Marc Kollar's Photo Blog

We now continue with my thoughts and recommendations regarding shooting on the field.

On the day of the event …

Know your schedule and stick to it.

Get your pass early so you are not dealing with last minutes lines.

Check in with the contact from the media relations department. Don’t be a stranger to this person. They made the contact with you to shoot the game. Let them put a face with a name and give them a chance to give you any last minute information you may need to know about. It will also give you a chance to provide them with your business card so they know how to get in touch with you after the game.

Find out from your contact how to provide copies of the photos to the school. Usually there will be an file transfer protocol (FTP) site on the Internet at which you would post your files. In most cases your contact will give you the address, user name and password via email.

Ask for a game card. This is a two-sided card with the names and numbers of the players for both teams listed in both alphabetical and numerical order. It will also have quick reference points about each team that may help you to key in on certain players.

Confirm what and where that pass gives you access to. You want to make certain you maximize your time. Knowing for certain where you can roam helps you to confirm your itinerary and not waste time with Security or other venue staff whose job it is to keep out those not cleared to enter a part of the site, which could be you.

Get to your locations and setup. As soon as you get to the site for the first round of shots, identify the security or event contact for that event and confirm who is going to be there and what they will be doing. Make sure you know the entrance point and the what will be taking place. Find a location with a clear line of sight and get situated. If anyone gets in that line of sight, be polite but firm and ask them to move. If they refuse, don’t waste time arguing. Acquire a new position and set up.

Get your shots and move on. Don’t dawdle at each site. Get in, get your shots, and get out.

On the field…

Keep your mind on shooting the game, not watching the game. The team has brought you onto the field to do a job. You are not there to be a spectator. Identify the location of the players who you are to focus on.

Shoot the action. Keep in mind that the game is not just about a few players; it is about the team. Sure shots of the quarterback (QB), wide receivers (WR), tight ends (TE), and backs will be of importance. But the guys on the line, the left and right guards (LG, RG), the left and right tackles (LT, RT), and the center are equally important. Some of the more interesting shots are ones that go down the line of scrimmage, especially when the team on offense is close to the goal line.

Recognize when the action is coming your way. When you photograph plays, you obviously have your eye to the viewfinder. But it is critical that you be aware of where other players are in relation to you so you are not bowled over.

Example: Say you are positioned in the left corner of the end zone and are focusing on the QB who is on the 20 yard line. You need to be aware of crossing patterns to that corner of the end zone. You can do this by look at the eyes of the QB in your view finder. If you see him looking right at you, grab the shot and look around quickly to see where the other players are. I would bet money that you will see a WR coming across the end line or a running back coming toward you for a catch in the corner.

Do not get in the way of other photographers. It may seem obvious, but you need to be aware of the people around you. When you watch sports on television, you will see that photographers are generally lined up shoulder to shoulder. This is to make sure everyone has equal access to the field of play. Follow through on that when you are on the field and be respectful of the other photographers.

Do not chimp. Every photographer is going to want to look at the pictures they have taken during the game. Some may do so because they are trying for a “perfect” shot and need to check settings or the like. You may even want to delete a few that were blurry or for which the settings were blown. BUT DO NOT CHIMP.

What is chimping? It is the act of looking at photos on the LCD screen, finding one that you really like and making sounds like a chimpanzee (ooo – ooo; wow – wow), then trying to show the image to another photographer.

In the world of professional sports shooting, however, even taking time to look at photos is generally frowned upon. Why? Because most magazines like SI and The Sporting News want every photo, regardless of who good or bad it is. While you are not shooting for one of these entities, it’s good to take photos as if you were just to learn how to be more professional in your approach.

Finishing up…

When the game is over and you have finished taking your photos, take a moment to take stock of your gear and make sure you have all your cards, all your lenses, all your bodies, monopods, and bags.

Then go back up to the press box where your media relations contact will probably be and thank them for the opportunity. Ask if there is anything else they need from you. Finally, ask if there may be additional opportunities for photographing another games. You may get a yes or a no. Take it for what it is; it’s not personal, just business. Be sure to also confirm the access information given to you for the FTP site or make sure your contact has the email address to which it needs to be sent.

Finally get back to your car, but keep your wide-angle lens out just in case you run across some funny or interesting post-game celebrations.

Do not wait on doing post-processing. Many times, people will try to rationalize why they shouldn’t do post-processing immediately. None of them hold water for me. If you have to wait until the morning, it is time wasted that could get a top-quality shot to the school’s media relations department for use. So jump on this. Get the import done to your cataloging software (I use Adobe Lightroom) and start work on processing.

Once you are done, post them to the FTP site and burn a DVD of your images for reference. If you can, submit the copyright paperwork that evening through the Copyright Office online site.

Last, but not least, take a moment and reflect on your experience. Make notes of things that worked and what did not. Jot down anything that sticks out in your mind as a positive or negative. In the morning, review the notes and see if other things pop into your head or if you’ve come up with ways to address the negatives.

Happy shooting!

A few weeks ago I received an email from the Assistant Athletic Director for Communications at Rutgers University. He mentioned that they really appreciated the photos I had taken from the stands and would like to offer me the opportunity to shoot on the field for the next home game against Texas Southern which was also the Homecoming game.

Never one to turn down such an opportunity, I went for it. And on Saturday, October 10, I set foot on the turf at Rutgers Stadium during a regular game. For the fan in me, it was a thrill, but I also knew I couldn’t be star-struck and shirk my responsibility. So I got down on the field with Rutgers driving toward the South End Zone. I set up on the end line and started shooting. Four hours later and about a mile or so of walking around the field, I had a little over 1,500 pictures.

So what did I learn from the experience? Many, many nuances that no amount of questioning of pros could have identified for me. I’m going to break this down into two parts. The first gives insight on how to prepare for the event. The second will focus on the day of the event.

First, be aware that these opportunities do not just drop into your lap. You need to cultivate them by being recognized. Part of that means getting to games and getting shots from the stands without causing a disturbance to other fans. it also means promoting those pictures that you have taken with others who are interested. In my case, I did this by sharing some of the pictures on recruiting boards like StateofRutgers.com, ScarletNation.com, and ScarletReport.com.

On the high school level, it may be a bit easier because you can directly contact the Athletic Director at the high school and provide them with a portfolio. However, at some of the larger high schools, especially those that are national power houses, you may find yourself in the position of needing the help of boosters and others with connections to the AD to get you a foot in the door.

Regardless, once you have that invite, there are several things you need to do to be professional and not just an avid fan with a camera.

At least two weeks prior to the game…

Make contact with the media relations department and understand what they are looking for. In my case, the comment I got back was “Just shoot the way you have been shooting. We really like those action photos you have been able to get.” But don’t think you know what they want in advance. Ask! Understand what they are after. Make sure you know who the “stars” are on the team. Are photos of the coach or specific groups of players going to be valued more than other images? What about crowd shots? Is there a section that is more lively than another? What about the opposing team? Does the client want to limit shots of them or include them for future reference?

Find out what you cannot photograph. In many instances teams are not going to permit you to photograph certain players on the sidelines who are sending in signals. Also, some teams may not permit photographs to be taken of players being worked on by the training staff.

Make sure you are clear on copyrights. Ask specifically who has copyrights for the pictures. A well-run organization will tell you the copyright will be shared by you as the “image author” or “photographer” and by the Media Relations Department of the school. In most cases you will be the one who will need to submit the copyright to the Copyright Office in Washington, DC.

Determine what type of credentials you need to show in order to obtain your photo pass. Don’t assume that a driver’s license is enough. Most schools/teams will give you a specific list of acceptable options.

Identify what equipment you can and cannot get into the site. Never assume anything.
Just because you “usually” use a certain camera and lens combination, don’t think that will be permitted into the venue. Just because you have used a flash in the past, don’t think it will be allowed at another venue. While it may be okay in some high school venues, I am not aware of any college venue that allows flash on the field.

Discuss logistics for you and for the event. Find out where you are permitted to park. While most places identify a location for broadcast media, photographers may not have the luxury. Make sure you are aware of what that location entails in terms of lugging equipment to the actual venue.

Make sure you know when the agenda for the event. It may sound like a no-brainer, but this is critical. Nothing says amateur like a person not being aware of the timing for each part of the event. And this is not just about when do the players run on the field. This is about the entire day. When do fans start showing up? Where are the staging areas for each part of the day? Are there specific events taking place that will be unique for that day either before the start of the game or at halftime? Will there be any special guests?

For example, on a game day, the Rutgers Football team will arrive two hours before the game and enter Rutgers Stadium through the Scarlet Walk. The Scarlet Walk starts at the road in front of the Stadium. The players walk down a brick walk and touch the base of a statue commemorating the first game played on November 6, 1869. There are numerous points during the walk where good shots can be taken. But I need to get there at least 10 minutes in advance to make sure I can set up where I want to be. Does that take me away from other shooting opportunities? Yes, but shots of Scarlet Walk are much more interesting.

Know the venue

If you can, case the venue in advance. We all know what a football field looks like:

But there are some issues you need to consider.

Find out where you can roam on the field. In most cases when you watch games on television, you see that most photographers are clumped in the end zones and along the sidelines from the end zone to the 20 to 25 yard lines. This is because of rules limiting where non-team members (guests, media, etc.) may be on the field. And those rules are throughout all levels of the game.

Get down on the field and see exactly how much room you have from the end line to the walls of the stadium. This is going to be critical for a couple of reasons: 1) you want to know the amount of space you will have to move out of the way when the play comes toward you, 2) you need to look for any obstacles that may be on the field like the goal nets, video and audio wires, electrical cables, trainer’s tables, benches, heaters, exercise bikes, and coolers.

Get a sense of how high the crown of the field is. While high school fields may be flatter, in college, there are some fields that have significant crowns for drainage. This may not seem to be significant, but it will affect you on the field because of the angle of the players relative to your position. Depending upon the angles, you may be able to get some fascinating shots from ground-level.

Even if you are going to be shooting a Pop Werner game, take some time and walk the site. Thank about your vantage points. You need to understand the physical locations so you can pick and choose your locations for shooting wisely.

Plan your day taking into account time for a walk through and any activities that may be happening outside the stadium. If you can do yourself a favor and plug in your schedule to your iPhone or BlackBerry with alarms set to ring 15 minutes before each event.

Determine which lenses and bodies you are going to use. Seriously consider using two bodies. One should carry your wide-angle lens and the other should hold your tele-photo.

The night before …

Charge your batteries. Don’t presume anything. Check each and every battery you have for your camera as well as your flash. Huh? You said earlier flash isn’t allowed on the field. Right, but you can still use it if you need to outside the stadium.

Clean your lenses. Check each lens you are intending to use for any scratches to the glass or dust.

Check your bodies and cards. Start with the cards you are going to use and make sure they are clear of any prior pictures and are formatted for the camera you are using. Make sure you have at least three or four cards to write to. Certainly you want every shot to count, but when you are firing off multiple shots as a play unfolds, you may find that you have taken 60 to 70 shots for just one play.

Check each camera body you are going to use. Make sure the settings are correct for what you are going to be shooting and the time of day. Double-check the inside of the camera for dust. If need be, use a cleaning cloth to gently wipe away any dust or debris from the mirror. Attach the lenses and make sure they fit snugly.

Check your monopod. I am presuming that you have a monopod for your camera that will be carrying your tele-photo lens. Check the locking mechanisms for each of the sections that they move freely, yet lock securely. Check the head and make sure the plate is locked onto the base of the camera once your battery is in the camera.

Pack carefully. Pack your gear carefully in your bag, making sure the lenses and bodies are secure and won’t fall out. If you are bringing extra lenses such as a prime that you will interchange on the wide-angle, pack them with that camera for ease of access.

Check the weather forecast. Huh? Yes, seriously, check the weather forecast. You are going to be outdoors and you need to make certain your equipment is going to be dry. If rain is called for, make sure you have a cover such as a Storm Jacket. If you don’t have one, get a heavy-ply extra-large poncho and use the shoulder section from the edge to the beginning of the hood and down to just below the first snap as a cover, but it will not look professional.