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.

It’s not always the action that’s important

Former Port Orchard Independent reporter, Mark Walker, once told me after looking at a few of my sports action features, “Get the ball in the frame and in focus!”  Well, that’s silly coming from a wordsmith and not a photographer. I tried explaining to him that I was trying to capture the after action reaction of a game saving play, which to me is as important as actual action shot. However, it did piss me off so much that from then on I made it a point to capture both, action and reaction of every play.

But To me, sometimes, the after reaction of a significant play is almost just as important or sometimes more important than the play itself.  However, in this digital age, it’s good to capture both. It’s all about seeing pictures possibilities and capturing those moments that lead to great photographic moments.

Here's a picture I captured the other night of Ken Griffey, Jr., being congratulated after hitting the game winning single against the Toronto Bluejays. I managed to capture a story telling photo of Bluejays' first baseman Lyle Overbay (R) walking off the field as Seattle Mariners' Ken Griffey Jr. (L) is surrounded by teammates after he hit a single to right field that scored the game winning run in the ninth inning. Griffey pinch-hitting for Josh Wilson hit a game winning single to right field that scored Milton Bradley to beat the Bluejays 4-3.  I like the fact that I was able to capture the both the happiness and dejection in the same frame. The happiness of the Mariners players and the dejection displayed by Overbay as he walked off the field with his head down definitely told the story better than Griffey swatting the ball.

Other pictures that display reactions are:  Manchester United's Roy Keane, middle, congratulates Ole Gunnar Solskjaer, left, after he scored the third goal of the first half against the Celtic goalie Magnus Hedman.

Alabama's Blair Potter, left, and Jessica Smith watch the Washington team celebrate their 7-5 win in the NCAA Softball Super Regional game Saturday May 26, 2007 in Seattle.  Washington beat Alabama 7-5 to advance to the College World Series.

Seattle Seahawks defensive end Patrick Kerney celebrates his sack of Tampa Bay Buccaneers quarterback Jeff Garcia in the second quarter of their season opener at Qwest Field in Seattle.

And lastly, the look on the base runner’s face as he’s called out during a Babe Ruth baseball game. If he had scored, the game would have gone into extra innings.

As you can see in the posted photos……..sometimes that reaction tells the story better than the action.

Using angles and lenses in visual story-telling

At a recent photo lecture I gave on travel photography, an attendee asked, “I’ve been to some of the same places as you, own similar equipment too, but my photos aren’t as good as yours . Why?”

The only difference I’ve come across elevating the professionals from amateurs is that the professionals think before and while they photograph. I’m always on the lookout, taking mental notes of a scene, taking time to find high or low angles in which to shoot from and always looking for that perfect “magic” light to shoot in, even if I have to return later to capture it.

Sooner or later you’ll be asked to share your pictures, in either a to your friends or associates in the form of a slide show, power point presentation of a display prints.

While you can build these projects around a central theme or subject, try to show an overall feeling of the “spirit” of the place you photographed, rather than just a single theme, for a more visual story.

There is a logic structure in visual storytelling, and you see those technique used everyday on television and in the movies. They are both visual storytelling mediums, and directors use the same techniques to pull you into the story. The same is used in telling stories with photos.

As a still photographer, we can learn a lot from these visual story-telling techniques. The cameraman and director of photography use different types of shots and angles ranging from overalls to close-ups, to establish a story line. The next time you watch a movie, turn off the sound and study the mixture of shots that are used. These same types of shots are useful to keep in mind when you go cover a place with your camera.

Establishing shot – Wide-angle overview that sets up the scene. This is often a high angle shot that will give the viewer a really good idea of the setting.

Medium shot - Usually a closer up view than the establishing shot. Street scenes can be taken with any lens ranging from a wide angle, standard to slight telephoto lenses. I like using my 16-35mm and 70-200mm to capture these types of images.

Close-up shot – Are often pictures that show storytelling details, such as faces, hands, signage, architectural details, food, drink, and artwork.

Point of view shot – Are shots taken from the angle of a participant in an event or action, such as soldier’s view of the battlefield. The POV shots are more of a moving-picture technique than a still-photo, but you can make exciting POV shots by using unusual viewpoints like very high or low angles.

Look for different angles to photograph from. There’s no rule that says everything must be shot from the eye level, so shoot the same subject from low to high angles, even at ground level sitting on your butt, kneeling or laying on your stomach. Each angle will give you a different prospective of the scene.

Every time you set out to photograph a situation, be it a street fair, a market or a walk about through the countryside, keep in mind this mix of shots. Each is important, if you take all establishing shots or all close-ups, you’ll loose the attention of your viewers. In everything you cover, get the establishing shots, the medium shots, detail and close-ups, and if possible the POV shot.

One thing I’ve learned from years of picture taking is “Dare to be different!” All rules of photographic composition can be broken. Break all the rules, be creative, shoot your pictures from the heart and you’ll stand out from the rest.

Seeing in details

Over the years, photojournalists reach a point where they refine their personal approach to shooting skills. Each approach is different, but most of whom I have talked too all agrees that the basis of such a visual approach is the trained ability to see everything in great detail.

The late Frank Hoy, who I had as an instructor at the Newhouse School of Public Communications at Syracuse University and who later taught at Arizona State University, taught his students an exercise in detailed seeing called the EDFAT – Entire, Details, Frame, Angles, and Time, a method that allows you to fine-tune your photographic seeing.

This approach works as well with things as well as people. EDFAT will help you explore the familiar as if it was a brand new subject.

For a start, organize your seeing in terms of using three categories: the establishing shot, the medium shot, and the close up. Apply this approach to everything you see.

The old saying, “what you see you can photograph” only applies to someone who sees in detail. So take the time to make a short field trip as a practical test method. Sling your camera on your shoulder and carry it with you while you learn to see deeply and in detail during a short walking tour in an area where there are a lot of people.

As a photojournalist you will constantly deal with strangers, so your subject should be someone unknown. Approach the subject and introduce yourself. Explain what you want: A complete portrait of them based on shooting many photographs. You’ll be surprised on just how cooperative most people are when you explain your needs. When the subject agrees to be photograph, move back to about 15 feet and start shooting.

ENTIRE: From 15 feet away, focus on the entire person as part of the environment and shoot one or two horizontal shots. Turn the camera to a vertical position and shoot two more. Move around the person and compose each shot differently in some strong composition. Don’t place the person in the center of the frame. While shooting, explore the person through your lens. Move in and from about 10 feet away, repeat the procedure. Then move in to about 7 feet and repeat your shooting process.

DETAILS: Now from 5 feet away search for details of the person now you are long longer photographing a person in relation to a large background, but you are making a portrait. So concentrate from the waist up. Shoot two horizontal frames and then to vertical frames. In doing this, you are framing the person in relation to the edge of your photograph and are now exploring the composition possibilities that come to mind. Use feet, books, boots, a hat, hair, eyes, and even the background elements to compose a variety of photographs: no two shots should be the same. Talk with the person as you shoot. Get to know the person’s background and personality. Soon they won’t be a subject anymore, but an interesting individual.

ANGLES: What would this person look like from a different angle? If you had taken all your shots so far from eye level and straight ahead, now take shots from the left and then right, from both high and low angles. Look for something to stand on, or even sit on your butt to get an especially low angle.

Now move in really close, to the shortest focal distance your lens with focus. Study the details on the subjects face. Concentrate on photographing a shot with just the eyes, nose, lips and hair and features of the face. At this close distance they are your material for a close-up. Remember to shoot both horizontal and vertical shots. Try to get your subjects hands in the photo, perhaps close to the face to frame it. By now you are working with you’re subject to get a character study, or what is called a personality portrait.

TIME: During this shooting exercise, you have been using the fifth element of EDFAT – time – in two ways: first as a series of shutter speeds to capture the action and second, as a span of time that allows you to explore in full details many visual possibilities of a single subject.

More importantly, you have introduced yourself to a way to be photographically perceptive.