myung Chun of the Los Angeles Times, Michael Goulding of the Orange County Register, and freelancers Lucas Gilman, David Honl. Great shooters, even better people.
If you are interested in stepping up your game in sports photography, try to attend one of the Sportsshooter Academies. They are held in Southern California, and dates are announced at Sportsshooter.com months in advance.
Sounders FC: From Fredy to Freddie
Last week it was Fredy Montero who nabbed the spotlight, leading Sounders FC to a 3-0 win over New York in the inaugural match, but this week, all eyes were on Freddie Ljungberg, who made his Seattle debut in the 61st minute in a 2-0 win over Real Salt Lake.
Over 28,000 Sounders FC fans and supporters once again packed Qwest Field, creating the second sellout in as many games. The Supporters groups in the south stands once again set the tone for the entire stadium, with their flags, banners, chants and songs filling the air.
(Nikon D3, VR 200-400mm/f4.0 lens @ 400mm, ISO 3200, 1/400th sec.,f4.0)
After team emerged from the tunnel for the start of the match, goalkeeper Kasey Keller gathered his teammates in a circle and then implored them to “PROTECT OUR HOUSE!”
(Nikon D3, Nikkor 24-70mm/f2.8 lens @ 24mm, ISO 1600, 1/640th sec.,f2.8)
Seattle’s starting lineup was nearly the same as in the opener but with Sanna Nyassi injured, rookie Steve Zakuani started in his place.
(Nikon D3, Nikkor 24-70mmf/2.8 lens @ 70mm, ISO 1600, 1/500th sec.,f4.0)
Zakuani made is presence known almost immediately, making a deft move with the ball down the left side before crossing it to Nate Jaqua in the 17th minute for the game’s first goal.
(Nikon D3, VR 200-400mm/f4.0 lens @ 200mm, ISO 3200, 1/800th sec.,f4.0)
I was shooting about 10 yards up the sideline from the endline, and Zakuani was actually between me and Jaqua when the goal was scored, so I was blocked from having a clean photo of the actual shot. But Jaqua ran towards me and leaped on top of teammates in celebration.
This shot is a little tight, as I’m shooting with the Nikon VR 200-400mm/f4.0 lens. I had three bodies and because of the threat of rain, I didn’t want to mess around switching lenses. So my kit comprised of a D3 with a VR 400mm/f2.8 lens + 1.4 extender (550mm/f4.0), a D3 with the VR 200-400mm f/4.0 lens (which I raved about in the entry from last week’s game)
and a D3 with the Nikkor 24-70mm/f2.8 lens. I’d rather carry the 24-70mm than the 700-200mm, because I think if players run towards me and I can get them into the foreground of the frame, the wide-angle image is infinitely more dramatic.
Having a lens that’s near 600mm (either the VR 600mm/f4.0 lens or the combo of the VR 400mm/f.8 + extender) allows me to be on one end of the field and still have a reasonable (yet not quite optimal) chance of shooting the other goal as well. As the field is roughly 120 yards long, it’s quite a throw.
But it can pay off, as I found when goalkeeper Kasey Keller, the local hero from Olympia, Washington, came out of his net to make a save high in the air on a corner kick.
(Nikon D3, VR 400mm/f2.8 lens + 1.4 extender, ISO 3200, 1/640th sec.,f4.0)
Keller was stellar once again, with five saves and another shutout. For his efforts and his “clean sheet” (soccer slang for a shutout — see how much I’m learning?), he was named “Man of the Match”.
Jaqua, who I found out has especially great games against Real Salt Lake (six goals in his last six games against RLS), was a force in the first half, using his size and strength on balls in the air over the middle.
(Nikon D3, VR 200-400mm/f4.0 lens @ 330mm, ISO 3200, 1/800th sec.,f4.0)
In the 61st minutes, Sounders fans got what they’d been waiting for since his announced signing, as Freddie Ljungberg took to the XBOX 360 pitch for the first time. Ljungberg acknowledged the standing ovation for him as he entered the field.
(Nikon D3, VR 400mm/f2.8 lens + 1.4 extender, ISO 3200, 1/640th sec.,f4.0)
Head coach Sigi Schmid remarked after the game that he thought Ljungberg’s ball control skills would help as Real Salt Lake dominated the ball in the second half as they looked desperately to tie the match.
(Nikon D3, VR 400mm/f2.8 lens + 1.4 extender, ISO 3200, 1/800th sec.,f4.0)
Ljungberg’s surgically repaired hip was put to the test early and often, as when he was taken down by Real Salt Lake’s Kyle Beckerman.
(Nikon D3, VR 400mm/f2.8 lens + 1.4 extender, ISO 3200, 1/640th sec.,f4.0)
(Nikon D3, VR 400mm/f2.8 lens + 1.4 extender, ISO 3200, 1/640th sec.,f4.0)
Freddy Montero scored his third goal of the season in the 77th minute, firing a rocket from outside of the box. It was an incredible goal on a high-risk shot. Replays show that Ljungberg was wide open if Montero would have put a through-ball to him, but the shot paid off for a 2-0 lead.
(Nikon D3, VR 200-400mm/f4.0 lens @ 260mm, ISO 3200, 1/800th sec.,f4.0)
After the final whistle, Montero acknowledged the standing ovation.
(Nikon D3, Nikkor 24-70mm/f2.8 lens @ 32mm, ISO 1600, 1/640th sec.,f2.8)
Keller, who had before the game implored his teammates “protect our house” during a pregame huddle, led his teammates in a linked-hands show of thanks to the fans.
(Nikon D3, Nikkor 24-70mm/f2.8 lens @ 24mm, ISO 1600, 1/640th sec.,f2.8)
Ljungberg, who traded jerseys with one of the Salt Lake players, gave a thumbs up to the fans as he headed off the pitch.
(Nikon D3, Nikkor 24-70mm/f2.8 lens @ 28mm, ISO 1600, 1/640th sec.,f2.8)
Sounders fans now have to wait until April 11 for the next home match, but one doubts the fever will subside before then.
(Nikon D3, Nikkor 24-70mm/f2.8 lens @ 32mm, ISO 1600, 1/640th sec.,f2.8)
Sounder FC – One Enchanted Evening, Part 2.
This continues Part 1 of my post on incredible evening that was the inaugural match of Seattle’s newest sports franchise, Sounders FC.
When game time finally rolled around, the lower and middle decks of Qwest Field were crammed with soccer fans, a buzzing, swirling mass of Rave Green jerseys and scarves waiting for the ball to be put in play.
Soccer is full of traditions, one of which being the parade of officials and players to the pitch (field).
(Nikon D3, VR 200-400mm/f4.0 lens @ 200mm, ISO 1600, 1/400th sec.,f4.0)
(Nikon D3, VR 200-400mm/f4.0 lens @ 200mm, ISO 1600, 1/400th sec.,f4.0)
Because I was in place to shoot the pregame events, I found myself next to Seattle coach Sigi Schmid and his assistants during the national anthem.
(Nikon D3, Nikkor 24-70mm/f2.8 lens @ 26mm, ISO 1600, 1/250th sec.,f6.3)
But before any soccer match is the traditional photo of the starters. After player introductions and handshakes with the opponents and officials, the players group near the sideline and pose for about 15 seconds so a gaggle of photographers (does that make me a goose?) slam away at their shutters. After one team comes the other, then the coin flip, which is the last pregame event before the action starts.
In American football, you have to also wait until the coin flip to figure out who is facing which way. Not a huge problem there because you are free to move pretty much anywhere at any time during a game. However, in soccer, you can’t switch ends once the ball is put in play until the half is over, so you have to be aware of what’s going on or be stuck on possibly the “wrong” end of the field.
So the smart thing is to try to linger after the team photos somewhere in the vicinity of midfield behind the benches and then make the mad scramble to whichever end the team you are covering is shooting at. (Wow. That is one awkward sentence. Would you believe I once taught high school English? Now you probably know why I don’t do that anymore…)
It didn’t take long for history to be made. Fredy Montero, the 21-year old Columbian scored the club’s first goal on low shot in the 11th minute.
(Nikon D3, VR 200-400mm/f4.0 lens @ 260mm, ISO 1600, 1/640th sec.,f4.0)
There was a lot of pressure among the shooters to “get” that first goal on film (well, digital), and really my frame is just a picture of record. You can’t see the keeper, and he ran to the corner away from me to celebrate, but hey, at least it’s something. Had the first goal come off of a corner kick on a header in traffic, that would have been harder to shoot. Even though I’m shooting a 200-400mm lens here, I noticed in the metadata afterwards that this frame is at 260mm. I think I was preparing to come looser with the lens because I was anticipating a pass or cross to the middle, not a shot.
It wasn’t until I saw a video clip that I realized he and some teammates had done a little dance over in the corner. Can’t be everywhere at once, I guess. Luckily, I made a few frames as he celebrated while returning to midfield.
(Nikon D3, VR 200-400mm/f4.0 lens @ 400mm, ISO 1600, 1/640th sec.,f4.0)
(Nikon D3, VR 200-400mm/f4.0 lens @ 260mm, ISO 1600, 1/640th sec.,f4.0)
Forward Nate Jaqua almost scored after sliding to beat a New York defender to the ball, but the shot was saved.
(Nikon D3, VR 200-400mm/f4.0 lens @ 220mm, ISO 1600, 1/640th sec.,f4.0)
That black stuff popping up from the turf is little black rubber pellets that basically serve as the “dirt” for the Field Turf surface.
Sebastien Le Toux, who played for the Sounders former U.S.L. team, also had a good chance in the first half, but New York goalkeeper Danny Cepero came out to block the ball away
(Nikon D3, VR 200-400mm/f4.0 lens @ 200mm, ISO 1600, 1/640th sec.,f4.0)
The Nikon VR 200-400/f4.0 lens is the PERFECT lens for covering soccer at the near end of the field. The high ISO capabilities of the D3 allow me to shoot at f4.0 instead of f2.8, and the flexibility of the focal length makes life VERY easy because the ball swings from near to far and far to near so quickly in soccer.
Midfielder Brad Evans tallied the second goal of the game, taking a through-ball from Montero and left-footing it between the legs of the keeper to make it a 2-0 game. Evans was in front of me as he shot, then turned in celebration. Because I’m focusing and shooting, I have to rely on the sound of the crowd erupting and Evans’ own reaction to know he scored.
(Nikon D3, VR 200-400mm/f4.0 lens @ 200mm, ISO 1600, 1/640th sec.,f4.0)
He ran over to the corner nearest me, and I dropped (well, carefully placed) the long lens down to shoot wider with the 24-70mm lens which was around my neck. I like the way the crowd is reacting around them as they celebrate.
(Nikon D3, Nikkor 24-70mm/f2.8 lens @ 70mm, ISO 1600, 1/500th sec.,f4.0)
When we think of sports photography, we often think first about peak action photos. Players competing at their highest level, often with their faces and bodies showing us the strength and grace of the sport. When Seattle’s Nate Jaqua got tangled with New York’s Kevin Goldthwaite, along the sidelines, we see such an image. It’s a big crop since I was shooting with the 200-400mm lens, but I think it holds up okay.
(Nikon D3, VR 200-400mm/f4.0 lens @ 400mm, ISO 3200, 1/800th sec.,f4.0)
But by trying to provide a different look at sports photography instead of just tight shots of players competing, we treat the viewer of a shot that includes the environment surrounding the action. It’s why the swinging boom camera that sweeps over the crowd is so popular for televised sports now. Heck, they even used one at the Grammys broadcast. Showing viewers an angle that don’t usually see is always one of the goals as a photographer.
When Fredy Montero scored his second goal, it was on a great steal, fake and shot. Great on video. Still-wise, there is no decisive frame that tells the story. At a fraction of a second per frame, it’s “guy steals ball”, “guy dribbles”, “guy shoots”. Not thrilling images.
But afterward, Montero turned to celebrate, and I was fortunate that like Evans, Montero came right at me. This allowed me to use the wide-angle again, and it adds a lot to see the full stadium behind him and teammate Nate Jaqua.
(Nikon D3, Nikkor 24-70mm/f2.8 lens @ 28mm, ISO 1600, 1/500th sec.,f2.8)
Eventually they stopped RIGHT in front of me and celebrated as a group.
(Nikon D3, Nikkor 24-70mm/f2.8 lens @ 24mm, ISO 1600, 1/500th sec.,f2.8)
It’s always smart to stay with a situation until it’s completely over, and I was rewarded when Montero turned one last time to acknowledge the raucous fans in the south stands.
(Nikon D3, Nikkor 24-70mm/f2.8 lens @ 70mm, ISO 1600, 1/500th sec.,
f2.8)
To be continued…
Seahawks: Spotlight On the Sidelines.
In photography, sometimes we get so satisfied just finding a good
situation that we don’t follow it through to the end and find the very
best image in that situation. Even if the frame we make isn’t a “contest winner”, we still want to find the best possible photograph at any given time or place.
This especially happens when we are
presented with a different view of a situation that we are used to
seeing in a particular way on a regular basis.
At most NFL
stadiums, the actual benches the players sit on are set back from the
sides of the marked bench area far enough that we have to use a
telephoto lens to make a good shot. If we’re lucky, sometimes a 50mm works.
One of the interesting things I’ve found about the
Edward Jones Dome in St. Louis is that the benches are located really
close to the end of the marked area for the teams (in the N.F.L. this
area is between the 32-yard lines).
Hang on. Let’s backtrack a
step. The bench proximity might be the ONLY interesting thing I’ve
found in that stadium. I hate domes. I shot in one for the first 15
years of my career. No interesting light. No unusual weather. Just
football being played in a loud terrarium.
Back to the benches.
One
of the story lines of the past few weeks with the Seahawks is their
patched together offensive line. Four of five starters were out with
injuries. Not surprisingly, the starting quarterback suffered injuries
while those starters were falling by the wayside.
So there we
were in the Gateway City (did they once used to make computers there?)
and I was photographing a second string quarterback playing behind a
second string line as they played out the season for pride.
Knowing that I want each of my photos to tell a story, I wanted to make a photo of the O-line at some point during the game.
I
found my chance after line coach Mike Solari came over to talk to his
troops after they’d allowed a sack of quarterback Seneca Wallace that
resulted in a fumble.
In the first frames, you can see that I’m
kind of, dare I say, intimidated at shooting these guys from so close.
One mighty swipe of a big taped left paw and I would have been just
another pile of those little gritty rubber things that pass for “dirt”
on the FieldTurf.
I’m standing up while I shoot, and the first frame is underexposed. Remember that when you move from the field of play to the sidelines, the light starts to fall away.
(Nikon D3, Nikkor 24-70mm/f2.8 lens @ 28mm, ISO 2500, 1/1000th sec.,f2.8)
In the second frame, you can see that the composition is a little better, as the players at the right of the frame are no longer talking to one another, but they’re at least looking towards the coach. I’ve also reduced my shutter speed by 2/3 stop.
(Nikon D3, Nikkor 24-70mm/f2.8 lens @ 28mm, ISO 2500, 1/640th sec.,f2.8)
At this point I’m confident enough to know I’m not going to get beaten for being that close, and I take a knee to improve the angle. I’m shooting at 40mm here on a 24-70mm lens. Still, I’ve got some giant hand coming into the frame at upper right, and the scene is still a little chaotic for my tastes. Understand that chaos is part of the story, but this felt more like visual chaos, and it was detracting from the image.
(Nikon D3, Nikkor 24-70mm/f2.8 lens @ 40mm, ISO 2500, 1/640th sec.,f2.8)
Keep in mind that I am not just rapdily firing off frames. I know I’m close enough to be be noticed, IF I bring notice to myself. I’m there, they are vaguely aware I’m there, but I’m firing off a frame or two, recomposing, thinking the entire time. My goal is to get the frame I need and then be on my way. No better way to attract the attention of a security guard (even if you are in a “legal” position) than to make a spectacle of yourself.
Now I am pretty sure I have at least something useable, so I put the camera on the ground to further try to improve the composition. I take the lens wider, out to 26mm. Shoot a frame, look at the image on the camera. Recompose, try again.
(Nikon D3, Nikkor 24-70mm/f2.8 lens @ 26mm, ISO 2500, 1/640th sec.,f2.8)
I’ve shot wide frames by now, and I know I’ve tried to capture the organized chaos of the sidelines, so now I want to shoot tighter and to see what’s there. Unfortunately, I’m not the type of shooter who can “see” what his lens will give him before he looks through the camera. I think I take that class next semester, right before Civics and after Latin. Anyway, I fire off a frame or two at 58mm. I like this one a lot, but stay another 15 seconds or so to fire some backup frames.
(Nikon D3, Nikkor 24-70mm/f2.8 lens @ 58mm, ISO 2500, 1/640th sec.,f2.8)
I move wider again to 36mm, and I like the framing. Still the manager holding the water at right of center seems distracting.
(Nikon D3, Nikkor 24-70mm/f2.8 lens @ 36mm, ISO 2500, 1/640th sec.,f2.8)
Last frame is at the same focal length, with the coach looking up and at least the figures on the left of the frame seem engaged. Somehow, though, I’ve lost the faces at right. Life in the big leagues, right? I feel like I’ve give it a good go, I know I have a frame I can use, and besides, I’ve missed two or three plays on the field in a close game.
(Nikon D3, Nikkor 24-70mm/f2.8 lens @ 36mm, ISO 2500, 1/640th sec.,f2.8)
I find my way back to the action, knowing that “in my pocket” I have a different angle of a different part of the game than is usually featured in the next day’s coverage. When I am being asked to provide a cover photo and 2-3 images per each of the three inside pages, I want that visual variety to help set images apart. To me, there’s nothing more boring than seeing 8-10 images in a row all of someone throwing, catching, or running with the ball.
My philosophy of “taking the readers with me” is something I take very seriously. You’ll probably get a little tired of me talking about it, but it was a great lesson I was once taught and I feel it has value to everyone who has the privilege of covering an event for their readership.
Welcome to Halftime.
There’s no clock and no scoreboard, nor is there a marching band about to take the field — but it’s halftime.
The first half is over — the stats are in the book and the first half of my career is complete.
As I leave the Seattle Times after nearly two decades, I’m excited to embark on the next phase of my professional life.
I will miss much about my former job — the history I was fortunate enough to witness with my camera, the colorful characters I met along the way, and the friends and mentors who helped me get better — both as a photographer and and as a person.
Actually, my first published photo in the Seattle Times occurred when I was a freshman in college.
Fittingly enough, it was as a member of the University of Washington Marching Band.
Yes, that’s me on the right, the little dude with the trumpet. I’d like to think I look the same, but I know better. Today I have more bags under my eyes and a lot less hair.
Like the second half of most sporting contests, this blog will continue with many of the themes introduced over the past few years in the aptly named “Best Seat In the House” blog that I kept at while at the Times.
I will share with you my photographs — the successes and the failures. We’ll talk about my thought-processes and how particular pictures are created. We’ll talk about barbeque and hamburgers. And because I won’t be working full-time at the paper and also blogging, I’ll have more time to respond to comments and carry on conversations with you.
And in the way that games change after halftime, I’ll also take you along as I forge a new career. It’s a tough economy out there, and competition among photographers is as tough as ever.
I have no job in hand. There is no concrete game plan. I do know that the future will involve photography and writing. And I plan to stay in the sports arena.
It’s an exciting time for me and I can’t wait to get started.
My immediate future will hopefully include touchdowns, dunks and home runs. But I have no doubt I’ll get sacked, stuffed and taken deep every once in a while as well.
Thanks for coming along — it’s time for the second half to begin.