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FORUMS Photography Talk by Genre Motorsports Talk
Thread started 21 May 2007 (Monday) 00:21
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How do you go abought getting a press pass

 
rcpilot_971
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Joined Apr 2004
Sacramento ca area
May 21, 2007 00:21 |  #1

I was wondering how you would go about getting a press pass for a motorcycle event. do you have to be a pro or can you be a Amateur photog. the reason I ask is I was at the hangtowm MX this weekend and I seen photog with vest on that say press. and I was looking at some of there gear and some of them just had 30D with 70-200 F4 lens and I seen one with a 20D and a 30D with a sigma 24-70 and some other zoom not a 120-300 but I think he said it was 18- 300 or something like that. To me it just seems like these guys got press passes some how just to take pictures for there self or to get access to parts of the track and the pits.


Thanks
Tim


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MJPhotos24
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May 21, 2007 00:40 |  #2

You need to be affiliated with someone, no company is just handing out press passes to the general public (or at least not any I've ever seen). Great gear or a P&S, if they have a pass those images are going to a media outlet, maybe just little ones though. I've shot concerts before with kids (literally 13-14) who had a P&S and a press pass for some local kids section of the paper, a website, etc. It annoyed me a little bit, because they didn't know what to do in the pits and got in the way of the bigger outlet photogs but hey, you work around them.

Sometimes media directors will help amateurs, I know I've gotten a friend of mine a press pass at a couple games and my name was the media outlet on it because I was trying to teach him some things about shooting sports he's never shot. The media director gave him a pass as long as I babysat him and let him know the rules. So it was more like he was my assistant than actually shooting the event for an outlet, and plus this was only one team - I know other teams wouldn't of allowed it.


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liza
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May 21, 2007 00:47 |  #3
banned

Work for the press.



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blackshadow
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May 21, 2007 00:50 |  #4

This is very general and not specific to motorsport.
By very definition a press pass means you are accredited by the event organisers to shoot for a press outlet. The usual thing is for a media outlet to apply to the organiser or their publicist for a photographer to cover the event. Once you have established media credentials then you are often able to shoot as a freelancer because the organisers or their publicists will know that you will deliver quality images to publications with a high likelihood they will be published.
The gear photographers use has nothing to do with them being professional or not; as long as the publications they work for are happy with the images they supply that's what matters not what gear they use.
Put yourself in the organisers shoes and ask "how does giving rcpilot a press photo pass benefit me?" When you can come up with a number of reasons how then you will get your pass.


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ssim
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southern Alberta, Canada
May 21, 2007 05:45 as a reply to blackshadow's post |  #5

Not every professional photographer in the world shoots with 1 series equipment. Your analogy that if they get in with a 1.6 crop factor body then you should too just doesn't hold true in the world of reality.

This subject has been covered fairly extensively on the forum. Here are a few thread that I turned up on a search for "press credentials"

http://photography-on-the.net .../showthread.php?t=3​18784&

http://photography-on-the.net .../showthread.php?t=3​09736&

http://photography-on-the.net .../showthread.php?t=3​00804&

http://photography-on-the.net .../showthread.php?t=2​88719&

http://photography-on-the.net .../showthread.php?t=2​16454&

http://photography-on-the.net .../showthread.php?t=2​83324&

http://photography-on-the.net .../showthread.php?t=2​84108&

http://photography-on-the.net .../showthread.php?t=2​77361&

http://photography-on-the.net .../showthread.php?t=2​61656&


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Racer23
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Waterford, Michigan
May 21, 2007 06:30 |  #6

You can get lucky, I called an organization told them I usually shot for magazine "X" (not related in the sport) and had a weekend off. and was able to get one. It was a new venue and like I said, I got lucky. Now the promoters know me as well as the organization and have no trouble getting them in the future. Sometimes right place at the right time.


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Converge
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Lancaster, PA
May 21, 2007 11:20 |  #7

You get a press pass from the organization that you are shooting for. Events typically dont just give out press passes to people unless they are there on an assignment and their organization requests one.

I have a press pass for the newspaper that I work for. That pretty much gets me most places i need to go. If its a bigger event, like a concert or large sporting event, my paper gets me a special press pass FOR THAT specific event from the event coordinator (if they require their own press passes) before my assignment


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primoz
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Anywhere where ski World cup makes its stop
May 21, 2007 13:48 |  #8

I was just talking yesterday with friend about this "equipment thing". People relate pro to 1d (now preferably mk3 and at least 2 of them), almost complete collection of L lenses etc. It's not really like this. If you are doing things for fun, money is not really limit. For hobby, you are ready to spend more, and it's good thing. Money should be there so you are able to have fun, not to be laying on bank account.
For pros things are different. This is just a job. Yes sometimes really nice one, but other times really shi**y one, just as every other job is. But when it comes to money it matters if you spend $5000 for lens or $500. In last case you have $4500 extra on the end of month. And let's face it... you don't always need $20k worth of equipment to get good enough photo. And watch out... I'm talking about good enough photos, not perfect photos. Point in being pro is that you have good enough photos that your clients are happy. It's not about having perfect photo, it's about making clients happy. So if you are able to do this with $500 lens, why to bother spending $5000 just to look cool. And once standing on sideline noone bothers with looking cool... well at least I, and those guys who I regularly meet on sidelines, don't.


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gmen
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May 21, 2007 17:02 |  #9

primoz wrote in post #3242258external link
This is just a job. Yes sometimes really nice one, but other times really shi**y one, just as every other job is. But when it comes to money it matters if you spend $5000 for lens or $500. In last case you have $4500 extra on the end of month. And let's face it... you don't always need $20k worth of equipment to get good enough photo. And watch out... I'm talking about good enough photos, not perfect photos. Point in being pro is that you have good enough photos that your clients are happy. It's not about having perfect photo, it's about making clients happy. So if you are able to do this with $500 lens, why to bother spending $5000 just to look cool. And once standing on sideline noone bothers with looking cool... well at least I, and those guys who I regularly meet on sidelines, don't.

This is perhaps the wisest post I've ever read here. Spot on Primoz.

---- Gavin


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turbo212003
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Kansas
May 21, 2007 18:09 |  #10

I know a local photographer that uses 20d's, not pro level but he makes BANK.


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blackshadow
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May 22, 2007 01:51 |  #11

Hear hear primoz - that post should be a sticky on it's own titled "What makes a pro photographer"


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jdilldesigns
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Joined Sep 2006
May 22, 2007 15:38 |  #12

primoz wrote in post #3242258external link
I was just talking yesterday with friend about this "equipment thing". People relate pro to 1d (now preferably mk3 and at least 2 of them), almost complete collection of L lenses etc. It's not really like this. If you are doing things for fun, money is not really limit. For hobby, you are ready to spend more, and it's good thing. Money should be there so you are able to have fun, not to be laying on bank account.
For pros things are different. This is just a job. Yes sometimes really nice one, but other times really shi**y one, just as every other job is. But when it comes to money it matters if you spend $5000 for lens or $500. In last case you have $4500 extra on the end of month. And let's face it... you don't always need $20k worth of equipment to get good enough photo. And watch out... I'm talking about good enough photos, not perfect photos. Point in being pro is that you have good enough photos that your clients are happy. It's not about having perfect photo, it's about making clients happy. So if you are able to do this with $500 lens, why to bother spending $5000 just to look cool. And once standing on sideline noone bothers with looking cool... well at least I, and those guys who I regularly meet on sidelines, don't.

I must say, thats the best thing I have read on this forum so fare!


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Glennard
Junior Member
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Joined Jan 2007
May 27, 2007 15:29 |  #13

I freelance for a very large newspaper, and I use a 400D. As long as they get good pictures and I make good money, what's the reason for me to have a 1 series?




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themirage
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Marion, Iowa
May 27, 2007 16:25 |  #14

What if I start a business where papers can purchase rights to my photos. I wouldn't be press but I sell my imagery to the media as a legit company. Do you think that would work as a means to getting a 'press' pass?


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vwpilot
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May 27, 2007 17:04 |  #15

themirage wrote in post #3275910external link
What if I start a business where papers can purchase rights to my photos. I wouldn't be press but I sell my imagery to the media as a legit company. Do you think that would work as a means to getting a 'press' pass?

Not unless one of those papers is going to get the pass for you. Most organizations will not assign a press pass on the "hopes" that you might sell something to a paper after the fact. You need to be working for that press outlet or need to be on assignment for them. The organization needs to know they are getting something out of giving you the press pass, not that they might because you want one.


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