Life on the sidelines of a college football game

Nikon D4, 300mm, ƒ/3.5, ISO 8000, 1/2000

This is a taste of what it is like to be on the sidelines of a football game.

As you can see in the photo above all the photographers are there getting the shot right in front of them. Hopefully you are noticing my shot of the action is not so good. I am all the way on the other side of the field shooting with a 300mm ƒ/2.8 lens.

As you can see it isn't that I missed the moment, I was not in the best position for the play.  This is why most major outlets like Sports Illustrated, Associated Press and some major newspapers will have more than one photographer at a game.  They can position on opposite sides of the field to improve the odds of having the play covered.

Here you can see the same play and moment, but this was captured by another photographer who was in a better position than me.  This is why having more than one photographer covering an event is important. (photo by: Greg Thompson)

Photo Assistants

Daniel Shirey has a photo assistant working with him during the game.

The photo assistant during the football game is an extra set of eyes and ears for the photographer. They also help carry the gear and give it to the photographer as they need it.

They will also know the shot list of the photographer and help them point out when certain things are just about to come up or are now happening. They watch also for players just about to run over the photographer to help them get out of the way.

I have noticed that most of the time the videographers are standing while a good number of the photographers are on their knees. If you look closely you will see knee pads on many of the photographers.  This help protect the knees and help the photographers stay on them longer due to the cushions.

Standing vs Kneeling

Nikon D4, 500mm, ISO 12,800, ƒ/6.3, 1/2000

This photo of the NC State player shows a shot from standing.  As you can see there is a slightly downward look towards the field.

Nikon D4, 150mm, ISO 8000, ƒ/5, 1/2000

 If you look closely you will notice the camera is below eye level of the players.  I am shooting more up and towards the players.  The advantage here is you make the players bigger and more heroic than when you shoot from standing up.

Pay attention to your backgrounds and try to keep them clean. Shoot low to the ground as often as you can and keep that shutter speed really fast. I am using 1/2000 for the shutter speed to not only stop the action, but it improves the sharpness of the players.

Ways to learn photography

There are many ways to learn about photography. My recommendation is to try them all and learn from each one. These are some ways to get to see a pro work and learn from them.

I walked around for a while with Justin Veneman while he was shooting in Fort Worth, Texas. I enjoyed shadowing Justin. (Nikon D3S, ISO 12,800, f/5.6, 1/250, 28-300mm)

Shadow

When you ask a photographer if you can shadow them or they offer you need to understand etiquette of the role. You are there to observe. Your role is not to be shooting, because when you ae shooting you are no longer observing.

You may help a photographer by asking if you can carry anything. You can also help by letting them know if a flash isn't working, but whenever you do this you need to do so discretely. I would whisper rather than pointing this out in front of a client.

In general you are to stay out of the way and take this time to watch how the photographer works. It is best if you schedule time later to ask the photographer questions rather than during the photo shoot. Carry a small notepad and write down questions you have that you can go over at a later time.

A photographer has a great deal on their mind and many responsibilities when they are working. Respect their role and when you offer help pay close attention to if just the offer of helping is being a nuisance.

One of my good friends is Bill Bangham who likes to shoot with his Leica. He likes to be as invisible as possible when he shoots. (Nikon D3S, ISO 200, f/5.6, 1/640, 28-300mm)

Photo Assistant

A good photo assistant anticipates the needs of the photographer. There are many people in the industry who would prefer this role over being the photographer.

The primary role of the photo assistant is to lighten the load of the photographer. Photo assistants do not shoot. They help by being a Sherpa, extra set of eyes, runner, and anything else the photographer needs during a photo shoot.

The assistant is primarily responsible for all the equipment. They need to unpack and repack the camera bags, lighting kits, cables, computers and everything needed for the photo assignment.

Photo assistants helping in getting model releases on many jobs.

Photo assistants role is to tell the photographer when something is not working. A flash can fail and the assistant must tell the photographer.

Scott Kelby waits for a good moment during the cattle drive in the Fort Worth Stockyards. I think it is cool he is using the same camera and lens I like to use and after talking with Scott he had similar reason for choosing it. It gives a good range, so less changing of lenses and it is sharp. (Nikon D3S, ISO 200, f/5.6, 1/500, 28-300mm)

Second Shooter

A second shooter often serves as a photo assistant who shoots photos.
Second shooters generally do not own the copyright to the photos. You will see second shooters used in weddings and events primarily.

The second shooter compliments the photographer. Most of the time you are not shooting the same things, but sometimes on very critical shots the photographer may ask the second shooter to shoot the exact same shot because this will serve as an emergency backup.

Second photographers never hand out their business cards or talk to the photographers client about doing work on the side. This is not just wrong if this is discovered you are doing this you may be blackballed in the industry.

If a client asks you directly, always reply that if they need help in the future to contact the photographer and he/she can reach you.

A student gets Scott Kelby to review his work at the Southwestern Photojournalism Conference.  This is another great way to learn. Show your wok and get it critiqued. (Nikon D3S, ISO 12,800, f/5.6, 1/250, 28-300mm)

Assistant

You can also just be a general assistant. The major difference between the photo assistant is most assistants do not know photography well enough to do this role. However, a good assistant can be just as valuable to a photographer.

Like a good host you make sure the client is comfortable and the photographer is serviced as well. You may handle model releases, help get snacks or lunch for the crew. You may run errands like picking up props, picking up clients or talent.

I like to use assistants who just understand good hospitality. My favorite assistants can talk with a client to keep them from distracting me when I am trying to solve problems that arise. Great assistants are gifted in knowing when to jump in and when to stay out.

You may have gifts already that could make you valuable to a photographer. In any of these roles you will be able to observe and learn. Almost every successful photographer has done one if not all of these roles before they became a full time professional photographer.

After watching my friend Jim Veneman pull out his Nikon Coolpix P7000 and get some shots, I had to get one myself. (Nikon D3S, ISO 200, f/5.6, 1/1250, 28-300mm)

Most all of my friends who are full time pros enjoy working with other professional photographers occassionally in one of these roles. The reason is simple, they like learning something new.

They learn how another photographer works and they learn about the other roles. I am a better photographer today because I have learned how to better work with my team. I am also sure that I could still do a better job and always like learning from other photographers.