As Time Goes By…

Over the years, I have had to upgrade my digital camera bodies to improve the quality of my images and to take advantage of the improvements in technology.

Here’s a photo of the Canon camera bodies I have used since 2005 (taken on my iPhone) from the newest on the left to the oldest on the right. I thought that each of them were the bees knees in their day; the older ones still do an occasional turn!

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Canon EOS Cameras going back over the years

From left to right:

  • EOS 5D MkIII (bought October 2012),
  • EOS 7D (December 2009),
  • EOS 1D MkIII (December 2007),
  • EOS 30D (September 2006), and the
  • EOS 350D (April 2005)

Before these were the Fuji FinePix 4700 digital camera and a Sony, whose model number I can’t remember. Prior to this were a series of cameras which took something called film! For me, the biggest improvement has been in the low-light capability from camera to camera, and the largest size of the image.

The old 350D produced so much noise (grain) on images shot in the dark, that they were almost unusable, while the latest 5D MkIII can almost see in the dark!

Posted in Photography

Taking Photos in the Snow

It’s all about exposing yourself correctly when you are out in the snow!

When it is snowing – or has been snowing – it’s great to get outside to take photographs of snowy scenes; people on toboggans; kids enjoying snowball fights (don’t get in the way!) and those wonderful winter snowy landscape scenes.

When you are taking photographs in the snow you may be a little disappointed with your results.  What colour is the snow in your picture? Is it bright white? or is it a disappointing dull grey?

Take a look at this photo taken in my garden.  The first is the scene I saw and what I wanted to photograph, and the second is the photo taken by my camera.

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What I saw in the viewfinder

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The photo taken by the camera.

Notice that the snow in the second photo  isn’t snowy white, but a dirty grey.

So, why did my camera do this?  Remember that a snow scene is very bright.  When a digital camera takes a photograph, it automatically adjusts the brightness of your image so that the light and dark parts of your photograph are balanced. It does this by adjusting the exposure to give an ‘average brightness’.

However, as a snowy scene is very bright, the digital camera takes this extra brightness into account, and reduces the overall brightness level – hence the grey snow.

So, what can we do to prevent this from happening? If your camera has a setting which allows you to change the exposure, increase the exposure by one ‘stop’ as shown below.  On my camera, I move the bar from the ‘zero pointer’ to the +1 bar.

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No ovexposure

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One stop overexposure

This will have the effect of telling your camera to overexpose your image, and your camera will not darken the snow. Try experimenting – go a little brighter or a little darker until you capture what you see.

Have fun shooting in the snow, – and remember to share your images!

Posted in Photography

One Day in the Life of a Matchday Photographer

Brighton and Hove Albion are an English football team which plays in the Football League Championship – the second tier of English football.

At Brighton and Hove Albion I am lucky enough to be one of the small team of club photographers who assist Paul, the club’s own professional photographer, and I thought I would give you the lowdown on what I get up to on a match day. Lets assume the Seagulls are playing at home at the Amex stadium, with a kickoff at 3 PM.

Ready to Shoot

Shortly before the start of the match

Normally, my preparation starts the day before – I’ll need to charge the batteries for my cameras and for the flash units; there is nothing worse than running out of power before the end of the day! In my flash gear I use Sanyo Eneloop rechargable AA batteries; these are great, because once they are charged they don’t go losing their power if they are not immediately used.  Standard rechargeable batteries seem to lose their power regardless.

I also take photos for a sports photo agency, and I need to be able to ensure that a newsworthy photo, or a photo of significant interest can be edited, captioned and wired to the agency within three minutes!

To do this, I use a program called Photo Mechanic on my MacBook Pro.

When captioning photos it helps if the player’s name can be entered quickly and accurately. The day before a match I generate a text file of players names and shortcut codes (code replacements) for each side, so rather than type “Brighton’s Sam Baldock” I just type \9\, or for the name of the visitor’s number 14, I’ll type \v14\.

The agency sends me an information file – a .xmp file – containing all the relevant transmission information  added to each image, which I load into Photo Mechanic. Finally, I’ll reset the image file renaming with the two clubs names, the date and my initials.

The Day Begins

On the morning of the match, I gather and check my gear. Into my Peli case I pack at least two Canon cameras (EOS 5D MkIII and a 7D MkII); three or four lenses, comprising a 300 mm f/2.8 telephoto, a 70-200mm f/2.8 zoom, a 24-105mm f/4 zoom, and a wide angle zoom lens; two flashguns, a flashgun power unit (to help the flashgun recycle speedily), plus a monopod and assorted tools, spares, and gaffer tape – the latter is always useful!

Arsene Wenger getting in the way!

Arsene Wenger getting in the way!

I also check the weather forecast; if it looks like rain I’ll make sure I pack some wet weather gear for my cameras and for myself.  I generally think that I’m about to take too much clothing with me, but I’m usually grateful that I do, as I invariably finish up putting it on as the temperature drops.  These extra layers are stuffed into my rucksack, along with my MacBook Pro laptop, its power supply, card reader and iPhone cable.

For a 3 o’clock kick-off, Linda and I will leave home around about 11.15 and pick up our friend Paula; this means we can get to the Amex Stadium, all nicely parked up, a little before midday.  Linda and Paula will wander off to the bar for a nice cup of tea, whereas my first port of call is the club’s media office.

Inside The Stadium Building

After saying ‘hello’ and trading insults to the other snappers and media guys in the office, I’ll set up my laptop and get it to talk to the club’s printer, and then find the two sponsor’s photo frames, so it’s all ready for business after the game. On a matchday, my snapping activities fall into three broad areas: first – before the game – I’ll take photographs of the young match mascots; I’ll then shoot the game itself; and finally I’ll go into the hospitality lounge to take photographs of the man of the match with the match sponsor and the matchball sponsor.

Around 1 o’clock I will take my peli case and rucksack down to the press lounge for lunch! The club look after the press contingent very well; today’s menu offering was either lamb hot pot or a vegetable lasagne with chips. Lunch and coffee is wolfed down with the other snappers, as we peruse the match day programme looking to see how many of our own photographs have been used, and to admire the good photographs in there taken by the others.

At this point, I’ll put on the hallowed purple (as opposed to the yellow) photographer’s bib. This garment is like the Hobbit’s elvish cloaks in Lord of the Rings, which renders the wearer invisible; purple-bibbed club snappers can go just about anywhere without being restricted by security.

First Visit To The Field

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A quiet moment before things get busy

At 1.45pm I will go out to the stadium tunnel to look for my first customers of the day; the match mascots. There can be anywhere between two and ten kids – who are about to have a day to remember.  It’s always a busy start to the day. I’ll prepare the gear I need for the game itself, leaving it close to the touchline, and I’ll introduce myself to the mascots.

I’ll take the mascots through a series of poses against a series of backgrounds; including the TV interview backdrops, the managers seat, and of course the stadium itself.  The mascot minders keep the mascots active by working with a football, and at this point I need all the help I can get! One or two of the other snappers come to my rescue at this point by helping out with the photography – I do the posed shots while the others do the ‘playing football’ shots.

In the Tunnel

Checking the teamsheet

Checking the starting players on the team sheet.

Nearer game time, the mascots are taken back into the tunnel, where they practice going down the line and shaking hands, – a few nearby stewards are dragged into this exercise!  The Brighton captains’ mascot has already been asked who is his favourite player ready for the ‘player and mascot’ photograph, and the visiting mascots have been asked the same. The team sheet (collected by one of the photography team) is hastily consulted to make sure that all nominated players are in the starting eleven.

 

The noise and the atmosphere in the stadium starts to build, and it is at this point that things start to move very quickly. The referees appear in the tunnel, followed by the arrival of both teams – who despite wearing their game heads – are good to the kids. The mascots ‘favourite players’ are quickly asked (often by sign language) if they will pose with their mascot on the field after the handshake.

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The Mascots line up with the team

In the tunnel the anxiety increases – it’s like a pressure cooker; the mascots are paired up with their favourite player, and the snappers are snapping. The tunnel coordinator then shouts the magic code into her lapel microphone to the stadium announcer upstairs; the entry music “Sussex by the Sea” starts to blast across the stadium; the referee is given the signal to go, and the teams walk out. The noise is deafening.  Twenty six thousand spectators. The snappers are snapping.

We take to the Field

The players and officials walk out of the tunnel and onto the field, and then line up for the ‘Respect’ handshake.  Tradition is that the visiting players stay still, so the Brighton players and mascots move down the line shaking hands with the visitors – two of us snappers are still snapping the mascots like fury, and at the same time trying to avoid knocking over the TV cameraman or getting into his shot.  With the exception of the captain’s mascot who stays on the field, all the remaining mascots then run to the mascot minder, and then back to their Mums and Dads.

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Mascot with John Terry

One snapper – usually me, sorts out the pre-arranged visiting mascots favourite players for their photos, (its always easier to tell the mascots to quickly find and run up to their favourite player) while Paul takes the Brighton captain’s mascot photo with his favourite player.

If the visiting mascot’s player is well known, I will make a point of talking to them and addressing them by their first name: “Luis (Suarez) or John (Terry) – can I do a mascot picture after the handshake?” – just so that I can brag about it afterwards. Like here!

Then to the centre of the field. The referee blows his whistle to summon the team captains, and the snappers beckon to the mascots. Time for the final shot – usually taken by Paul. The referee, his assistants, the team captains with their young mascots and Gully all stand in a line, with the stadium’s packed stand as an impressive backdrop.  We’ll always take five or six shots of this – as you can guarantee that somebody will be blinking, and look as though they have their eyes closed.  We’ll then shout “Thank you gentlemen – have a good game”, and leg it.  The mascots and snappers will quickly exit stage west, as a football match is about to kick off. The noise is still deafening.

I’ll grab the memory cards from the other snappers and put them in my top pocket, before collapsing on my seat – feeling exhausted but exhilarated.

The Game

Phase two of the afternoon begins; shooting the game. The flashgun comes off the camera, the small lens comes off, the big lens goes on, and the game is already underway.  The snappers will take a cue from Paul, the club’s pro snapper – sometimes he’ll want us to work with the defenders, sometimes with the strikers, but generally it’s action shots and good portrait shots.

After the climactic excitement of the mascots, the game is no less pressured, – good photos are still required! The ideal action shot is player versus opposing player, faces visible, ball, and a blurred crowd backdrop.  If you can see the players shirt numbers, you won’t see their faces.  No ball, no good. The players must be sharply focussed, blurry player, no blurry good.

Editing and wiring photos to the photo agency

Editing and wiring photos to the photo agency

I set up my ‘office’ – connect my laptop to my iPhone, and connect to the internet using 4G, so that if a goal is scored, or other significant action (such as a red card), the image is moved to the laptop, edited, captioned, and wired to the agency.

It’s good to move around.  My preferred locations are at the visitor’s end, around one-quarter of the way along the sideline, and one quarter of the way along the endline (if I can find room there!)  If I’m on the right hand side of the halfway line – where the referee’s assistant works, I’ll adjust my final position according to how deep the defenders play, – this will dictate where the lino will stand to check for offside.  On the left hand side of the touchline on the dugout side of the field, (still with me?) you’ll have the substitutes running up and down keeping warm; sometimes there’s almost a solid wall of them getting in the way of a good shot.

After the Game

Once the game has finished, it’s on to phase three. I’ll head for the hospitality lounge to take the Man of the Match (MoM) photos with the match sponsors and the matchball sponsors.  The big 300mm lens and the 70-200 lens and camera are packed away, and the memory cards are removed from both cameras. The 5DIII is kitted with a flashgun and a new card, and set to shoot RAW.

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The Man of the Match

The commercial guys will erect a corporate backdrop, and we wait for the man of the match. And wait. After the match, the players may need to have an ice bath, a warm bath, some physio, a rollocking from the manager and the MoM may well be asked to do TV interviews – all before he appears in the lounge.

During the wait, I may save some time later by importing the day’s photographs from my memory cards onto my laptop, this time using Adobe Lightroom – which is better for editing photos in bulk. I’ll also find out which 12 seat tables are occupied by the two sponsor groups, and offer to take photos of the group sat around the table; – it’s all good customer relations for the club.

Once the MoM arrives, I’ll take photos of the MoM being presented with his champagne by the match sponsor, and the MoM giving the match sponsors a framed football shirt signed by the players – it’s a rather nice trophy.  The matchball sponsors are called forward and are photographed being presented with their similar trophy.  Sometimes it is one or two people who come forward, or sometimes a large group of people, who will need to be arranged – it’s just like doing a wedding!

I use my flash gun pointing directly upwards, with the catchlight card out. This way, all the light is bounced off the low pale ceiling – no light travels directly to the subject -this provides some good soft three dimensional facial shadows. Pointing the flash directly at the subjects will create stark shadows on the background, “elephant ears”, flat faces, and horrible bright shiny skin.

To The Office And Back Again

I pack up speedily and head back to the office, where the other snappers in the team are busy sifting, sorting and editing their photos, and the media guys are writing match reports, post match interviews and the like.

My job is to quickly edit my hospitality photos: crop, adjust the colour balance and exposure, and print one photo for each sponsor on 5” x 7” photo paper.  The photos are then carefully placed in the mounts, and the mounts placed in a frame. I then dash back to the hospitality lounge, to present the sponsors with their framed photographs.  When presenting the frames, I will pull out a lens cloth, and polish a couple of imaginary fingerprints off the glass; a little theatre always helps!

Back in the office, there may be other photos of groups or individuals which need to be processed and distributed quickly, such as the managers or players being interviewed in the tunnel.

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A Christmassy Centre Circle Line-Up

Time now to print the mascots’ photos; two for the captain’s mascot – usually the favourite player image and the centre circle line up image – and print one of each of the other mascots. A picture with a player usually proves popular!  The club will post these photos to the mascots.  I’ll then whizz through the mascot’s photos in Lightroom (sometimes 300-400+ photos)  – either rejecting or cropping and editing where necessary, and upload them to Seagullspics.com, so that the mascots and their parents can see them (and hopefully purchase them) the following morning.

Is that it?

At this point it may now be three or more hours after the end of the match, and I am whacked.  Linda comes to the stadium to pick me up (bless her!), and on the way home I might treat myself to a Uncle Sam’s veggie burger or a takeaway curry which I’ll enjoy at home with a beer.  So, what else needs doing?

Well, the following day I’ll sift, select and edit the 300-400 mascots images – reducing these to 50 – 170 images – depending on the number of mascots – and upload them to the club’s photo sales website. I’ll also sift through 300-350 match photographs, and select 20-40 to upload to the club’s photo storage, where they can be seen by the website team and the match programme editors.

It’s a busy day. Many of the photos we shoot can’t be re-staged, so it has to be right first time, as first time is the only time we have.  At some times in the season, we can be snapping away, wearing t-shirts, shorts and sandals; other times in the season we look like Michelin men wearing so many layers to keep warm. We might get absolutely soaked, we might get frozen fingers and frozen feet, we might even get sunburnt as we take photos of our team, but us sports photographers just love what we do; there is nowhere else on the planet Earth that we’d rather be!

 

Posted in Football, Photography, Sport

The Agony of Losing

There is always a great tension when the team I support – Brighton & Hove Albion – play their arch-rivals Crystal Palace. The game at Crystal Palace had sold out, and the game was also beamed back via video to fans at Brighton’s Amex stadium.

The two teams were fairly evenly matched, but as Brighton were reduced to ten players after eight minutes, the final result became fairly inevitable.

Here are some of the photos I took of the disappointment and agony on the faces of the fans throughout the afternoon.

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Final score: Crystal Palace 3 – 0 Brighton & Hove Albion

 

Posted in Football, Photography

See Emily Play

Sometimes, when shooting candid photographs, a photographer and a subject may have just the briefest moment of contact which passes so fleetingly; but that quick glance at the camera is captured and preserved for all time.

In this photograph, I love the almost secretive eye contact between the dancer and the camera.

 

Eye contact

 

Posted in Photography