Gear recommendations for Spring Sports like Soccer

Nikon D5, Sigma 120-300mm ƒ/2.8 DG OS HSM S, Sigma TC-2001 2x, ISO 5600, ƒ/5.6, 1/4000

The teams are practicing now for Spring soccer and baseball. Here are some tips for getting those action shots for soccer.

You need the right gear to get those peak action shots. Your camera phone is just not going to cut it.

For a majority of your action shots you will need a lens that will bring that action close to you. I recommend a lens that covers the 300mm to 600mm lens range.

Here is what I use:

Sigma 120-300mm ƒ/2.8 DG OS HSM S

I also use the 1.4 or 2x converter with it.

Sigma TC-1401 1.4x & Sigma TC-2001 2x

This lets me get close to the action.

Nikon D5, Sigma 120-300mm ƒ/2.8 DG OS HSM S, Sigma TC-2001 2x, ISO 9000, ƒ/5.6, 1/4000

Now there are less expensive choices for you to use. I would recommend for the Sigma 150-600mm. It comes in two versions a contemporary and sports version. If you are a heavy user you would want the sports version.

You just need to pair these lenses with a good camera body. You can use DSLR and mirrorless cameras to capture the action.

Nikon D5, Sigma 120-300mm ƒ/2.8 DG OS HSM S, Sigma TC-2001 2x, ISO 900, ƒ/5.6, 1/4000

I like to shoot at a high shutter speed of 1/4000. This lets me freeze the action which makes the photos even sharper. I also like shooting wide open aperture to keep a shallow depth-of-field.

Nikon D5, Sigma 120-300mm ƒ/2.8 DG OS HSM S, Sigma TC-2001 2x, ISO 1600, ƒ/5.6, 1/4000

Now when I was buying my lens Nikon had not made the 200-500mm which is selling today for about $1250.

These lenses let you shoot from the end zones. I like to be not far from the net capturing the players faces as they move closer to the goal and defend the goal as well.

Many people try to shoot this action with a 70-200mm lenses, but they are not not long enough for soccer. They work ok as the action gets really close to the goal, but you need to be close to that goal as well.

Let me just say that all of these lenses paired with the latest camera bodies of the major camera manufacturers will give you incredible results.

Here are some features that I would compare with camera bodies.

1. ISO – I recommend cameras with high ISO of 12,800 or higher
2. Shutter Speed – you need to be shooting at 1/1000 or faster.
3. Motor Drive – I would recommend 5+ per second
4. Buffer – The higher the better. The Nikon D500 and D5 have buffer of 200 shooting RAW.

For shooting sports I believe that the Nikon D5 is in a class all it's own. If you don't want to shell out $6,500 then seriously look at the Nikon D500 for $2,000.

While I say all the time it is the photographer and not the gear that determines a good photo–with sports you do need some long glass or you just cannot capture the action.

Treat your Camera like a Pen and you will get better photos!

Nikon D5, Sigma 35mm ƒ/1.4 DG Art, ISO 1400, ƒ/1.4, 1/200

If photographers would take photos the way they write all of their photos would most likely be ten times better in quality.

So many people just pick up their camera and point and shoot. Just try and do that with writing. Go ahead and try it. Pick up the pencil or pen and just write.

Nikon D5, Sigma 24-105mm f/4 DG OS HSM Art, ISO 8000, ƒ/4, 1/100

For those of you who use the methodology of "Spray & Pray" how is that working for you? Your percentage of a photo you like is probably better than just clicking one time and moving on.

Fujifilm X-E2, Fuji XF 18-55mm, ISO 320, ƒ/4, 1/100

The famous photographer Ansel Adams first chapter in his very first book was about the concept of previsualization in photography is where the photographer can see the final print before the image has been captured. Adams is often quoted as saying “Visualization is the single most important factor in photography”.

Adams was referring to not just what was in front of the camera, but rather his interpretation of what was in front of him all the way to the print before he clicked the shutter.

The reason most photographers are not producing work like Ansel Adams is because very few have taken the time to think about what they are trying to capture and say with their photos.

Previsualization is applied to techniques such as storyboarding, either in the form of charcoal drawn sketches or in digital technology in the planning and conceptualization of movie scenery make up.

The advantage of previsualization is that it allows a director, cinematographer or VFX Supervisor to experiment with different staging and art direction options—such as lighting, camera placement and movement, stage direction and editing—without having to incur the costs of actual production. On larger budget project, the directors work with actors in visual effects department or dedicated rooms.

At the Warner Bros. Studio Tour London they have displayed the sketches which then are turned into models like here.

After they have done this then they make the actual set that will be used in the movie as you see here for Diagon Alley.

Now compare this set to the street of Cecil Court that most likely inspired J. K. Rowling for Diagon Alley.

This is why Harry Potter the movie is a little more exciting than the just point and shoot of the tourist that I was on Cecil Court. The street has been the inspiration and then the artists create their vision of what they want to use to convey a mood for a story.

Nikon D5, Sigma 120-300mm ƒ/2.8 DG OS HSM S, Sigma TC-2001 2x, ISO 40000, ƒ/5.6, 1/4000

Even in sports the creative photographer is anticipating. I am down field waiting for the action to come to me. I have thought about where I need to be and what I want to capture.

TIP FOR BETTER PHOTOS!

Treat the camera like the pen. Before picking it up and putting it to your eye have some idea of the sentence you are going to write. If you don't you will have only gibberish and that is why your photos don't work. You didn't know why you took the photo and no one else will either.

Take this one step further and have in your mind the caption that will accompany that photograph as well. This will help you know what you are trying to say with your photo.

Some of my favorite Sports photos

Nikon D3, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 1000, ƒ/8, 1/2000

I just thought I would share some of my favorite sports images that I now have in my most recent "Sports Portfolio."

This first photo is of Kerri Walsh spikes the volleyball against Jenny Krop & teammate Nancy Mason in the 3rd round of the Women's $100,000 AVP Crocs Tour at Atlantic Station in Atlanta.

Nikon D5, Sigma 120-300mm ƒ/2.8 DG OS HSM S, Sigma TC-2001 2x, ISO 36000, ƒ/5.6, 1/4000

Georgia Bulldog's #2 Defensive Back Maurice Smith breaks up the pass to North Carolina Tarheel's #3 Ryan Switzer in their win over UNC 33 to 24 during the Chick-fil-A Kickoff game at the Georgia Dome.

What I love about the photo is there is an anticipation of the big play and we see both the offense and defense in a very competitive and athletic moment. Both players appear to be giving it their all in the moment.

Nikon D5, Sigma 120-300mm ƒ/2.8 DG OS HSM S, Sigma TC-2001 2x, ISO 45600, ƒ/5.6, 1/4000

Georgia Bulldog's Freshman Running Back #35 Brian Herrien Scores his very first collegiate touch down while UNC's Safety #15 Donnie Miles was unable to stop him during tonights Chick-fil-A Kickoff Game at the Georgia Dome.

I love the effort made by both the teams in the moment of competition. This is what the game is all about, getting a touchdown and defending all wrapped up in a split second.

Nikon D100, Sigma 120-300 mm f/2.8 DG EX APO IF HSM, ISO 1600, ƒ/2.8, 1/350

Jaron Nunnemaker attempts to ride Hot Rod during the 2004 RBR Atlanta Classic at the Georgia Dome.

Bull Riding is the wildest and most dangerous event in rodeo. In the American tradition the rider must stay atop the bucking bull for eight full seconds to count as a qualified ride. The rider tightly fastens one hand to the bull with a long braided rope. It is a risky sport and has been called "the most dangerous eight seconds in sports."

Nikon D5, Sigma 120-300mm ƒ/2.8 DG OS HSM | S, ISO 64000, ƒ/2.8, 1/2000

The bulls are rated and even more famous in many ways than the cowboys who ride them. This bull here had 27 consecutive buck offs, now that is 28. A cowboy must stay on the bull 8 seconds for the ride to count. Then they get a score which takes into account the bull they are riding.

Nikon D5, Sigma 120-300mm ƒ/2.8 DG OS HSM | S, ISO 64000, ƒ/2.8, 1/2000

Every once in a while when a bull is determined unrideable the Professional Bull Riders Association has a million dollar ride. At $125,000 per second, this bonus ride is offering one of the largest payouts any athlete has ever received for the amount of time they are required to compete. In comparison, Dallas Cowboys quarterback Tony Romo received roughly $12 million dollars to play in 15 NFL games in 2013.  At 54,000 seconds per season, it took Romo 4,500 seconds to make $1 million.

Nikon D100, Sigma 15-30mm, ISO 400, ƒ/6.7, 1/180

Georgia Tech's #1 B. J. Elder lays up and passes Duke's #2 Luol Deng during second half play at the Alexander Memorial Coliseum in Atlanta, Georgia.

I love basketball and for those teams that take it to the net this is my favorite place to photograph. You get to see the effort in the face expressions and how close they are to either making the basket or defending it.

Nikon D100, Nikon 24-120mm ƒ/3.5-5.6, ISO 400, ƒ/6.7, 1/180

Georgia Tech's #2 Isma'il Muhammad slams one early over NC State's #11 Gavin Grant during play at the Alexander Memorial Coliseum in Atlanta, Georgia.

This is one of those photos most players either love or hate. Love that Isma'l flew over the NC State player Gavin for a slam. It made the ESPN highlights during that week and was played over and over. When Isma'l graduated the coach had a large print made and gave it to him.

Nikon D2X, Sigma 120-300 mm f/2.8 DG EX APO IF HSM, Sigma 2x, ISO 400, ƒ/5.6, 1/3000

Mike Trapani is chased down by Chris Campbell  and finally tagged out by Nick Chigges  of the College of Charleston during play at the Russ Chandler Stadium in Atlanta, Georgia.

I love the steal in baseball and if I am in the right position as here can capture the effort of both offense and defense as they both are trying to advance a base or stop it.

Nikon D2X, Nikon 24-120mm ƒ/3.5-5.6,  ISO 100, ƒ/16, 1/200–[6] Alienbees B1600

Sometimes my favorite moments were when I made the team photo that would help sell tickets for the season. Seeing this photo on the side of buses around town to promote Calvin Johnson and the rest of the Georgia Tech Yellow Jackets 2006 season was a pleasure.

Hope you enjoyed some of the moments in sports of mine through the years.

Nikon D5 comparing ISO 800 to 66535

Nikon D5, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 800, ƒ/11, 1/200–4 - Alienbees B1600 w/45º reflectors, PocketWizard Plus 

I shot this group photo of 400 musicians and to get the most even light I ended up bouncing 4–Alienbees B1600 strobes with 45º reflectors bouncing off the ceiling. I also used the ExpoDisc to get a custom white balance.

This is pretty heavy crop of the above photo.

Nikon D5, Sigma 35mm ƒ/1.4 DG Art, ISO 7200, ƒ/5, 1/200

Now this is a performance shot with available light. If you notice the light on the orchestra at the bottom wasn't very even and this is why I shot with strobes rather than using available light for the group photo.

Now just to give you an idea of how good ISO 7200 looks here is a enlargement of similar size to the first photo.

Pretty awesome if I say so myself.

Nikon D5, Sigma 120-300mm ƒ/2.8 DG OS HSM S, Sigma TC-2001 2x, ISO 66535, ƒ/5.6, 1/200

I was blown away with the ISO 66535 quality of the french horn player.

Are your stories or visuals just flat?

Fujifilm X-E2, Fuji XF 55-200mm, ISO 3200, ƒ/3.9, 1/70

Do your stories/photos just seem flat to you? I know many times after I have worked so hard on a story/photo I just feel like the results just were not capturing something, but what was I missing?

Now when I cover sports, which is really a short story, where the winning team must overcome obstacles, to win I can see the problem with a flat coverage. The teams just never really put forth the effort that visually showed greatness.

Nikon D4, Sigma 120-300mm ƒ/2.8 DG OS HSM S, Sigma TC-2001 2x, ISO 12800, ƒ/5.6, 1/2000

I have been having wonderful emails sent to me over the past couple weeks about my daughter’s performance as the witch in the musical Into the Woods. Now while I would be proud of her no matter what as her dad, I was really proud of her as an artist.

Nikon D5, Sigma 120-300mm ƒ/2.8 DG OS HSM S, Sigma TC-2001 2x, ISO 9000, ƒ/5.6, 1/400

Some of those emails started to capture the nuance that she was able to deliver in her performance. One person wrote that my daughter was “making the part your own, not a stereotype or a copy of another actor’s work, but an artful blending of jagged, mean, ugly, playful, quirky, needy, and finally, channeling the almighty in condemning flawed mankind to tend the garden alone.  Your character arc was spot on.”

So exactly what is a character arc? It is the transformation or inner journey of a character over the course of the story. While many things may happen to a character in a theater performance, unless those are portrayed in someway on the stage the audience isn’t allowed to experience those changes.

This is what I would like to say is often the missing secret ingredient to a compelling story.

Nikon D5, Sigma 120-300mm ƒ/2.8 DG OS HSM S, Sigma TC-2001 2x, ISO 1250, ƒ/5.6, 1/4000

When I work often with a NGO in telling their story I must interview a person about the before the climax of the story. I am most often telling a success story which means I have missed the opportunity to show this main character struggling.

What I can do and often do is have them tell me about what it was like before. I want them to articulate the struggle they experienced. After hearing this part of the interview I then can go and get b-roll of others also going through this. I should be able to find this because most NGOs are raising funds to help others like their success story.

Nikon D3s, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 2200, ƒ/5.6, 1/100

The main plot for most of these stories I am doing is that the main character is unable to overcome opposing forces, because they lack the skills, knowledge, resources or friends.

My audience is who I am appealing to be the ones who help with supplying the skills, knowledge, resources and being the friend to help other like this person to overcome their obstacles. It is imperative that I have done a good job of articulating why they cannot do it alone.

The last part of the story is showing the changes in the main subject. Today for example because of the changes they have gone through now their children can go to college and have a better life than the main subject.

The story is often flat because I have done a poor job of capturing the struggle and problems of the main character.

Don’t be the storyteller who only searches for those who take little effort on you to communicate their struggle. This is where you search for only stories that are often cliché. You find a person with major physical deformities to help you capture the struggle so you don’t have to work at it as hard.

Remember, everyone has a story, if we take the time to get to know them!

I shoot Theater–Who would have guessed that one?

Today it just struck me that I probably have enough content for a Theater category in my portfolio.

While I have been asked to shoot theater productions through the years it is when my daughter became really involved in theater that had me shooting a lot as just a proud dad.

Nikon D4, Sigma 24-105mm f/4 DG OS HSM Art Lens, ISO 2500, ƒ/6.3, 1/8000

This is her dressed up as the Witch in the play she is doing in a few weeks Into the Woods. By the way I must promote the musical and encourage you if you are in Roswell, GA to come to it. Here is link for it RHSIntoTheWoods.com.

Nikon D4, AF-S NIKKOR 28-300mm f/3.5-5.6G ED VR, ISO 6400, ƒ/5.6, 1/400

Now besides getting photos of the actual productions I am also doing headshots for the programs.

Having a consistent look for all the headshots makes a huge difference in the quality of the programs and promotional pieces.

Nikon D4, Nikon 85mm ƒ/1.8G, ISO 140, ƒ/1.8, 1/100

I try to capture some shots of the audience and overall stage at some point. Most of the time I concentrate on the actors as I did in the performance of Steel Magnolias.

Nikon D4, Sigma 120-300mm ƒ/2.8 DG OS HSM S, 2x, ISO 1100, ƒ/5.6, 1/100

I am using my Sigma 120-300mm ƒ/2.8 DG OS HSM S with a 2X converter to shoot these from the very back of the auditorium.

Fujifilm X-E2, FUJINON XF 55-200mm, ISO 6400, ƒ/4, 1/420

I even have the opportunity to work with professional companies like Georgia Ensemble Theater, which is conveniently near my home in Roswell, GA.

Access & Interest

What often will make up your portfolio is things you shoot because you have access and a genuine interest. I not only wanted good photos of my daughter in these performances I knew I would be judged by parents and the theater companies about my work. 

They knew I was a professional photographer and I had to deliver. Well for the most part everywhere I am shooting I am getting consistently the best images of the productions that they have ever seen. How do I know? They are telling me. 

I have been doing headshots for actors for many years, but now taking more interest beyond just the headshots and the productions. I am now very interested in helping with the marketing of these plays.

I helped by shooting the promotion photo and created the banner for Into The Woods musical at Roswell High School.

I knew we were onto something when we were shooting the photos. We could not tell anyone what we were doing before February 22 this year, because of contract. We could post the photo. 

I teased folks with the photo and asked them what musical they think they are doing?

Pretty much everyone guessed it. That is when you know people driving by and see a banner or see the posters in stores around town will know instantly what they were doing.

With Atlanta growing in theater and TV productions I guess this might just be a good category to toss my hat into.

Same lens but different perspective can engage your audience

Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 5600, ƒ/5.6, 1/100

Same lens and a different perspective can change a photo's impact on a audience.

Nikon D4, AF-S NIKKOR 14-24mm f/2.8G ED, ISO 5000, ƒ/5.6, 1/100

Here is a clue to your photos having more impact. Find a perspective that the audience either rarely will see or has access to seeing.

Nikon D750, Sigma 24-105mm f/4 DG OS HSM Art Lens, ISO 400, ƒ/4, 1/100

How often does the audience ever get to see the coin used in the coin toss to start the football game? It is even more rare for them to see the Chick-fil-A Peach Bowl coin.

Nikon D750, Sigma 24-105mm f/4 DG OS HSM Art Lens, ISO 450, ƒ/4, 1/100

You are probably curious as to what is on the other side once you see the coin.

Nikon D4, Sigma 120-300mm ƒ/2.8 DG OS HSM S, Sigma TC-2001 2x, ISO 9000, ƒ/5.6, 1/2000

Using really long glass like this 600mm ƒ/5.6 allows you to help isolate the flute player in the pregame show. Even if you were at the game you most likely never will see this except if the television captures it and puts it on the jumbotron.

Nikon D4, Sigma 120-300mm ƒ/2.8 DG OS HSM S, ISO 12800, ƒ/5.6, 1/1000

I had to share this photo because that is former player for East Carolina University Pirates Jeff Blake and the famous coach Lou Holtz who were both honored as inductees into the College Football Hall of Fame. My alma mater is ECU.

Now many of the other photos I shot from a kneeling position in the end zone. Here are some for you to see.

Nikon D4, Sigma 120-300mm ƒ/2.8 DG OS HSM S, Sigma TC-2001 2x, ISO 12800, ƒ/5.6, 1/1000

Nikon D4, Sigma 120-300mm ƒ/2.8 DG OS HSM S, ISO 12800, ƒ/5.6, 1/1600

Nikon D4, Sigma 120-300mm ƒ/2.8 DG OS HSM S, Sigma TC-2001 2x, ISO 12800, ƒ/5.6, 1/1250

Nikon D4, Sigma 120-300mm ƒ/2.8 DG OS HSM S, Sigma TC-2001 2x, ISO 12800, ƒ/5.6, 1/1000

Nikon D4, Sigma 120-300mm ƒ/2.8 DG OS HSM S, Sigma TC-2001 2x, ISO 12800, ƒ/5.6, 1/2000

Nikon D4, Sigma 120-300mm ƒ/2.8 DG OS HSM S, Sigma TC-2001 2x, ISO 12800, ƒ/5.6, 1/1250

Nikon D4, Sigma 120-300mm ƒ/2.8 DG OS HSM S, ISO 12800, ƒ/5.6, 1/2000

These are all from a perspective that even in the stands you cannot get to see. So even those in the stands would want to see these later and therefore giving these photos more value.

Now remember those first two photos in this post. What if I shot the same lens from a different perspective?

Nikon D4, Sigma 120-300mm ƒ/2.8 DG OS HSM S, Sigma TC-2001 2x, ISO 12800, ƒ/5.6, 1/1250

Nikon D4, Sigma 120-300mm ƒ/2.8 DG OS HSM S, Sigma TC-2001 2x, ISO 12800, ƒ/5.6, 1/2000

Nikon D4, Sigma 120-300mm ƒ/2.8 DG OS HSM S, Sigma TC-2001 2x, ISO 12800, ƒ/5.6, 1/1600

Nikon D4, Sigma 120-300mm ƒ/2.8 DG OS HSM S, Sigma TC-2001 2x, ISO 12800, ƒ/5.6, 1/1000

Now if you were at the game and had binoculars you might could have seen this perspective. If you were at home watching the game on TV you might have seen this perspective. But many of the online galleries forget to show this perspective.

Tip

Look for a different perspective and then look for another one and so on until you have a more well rounded coverage of the event.