CRCchemist wrote in post #16914095
Pro sport events are exclusive, and you need to be employed by an editorial stock agency that has hired you to shoot for them . . .
You left out some of the finer details, like the part where you are on the sidelines of Sundevil Stadium for a night game and just about to get that "money" shot on the sidelines with your finger poised over the shutter of your 1DX or D4s that has an $11,000 dollar 200mm - 400mm f4 lens attached on a $400 gitzo monopod and your brand new Macbook Pro with with a couple of solid-state drives installed and lots of RAM plus all the necessary software is waiting for all those great images sitting in the pressroom when all of the sudden an ASU alumni who by virtue of donating some money to the college has been given a sideline pass, steps right in front of you and raises his iPhone to take a selfie blocking your "money" shot and there is absolutely nothing you can do about it.
So, you move to the other side of the field where the visiting team is but find several "kids" shooting with either a T2i and a 70mm - 300mm f6.3 lens or one of those fixed-lens point-and-shoot cameras . . .
Now you know you are shooting at ISO 3200 and f2.8 so you wonder what these kids could possibly be getting with the equipment they have, but they are sporting the same "media" "photo" credential as you so hey, whatever.
When for some reason, maybe shear luck you manage to be on the side of the field where the "play" of the game actually happens and you "read" the game just right and get the "money" shot of the star-player getting hit and his helmet flying off and you managed to get the exposure just right and the image is in focus (which is not always as simple as it sounds) and you can clearly see the player's eyes so you "voice tag" the image (record audio right in your camera identifying the player and his jersey number, as well as when and where the play took place and the results of the play). You think to yourself, "this is it, my big payoff" and begin moving very quickly to the media room to get the "money" shot on the wires so some national publication will pick it up and you can roll in the big stack of cash you will receive for this amazing one-of-a-kind image that you have just captured.
Out of the corner of your eye you noticed another photographer just a foot or so away from you when you took this "money" shot and now that you think about it, he is the staffer who shoots for Getty Images, and almost at the exact moment you "voice tagged" your image you saw that the Getty photographer "voice tagged" his image and took the card from his camera handing it to his "card runner" - a guy who's only job is to stand behind the Getty, or Sport Illustrated guys and run their cards into the media room where an editor awaits to crop, tone and caption the image and put it up on the "wires" to make it available to all national publications.
By another stroke of luck your image is unique enough to publish and Sports Illustrated picks it up for web use. Six months later you get a check for your "money" shot which cost Sports Illustrated $25 to license for web use and your cut is 50% so your payday for your "money" shot is $12.50!
The thing is, you can't wait till next week to do it all again . . .