Shooting night football used to be a serious test of your skills when I began working as a newspaper photographer. The fields were dark as hell, you didn’t have a long telephoto lens to really cover the sport and the film was just too damn slow.

Back then, we shot Kodak Tri-X (iso 400) and over developed it to make us believe we were shooting at iso 1600. How did it look? If you did everything right and got lucky then it only looked bad but often it looked just plain horrible. When you arrived at the game and saw one team was wearing black uniforms you knew it was going to be a tough night. The film when underexposed and over developed (what we called pushing the film) could not hold detail in the black helmets and it would “disappear” when the player was in front of a dark background. Using this film at 1600 controlled your maximum shutter speed. If you could only shoot at iso 1600, then your shutter speed would fall around 1/250 or even 1/125th of a second. Good sports shooters know you need 1/500th to begin to freeze the action. The result of those slow shutter speeds gave you lots of film that was unusable because of motion blur from the players running down the field.

Watch the video to fast-forward yourself a couple of decades. I recently used a Nikon D3s and 200-400mm zoom lens to shoot at a super dark field and the results really really blew me away. I sent samples to a bunch of my photographer buddies and as one said–“It just shouldn’t look this good”

TPC
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The Picture Coach talks shooting night football and the Nikon D3s from Scott Robinson on Vimeo.

I was watching the Kentucky Derby on Saturday and had one of those “Glad I wasn’t there” moments. It had rained all day in Louisville and
the total rainfall was nearly three inches. Having covered the race a few times I knew the conditions would totally suck for the shooters
but extreme conditions sometimes make for dramatic pictures.

The next morning when I picked up my New York Times I was not disappointed. The Times ran a race photo the full width of the sports
front page and it looked great. The way the horses were bunched up in the shot I figured it was turn fourth and they were all covered with
mud. To make it even better, like taking a cue from a high-powered movie director, the sun popped out right before the big race and the
bright sun added enough contrast to the scene that the photos really snapped.

Heavy responsibilities come with being “The Picture Coach” and when I saw that photo I knew I needed to track down the photographer for a
little — “How’d ya do it

Enter Rob Carr, a staff photographer for the Associated Press based in Baltimore, MD.

The Picture Coach-Rob, thanks for taking the time to answer a few questions. Tell us a little about yourself and your history with the
Kentucky Derby.

Rob Carr– I grew up in Kentucky, went to school at Eastern Kentucky University and worked all over the state. This was my 21st year
shooting the Derby.

TPC- At a big event like this, how many photographers did the AP have covering the race?

RC– The AP had 7 staff photographers covering the race along with several freelancer photographers positioned along the track.

TPC-Where did you position yourself for this race and what were the conditions with all that rain.

RC– While I’ve shot the race from just about every position on the track, including the 2000 Derby from a helicopter, I always love
shooting the fourth turn because that is usually where the race is won, or lost.

This year I decided to move back out of the turn a bit more to get more of the horses as they came out the turn.

While it rained most the day, we got lucky about 45 minutes before post as the rained stopped and for the first time the sun popped out
long enough for some nice evening light to begin streaming across the track. A welcome relief to trying to keep camera’s dry all day but a
rush to change the ISO on all the remote cameras before the race started.

TPC-What gear did you use for the race?

RC– I shot the above photo with a Canon MKIV with a 500mm f-4 Canon lens and I also had three remotes mounted to the starting gate, a
16-35mm over the 1 slot, along with a 15mm fisheye on 5DMKII as well as a Sigma 8.5 fisheye on another 5D MKII.

TPC-Great stuff Rob, thanks again.

“Learning to Shoot Football Like a Pro” from Scott Robinson on Vimeo.

Let’s talk football. Professional football. WOMENS profession football. Last year I brought a few of my students to the sidelines of a DC Diva’s football game. Like a mother hen, I stood right beside them, offering suggestions to improve their action photography. Check out the above video to see The Picture Coach in action. The results were great and I wanted to do it again this year but just like those TV offers –I’ve added one more thing. I’ve added a session before the game to shoot portraits of a few players.

Mark the night of May 22nd on your calendar. We’re still going to shoot game action from the sidelines just like last year (for the first 10 people to sign up). In advance of the game, I’ll bring in a truckload of gear to prepare a different lighting setup for each player. For example, I might have the first player standing in front of a white seamless with a ring light for her face and use some hard light from each side to really define her jersey and shoulder pads. (Yes, they were shoulder pads just like the big-boys!)

All you have to do is sync your camera with the flash and start making pictures. The cost is $85.00.

Send me an email with questions or to sign up for the workshop–scott@scottrobinsonphoto.com

John Matthews had shot a few games before attending the first “Learn to Shoot Football Like a Pro” workshop. For last years game I rented a 300mm 2.8 lens from my good friends at Penn Camera, here in the DC area. John shot the whole game with that lens and never looked back. I love this shot that John made using the 300mm’s narrow depth of field. The light was great and your attention is just drawn to the player’s right eye.

In this picture, John has great timing. Normally, a quarterback handing off the ball is not a great shot but this one works because the defensive player is right on top of the QB. A split second before or after and this shot would be in the trash.

Here is another great example of what the 300mm 2.8 lens does best. By using the lens at 2.8, the narrow depth of field makes for a very clean background. By wisely shooting from the end zone (guess who suggested that?) you don’t have grandstands or together distracting elements to clutter up your photo. Again, good timing comes into play. The clean view of the players face, the way the ball is being help and her hand on the other players faces mast all combine for a very solid action shot.

I was heading out to my daughters lacrosse game and noticed how great the light was and just hoped it held until game time. After years of covering sports for a living, sitting in the stands seems odd plus I still enjoy being on the field.

Some days all the stars align correctly and you get lucky. The late afternoon light was so good it almost made me think I was standing on the set of a Hollywood movie. I’ve found the best way to really show off great light is to combine it with a dark background. I got extra lucky at this game because there was a navy blue wall at one end of the field, which would help created a dramatic photo.

My good luck continued when the visiting team ran onto the field wearing these bright red jerseys. With all this going for me, “all I need to do” was make a nice photo. With lacrosse, there is action all over the field but I tried to keep my focus on the area with the dark background. I was not covering this game for a client so I could make up my own rules. For me, rule #1 was to walk away with a dramatic and colorful image.

Let’s break down this picture so you can see how I did it:

The metadata panel shows how the camera is set for the above photo. I was using the 300mm F4 lens and set the f-stop to it’s most wide open setting and the fastest shutter speed (1/640th). I normally set the camera to aperture value but in this case I was using manual exposure.

Here is what the “whole frame” looks like before I cropped it. Even with a 300mm lens you still can be too loose when shooting sports. One of the advantages of a large file size (my camera has a 16 meg sensor) is that you can do a major crop like this one and still have plenty of image left to work with.

The Picture Coach– “What’s your day job”
Michael Gan– I’m a labor and employment lawyer in my twentieth year of practice. I represent labor unions and employees in a variety of contract matters. My work takes me all over the country. I’ve been to every state in the U.S., except for Alaska

TPC–In you day job, is there any chance to use your photography skills?
MG–I wish there were. I do make training films every year and we have really upgraded our efforts in the video department. We bought two Canon HD video cameras two years ago. The end product is pretty impressive for a bunch of lawyers. I like to shoot tight shots of our subjects, try never to put them in the center of the frame, and generally try to keep it interesting. In our last film, I sat on the floor to capture the conversation of two people talking “above” me. It was an unexpected vantage point and worked especially well. I would not have tried that had I not taken still pictures like that before.

TPC–When did you first start shooting?
MG–I was probably in third or fourth grade when I started taking pictures with a Kodak Instamatic. I grew up in Los Angeles and used to take it to LA Dodger games and shoot from the second deck. I never quite understood why the players came out looking like ants.

TPC–Tell us about your early days with a camera?
MG–After the Instamatic, I upgraded to the Minolta XG 7 and began taking lots of pictures and getting them developed at Fotomat. I didn’t have a real focus to my photography – I just liked experimenting. I had to be careful because I didn’t have any darkroom skills and getting the film developed was super expensive so I experimented in a controlled way. If we had digital cameras back then I probably would have shot a thousand frames a month. Several years later, I inherited my grandfather’s Nikkormat FT with a bunch of interchangeable lenses and filters and realized what the possibilities were.

TPC–Any awards or anything you remember about those early years
MG–I did not enter any competitions but was the sports editor of my high school newspaper. We had several staff photographers so I became a photo editor early on. One kid was terrific but the others weren’t great. They didn’t understand why their images rarely appeared in the paper. That experience helped me hone my own photography skills, which were still pretty raw.

TPC–What was the single thing that attracted you to photography in those early days
MG–I suppose initially it was capturing moments in people’s lives or places we visited but then I started to enjoy the creativity that was basically built-in to the camera. You could change a setting here or there and get a totally different image.

TPC–Currently, how often do you get to pickup the camera and shoot?
MG–In the summer when I tend to have more time I shoot three times a week. The rest of the year it is probably closer to once a week.

TPC–Do you have a favorite subject?
MG– I love to shoot swimming – not just because my kids are competitive swimmers but because the water often adds something very special to the picture.

TPC–What the next piece of gear you’d like to buy?
MG–I’m about to purchase a Canon 7D. I could use more frames/second because I often shoot sports (I have a 30D now) but what I really look forward to is using the 7D to shoot HD video. I know the learning curve will be high but I have seen some incredible projects filmed on the 7D. I also wouldn’t mind a Canon 300mm, f2.8 but it would bust my budget. I can’t justify a Canon 15mm fisheye either. I know I would have little use for it. Finally, I have my eyes on an underwater housing that would enable me to produce images from the bottom of a swimming pool. That is definitely on my wish list.

TPC–Mr. Mega-millions drops my your house and leaves you a rather large present. You can say good-bye to the day job. You are now a full time photographer and able to go and do anything. What kind of pictures would you be making?
MG–I would travel far and wide spending time at various World Championship and Olympic competitions shooting swimming, track and field, and skiing. I would raft down the Colorado River making pictures along the way and I might even try shooting surfing from the water. After I got that out of my system, I would try my hand working for a major news outlet. I don’t know what it’s like to shoot on deadline or without much, if any, advance planning. Many photographers might gravitate away from that kind of work but I know I would find it exciting and challenging.

TPC–Let’s talk about any photo heroes you might have. Who’s work do you admire and why.
MG–I am a huge fan of Donald Miralle (http://www.donaldmiralle.com ) and Al Bello ( http://www.albello.com ). They both bring incredible creativity to quite ordinary moments. They shoot from neat angles, use color in ways I wish I would have thought of, and make old subjects look new and different. They seem to have incredible access to whatever sporting event they are covering.

TPC–Tell us about your favorite photo. What does it look like, where did you take it, how does it make you feel and what equipment did you use.
MG–It is hard to single out one photo but one of my favorites was taken several years ago at our neighborhood pool. It is a picture of four boys standing shoulder to shoulder at the end of a swim meet. I didn’t tell them how to pose but the way they stood there in absolutely perfect light made me think of Life magazine circa 1965. The expressions are great, the background is clean, and the image looks great enlarged to 16×20. It’s framed and hanging in my den.

TPC—Michael’s timing was perfect as he captured the swimmer at the moment they broke the surface of the water. As with all good sports photos—timing, timing, timing.

TPC—I worked with Michael last summer to create a camera mount so he could shoot straight down on the swimmers. He attached the camera to a diving board and used a long shutter release to fire the camera. There was no way of really knowing what the camera was seeing but he managed again to get a great moment.

TPC—This head-on shot of a swimmer doing the butterfly stroke is kind of a staple of swimming photography but trust me it is not as easy as it may look. Michael has a ton of these shots but I picked this one because it’s super sharp and I love the reflection in the water. The fact that it’s his son is an added bonus for me.

Where would you look for a photo?

In the photo department, I had access to every lens from a 15mm wide angle to super telephotos. It was easy to just load up your camera bag with one of everything and start driving. You gotta see something, right? One of the ways I used to stay fresh and find interesting pictures was a “less is more” strategy. I’d edit the gear down to one lens and one camera so it would force you to look at the world with a single angle of view. The 600mm F4 lens was a favorite of mine and I found fun ways to use the 18-pound monster. One cold rainy day, I asked my boss Chip (see earlier post on H.E.T.) if he could get me a delivery truck. WHAT??

My plan was to park the delivery truck downtown so I could shoot from the back. I set up the lens on a tripod and waited—all nice and dry. As the office workers left their buildings for the day it was like shooting fish in a barrel. The 600mm and the weather just made for great photos. My less is more strategy worked that day.

Nobody reading this knows Chip, you’ve never been to Rhode Island and have no idea how this might affect you.

Why don’t you try my “less is more” strategy the next time you take out your camera? Look in your camera bag and I bet you’ll see a zoom lens. One option might be to pick a focal length, say something near the telephoto end of the zoom. Next, set your aperture to wide open, say F4 or F4.5. That’s really all there is to it. Keep you camera set to that combination, don’t touch the zoom and start shooting.

Sometime less is more.

The weather has finally turned great here in DC and I really wanted to get out and make a picture. I began with a less is more strategy taking only a tripod, camera body and 135mm lens. To complete this self-assignment I wanted the image to be “black and white” and a really tight detail with a lot of texture.

By day, Alex is an undercover detective for the Los Angeles Police Department. But his passion is photography. I was coaching Alex when the idea for this series hit me. While there are tons of people shooting photos and owning professional level gear most of you are not fulltime working photographers. I did a quick survey of my students and found quite a few people had really cool day jobs. Since I love LA and he’s got a gun plus a badge we’ll start the series with Alex.

The Picture Coach: Give us a little background info to get us started:
Alex Arredondo: I’m 44 years old; I grew up in Los Angeles and have been with the Los Angeles Police Department for over 22 years. I have worked as a patrol officer; assigned to the Violent Fugitive Task Force, as a detective I’ve investigated everything from Domestic Violence to Homicide. I’m currently working an undercover assignment.

TPC: How’d you first get interested in joining the LAPD?
AA: I joined LAPD because of TV programs like Adam-12, CHIPs and Dragnet.

TPC: Like many of us, you started taking photos in High School. Did you take any photos back then that you were proud of or that you remember?
I thought photography would be an easy “A” but was I wrong. We shot with a Pentax K1000 and had to process the black and white film in the school darkroom. I loved getting the reaction from my classmates and one picture got lots of reaction. I was shooting a HS football game and captured a wide receiver getting hit really hard by a defensive back. The player was really close to me and you could see the pain in his eyes. My teacher submitted the photo to the LA Times. It was awarded some type of award for great sports photos! I still have the photo packed in a box.

TPC: Are there skills that you developed as a policeman that carry over as a photographer?
AA: As a police officer, you need command presents. As a photographer that’s a quality that gets you in places that the “Average Joe” can’t.

TPC: If you could assist one photographer for a day, who would it be?
Sports shooter Dave Black– I’ve seen his work on the web and on the Nikon site. I hate photographers that set everything to automatic, stand straight up and never change their camera position. That’s not Dave’s style at all. His action photos are so impressive and he can also shoot very creative nighttime photos as well. Great range.

TPC: Everyone talks about having a five-year plan. What about you Alex, what do you want to be doing in five years?
AA: I have five more years before I can retire from my law-enforcement job. My goal is to be a professional sports photographer. My dream is to shoot a “Super Bowl” or World Series. I just don’t know where to start.

Alex, as a picture coach I tell students you must be able to walk before you run. By that, I mean you must know the craft of photography backwards and forward. You need to be able to capture peak action at every game you go to. Great sports shooters like Dave Black have a well-honed sense of timing. A Nikon hitting 9-frames-a-second is helpful but the top shooter doesn’t depend on that alone.
If you want to get good at shooting sports give yourself assignments. Go to a little league game or a middle school game on assignment—for yourself. Make a list of what needs to be photographed just like you were shooting for Sports Illustrated. Obviously, you need great action photos but there’s a twist. It can’t be just any cool action shot; it needs to be pictures that tell the story of the game. What do I mean? Lets say the home team wins the game on a 45-yard- pass play at the end of the third quarter. If you were shooting for SI you’d call your editor after the game and the very first thing out of his mouth would be—“ Did you get the play???” That’s what’s expected of top shooters. You need more than just some random shots of people jumping for balls. That’s a good starting point but to really excel at sports photography you need to be a student of the sport.

Enough talk, lets take a look at Alex’s pictures:

WOW—I just love this shot and it really caught me off guard. I had been talking to Alex about maybe shooting some portraits in the fire station he hangs out in and the next thing you know he emails this image. Great drama, strong composition and by using a slow shutter speed he was able to “burn in” the lamp the fireman had on his helmet. The only down side to this photo? I want to see more dramatic portraits like this one!

You want fire photos , Alex has plenty of those to choose from. This is a dramatic shot and the color is very very intense. I like the shot, it’s a classic spot news photo and you see a ton of fire photos in the newspaper but I just wonder. What if he had been shooting with a 70-200mm lens, and zoomed in really tight on the fireman. That might have been an even more dramatic shot. I encouraged him to get a shot like this one and then get much tighter.

Here is what Alex says about this photo: I arrived at an accident scene involving a drunk driver early on a Sunday morning. As I walked around the scene, I saw a child car seat on the ground. I then saw “it”, the Pink Doll on the roadway with shattered car glass. The sun was so intense that I need to darken my background. I ran to me car and grabbed my flash, placed it on full power, closed down my F-stop and took this image. Luckily, the child was not in the car.

I’m not a big fan of students shooting with wide-angle lens. Those lenses are very seductive. Everything tends to look great through the viewfinder but later, on closer inspection the magic of the moment is lost. You now see the clutter you missed when you shot the picture. Alex avoided those pitfalls by getting on the ground for a low angle view. By putting the camera down low it made a nice clean dramatic image.

When I first moved to Los Angeles I taught photography and had a steady
stream of students whom you might politely call blessed with enthusiasm but lacking in talent. Who knew that one day I’d be following a student’s career. Even teachers need to learn.

The phone rang in my office the other day and it was Bear. No, it wasn’t a “real-life-talking-bear”—this caller’s full name is Barry Gutierrez but everyone knows him as Bear. He was one of my earliest students and in those early days he was very eager but still rough in his basic skills.

Maybe some of that photo chemistry had seeped into his brain but after taking my class a few times he decided photography was how he was going to spend his life. Barry wanted to be a photojournalist so he spent several months researching the best colleges and ended up choosing Western Kentucky University. He loaded up an old blue Chevy pickup truck; said good-bye to Los Angeles and 2200 miles later arrived in Bowling Green, KY.

The Picture Coach: What did you think of Western Kentucky University when you very first arrived?

Bear: WKU was like joining a family. A co-ed fraternity of photojournalists. I felt a sense of competition and camaraderie all at the same time. I knew that I would be judged on my character, pictures and effort. I got involved as quick as I could.

TPC: Bear worked at the Philadelphia Inquirer and the San Jose Mercury News before he ended up at the Rocky Mountain News.

Bear: The Rocky was a fantastic place to work. I was impressed with the caliber of photographers and they pushed me to be a better photographer every day.

TPC: Lets get to the big stuff. Your were a member of the photo staff of the Rocky Mountain News which earned a Pulitzer Prize for their coverage of the Colorado wildfires in summer 2002. Tell us about that award.

Bear: The paper entered 20 images for that contest and I had seven pictures in the original entry. I was given the task to print the entry myself. I did it in the studio of the RMN and it took nearly a month. I am almost as proud of printing the entry as I was of making the pictures. I’m pretty sure we used an Epson 2200 for the prints and an 11×14 print could take 10-20 minutes. I made each print with a thick black border and added caption information in white type to the bottom of each print. The format, style and words all had to be checked, rechecked and edited by two different editors at the paper, with the final approval from our publisher. WIth that many eyes on our entry, I had to make a dozen versions of most images and duplicates for safety.

TPC: Where were you when you got the news about the Pulitzer?

Bear: I was stuck in traffic on the 10 Freeway in Los Angeles on my way to see my grandmother. At the time she lived in a house that my grandfather builtwith his own two hands. It stood on a hill with 52 steps. I remember being a little taxed after running up the steps and trying to explain to my 92-year-old grandmother what a Pulitzer Prize was. She really had no clue but she knew it was big. She was so full of joy with me. It was the perfect person to share the news. She has since passed and that moment is chained to my heart forever.

TPC: What was great about shooting for newspapers?

Bear: The best and the worst was the daily grind. I loved the daily adventure of random assignments. One day it might be a plane crash, the next a baby’s birth, and then a baseball game. Some days I had two or three of those assignments one after the next. I loved the instant gratification of being published everyday. When I first started working I would sometimes stay up until 3 am to watch the newspaper being printed with my picture on the front page.

TPC: Tell us what you are doing since the newspaper folded?

Bear: The RMN closed its doors Feb. 28, 2009. I now work for numerous editorial clients nationwide, three or four collage publications, The Associated Press, Denver Post, European Press agency. I shoot corporate portraits, weddings and headshots. I was hired as a stills photographer for a movie in California called Heathens and Thieves in 2009. I also teach photojournalism at Front Range Community College and Metro State College.

TPC: What photographers do you study?

Bear: I think Alex Webb’s work is amazing. He is intensely drawn to great light. His pictures have a special beauty and depth which are framed by incredible culture. I’m curently reading Portrait in Light and Shadow: The Life of Yousuf Karsh by Dr. Maria Tippett, and as I read through Karsh’s journeys, I daydream about being a mouse in his pocket. It has been a fun read about an incredible portrait photographer.

TPC: Cameras are now so smart, what advice do you have for “students” to make their photos stand above the usual.

Bear: If you are examining your pictures, ask yourself this question: “Could my mother take this picture?” If the answer is yes, you need to work much harder. When I teach, I tell my students that billions of images are taken around the globe every year. What makes your images worth looking at? You have to master your equipment. You have to shoot more. Remember, your first 100,000 images are crap. The sooner you get to 100,000 frames, the sooner you will have a style, a name, and a future as a photographer.

TPC: I don’t think you have a crystal ball but what do you see in the future for photography.

Bear:” I fear that video will be our only medium to use in a very short time; 5-10 years. The quality of a still frame from a video will be that of a digital image from a Cannon EOS 1D Mark IV and then it’s all over. Still images will be no more. Like film, we will only make it for artists. There will always be a need for images. In fact that need grows greater and greater each day. It is how we gather those images that will change. Unfortunately the art and craftsmanship I fell in love with will be no more.”

Barry, I just keep learning from you.

TPC
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TPC: This was the first photo I saw after it was announced that the Rocky Mountain News had won the 2003 Pulitzer Prize. Even before I knew he shot the photo I was willing to bet it was Barry’s picture. For me this photo is about timing. Both the timing of the fires as it approaches the beautiful house and the realization that in no time, that house woud be gone.

TPC: Shooting air to air can be tricky and doing it the middle of a major operation like the Colorado wild fires takes talent under pressure. The position of the airplane and the dramatic lighting were elements Barry had no control over but still managed to create a striking image with near perfect composition. In some ways the photo is so pretty it looks like a poster for an upcoming Clint Eastwood poster.

“That’s all he wanted to do, is come home and put her(Leia) on his chest,” said Dana Baum, Rayn’s mother. A photograph of Leia Ryan Baum was placed on her father Sgt. Ryan John Baum’s chest for visitation. Rayn was killed in action in Karmah, Iraq May 18, 2007. Ryan was scheduled to return home to be present for the birth of his daughter Leia Ryan Baum who was born 11 days after his death. He was assigned to the 3rd Battalion, 509th Parachute Infantry Regiment, 4th Brigade Combat Team (Airborne), 25th Infantry Division.

Check out the video for the whole story—

TPC

The story behind the photo…

First Photo in Life MAgazine from Scott Robinson on Vimeo.

How do you make your photographs stand out for the herd?

In my career, I’ve always been interested in getting a camera angle no other photographer shoots. It requires extra work but I don’t know any great photographer who is lazy.

Lets start with this idea, when you look thought the viewfinder, ask yourself—“is this a snapshot or is this a photograph?” A snapshot is what EVERYBODY sees while standing in that spot. Our goal @ TPC is to make photographs. Today, we’ll look at how camera position can affect your pictures and sometimes help you make striking images.

The overhead position—

Working on assignment for Sports Illustrated, I was profiling Clay Puett, the man who invented the electric starting gate in horse racing. I had several portraits of him but I was looking for a lead photo that was more dramatic. By mounting a camera with a 15mm lens on top of the starting gate at Hollywood Park near Los Angeles I was able to provide the readers of the magazine with a very unusual view. Setting my camera to a slow shutter speed blurred the horses and riders slightly, giving it a sense of motion.

The ground level position-

Setting your camera on the ground for a “worm’s eye” view like I did in this picture from the final moments of a High School state tournament game is another way to get a dramatic shot. The score was tied with only one second left on the clock. I knew the whole game could hinge on this single free throw attempt. I quickly pulled off the prism of my Nikon F2 (try that with digital!) so I could look straight down onto the camera’s focusing screen. The photo was published the entire width of the papers sports section so you could really see the cool details which are lost at only 600 pixels! As a photojournalist you are always tiring to get the “Decisive Moment” and everything seemed to come together in this one frame.