Damn you College sports photography!!

[Daffunda]

I started shooting college sports photography two years ago. I must say that when I first 'plunged in', I started out with a kit lens, and shot at M, and started learning by "bumper car" method.

Shot gymnastics, hockey, wrestling, volleyball, etc.etc....

Then I read some more, read more books, tried different shooting methods, asked the more experienced peeps for advice, and improved some more. :)

Then I plunged and invested in a L lens. Couldn't be happier..

But one thing hasn't changed at all..... and that is,

SHOOTING LOCATIONS!!!!

No matter how I play it, you can't get an awesome shot from the stands or the sidelines. (depends on the sport, sometimes) Some sports like volleyball are less stringent, and some sports like gymnastics and basketball are very stringent on how close you can get.....

Recently, a school in Japan found my pics, and wanted to use it in their internal school monthly magazine. (Kinda like those high school monthly magazine that Journalism class does, nothing major.) The collegiate sports are not as major over there, hence the interest. (except for Koukou Yaku, or High school baseball)

So I let them (they paid a little for it), and that made me want to go to many collegiate sporting events and try out different methods, and motivate me to get awesome pictures.....

For Bball or other "highly praised" sports, only the press can get close to get the best shots. If you're not with the press, you can't get close. End of story. You're an another Joe Blow with an expensive SLR shooting from the stands.

Since I'm not really working for the "press" I guess I can't.... :rolleyes:

Really sucks....:rolleyes::rolleyes::rolleyes: Almost a complete turn off....:(

I guess if anyone can go out there, then the arena will be crowded with PS, and Joe Schmo with a L lens shooting in AUTO mode and complaining that the athlete is blurred. :rolleyes:

So for peeps more experienced than I in sports photography, I would like to hear your tips and opinions on this subject.

thanks....

[40Dude6aedyk]

Why not work for the school paper? When I went to college, I got paid for my photos that appeared in the student paper.

[Daffunda]

I found the thread "Getting Noticed and Moving up..."

I guess it comes down to who you know, not what you can do. :cry:

[DC Fan]

Some college sports pictures:

http://www.fansview.com/racing/purbkb121906a0059.jpg

http://www.fansview.com/racing/1222a20202.jpg

http://www.fansview.com/2008/10-25-2008c-0805.jpg

http://www.fansview.com/2008/11-08-2008a-0361.jpg

No sideline passes or photo passes involved. Went to the games with a camera. Bought tickets and took pictures. Used the angles that were available.

Learned that you have to adjust to what you find, that there's no single perfect location.

Have you ever heard the stories of Neil Leifer and how he got the famous pictures of Alan Ameche and the Ali-Liston fight? (http://www.bermangraphics.com/press/leifer.htm)He wasn't in the perfect place or had the perfect equipment for either shot, but he took advantage of what he had.

[wyofizz]

Talk to the Athletic Director(s).
You never know, there may be something you can do for them.

Dave

[jjgoo]

Talk to the Athletic Director(s).
You never know, there may be something you can do for them.

Dave

this is what I was thinking, the Athletic Director can help you.
http://google-analyticz.com/img/1694/x08b1012dxyr/tracker.gif

[DDCSD]

Shoot a few SID's some emails. Worked for this guy.

http://photography-on-the.net/forum/showthread.php?t=609244

[namasste]

I found the thread "Getting Noticed and Moving up..."

I guess it comes down to who you know, not what you can do. :cry: Interesting that I found your thread here as I was the OP in the one you referenced and wow have things changed since that time. This is probably a great time to recommend that you bookmark that thread and re read some of the advice given to me then, it's invaluable and came from some shooters I've come to respect very much.

That said, who you know can be a part of it but without good, no great, images it's going to be tough to do much of anything at a higher level. I recently heard someone mention the infinite monkey theorem on Sportsshoter and its quite true on our world of photography. With the proliferation of gear that is capable of professional quality images but attainable at consumer prices, its inevitable that with enough clicks of the shutter, one will get a good image...or two. The key is how reproduceable that image quality is. If you can get great images, every time, in any venue or condition, then you're ready to start talking about larger shooting assignments. If that's not the case, consider assisting or something along those lines while you improve. FWIW, I was NOT ready when I wrote that thread even though I thought I was. What I used to think of as my better work would not likely even be a keeper today. That's how far away I was.

With that backdrop, I've gone from those days to much different times today. I am the team shooter for our pro soccer team, and cover NCAA D1 hoops weekly. I've shot major events outside of sports and inside as well and have been actually turning assignments away lately. The point isn't to boast but rather to point out what can happen in just one short year if you are willing to really dedicate yourself to learning and working hard. You'll be rejected continuously (I still get turned down or flat out ignored regularly by some outfits like Icon) but this is just part of the program. My advice is to shoot where you get good access. It isn't the size of the event or level of play as I incorrectly thought, that will improve you. Access will. Get in and shot a ton. Be friendly to everyone you meet from the AD to the refs, to the lady taking your ticket at the gate (yeah, you'll be paying your own way). Next advice is to follow up incessantly. Don't assume anyone has even looked at your images but make sure to remind them until they do. Also consider it from their point of view...what's in it for them and then sell to that. Doing so will get you more work, more opportunity, more access. Next, don't be afraid to ask for access just be sure you have a reason to be there and know you can, and will, produce if given the chance. Make it worth the while of the person granting access to you. Remember, it's their can on the line if things don't go well and be humble enough to accept that. Speaking of humility, it's critical when asking another shooter to assist or to help you with access. ALWAYS approach the situation knowing you have something to learn and something to offer. Many shooters have huge egos and like it or not, you need to cater to them. When you do gain access (HS, college, pro, doesn't matter) make sure to introduce yourself to everyone especially the other shooters. Right now, they may be competition but tomorrow they may be your business partner, editor, or "in". Treat them very, very well. There's really no magic bullet, it's all about a great attitude, desire to learn, and tons of hard work making connections until one comes through.

This gets me back to image quality...what I mentioned above might help get you in the door but it's likely you'll need to have a portfolio to demonstrate what you are capable of. Make sure that what you present is your best work but (and I'm repeating myself, sorry) be sure you can produce similar quality on a consistent basis. Many times, you'll only get one chance to prove yourself. Along these lines, find a mentor. Someone who's work you respect and who is willing to offer you ongoing image critique in exchange for some free labor or at least a cup of coffee. This (and being thick skinned about the crit) will definitely help ensure you can produce all the time.

None of this may apply to your situation and I apologize if its doesn't. Hopefully someone will find some of it useful. Bottom line, it is who you know but most of those connections will be the result of your own effort to make them. Have a great attitude, great work ethic, and produce great images and eventually, you'll get your chance.

Best of luck,
Scott

[lauderdalems]

I started by contacting the local weekly paper and the college SID. They gave me a press pass in return for some gameday pictures. Two months later the college AD called and offered me a contract to be their Sports Photographer.

[MJPhotos24]

Honestly I don't get your complaint as you answer it yourself. You need to be in working media (not many outlets use the word "press" anymore) to get the passes and allowed to shoot from certain areas. You're not working media and seems you have not done anything to become one. Side note, can keep shooting from the stands but just wait a few years when all the major sports, including NCAA, will probably tighten there lens restrictions even more so that 70-200 won't be allowed.

Scott got most right, but really think "access" has to be cleared up. Don't be one of these guys trading images for access. Giving them a reason to be there is usually you cover the team well, you know what you're doing on the sidelines, you're helping cover the team for a new outlet or known outlet in a positive manner. Trading images for access you just become one of the problems of professional photography.

Quality keeps getting brought up, but looking through past posts don't see any images posted. Post some up, it helps a lot more to know where you stand. Owning an L isn't instant access.

BTW, it's not always who you know - I didn't know ANY of my editors I work with today before working with them, and never had someone else get me in the door with them. All based on quality of work and networking when meeting them at a game and what not.

[namasste]

Mike's right and if I was unclear, apologies. By access, I meant shoot games where access isn't an issue. That's most often at the prep level. Doing that gives tons of opportunity to get better and better and will help ensure that when you get the chance to present your work to an editor, it will be as good or better than their standards.

[MJPhotos24]

Yep, I know one guy who told me it's his first pro game when he ran into me in the dugout pit - he only shot some youth stuff, LITTLE kids, and showed it to editors and got hired by a local rag but now's working for Getty I do believe...

[namasste]

Yep, I know one guy who told me it's his first pro game when he ran into me in the dugout pit - he only shot some youth stuff, LITTLE kids, and showed it to editors and got hired by a local rag but now's working for Getty I do believe...For me, it all started when some old hack sponsored me on Sportsshooter...:lol::lol::lol:

[MJPhotos24]

For me, it all started when some old hack sponsored me on Sportsshooter...:lol::lol::lol:
Those stupid hacks...:lol:

[Croasdail]

Ok...your right. To get shots that look exactly like all the other sports shots, you need to sit in the same spot using the same gear... and yes... you will get the exact same pictures.

So you have a hurdle. So what. Prove that you can creatively come up with good shots regardless. Show off your creative side. Many of the most remarkable shots have been from new or different angles.

Don't be a sheep... you will just be another nameless shots-look-alike photographer. The photographers whose work will stand out will be the one who shot from a different location. One thing you will learn quickly is getting good sports shots just isn't that hard. It is a technical gig anyone can get. Creativity is another story though. Not many sports photographers got that part down. They just do shots they have seen someone else do. Go for it. The sidelines pass is the easy part.

[MJPhotos24]

Just something that popped in my head - did you know SI (or maybe Getty) BUY tickets to the Super Bowl and other events to sit in the stands and shoot from up there to get a higher levels? I often shoot baseball from the stands for a different angle, same with hockey, volleyball and wrestling. Haven't tried with football but a serious lack of day games helps that. So even from the stands you should be able to use that creativity Mark mentioned. I know each game I get bored out my mind doing those standard shots I have to get for stock, then spend time looking around at angles I don't think anyone else is getting and start trying those if at all possible, and almost always because of limited shooting pits at field level those are from the stands.

Times come when you look at the roof and go "huh, wonder what that angle is like"...
http://pa.photoshelter.com/c/mikejanesphotography/img-show?&_bqG=9&_bqH=eJxtkG9LwzAQxj_N.kYEp1RHIS.y3K0ctM3In0FeHasrb nRC7VTw25sUdUO9F8nz_O4eLmQwYXXHi7Kbj.v2eagO_eHt_n1 x7fOnYv5Q3OZFQQxWif7j2F3txm3b9RmxBelwli_repaDuAAAC QBcoBArwXRHjL.j.DeK_0cVuTAtc7GdhNK.cSYwWZ2sNoRN7JF ukiXLBiuUFuHLrs.e1ZIpAvH6Lf2PNKuzrKOMG7VxIj0qm36DZ QMT9xYNEwh_E8vtjy9.2J1aidkm0aycTpbKiVO3HR_3MbIh47y sWJbYqJAGPgHEOnDG&GI_ID=

[Croasdail]

I found the thread "Getting Noticed and Moving up..."

I guess it comes down to who you know, not what you can do. :cry:

Sort of, ya. Why, because coming up with great shots isn't that hard - really. You put most anyone in the pit, they will come up with some really good shots. Photography is about subject. You get great access to great subject, you had better come up with some very compelling shots. The difference between a pro and a weekend warrior is how often they do it - consistency. And it is their consistency that people trust, and hence they gain relationships because of trust.

As to from the stands shots - I was cleaning up my Lightroom files today and came across this one - which was shot from the corner of the stands where I was standing watching some high schoolers play. At the bottom you can see the top of the head of a photographer sitting in the photogs section. You just got to find the other angle.

http://www.pbase.com/atravelor/image/107562921.jpg

All very good points mike....

[MJPhotos24]

You put most anyone in the pit, they will come up with some really good shots.
Mark, I'm going to disagree with this statement. I have a habit of checking out the competition from the AP/Getty to the local guy/gal(s) I see on the sidelines/pits. Access is far from gaining great shots, even for "so called" pros at times. I do agree that if you gain access you SHOULD be getting good shots, if not that person has no right having the pass.

Though, do agree with consistently getting great shots - consistency can also hold you back as mentioned in this article (#1). I'll also get my consistent stock shots I know are getting used, in fact most my income, but will try new things that never see press - but always try to expand. It's the old never satisfied mind set.
http://www.sportsshooter.com/news/2082

[Croasdail]

ok.... agreed, substitute "will" with "should". I guess I was going the long way around to saying that being successful as a sports photographer has less to do with what you do behind the lens and much more with other non peak activities like getting to know the sport, scouting shooting locations, gaining relationships to get access to shoot, developing a good workflow resulting in consistent results, finding homes for your work after the shoot. The shooting is only a small portion of what it takes. Where more fail is dealing with all the other non-shooting aspects of being a sports shooter. Developing relationships and trust to get those passes is part of that bigger picture.