Ride em Bulls

Rodeo events make for great picture taking. While covering last August’s Kitsap County Fair Rodeo Xtreme Bulls event I captured a picture I’ve been waiting for years to get. Normally, photographers always take photos of the cowboys riding the bulls and horses until they either get bucked off or reach the qualtilfiying time limit. Here, in one event I was able to get a shot of what seemed like a bull riding a cowboy after he was bucked off. Go figure, of getting a picture such as this. Needless to say, the cowboy wasn’t hurt, but he sure did get to the safety of the fence in record time.

Included is the capture info:

Model: Canon EOS-1D Mark II

Serial #:

Firmware: Adobe Photoshop CS3 Macintosh

Frame #: 135

Lens (mm): 300

ISO: 250

Aperture: 2.8

Shutter: 1/4000

Exp. Comp.: -0.3

Flash Comp.:

Program: Aperture Priority

Focus Mode:

White Bal.:

ICC Profile: Adobe RGB (1998) (embedded)

Contrast:

Sharpening:

Quality:

Get the ball in the frame and in focus

As a sport photographer, my job is to capture that peak, action that tells the story. 

I like to do is use my longer telephoto lenses, normally I use the 400mm f2.8 for baseball, football and soccer, and the 300mm f2.8 for basketball.  That way, I can shoot at f2.8, which throws the background out of focus and high enough shutter speed to capture the peak action and good facial expressions. 

However, in this digital age, it’s good to capture both. It’s all about seeing pictures possibilities and capturing both those action and reaction moments that lead to great photographic moments.

Here's a few pictures: Oakland Athletics' shortstop Marco Scutaro forces out Seattle Mariners' Jose Lopez at second base and fails to make a double play in the third inning in Seattle.

Seattle Seahawks' defensive end Parick Kerney (L) knocks the ball out of Washington Redskins' quarterback Todd Collins hands in the first half of their first round NFC Wildcard playoff game at Qwest Field in Seattle.

Seattle Sounders' Kyle Smith (11) performs a bicycle kick past L.A. Galaxy's Simon Elliott and towards the Galaxy's goal area during the second half of the Lamar Hunt U.S. Open Cup Quarterfinals on Wednesday at Seahawks' Stadium in Seattle.

San Diego State tight end Steve Schmidt, left, catches a pass over defending Washington State corner back Chima Nwachukwu for first down yardage in the second quarter of their football game in Seattle.

Seattle Supersonics' Earl Watson, right, knocks the ball away from Atlanta Hawks' Zaza Pachulia, from the Republic of Georgia in the third period at Key Arena in Seattle.

Always ask for permission first

I get asked many times about how I come up with interesting portraits and features taken out in public. Normally if you stand from a public street, sidewalk in American a subject used to be fair game. It still is, but during these times where everyone is suspicious it’s good to ask beforehand.  Once you go onto someone’s property, such as a cafe, business or mall, it’s best to ask permission of owner and those who you hope to photograph.

One of the keys of photographing people of different cultures, not only in the United States, but abroad, is to do as much research as you can before you depart. Find out if there are any taboos concerning photography. Another key to taking good pictures abroad is to be sensitive to local customs and the different reactions people may have to you and your camera.

Some people will have no problem, while others have objections to photographs being made of certain individuals or groups. Some will deny pictures taken on religious principles. Some will feel that you want to make fun of them, to show their poverty or some other bad aspect of their lives to the world. Then, there's some that believe that when you make an image of them you are stealing their soul or in some way taking something away from them.

And they are right; when we photograph them we are capturing the essence or spirit of a person or place. You should always respect others' feelings and beliefs and you don't want to get beat up or land in jail. People are always more important that pictures. It's best to first ask them before you take a picture.

While in assignment in Hanoi, North Vietnam, my press guide and I were visiting a typical neighborhood and I came across this picture of an elderly woman and a young child sitting in a doorway. As soon as I raised my camera in their direction she scowled and let out a stream of Vietnamese. My guide said she didn’t want you to take their spirit. I asked him to explain that I only wanted to capture the beautiful child sitting on his grandmother’s lap to show the importance of family relationship in their country, where the aged are still important family figures and respected, not unlike in the United States where the sons and daughters often put their elderly parents in rest homes. This led to conservation and soon she agreed on letting me take their picture.

But mistakes are bound to happen. Once while photographing in Kenya’s old Muslin section of town, I spotted three kittens climbing up a white elaborate drapery that hung in front of an open door. So, in order to get a different angle I laid on my stomach, took some pictures and  heard some loud talking coming from behind me, but didn't pay too much attention as I was too intense on getting the photo. Then, a rock landing nearby got my attention. I got up looked over at the angry crowd that was gathering,  pointing and yelling. So deciding to head back into town, I turned to walk away and they followed. I walked faster and their pace quickened as well. Soon I was off and running down narrow alleys and streets with them in pursuit. It was like a scene out of the movie, “The Arabian Nights.” I ran around one corner and my escaped was blocked." When things started to get exciting, an old Indian man came out from his store and asked what had happened to cause such an event.  Looking kind of worried he turned in my direction and I explained to him in English, that I was only taking pictures of kittens playing. When he explained what I was shooting, the whole crowd busted out laughing and the tension quickly eased. They had thought I was taking pictures of unveiled women from under the protective cover of the drapery.

All ended well as I was treated to some of the finest Indian curry that night in a local restaurant and was able to get a guided tour, which ended up in capturing some great shots the following day in Mombassa.

Those double whammies will get you every time

I don't know what it is about covering Major League, College and high school baseball games where the umpires seem to have this uncanny knack of getting into the way, not just once during a game, but most of the time.

In the past this has been a topic of discussion among photographers shooting from the photography wells and this year, it's no exception.  Why do the umpires have to run all the way out into the outfields and right into the line of sight between us and the players, thus blocking out leaping catches, dropped balls, colliding players and such? Is this a rule posted in the umpires handbook? Rule 101 - Always, if possible, block the photographers view in significant plays at home plate and elsewhere on the field.

I thought I had captured a great series of photos taken Saturday in the WIAA 3A State high school championship game between O'Dea and Camas of a play at home plate, so I thought. Not only did the first base coach, who was running towards home plate block me out, but I received that "double whammy" when the umpire moved into the frame as well.

After yelling at the coach and informing him as to why there are painted white lines in shape of a box along the first and third base lines and they are suppose to stay either near or in the box areas, not run up and down the sidelines. "He replied, "Hey, sorry, I just got excited!" Commenting to the other photographers present, I mentioned, "Well think of all the readers who aren't going to see a capture of a significant play at home plate, but will instead see the coaches backside running down the baseline."

However, in spite of having to shoot through all the moving objects, I was able to capture one frame of the catcher's reaction when he closed his eyes after the home plate umpire called the base runner safe.

Goes to show you, there's one thing for certain, "those double whammies" will get you ever time.

One of the weirdest things I've ever seen

One of the weirdest scenes I've ever photographed was while living on the island of Terceira in the Azores. Everyday, I would shoot a different part of the island. One one particular day while out photographing "a day in the life" of dairy farmers, I rounded a corner and came to a standstill in a traffic jam of sorts.

There was this farmer who was having trouble moving a dairy cow to another field. Normally a farmer would open a pasture gate and the cows would follow one another from one field to the next. But since he only had one cow to be used as a lawnmower to munch the front lawn, he was having serious problems.  I guess to him the most logical way to move one cow was by motor transport, but as you can see she didn't want to have any part of his plan. So after trying to coax her into the back of a truck, which was blocking the road and with the traffic backing up, he finally gave up and decided to put his back into the job.

I don't know just how long it took him to get that cow into the truck and since I already had a humorous photo, I decided to turn around and head back in the same direction. I guess that this proves that when you're out and about you'll never know what interesting or funny situation might lie in wait around the next corner.

It pays to pay attention

While growing up in Japan and taking pictures at a high school football game, a Pacific Stars and Stripes staff photographer, pulled me aside and told me, “Jim, not all the important action happens between the 40-yard lines.” From that period on, I was always on the lookout for game telling photos, whether they were on the field or sidelines.

Covering a state high school West Central District playoff game between Sumner and Central Kitsap, I noticed, most of the first base calls went in favor of Sumner. One a few occasions the Central Kitsap coach called time come over and to argue his point, but to no avail.

Next time Central Kitsap came up to bat, the head coach moved from his normal third base position to first base and I knew it would be a matter of time before heated words would be exchange between him and the umpire.

A few innings later, one of the Central Kitsap players, who had taken a large lead-off from first base, was picked off on a throw from the Sumner catcher to his first baseman. Watching from my photographic vantage point near the first base line, I thought that the runner was clearly safe in returning to the bag, and so did the coach, but the umpire thought otherwise. And that’s when the fireworks started.

When the argument started, I trained my lens on both men, as they got closer and closer together, the words became more heated and the pictures keep getting better and better. Pretty soon, the CK coached moved in so close that the bill of his hat was touching underneath the umpires’ hat. As the discussion centered on the multitude of questionable calls made by this umpire.

As the veins on the coach’s neck popped out and I knew it was just a matter of seconds before the coach was ejected from the game. I got my picture; he did in fact get booted and spent the remainder of the game, watching his team come from behind to win, sitting in a lawn chair outside the center field fence.

Adding rain to capture moody photographs

While sitting around yesterday, looking out the sliding glass doors, watching the rainfall and wishing it would just go away, I realized two things: I’m a photographer and living here in the Pacific Northwest with it’s never ending rainfall, the bad weather, like it or not would give me a opportunity to go outside in our backyard garden and a chance make some good pictures. I thought of images that would evoke some type of mood and atmosphere, and would give me a chance to break away from that wishful “sunny-day” look and provided a few reasons to capture something different.

First, consider the possibilities that rain can add. We get plenty of those wet days here and it provides a silvery shimmer to city streets and foliage that can turn even a mundane scene into one of magic. The diffused light from an overcast sky mutes bright colors and emphasizes soft monochromes and enhances the subtle compositional effects.

One method I like using, is to use my 28-70mm f2.8 lens which has a minimum focusing distance is about 12 inches, while it’s not stellar for a macro, when I attached the Canon Extension Tube EF25 I was able to move in close to capture details and rich colors of the various plants, grasses and trees branches with water drops shinning like a jewels.

When shooting in the foul weather one thing you have to watch for is that water can damage your photographic equipment. When the weather turns while out photographing in bad weather, protect it under a raincoat or umbrella when not shooting. Make use of doorways, storefront arcades, overhangs, or awnings.

For prolonged exposure to the rain, weatherproof your camera with a gallon plastic zip lock bag that is flexible enough to operate the shutter release. Cut a hole for the lens and then seal the lens shade to the bag with the use duct tape or a strong rubber band. To protect the lens, use a lens shade and skylight filer and wipe off moisture that collect on your camera with a dry, clean cloth. My all time favorite is using one of those chamois car wipes you can purchase at any auto parts store.

Be alert to such stormy scenes as you photograph, if not, you’ll never know what visual opportunities photographing in bad weather might bring.