Back to newsletter listDate:
Thu, May 24, 2007 02:03:13 AMFrom:
Robert Hanashiro
Subject:
Sports Shooter Newsletter Issue #101.
SPORTS SHOOTER
NEWSLETTER
ISSUE #101
23 May 2007
LEADING OFF: A Pop Quiz.
By Robert Hanashiro, Sports Shooter
All right class! Since there has been so much confusion and discussion on the topic of ETHICS in photography, I think it's time for a little POP QUIZ to measure your ethics level.
No this quiz will not be going toward your credits for graduation. Think of this as more of a "Redbook" quiz than a truly academic evaluation.
So everyone get out your #2 pencils, put on your thinking caps and Š no peeking at Robert Seale's or Jack Gruber's tests!
1) You're covering a NASCAR race (or some other equally boring motor sports event). To make your photos "interesting" and evocative do you:
A) You shoot everything tilting your camera at a 45-degree angle, making the cars look like they are traveling up hill (or down hill).
B) You shoot everything tilting your camera at a 45-degree angle and pan at a slower shutter speed
C) Shoot everything "straight" and tilt and blur your photos in Photoshop
2) In the closing minute of a blowout high school basketball game, a player on the winning team enters the game for the first time and does a spectacular reverse dunk into the face of an opposing player. Do you:
A) Transmit another photo to your paper of the top scorer on the winning team.
B) Transmit the dunk photo to your paper, but note in the caption that the player only scored two points in the closing minute of the game.
C) Transmit the dunk photo to your paper, do not note in the caption that the player only scored two points and leave it to a photo editor or copy editor to figure it out.
3) In the closing minute of a blowout high school basketball game, a player on the winning team enters the game for the first time and does a spectacular reverse dunk into the face of an opposing player. You're timing is a little off and the ball is just a little too low in the frame. You want to enter this photo into a contest. Do you:
A) Use Photoshop and move the ball up in the frame. (And while you're at it, you clean up the photo by cloning out a distracting player.)
B) Use Photoshop and only move the ball up in the frame.
C) You don't enter contests because you're comfortable with your talents and standing in the photographic community.
4) You have an assignment to photograph a prep player that is the area's top college prospect. The assignment says to meet the player on campus on Monday and when you arrive, he says: "What do you want me to do for the photo? I don't usually workout or practice on Mondays." Do you:
A) Have the player workout for your photos like he would on Tuesday, his usual workout day.
B) Photograph the player working out like he would on Tuesday, his usual workout day. But you note in the caption that he is doing this for the photographs.
C) Go back to your car, get out a lighting kit and make a nice portrait of the player.
5) My digital cameras are set to:
A) sRGB color space, so my photos look better on a computer monitor.
B) Pump up color saturation and sharpness to make my photos "pop" on a computer screen.
C) No worries! I work for SI, so I shoot everything in RAW.
BONUS QUESTION:
The term "Hand of God":
A) Is a way-cool technique I use to clean up the background of my photos, making my background almost black.
B) Is an antiquated technique used in the old days in the darkroom, using your hands under an enlarger to burn down the background of photographs.
C) What's an enlarger?
OK, now add up your scores, giving 1 point for every question you answered with A; 2 points for every B answer and 3 points for every C answer.
Here is your grade:
1 - 5 points
LEADING OFF: A Pop Quiz.
By Robert Hanashiro, Sports Shooter
All right class! Since there has been so much confusion and discussion on the topic of ETHICS in photography, I think it's time for a little POP QUIZ to measure your ethics level.
No this quiz will not be going toward your credits for graduation. Think of this as more of a "Redbook" quiz than a truly academic evaluation.
So everyone get out your #2 pencils, put on your thinking caps and Š no peeking at Robert Seale's or Jack Gruber's tests!
1) You're covering a NASCAR race (or some other equally boring motor sports event). To make your photos "interesting" and evocative do you:
A) You shoot everything tilting your camera at a 45-degree angle, making the cars look like they are traveling up hill (or down hill).
B) You shoot everything tilting your camera at a 45-degree angle and pan at a slower shutter speed
C) Shoot everything "straight" and tilt and blur your photos in Photoshop
2) In the closing minute of a blowout high school basketball game, a player on the winning team enters the game for the first time and does a spectacular reverse dunk into the face of an opposing player. Do you:
A) Transmit another photo to your paper of the top scorer on the winning team.
B) Transmit the dunk photo to your paper, but note in the caption that the player only scored two points in the closing minute of the game.
C) Transmit the dunk photo to your paper, do not note in the caption that the player only scored two points and leave it to a photo editor or copy editor to figure it out.
3) In the closing minute of a blowout high school basketball game, a player on the winning team enters the game for the first time and does a spectacular reverse dunk into the face of an opposing player. You're timing is a little off and the ball is just a little too low in the frame. You want to enter this photo into a contest. Do you:
A) Use Photoshop and move the ball up in the frame. (And while you're at it, you clean up the photo by cloning out a distracting player.)
B) Use Photoshop and only move the ball up in the frame.
C) You don't enter contests because you're comfortable with your talents and standing in the photographic community.
4) You have an assignment to photograph a prep player that is the area's top college prospect. The assignment says to meet the player on campus on Monday and when you arrive, he says: "What do you want me to do for the photo? I don't usually workout or practice on Mondays." Do you:
A) Have the player workout for your photos like he would on Tuesday, his usual workout day.
B) Photograph the player working out like he would on Tuesday, his usual workout day. But you note in the caption that he is doing this for the photographs.
C) Go back to your car, get out a lighting kit and make a nice portrait of the player.
5) My digital cameras are set to:
A) sRGB color space, so my photos look better on a computer monitor.
B) Pump up color saturation and sharpness to make my photos "pop" on a computer screen.
C) No worries! I work for SI, so I shoot everything in RAW.
BONUS QUESTION:
The term "Hand of God":
A) Is a way-cool technique I use to clean up the background of my photos, making my background almost black.
B) Is an antiquated technique used in the old days in the darkroom, using your hands under an enlarger to burn down the background of photographs.
C) What's an enlarger?
OK, now add up your scores, giving 1 point for every question you answered with A; 2 points for every B answer and 3 points for every C answer.
Here is your grade:
1 - 5 points
Look to your left and your right: Are you
sitting between Paul Wolfowitz and Alberto Gonzales?
6 - 11 points
You're balancing on the ethics picket fence Š and the pointy end hurts!
12 - 15 points
Go straight to Brooks Institute of Photography, bubble leveler in hand and teach Ethics 101!
Yes, the above "quiz" was done tongue planted firmly in cheek. Somewhat.
6 - 11 points
You're balancing on the ethics picket fence Š and the pointy end hurts!
12 - 15 points
Go straight to Brooks Institute of Photography, bubble leveler in hand and teach Ethics 101!
Yes, the above "quiz" was done tongue planted firmly in cheek. Somewhat.
Ethics, ladies and gentlemen, is not just a personal, private issue, one that you can turn on and off or bend to the situation of the moment.
Good photography is about storytelling. Honest storytelling. Yes we can put our own interpretation in our stories. But that is where sometimes the fine line of ethical behavior comes in.
We all know it's wrong to use Photoshop to take things out Š or put things into a photograph. That's simple common sense.
Distorting reality, changing the conditions and elements of a situation or manipulating things just to make your photograph more "evocative" or more appealing to your editors and clients should also fall into this common sense category of ethical conduct.
Does simply entering an image into a contest give a photographer license to manipulate the elements in that image for the sake of winning recognition and a prize?
Does calling that manipulated photograph a "contest entry" negate ethical conduct and practices?
Every publicized breach of ethics in photography and journalism damages our credibility. As storytellers, that is all we have with our readers Š their trust and our credibility.
Sports Shooter #101 features a provocative piece from David Leeson addressing head on the controversy surrounding frame grabs from high-def video.
We have reports on two of the biggest sports events of the past few weeks: Robert Beck on the "fight of the decade" and Gary Bogdon on the "greatest two minutes in sports".
Jared Dort extols the great things learned
from assisting other photographers. Paul Myers checks in with his
always-interesting "Preaching To The Choir" column. And this month
starts a regular feature from Nick Layman
on multimedia, concentrating on integrating audio into your work.
Over the past 100 issues of the newsletter I've ended this column with a tag line on what I am currently listening to on iTunes. I will continue to do that and add what reading material is on my nightstand:
Over the past 100 issues of the newsletter I've ended this column with a tag line on what I am currently listening to on iTunes. I will continue to do that and add what reading material is on my nightstand:
Playing on iTunes: Chuck Berry's
"Gold"; Johnny Otis' "Rhythm & Blues Caravan - The Complete
Savoy Recordings" and Jerry Lee Lewis' "Killer Rock N Roll".
On the nightstand: "Gone" (Jonathan Kellerman); "Counter Intelligence: Where To Eat In The real Los Angeles" (Jonathan Gold) and "The Focal Easy Guide To Final Cut Pro 5" (Rick Young).
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The Pitchman: Frame Grabs
David Leeson, Dallas Morning News
Want to know a simple truth regarding me? I'm sick of talking about frame grabs.
I can almost hear the cheers nationwide from die-hard 35mm users, who have grumbled about my support of using high definition video cameras to obtain frame grabs. I think the problem I've faced as I've presented my views about video and stills is that it's easy to ignore. After all, most of you are using still cameras on assignments.
So, when I hold up an HDV camera in front of an audience and say, "This is the future of photojournalism," it's not too hard to dismiss me as a lunatic. You can easily turn your nose up at HDV, pick up your 35mm and say "This is made specifically for stills and the other is for video. Since I shoot stills, video doesn't apply to me."
Unfortunately, not only does it apply to you, it could likely help us save an industry threatened by the overwhelming demand for rich online content. It could also save your job during rounds of massive layoffs spreading like a cancer through our newsrooms and it could become one of the greatest technological developments for our profession since the 35mm rangefinder slowly replaced large formats. The use of quality frame grabs from moderately priced high definition video cameras is a no-brainer in a world demanding rich multimedia content.
So, why am I sick of talking about it? I never thought it would be such a tough "sell." I've always believed that everyone in my profession was pretty much like me, joined in the belief that the power of the still image is not in the means it is made but rather the substance of the image. I've always known there were a few out there who cared more about their technically perfect pictures than the subjects within them but I figured they were a sub-group of a sub-group.
On the nightstand: "Gone" (Jonathan Kellerman); "Counter Intelligence: Where To Eat In The real Los Angeles" (Jonathan Gold) and "The Focal Easy Guide To Final Cut Pro 5" (Rick Young).
The Pitchman: Frame Grabs
David Leeson, Dallas Morning News
Want to know a simple truth regarding me? I'm sick of talking about frame grabs.
I can almost hear the cheers nationwide from die-hard 35mm users, who have grumbled about my support of using high definition video cameras to obtain frame grabs. I think the problem I've faced as I've presented my views about video and stills is that it's easy to ignore. After all, most of you are using still cameras on assignments.
So, when I hold up an HDV camera in front of an audience and say, "This is the future of photojournalism," it's not too hard to dismiss me as a lunatic. You can easily turn your nose up at HDV, pick up your 35mm and say "This is made specifically for stills and the other is for video. Since I shoot stills, video doesn't apply to me."
Unfortunately, not only does it apply to you, it could likely help us save an industry threatened by the overwhelming demand for rich online content. It could also save your job during rounds of massive layoffs spreading like a cancer through our newsrooms and it could become one of the greatest technological developments for our profession since the 35mm rangefinder slowly replaced large formats. The use of quality frame grabs from moderately priced high definition video cameras is a no-brainer in a world demanding rich multimedia content.
So, why am I sick of talking about it? I never thought it would be such a tough "sell." I've always believed that everyone in my profession was pretty much like me, joined in the belief that the power of the still image is not in the means it is made but rather the substance of the image. I've always known there were a few out there who cared more about their technically perfect pictures than the subjects within them but I figured they were a sub-group of a sub-group.
I was also not prepared for what would happen when I began suggesting that the 35mm would slowly fade from daily use in our photo departments. That's when the ire began. God help the soul who would try to remove a still camera from your hands. I love my 35mm too. In fact, I've been known, throughout the years to kiss my camera lovingly. Recently I presented a passionate argument to the Director of Photography at The Dallas Morning News, Leslie White, after I had been asked to return my company issued Canon EOS1D Mark II.
I had fallen in love with "her." I said, "I'm not just giving back my camera to you. I am saying goodbye to a lover." Five minutes later, as I was eloquently expressing my deep adoration for my camera, she interrupted me and said, "Just keep it."
So, yes, I understand the attraction to the tool but I am more concerned with what the tool can do. If the tool matters more, then we would be better off as commercial photographers. You'll make a lot more money and avoid the story-telling power of video intruding on your life as a photojournalist. Because, over the last five years, video has been slowly working its way into our visual lexicon. Frame grabs are the perfect solution to combining the need for stills with the needs for motion and sound.
An HDV camera provides us with the ultimate photojournalistic reporting device. With one camera I can produce powerful still images while at the same time combining my efforts to produce storytelling sound and motion. Entire stories could be told in motion alone. Add sound to it and a layer of information never available to us before is ready to bring your still images to a new platform of power.
But, these days, I'm more than a little dismayed. I am beginning to feel like one of those guys demonstrating a new slicer-dicer at a county fair. Perhaps if I offered a set of free steak knives, more of you would listen. But, that's probably a bad idea. I've seen some folks get so heated about frame grabs, if I gave them a knife, they'd probably throw it at me.
I didn't create this scenario. I am not responsible for the fact that people aren't reading our newspapers as much anymore. Blame the Internet. Blame Al Gore. Blame whomever you wish but don't blame me. I've sacrificed some of the best years of my still photography career to hopefully establish a tradition of ethical reporting with video using traditional still photojournalism practices.
All of this reminds me of the days when color first arrived on the newspaper scene and we struggled with decisions about which camera to use - the one loaded with Kodacolor or the one with Tri-X. Strangely, none of us seemed to grasp the idea that we could have made black and white prints from our color negatives. I suppose we were so attached to black and white that color was the stepchild we ignored for as long as we could. We begrudgingly loaded our cameras with color and tried to find something colorful. "Oh look! That kid is wearing a red sweater!" Sigh. Doesn't that sound familiar to how some people are using video today?
Video, in particular the ugly "FG word," is not the death of the still image. It's just the opposite. It might just create a new world of still photography. How many of you own a Holga? Isn't it interesting how we'll embrace new ideas in still photography as long as the camera doesn't shoot faster than 10-frames per second?
Which leads to one of the most common complaints about frame grabs other than the camera itself. Some say shooting video at 24-30 frames per second and pulling a frame grab from the footage is "cheating." "It takes all of the skill out of it." Sure it does. It's sort of like the way automatic transmissions took the skill out of driving or how the computer took all the skill out of writing on a typewriter. Of course the ink and quill approach in Shakespeare's day had long since trashed the grand skill of cave drawings.
I usually smile like the pitchman at the fair answering the question, "Can it dice tomatoes?" I wish I could refer you to some news photographer from decades ago, on assignment with his flash bulb and a Speed Graphic. How do you think he would look at your motor drive and fancy TTL dedicated strobe? You think it's possible he might say you were cheating?
But the real answer, throughout history, is that technology cannot substitute for the heart, mind and soul of the artist. Nor can any increased frame per second assure you of capturing a powerful moment. Nor can video grant you better composition or lighting. Actually, the video camera is nothing more than a camera and it is the same as it has always been - useless to photojournalistic reporting without a compassionate and sensitive soul bearing it.
When did we begin caring more about these things more than the moment? I'll take one solid, kickass moment over any perfectly, lit, composed, mega-megapixel, pretty picture any day. Fact is, one of my most popular photos from Iraq is back-focused but the power of the moment trumped technical weakness. Give me a great moment and I don't care what camera you use to make it. All I care is that it moves me to feel something. Even better is if your image makes me move into action to do something about my world.
Thus, I think video frame grabs could be a resurrection of a profession at stake. Perhaps you have noticed that visual imagery is the leading force behind the shift from our print editions to news and information organizations on the web. We are needed now more than ever. Clinging to your 35mm and dismissing the merits of an image obtained by a frame grab is not serving our profession well. It's time to move forward. This is our chance to rise up and lead the world.
(David Leeson is the Executive Producer -
Video and New Media at the Dallas Morning News. To see his work, check
his personal website at: http://www.davidleeson.com.)
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Behind the Scenes of The Fight of the Decade
By Robert Beck, Sports Illustrated
The emails started back in early March with Sports Illustrated boxing editor, George Washington asking if I would like to get in on the Oscar De La Hoya - Floyd Mayweather boxing gig, shoot some portraits for a possible cover then cover the fight in May.
It was being touted as "The Fight of the Decade".
I told George I'd love to and asked "Where are they training?"
"Las Vegas and Puerto Rico," answered George.
"Why is Oscar training in Las Vegas?" was my reply.
It was then I found out that Oscar had married Puerto Rican singer Millie Corretjer and now resided on a Caribbean Island. Time was tight for me in March and April with Spring Training, March Madness and golf at Doral, the first LPGA major in Palm Springs and The Masters.
The first shoot ended up falling on the Nabisco LPGA dates so I was "relieved" of that assignment. I was off to Vegas for a day of shooting with Floyd Mayweather.
Mister Kinno was in Japan so I asked Welch Golightly to give me a hand. Welch has worked with me before and frequently assists Walter Iooss. He knows how to handle big jobs and wets his pants at the sight of a boxer (he at De La Hoya's trainer Freddie Roach's gym.). I knew he would be perfect.
Welch told me he would handle everything from his end once I told him what we were looking for. So when we met up at Floyd's gym in Sin City he did not disappoint. He had a second grip AND a cargo van full of every known combination of grip/lighting equipment. That sure makes my job easier. My job? Shoot the training session then get a portrait inside the ring for some posed action and then on the gym floor to run through the typical boxing poses on a white backdrop. That's a lot of stuff to shoot in one day.
But one day it was.
Floyd showed up with a huge entourage and played hard-ass while he loosened up and had his hands wrapped. Giant security types closed and stood guard at the door while Floyd went through his workout. Everyone but his Dad was there. It was quite a one-man show. The kicker came when he wanted to show one of his sparring partners "how it's done." He threw 1000 punches in a row at a heavy bag, did a James Brown routine...Then did it again.
He entertained all throughout the workout while being followed by a personal videographer and personal photographer...And me. After the workout he interviewed with our writer and told stories for about an hour. I was fretting our time a bit by then but I figured he'd be ready when he was ready.
Behind the Scenes of The Fight of the Decade
By Robert Beck, Sports Illustrated
The emails started back in early March with Sports Illustrated boxing editor, George Washington asking if I would like to get in on the Oscar De La Hoya - Floyd Mayweather boxing gig, shoot some portraits for a possible cover then cover the fight in May.
It was being touted as "The Fight of the Decade".
I told George I'd love to and asked "Where are they training?"
"Las Vegas and Puerto Rico," answered George.
"Why is Oscar training in Las Vegas?" was my reply.
It was then I found out that Oscar had married Puerto Rican singer Millie Corretjer and now resided on a Caribbean Island. Time was tight for me in March and April with Spring Training, March Madness and golf at Doral, the first LPGA major in Palm Springs and The Masters.
The first shoot ended up falling on the Nabisco LPGA dates so I was "relieved" of that assignment. I was off to Vegas for a day of shooting with Floyd Mayweather.
Mister Kinno was in Japan so I asked Welch Golightly to give me a hand. Welch has worked with me before and frequently assists Walter Iooss. He knows how to handle big jobs and wets his pants at the sight of a boxer (he at De La Hoya's trainer Freddie Roach's gym.). I knew he would be perfect.
Welch told me he would handle everything from his end once I told him what we were looking for. So when we met up at Floyd's gym in Sin City he did not disappoint. He had a second grip AND a cargo van full of every known combination of grip/lighting equipment. That sure makes my job easier. My job? Shoot the training session then get a portrait inside the ring for some posed action and then on the gym floor to run through the typical boxing poses on a white backdrop. That's a lot of stuff to shoot in one day.
But one day it was.
Floyd showed up with a huge entourage and played hard-ass while he loosened up and had his hands wrapped. Giant security types closed and stood guard at the door while Floyd went through his workout. Everyone but his Dad was there. It was quite a one-man show. The kicker came when he wanted to show one of his sparring partners "how it's done." He threw 1000 punches in a row at a heavy bag, did a James Brown routine...Then did it again.
He entertained all throughout the workout while being followed by a personal videographer and personal photographer...And me. After the workout he interviewed with our writer and told stories for about an hour. I was fretting our time a bit by then but I figured he'd be ready when he was ready.
We did the ring shots first. In front of two strip boxes for side lights, one high rim light and a high , small softbox in front he put on a pair of pink gloves and hopped into the ring. We greased him up and he ran through a hundred different looks. He had told me not to tell him what to do. "I know what you're looking for," he said. And he did. Mayweather is boxing's runway model.
After the ring shots we headed to the seamless and he ran through another hundred poses in front of an Octabank and four backlight umbrellas. He was polite, professional and witty. Afterwards he cut off his hand wraps and signed one each for Welch and myself. Floyd had been great...Not at all like the trash talking punk HBO's 24/7 portrayed him to be. It was a long day but a good one.
Now, hopefully, De La Hoya would be equal to the task.
The schedule, or lack thereof, was the problem with Oscar. His people did not want to clear time for us as SI For Kids and SI Latino had already shot him. Time is precious for these guys.
Every media outlet wants a piece of them. And HBO was following both for their 24/7 series. Finally they said we could shoot Oscar on media day in Puerto Rico. That was after the Masters and during my son's vacation. Not so hot but sometimes these things are out of our control. The editors wanted me to shoot Oscar because our cover was going to be a composite of the two boxers and since I had shot the front end (Mayweather), they wanted me to get the back end as well. I signed Welch up for Part Two.
Kojo was back from the Motherland and wanted in. He'd have to put up with Welch calling him the junior varsity. Those two organized the logistics for grip and lighting gear while I took care of lodging. I met up with them in San Juan after covering the Masters.
San Juan was a warm welcome after the frigid temps we had in Augusta. The hotel was not in the best location but worked fine. Downstairs was a very good French restaurant that featured outdoor seating next to the hotel pool. Kojo was the featured entertainment for diners one night...performing endless cannonballs. How would you like to seduce your date to that background?
Oscar's gym was at a national sports complex just outside of San Juan. We signed up Sports Shooter International Advisor Gabriel "Gabby" Gonzalez Gonzalez to help us negotiate the highways and anything in Español. We hit the gym the night before the shoot and set up our lights and shot a test. We marked all of the lighting spots and struck the set.
Bright and early we returned to the gym to set everything back up. It was hot. It was humid. We sweated buckets. Oscar was about an hour and a half late but amiable...And sported a slight shiner under his right eye. "Can you Photoshop that out?" pleaded one of the PR types.
Oscar had his hands wrapped while a crowd of journalists began to swell outside. A mariachi band kept them partially entertained. It was like we had the Beatles locked up inside with us. Now we were pressed for time. We greased Oscar up and put him through the same drills as we had with Floyd.
We had to coach Oscar a bit more and we had to complete some alterations on his shorts that were about two inches too large. After we finished our portraits the crowd was let in. It was a zoo. Oscar went through a short workout for the media. It was an oven in that place, with that many people in there. But we got what we needed....Some filler shots of him working out with trainer Freddie Roach.
Now it was on to the bout. Cinco de Mayo and the crowd in the MGM were flush with entertainment royalty. Jack, Magic, Michael Jordan, Will Ferrell, Jay Z, Ice Z, Cube T, Mr. T, J Lo, B Hive, Matthew McConaughey, Diddy, Marc Anthony (yech!), Eva Longoria, John Cusack, Mary J Blige, Jimmy Carrey, Jenny McCarthy (remember her?), Fiddy Cent, Jed Jacobsohn and the Pope.
Actually, I don't know if the Pope was there or not.
I know the rest of those people were there because the announcer said so. Of course, he said Tiger Woods was there too...But Tiger was busy winning over a mill at the PGA tournament on the East Coast. I did see Jed. He was shooting from an upper spot with me. Our magazine leaves ringside duty to the fabulous Johnny Iacono. He may not have updated his SS site lately (over 1500 days ago) but he can shoot the F out of a boxing match.
Anyway, shooting raw and JPEGs on a Mark IIN at 1600ASA_1/800_f2.8 we went the full 12 rounds. Welch logged in the cards as I shot and swapped out lenses...
And yelled a lot.
I got a ton of Oscar jabbing. Oscar chasing. Oscar hooking. Oscar attacking. And...Oscar lost. That's boxing. And one long-ass assignment, one Welch will never forget. I suspect one that, if I'm lucky, I'll get to do again before the rematch.
(Robert Beck is a Sports Illustrated staff
photographer based in Southern California. When he is not walking the
links covering the PGA for SI, he is playing his Hammond B-3 or
surfing with his trusty companion/assistant Kojo. You can view his
work at: http://www.sportsshooter.com/beck and at his personal
website: http://www.robertbeckphotography.com/)
Why assist: Lessons in Short Shorts
By Jared Dort
Nobody wanted to be like John.
I played hundreds of pickup games while living in San Diego, and at the time, everything was Michael Jordan. And why not be like Mike? He is one of the greatest of our time. He did win six titles and how impossible shots he made were just amazing.
Unlike Mike, the wannabes didn't make their teammates better - see Bill Wennington. Five Mikes, no passing and just absurd shots clarified with the cry of "Jordan" didn't win games.
It became obvious that someone had to play different in order for the team to be successful. Someone had to step back, assist more and shoot less. Someone just had to pass the freaking ball once in a while.
"Stockton."
Utah's John Stockton wasn't Jordan. He didn't win six titles, although he took the Jazz to the playoffs each of his 19 seasons, giving the team a chance to win. He didn't drop 30 a night, but was a gifted shooter (career 50% average). He didn't pass like Jordan either, which is why he's a legend.
Stockton's 15,806 assists and 3,265 steals are tops in the NBA by a considerable margin. He's listed as one of the 50 Greatest Players of all time despite ranking 31st in scoring with 19,711 points. There are guys with more career points who are forgotten, No. 11 Alex English and No. 6 Elvin Hayes come to mind, or don't.
Stockton didn't even have a nickname.
When Robert Hanashiro, USA TODAY staff photographer and founder of this site, posted a classified here on Sportsshooter.com for an assistant in March, I was in. Two days of portrait work at Spring Training, learning from one of the best, and getting paid to do it sounded good to me.
When it came to assisting, I have some funny ideas running through my head. One was, at 29, I'm too old to assist. The other was Bert usually looks for students. And the best one, I've done portraits.
Good thing I didn't listen to those thoughts. In two days I got more out of assisting than in three years of work, and oddly enough, it wasn't all about lights.
Here's how those two days went:
Day 1 - Bert shot the Chicago Cubs' Alfonso Soriano at HoHoKam in Mesa. The setup: One light and one strobe head with 40-degree grid.
Sometimes all you need is a grid.
Darren Carroll, freelance photographer for Sports Illustrated, Golf Digest and many other publications told me, "Forget about learning how to light stuff, run multiple remotes and all that crap. Sure you'll learn that, but it's not the only reason you're there."
Solid advice from that man who happens to know a thing or two about assisting. Before landing a spot with SI, Darren assisted at the magazine for six years. Don't focus so much on the lights that you become useless to your employer.
Day 2 - David Wells and Greg Maddux portrait. The idea - get them both on Harleys.
No grid today, just lights on each side with the bikes in the middle. The Padres' PR guy said they didn't want to do the Harleys, giving us a minute to move the lights and set exposure.
After the "standard" shoot, Wells talked Maddux into getting on the bike. Bert obliged and got some frames and that was it. At that point we had 30 seconds to move the lights and less that a minute for Bert to test the exposure.
Standard photo, or back-to-back with arms folded, ran. Without an extra pair of hands, the Harley shoot wouldn't have happened.
Bert's take on having an assistant:
"The person assisting me is there mainly as an extra pair of hands and more importantly, an extra pair of eyes. I am usually concentrating so much on one thing at a time - aiming a grid or working with the subject - having someone else there on my side (not some publicist) looking at the whole picture can be helpful."
In two days I carried gear. I moved gear. I packed and unpacked gear. I put gear in a car and took it out of a car. Did I mention there was a lot of gear involved.
-End of log-
I'll admit, I had selfish motives for wanting to assist. I wanted to learn more than how to set up lights. For me, watching Bert handle was critical for my development.
"Learning about lighting is probably tops on the list," says former Sporting News photographer and current freelancer Robert Seale, "but also to see how different people solve problems, how to pack --- packing is very important --- how to deal with subjects, how to talk to people, how to deal with clients, how to run a business, how to organize a project, how to CYA. It's all important."
For students, assisting is a popular job. Jordan Murph, a senior at the University of Hawaii and assistant-in-demand, has bettered his career and met people by being an extra pair of hands.
"I assist to learn how to be a better photographer, businessman, and better person. I don't think there is any substitute in a classroom or textbook for watching a true professional that I respect as they work."
Having talked with other photographers, learning always comes up as the No. 1 reason. A close tie for second is money and publicity.
"If someone told you that they were willing to pay you to learn from people who know what the hell they're doing, and offered you a chance (again, paid) to get your foot in the door at publications and agencies, why shouldn't you take that ball and run with it? To me, it's a no-brainer," said Darren.
One common myth -'I know it all' or 'I'm already a pro' - tends to keep photographers from assisting. You'd be surprised to know how many big-name shooters do.
"I assisted Robert Seale in San Diego for a portrait of Shawne Merriman. Robert had another assistant he hired, I was there to lend a hand, observe and learn," said Bert.
Robert Seale concurs. "I've assisted my friends from time to time - other photographers," said Seale.
What about age?
"You are NEVER too old to assist. It has nothing to do with age, and everything to do with how much you want to learn," said Darren.
"Too old is someone that can't carry my Lightware case," Bert said.
Now you're convinced. By God I'll do it, you say. Well, hold on a sec.
"I don't think everyone should assist because there are some bozos that don't know their place. When you're assisting, you're not there to make suggestions, crack jokes, hit on the hairdresser, munch at the lunch table, or anything like that. You're there to shut up and work," says Murph. "So I don't think that everyone should assist because there are people who can't put their egos away. But, the best of the best, veterans of this business who've I've been fortunate enough to learn from, have no problems assisting other photographers. I think an ego is one of the biggest enemies of learning."
Egos are what keep some us of from assisting in the first place. Would Stockton be considered the greatest point guard had he said, "No, I'm going to take all the shots. Malone, you pass me the ball"?
When asked what he looks for in an assistant, Seale said, "A pulse. Seriously, someone who is responsible, on time, presents themselves professionally in dress, speech, and attitude. If they have great lighting skills, that's great, but lighting can always be taught. I enjoy working with smart people who can solve problems. "
"I would sometimes rather have someone who is smart, hard-working, entertaining, or interesting to talk to, who won't annoy me or the client and has a great attitude rather than a lighting genius with a nose-ring who complains the whole time."
Again, attitude and willingness to learn are mentioned. It appears that for most photographers who need assistants, those are the two qualifications.
This brings us back to Stockton.
Aside from records, sick passing skills and his absurdly short shorts, Stockton gave us a business and life model that can be interpreted two ways.
One, his relationship with Karl Malone can be an example of assisting. Stockton to Malone is one of the most famous calls in broadcasting. Malone is also second on the all-time scoring list.
I always wondered what kind of player he would have been without Johnny Stock. How many of his 36,928 came via Stockton to Malone?
Second, those career accomplishments were not set out of selfish motivation. What Stockton did on and off the court made the team, the organization and the city, look good.
Wow, that sounds like my job.
NOTES: Trent Nelson, Chief Photographer for the Salt Lake Tribune, created an iconic image of John Stockton that symbolizes his career. Nelson's composite, a panoramic view showing each spot Stockton was located during a game, made SI history as being the first six-page spread.
Here's what he had to say about Stockton and the image.
"Stockton was huge in Utah. He was a fan favorite. That's the interesting part because he was certainly uncomfortable with the spotlight his fame brought. While he gave his all on the court, when the game was over, he just wanted to be left alone. I guess he didn't consider that he'd done anything that merited the attention coming his way. I figure he felt he'd done the job he was asked to do, and that was enough.
"The photo I made of him was the first of its kind and brought me a lot of attention from other photographers. But I never heard much about it from the team, or Stockton himself. I guess in a way I'm a little like him. It's much easier for me to stay focused on my photography and not get caught up in what people are saying."
(Jared Dort is writer and photographer based in Arizona. His work has appeared around the world, if your world is currently Arizona. To view his work, check his ss.com member page: www.sportsshooter.com/jared and her personal website:
www.jareddort.com.)
PREACHING TO THE CHOIR: Critique
By Paul Myers, Brooks Institute of Photography
An oral exercise
Through critique we engage in a conversation with ourselves, our peers, our field of artistic inquiry and its history. We critique our own work and we are critiqued by others either individually or in a group setting.
1. Ask for a definition of "critique."
2. Spend time agreeing on a concise statement that addresses the primary goals and uses of critique.
3. Ask what is "expected" from critique. Some ideas that might arise include: making critique inclusive; creating a space that is useful for everyone in the critique; agreeing on a common language; exploring counterproductive methods of critique.
4. Use this statement defining critique as the basis for future critiques.
5. Thank the group and remind them that critique is a celebration of our potential as photographers.
6. Critique. The point of the process is to assist photographers in realizing their own methods and goals by mutually articulating what they want to accomplish as photographers. The methods that are effective and ineffective will be noted and critically evaluated for their storytelling usefulness in each situation photographed. Eventually this critical consciousness will migrate to the moment of photographing rather than remaining in the moment of critique.
The moment of critique serves not only the photographer but the entire group as one's best efforts are bared for all to see in the photograph on the screen. Here, the "learners" are everyone in the room, even the person whose work is being critiqued. Though emotions may run too high to immediately notice lasting or important information from the comments or suggestions, the photographer still benefits from the process. Many times it is only after six months or ten years that the photographer understands the lessons of a critique through the process of photographing, editing and struggling with the quality of the photographs. Sometimes it takes this long for their ego to get out of the way of their learning.
Through critique we engage in a conversation with ourselves, our peers, our field of artistic inquiry and its history. We critique our own work and we are critiqued by others either individually or in a group setting.
1. Ask for a definition of "critique."
2. Spend time agreeing on a concise statement that addresses the primary goals and uses of critique.
3. Ask what is "expected" from critique. Some ideas that might arise include: making critique inclusive; creating a space that is useful for everyone in the critique; agreeing on a common language; exploring counterproductive methods of critique.
4. Use this statement defining critique as the basis for future critiques.
5. Thank the group and remind them that critique is a celebration of our potential as photographers.
6. Critique. The point of the process is to assist photographers in realizing their own methods and goals by mutually articulating what they want to accomplish as photographers. The methods that are effective and ineffective will be noted and critically evaluated for their storytelling usefulness in each situation photographed. Eventually this critical consciousness will migrate to the moment of photographing rather than remaining in the moment of critique.
The moment of critique serves not only the photographer but the entire group as one's best efforts are bared for all to see in the photograph on the screen. Here, the "learners" are everyone in the room, even the person whose work is being critiqued. Though emotions may run too high to immediately notice lasting or important information from the comments or suggestions, the photographer still benefits from the process. Many times it is only after six months or ten years that the photographer understands the lessons of a critique through the process of photographing, editing and struggling with the quality of the photographs. Sometimes it takes this long for their ego to get out of the way of their learning.
Through critique the group gains confidence, a voice, in their formulation of an approach to editing photographs. The tools of discernment they encounter become second nature and are later utilized while photographing and the applying the ideas at the speed of life. Whether effective or ineffective, when photographs communicate ideas, emotions, and interactions the photographers learn how to critically approach their own photography.
It is because of this space created by critique that photographers push themselves beyond their limits to make photographs that they hope will be acceptable to the group. This might explain why photographers seek quick answers or shallow assurances as to whether or not an image "works," an immediate value judgment placed on their efforts by another. "Sucks" and "great" are seemingly two of the few responses photographers are able hear or capable of internalizing during critique. Photographer: take a breath, write down what is being said, put it away and read it tomorrow morning, see if you find an intention that differs from that which you thought you heard today.
Again, learning to articulate ideas about photographs leads to understanding the difference between effective and ineffective communication. In this moment of awakening photographers begin to search for the sound of their own voice. They begin to realize that they have a voice and start to take steps towards vocalizing this burning idea through the camera.
Being a photographer is being in the world as a judge of composition, light, time, gesture and humanity. The interaction of these elements is on-going examinations of the world that change over time. The process of learning to be a critical visual thinker is guided by initial success and then it is tempered by variation over time. It is this cycle of sight, creation, critique, sight/creation that is the core of what it means to be a photographer in the world. A photographer is a human who becomes one with this cyclical philosophy and methodology in its most simple terms and in all it stages simultaneously. The photographer who has become one with the photographic process equals sight/creation/critique/sight/creation.
A silent exercise
I look into the eyes of the genius only to realize that you are frightened to show the depths of your humanity. You have beautiful eyes, you see. Still, you want nothing to do with the task at hand: editing is a brutal endeavor.
So many times the young photographer is assaulted through critique that, quickly, confidence is replaced by coldness and inquiries by arrogance.
Pride is the wall that defines humanity.
Pride is the wall that divides humanity,
Dividing itself through its own pain.
Why do we inflict these wounds onto those who emulate us?
It is an honor for me to edit your work. My intention is for you to encounter the photographs you love. My hope is that you dream photography. It does not matter what I think or feel about your photographs. It matters that through our conversation you are able to articulate why you love your photographs.
Out of all the worry and the madness emerge the photographs ordered for humanity, your edit, an edit that is a sweet song for the eyes. Thank you so much for sharing this process with me. You did it. You made a beautiful edit of your work with all the dedication and angst that is the heart's ache and throb with each beat of the creative process. I can't stop looking. Your order keeps me returning to the series through and through, learning.
I feel the sun warming, the voice clearing and the music running through all of our veins because of your photographs. Yours is the gift of sight that we all dream of, yours is the reason for hope in this world.
I look into the eyes of the genius only to realize that you are frightened to show the depths of your humanity. You have beautiful eyes, you see. Still, you want nothing to do with the task at hand: editing is a brutal endeavor.
So many times the young photographer is assaulted through critique that, quickly, confidence is replaced by coldness and inquiries by arrogance.
Pride is the wall that defines humanity.
Pride is the wall that divides humanity,
Dividing itself through its own pain.
Why do we inflict these wounds onto those who emulate us?
It is an honor for me to edit your work. My intention is for you to encounter the photographs you love. My hope is that you dream photography. It does not matter what I think or feel about your photographs. It matters that through our conversation you are able to articulate why you love your photographs.
Out of all the worry and the madness emerge the photographs ordered for humanity, your edit, an edit that is a sweet song for the eyes. Thank you so much for sharing this process with me. You did it. You made a beautiful edit of your work with all the dedication and angst that is the heart's ache and throb with each beat of the creative process. I can't stop looking. Your order keeps me returning to the series through and through, learning.
I feel the sun warming, the voice clearing and the music running through all of our veins because of your photographs. Yours is the gift of sight that we all dream of, yours is the reason for hope in this world.
(Paul Myers is a faculty member of the
Visual Journalism Program at Brooks Institute of Photography in
Ventura, CA. Prior to his arrival at Brooks, Myers worked for a
variety of publications including newspapers in Freeport, IL and
Marysville, CA.)
My Derby Top 10 List
By Gary Bogdon
They call it the 'Greatest Two Minutes in Sports", also known as The Kentucky Derby. I was fortunate enough to cover 133rd running of the Kentucky Derby this year for Sports Illustrated.
That first Saturday in May, always brings back special memories from as far back in my head (and trust me, it's a long stretch) as high school. This was my 24th Derby (but my first for SI), and it was just as much fun, and exciting as my first. I grew up in the greater metropolitan Louisville area, so it was all familiar ground to me.
I've always said that it is my favorite sport to photograph (and watch) because of the tradition, pageantry, and the beauty of the thoroughbreds thundering to the finish. There is nothing like hearing over 100,000 people singing 'My Old Kentucky Home'. If you've never been (either as a photographer or a fan) you should book your tickets now, because there is nothing else like it.
Here is my top ten list of the greatest things about covering the Kentucky Derby:
1 - The sights, sounds, and even the smell of Churchill Downs on Derby Day. (No jokes please, as my nostrils are flared )
2 - Beautiful women, in really wild hats. It is a sight to behold, and as they say... worth the price of admission.
3 - Hearing the vendors working the aisles and yelling out " Mint Juleps for sale! Get your Mint Juleps ! ..." (Sounds and looks delicious, taste is nasty!)
4 - Seeing old friends and great photographers all in one place-
Bill Frakes, (SI), Bill Luster, (Louisville Courier Journal), Andy Lyons (Getty), Ron Garrison (Lexington Herald Leader), David Coyle (Team Coyle), John Sommers (Reuters), Tom 'Bugs' Moran and Ed Reinke (AP) just to name a few. It's really a wonderful bunch of photojournalists, whom I have so much respect for and have shared so many laughs with over the years. It reminds me of why I got into the business.
5 - Getting world renowned horse photographer Tony Leonard (who is in his mid 80's) to sing a few bars of "My Old Kentucky Home', in the press room. He is awesome. He has seen it all, and has the best attitude in the world. He is sure to put a smile on your face.
6 - Getting up at 4:30am in the morning to be at the track by 5:00am to photograph 'Dawn at the Downs'. It's the predawn workouts of all of the horses, and the entire goings on in and around the 'backside' of the track.
7 - Hearing Steve Buttleman (Official Bugler of Churchill Downs) playing the "Call to the Post" before the race. He can play that thing, (not sure if he can play any other tune though)
8 - Trying to convince someone at the media party that Courier Journal photographer and Louisville legend, Bill Luster, is a retired jockey, and rode in the 1967 Kentucky Derby. There is a direct link between believing this story and the number of mint juleps the listener has consumed. You do the math.
9 - Eating a 'low fat' ( Ha! ) breakfast at 'Wagner's Pharmacy' near the backside of Churchill Downs. This is not an approved meal by any cardiologist, especially mine. Approach with caution.
10 - Standing on the dirt, and hearing over 150,000 screaming fans as 20 of the finest athletes ( on four legs ) in the world thunder to the finish, and then think to yourself.... Did I get that?
(Gary Bogdon is a freelance photographer,
and a regular contributing photographer for Sports Illustrated, based
in Orlando, FL. There is no truth to the rumor that he too is a
retired jockey and rode 'My Aching Back' in the 1978 Kentucky
Derby.)
*
*
*
THE TIMES THEY ARE A
CHANGIN'
We now have to hold a mic with that DSLR
By Nick Layman
As photojournalists we are called to think of innovative and creative ways to deliver a story to our readers. As photographers we are trying to make images that convey a message to the audience that makes them stop what they are doing and gaze at our image for a couple seconds. Those moments that are shown in the paper can direct the reader to the paper's website with the multimedia presentation. When I go out to my driveway each morning I look across the street and down the street and see no delivery of the paper to my neighborhood.
My suggestion to someone starting out in gathering audio while shooting photos is take your time. Moments can be captured with still images or with the subjects interacting with each other. Don't panic if something is happening in the audio realm and your scrambling to break out the recording device. I have almost dropped my 70-200 lens just by trying to reach for my recorder in the bag.
As photojournalists we are called to think of innovative and creative ways to deliver a story to our readers. As photographers we are trying to make images that convey a message to the audience that makes them stop what they are doing and gaze at our image for a couple seconds. Those moments that are shown in the paper can direct the reader to the paper's website with the multimedia presentation. When I go out to my driveway each morning I look across the street and down the street and see no delivery of the paper to my neighborhood.
My suggestion to someone starting out in gathering audio while shooting photos is take your time. Moments can be captured with still images or with the subjects interacting with each other. Don't panic if something is happening in the audio realm and your scrambling to break out the recording device. I have almost dropped my 70-200 lens just by trying to reach for my recorder in the bag.
Audio is an important medium and it gives the voiceless a voice. If you spend time with a person they will tell you anything and everything you need to know about their life. The only analogy that comes to mind is Forrest Gump, he thought everyone was listening on the park bench and he told his whole life story. That type of story telling is an audio production dream.
When interviewing people just be honest with them and explain what you are doing. The people I have encountered have embraced the idea of showing up to an assignment with camera and mic in tow. This gives us an upper hand to the subject because they notice you taking extra time with the project. Most of the assignments I went on without any recording device they just shrugged me off as a photographer and the writer would make the story come alive.
Some photojournalists are scared to learn audio and compare it to switching to a new camera system. We shouldn't expect the first multimedia piece we do to win any awards. It should be a learning process and there is a real balance in gathering audio and images on an assignment.
A person needs to think of ways of telling the story with photos and sound. Since doing multimedia pieces I am always looking for a beginning, middle and end. As a journalist doing this type of production I have to make sure I have sound for each element of the story. This has improved my photographer skills by looking at different ways to document the story.
The Internet is a powerful thing and with the development of the iPhone, by Apple, it is going to be even more powerful. The way people get news is going to be different and fast. People are viewing the daily Podcasts and events on their portable devices and we need to keep a leg up in the audio and video department to keep our jobs viable. When someone pulls up a story at work, school or the house many people stop at the computer and ask them what they are seeing. This type of viewing is going to make our work more available to many people.
Now that papers are redirecting their readership to the web it is making the photojournalist tell better stories and showcase their talents. Photographers are scrambling to figure out what is the difference between a shotgun and omni-directional mic. Freelancers should The idea of capturing audio can be a bit overwhelming but with the proper training it can take a persons career to the next level.
(Nick Layman is a freelance journalist
based out of Albuquerque, N.M. he just recently graduated from the
University of New Mexico with a degree in Broadcast Journalism. He
works for different publications and the local NPR station. He
specializes in audio production and has filed stories nationally for
NPR. He is willing to train photojournalists and newspapers in
gathering audio for their stories.)
Spring Specials From Penn Camera
By Jeff Snyder
Happy Belated Mother's Day to all the Moms
out there in Sports Shooterland...What's next? FATHER'S DAY is just
around the corner...Start to think about us Dad's, and how nice it
would be to surprise Dad with a new "Photo Gadget" that he
MUST have, that he probably wouldn't go out and buy for
himself--
himself--
Need a suggestion? Here are a few, whether
you shook your head NO, or said, "Wow, what a great
idea!"
SanDisk Extreme III Cards, not only have
they dropped in price dramatically, there are Cash Back Rebates
too!
Lexar Pro 133X Cards have rebates and have dropped in price as well.
Lexar Pro 133X Cards have rebates and have dropped in price as well.
Nikon's new P5000 Point n' Shoot, is a 10MP
camera that will knock his socks off. Take a look at this new
flagship of the CoolPix line up.
Walkstool - Walkstool is light, compact,
extremely comfortable to sit on and comes with an attractive
storage/carry case. Telescopic legs give you two seating positions:
legs fully extended and legs collapsed. The Walkstool is perfect for
low angle photography. Dad will LOVE it!
Think Tank Photo's new Urban Disguise line
is a great gift too. Finally a camera bag that doesn't look like
one:
http://www.penncamera.com/search/default.asp?KEYWORD=Urban
http://www.penncamera.com/search/default.asp?KEYWORD=Urban
Canon's new TX-1 Point n' Shoot that
converts to a digital video camera has been very hot, and has the
"cool factor" going on too!
Canon Lenses---Canon has announced that
they have a NEW "Instant" Rebate program in effect from May
15th through July 16, 2007. Here's a list of the Canon Lenses
with Rebates:
$25
60mm f2.8 EFS USM Macro
$25 50mm f1.4 EF USM
$25 28mm f1.8 EF USM
$50 17-40mm f4L EF
USM
$25
$25
$50
$50
17-55mm f2.8 EFS IS USM
$50 70-200mm f4L EF
USM
$75 180mm f3.5L EF Macro, 400mm f5.6L EF USM
$75 24-70mm f4L EF USM
$75 70-300mm f4.5-5.6 DO IS USM
$75 70-200mm f4L EF IS USM
$100 85mm f1.2L II
USM
$100 100-400mm f4.5-5.6L EF IS USM
$100 70-200mm f2.8L
EF IS USM
$50
$75
$75
$75
$75
$100
$100
$100
The NEW "DUST AID" product has
arrived! This is a VERY easy way to clean your sensors and SAFE
too! Check them out here:
http://www.dust-aid.com
Thank you to all the SportsShooter.com
members who I speak to every day! Your loyalty to the sponsor is
greatly appreciated.
(Jeff Snyder can be contacted at Penn
Camera at: 1-800-347-5770 or FAX 301-210-7370; Email:
jsnyder@penncamera.com; AOL Instant Messenger: JeffPennCamera. On the
web: http://www.penncamera.com.)
Roberts Distributors News - Canon Rebates, Now An Apple Reseller
By Jody Grober
Greetings from Indy where we are nervously holding our breath hoping for the nod on the Super BowlŠkeep a good thought for us and perhaps we will get to host a bunch of Sports Shooters here in IndyŠWe look forward to seeing many of you who are coming in for The 500Š.
Super news from Canon: An INSTANT REBATE programŠthat's right, no mailingŠlots of savings on lots of lensesŠCheck it out: http://www.author-works.com/media/media-22221.pdf. The new 580EX II is in stock and the new rocking 16-35/2.8 II lenses are coming in fairly regularly. The Mark III started shipping but the quantities are still unknown so delivery may be spotty.
It is official: Roberts Distributors is now an authorized Apple dealer and looking forward to helping you with your computer needs.
Lexar has just dropped prices but I am not suppose to publish the pricing so please contact us and we will fill you inŠvery aggressiveŠplus rebates on many of the pro cardsŠclick here to see rebates: http://www.robertsimaging.com/lexarrebates.html
Šoh yeah, almost forgot, the 300X cards should start arriving the week of May 21st!
We have added a new feature to our web site: "the refurb page". It should be ready to go by the time issue 101 hits the cyber world so check it out: http://www.robertsimaging.com/cmCatalog.jsp?cmd=A&typid=1&catid=C116
Fuji has posted a firmware upgrade for the S-5:
http://www.fujifilmusa.com/JSP/fuji/epartners/ServiceSupportProduct.jsp?prodcat=858246
The bag of the month is the Think Tank Photo Airport International, so we will have a special Sports Shooter price for it If ordering via the web at the link below put your SportsShooter.com URL in the comments field and we will contact you with the special pricing:
http://www.robertsimaging.com/cmItemDetail.jsp?pid=11081
The AquaTech waterproof photographers jacket/vest is now in stock and it has surpassed our expectations. Made of Waterproof and breathable Antartech fabric they have waterproof zippers, sealed seems, articulated arms, 2 70-200 chest pockets, hood, non slip shoulder pads and on and onŠcheck it out:
http://www.robertsimaging.com/cmItemDetail.jsp?pid=11556
Also from AquaTech, both the Sports Shields and Photo Jacket are available in CamoŠ
Profoto clearance:
1. Acute2 2400 (non-PocketWizard) kit with
two heads and reflectors, regular price $3309.00, one available at
$2384.10.
2. Acute2R 2400 kit with case and 2 heads
with reflectors, regular price $4010.00, one available at
$3265.00.
3. Compact plus 600 kit 2 600ws monoblocks,
2 reflectors and sync cord, regular price $1599.00, one available at
$1224.00.
4. Acute2R 1200 generator, regular price
$1578.00, one available at $1131.35
We now have the Delkin Sensor Scope so you can see what you are cleaning and actually know if you have cleanedŠnovel ideaŠ.of course we will have a special SS price.
Keep checking out our Clearance page on the web site: http://www.robertsimaging.com/specials.jsp
For specials and closeout items like super
closeouts on Gitzo discontinued models.
Well that's all for May, be well, travel safe and make certain to have some fun!!
(Roberts Distributors is located in Indianapolis, IN. Jonathan "Jody" Grober can be emailed at: jgrober@robertsimaging.com. To place an order, call: 1-800-726-5544. You can check out Roberts' online product catalog at: http://www.robertsimaging.com.)
Samy's Camera's May Report: New MacBooks and Products from Think Tank; Canon begins delivery of the EOS Mark III
By Louis Feldman
You've read about it. You've been calling about it. You've been waiting breathlessly (it seems).
Yes, Canon started shipping this week its
new professional digital SRL the Canon EOS Mark III. If you don't know
what the Mark III is --- you must have been in a cave --- it's
Canon's uber-replacement for the Mark IIn,
featuring:
* 10 fps continuous shooting (for up to 110
frames)
* New 45-point Area AF sensor with 19 high-precision, cross-type points, 26 standard-precision AssistAF points
* ISO range of 100 - 3200 (expandable to L50; H6400)
* 10.1 Mega-pixel APS-H CMOS sensor
* Dual "DIGIC III" processors
* New auto focus system with 19 cross type sensors
* New Integrated Cleaning System
* 3.0" LCD with Live View mode
If you haven't contacted Samy's to get on "the list", run, don't walk to your phone and call us to check on availability and current pricing.
Remember Samy's is an authorized Apple Computer reseller, so if you need a new high-powered portable like the MacBook and MacBook Pro or a screaming fast desktop computer like the ultra-cool iMac or blazing-fast G5 Quad, give us a call for current Sports Shooter pricing.
* New 45-point Area AF sensor with 19 high-precision, cross-type points, 26 standard-precision AssistAF points
* ISO range of 100 - 3200 (expandable to L50; H6400)
* 10.1 Mega-pixel APS-H CMOS sensor
* Dual "DIGIC III" processors
* New auto focus system with 19 cross type sensors
* New Integrated Cleaning System
* 3.0" LCD with Live View mode
If you haven't contacted Samy's to get on "the list", run, don't walk to your phone and call us to check on availability and current pricing.
Remember Samy's is an authorized Apple Computer reseller, so if you need a new high-powered portable like the MacBook and MacBook Pro or a screaming fast desktop computer like the ultra-cool iMac or blazing-fast G5 Quad, give us a call for current Sports Shooter pricing.
And Š Apple just updated the MacBook,
bumping up the speed of the processors, 1GB RAM and larger hard drives
in all of the models. The updated MacBooks come in three
models:
- White 2.0GHz model
- White 2.16GHz model
- Black 2.16 GHz model.
All of the upgraded MacBooks include a
built-in iSight video camera and the latest generation of 802.11n
wireless networking. The notebooks also come with iLife '06 and Mac OS
X 10.4.9 Tiger.
Sports and PJ fav Think Tank Photo recently announced a new line of products. The Urban Disguise line of gear is designed for photographers operating in urban or dangerous environments, carrying thousands of dollars worth of photo equipment can be an invitation to have their gear stolen. Urban Disguise bags are intentionally designed not to look like camera bags, thus allowing photographers to carry even their larger lenses and laptops into potentially perilous settings:
- Urban Disguise 10 - Designed to hold a small SLR with the lens attached and one to two lenses with the hood.
- Urban Disguise 20 - Designed to hold a SLR with lens attached and one to two lenses with the hood.
- Urban Disguise 30 - Designed to a SLR body and multiple lenses, including up to a 70 - 200 2.8 with the hood reversed.
- Urban Disguise 40 - Designed to hold two SLR bodies and multiple lenses, including up to a 70 - 200 2.8 with the hood reversed.
- Urban Disguise 50 - In addition to holding multiple SLRs and lenses (including up to a 70 - 200 2.8 with the hood reversed), it will hold some 15-inch laptops.
- Urban Disguise 60 - In addition to holding multiple SLRs and lenses (including up to a 70 - 200 2.8 with the hood reversed), it will hold 15- to 17-inch laptops.
Give Samy's a call for Sports Shooter pricing and availability of the new Urban Disguise line Š and all of the great from Think Tank Photo.
Also from Think Tank Photo --- they have added another very informative and cool article on packing, securing and traveling with your gear. "Fear For Your Gear - Part II" covers overseas travel. Check the link below for this and the other essential articles from Think Tank:
http://thinktankphoto.com/airport/
Your one-stop lighting headquarters is Samy's Cameras. We carry all of the major brands of strobes including: Dyna-Lite, Elinchrom, Speedoton and Profoto. Exciting news from Hensel for those photographers wanting a fabulous buy on a budget lighting system. Hensel's new Integra Pro 500 monolights feature a 6 - stop range with adjustable output in 1/10th stop increments, built-in slave and a 300-watt modeling lamp. We are offering this new strobe system in a kit with 2 Integra 500 units, 1 softbox, 2 umbrellas, 2 light stands, a carrying case and other accessories. Give us a call for more details.
Sports and PJ fav Think Tank Photo recently announced a new line of products. The Urban Disguise line of gear is designed for photographers operating in urban or dangerous environments, carrying thousands of dollars worth of photo equipment can be an invitation to have their gear stolen. Urban Disguise bags are intentionally designed not to look like camera bags, thus allowing photographers to carry even their larger lenses and laptops into potentially perilous settings:
- Urban Disguise 10 - Designed to hold a small SLR with the lens attached and one to two lenses with the hood.
- Urban Disguise 20 - Designed to hold a SLR with lens attached and one to two lenses with the hood.
- Urban Disguise 30 - Designed to a SLR body and multiple lenses, including up to a 70 - 200 2.8 with the hood reversed.
- Urban Disguise 40 - Designed to hold two SLR bodies and multiple lenses, including up to a 70 - 200 2.8 with the hood reversed.
- Urban Disguise 50 - In addition to holding multiple SLRs and lenses (including up to a 70 - 200 2.8 with the hood reversed), it will hold some 15-inch laptops.
- Urban Disguise 60 - In addition to holding multiple SLRs and lenses (including up to a 70 - 200 2.8 with the hood reversed), it will hold 15- to 17-inch laptops.
Give Samy's a call for Sports Shooter pricing and availability of the new Urban Disguise line Š and all of the great from Think Tank Photo.
Also from Think Tank Photo --- they have added another very informative and cool article on packing, securing and traveling with your gear. "Fear For Your Gear - Part II" covers overseas travel. Check the link below for this and the other essential articles from Think Tank:
http://thinktankphoto.com/airport/
Your one-stop lighting headquarters is Samy's Cameras. We carry all of the major brands of strobes including: Dyna-Lite, Elinchrom, Speedoton and Profoto. Exciting news from Hensel for those photographers wanting a fabulous buy on a budget lighting system. Hensel's new Integra Pro 500 monolights feature a 6 - stop range with adjustable output in 1/10th stop increments, built-in slave and a 300-watt modeling lamp. We are offering this new strobe system in a kit with 2 Integra 500 units, 1 softbox, 2 umbrellas, 2 light stands, a carrying case and other accessories. Give us a call for more details.
And for portability when you have that portrait shoot where AC power is not convenient ... check out the Hensel Porty 1200 watt battery system or the very cool Dyna-Lite XP-1100 portable AC power supply.
(Contact Samy's Camera in Los Angeles by calling (323) 938-2420 and ask for an industrial sales representative. Also check out Samy's Specials on SportsShooter.com or Samy's web site at: http://www.samys.com.)
Acknowledgements
As always, thanks to Special Advisors & Contributors: Deanna & Emma Hanashiro, Brad Mangin, Rod Mar, Trent Nelson, Jason Burfield, Grover Sanschagrin, Joe Gosen, The Photodude, Reed Hoffmann, Paul Myers, Darren Carroll, Zach Honig and Bob Deutsch.
Thanks this month to: David Leeson, Robert
Beck, Gary Bogdon, Jared Dort and Nick Layman.
I welcome any comments, corrections, suggestions and contributions. Please e-mail me at bert@sportsshooter.com.
The Sports Shooter Archives as well as tons of cool resources and information can be accessed through the Internet at http://www.SportsShooter.com.
Use of the content of the Sports Shooter Newsletter is prohibited without the expressed written permission of The Big Kahuna and the author of the article.
Opinions, rants, raves, insults and praise whether intend or not, are those of the author and do not necessarily reflect those of Sports Shooter and public sensibilities.
I welcome any comments, corrections, suggestions and contributions. Please e-mail me at bert@sportsshooter.com.
The Sports Shooter Archives as well as tons of cool resources and information can be accessed through the Internet at http://www.SportsShooter.com.
Use of the content of the Sports Shooter Newsletter is prohibited without the expressed written permission of The Big Kahuna and the author of the article.
Opinions, rants, raves, insults and praise whether intend or not, are those of the author and do not necessarily reflect those of Sports Shooter and public sensibilities.
Copyright Sports Shooter, Inc.
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SPORTS SHOOTER ACADEMY BOOT CAMP
The NEXT COOLEST photography event of the year
SPORTS SHOOTER ACADEMY BOOT CAMP
The NEXT COOLEST photography event of the year
FALL
2007?
www.sportsshooter.com/workshops.html
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