Premier Lacrosse League for AP Images

I am very guilty of always saying yes to assignments. It is beaten into me from when I started this career and learned quickly that saying no often meant not getting the next call. Following my injury this summer I have been saying yes to anything. So when I was called to photograph a sport I’ve never even watched before, I immediately said yes.

Lacrosse is a fast paced sport I learned quickly with a certain amount of danger as the heavy lacrosse ball flies off the field with little notice. Of course there is danger in covering any sport, but rarely does that danger significantly limit the angles or positions you can shoot from. Because of this I was very grateful to have the new Canon 600mm F4 IS III. This allowed me to pick aggressive angles without being in the line of fire of shots that go wide. It also allowed me to make frames from up in the stands that were still tight enough to have exciting action.

This lens is incredible. It is so light at just under 7 pounds and allows me to hand hold it for two days straight of game action. It is incredibly fast to focus and just ridiculously sharp. No matter what I’ve tried to shoot with it I’m just blown away and even elevates my 1DX Mark II bodies to be more impressive than I already find them to be. During pregame I use a 2x teleconverter and take advantage of the combined 1200mm focal length. The image quality still holds up as very impressive to my critical eye.

I also used my Canon 300 2.8 IS II and I think that was a great combination for the sport. I was happy to make the frames I did with so little experience in Lacrosse. It helps so much to understand the sport you are photographing as the nature of sports photography is predictive not reactive.

Unadilla Motocross National 2019

I traveled to the Unadilla Motocross National race as a spectator. Despite covering NFL and other top sports, the sport I love to view as a spectator is dirt bike racing. Unadilla is one of the favorite national races and this year was the 50th anniversary.

Despite my usual approach of just enjoying days off I decided that I’d take a camera. I was tempted to take my new fancy 600mm and make something different but the idea of carrying around work gear was dreadful. So i decided to take an unorthodox approach and limit myself to make photos like I would have years ago with basic equipment. I grabbed a 5D Mark IV and 24-105 lens and headed off. Forcing myself to make interesting photographs of a sporting event with the last setup I’d ever take.

Using long exposure and layering I attempted to make frames that could run in an editorial context.

I posted these on Instagram first, please follow on there to see work like this right away.

C200 Raw + Proxy Workflow in Adobe Premiere

I have finally done it, I started a Youtube Channel.

I plan on using this channel to share knowledge about photography and filmmaking, but mainly to force myself out of my comfort zone. Talking to the camera and editing your own speaking is very uncomfortable. But I am extremely excited to try something brand new out.

This video focuses on the Canon EOS C200 workflow, specifically using RAW video files and linking them to proxy files. After the spring 2018 update, the C200 can now internally create proxy files by writing them to the SD card. The CFAST slot can only be used to write RAW files, same as it has always been, previously though the SD slot could only write MP4 files but now XAVC format has been added. In addition to this, a subrecord option has been added which allows for simultaneous recording to both the CFAST and SD slots writing RAW and XAVC respectively.

The big thing that unlocks the proxy workflow though is the new naming convention that matches the two files up, with the addition of "_P" at the end of the proxy filename. What I cover in the video is the need to add "roxy" to the end of those proxy filenames otherwise Adobe Premiere will not allow you to batch attach proxies. The resulting filename will read "xxx_Proxy.MXF" and attach properly when using Adobe's proxy system.

The advantage to all this is the ability to edit very quickly using these smaller and more efficient proxy files over the very heavy Canon Raw Light files.

Please go over to the channel and subscribe and let me know your thoughts.

Tim Tebow for The New York Times

The New York Times asked me to cover the Binghamton Rumble Ponies baseball team.  A local AA affiliate of the New York Mets that would not ever be covered by a paper like The New York Times, the reason was because of one particular player. Former Heisman Trophy winner and NFL Quarterback turned baseball player Tim Tebow is now playing for the team.

I ended up making two trips to the stadium, the first to cover Tebow playing in one of his first games with the team and then another to photograph the team's owner. Making photographs of just one player during a nine inning baseball game was a little challenging. Being a minor league stadium on a near freezing temperature day, there was not many shooting positions or variety to have. I spent a lot of time hoping for a defensive play to his position in left field and chasing him before and after the game and was able to get some nice interactions with other players and fans.

These photographs were made with the Canon 1DX Mark II camera bodies, 200-400 f4 IS 1.4x and the 50 1.2 L lenses.

Please enjoy the outtakes below, you can read the full article here or see it in May 13th Sunday Edition.

Mexico, NY church for Belt Mag

Belt Mag was unfamiliar to me before I got an email last week from the photo editor there. It is based in Ohio and working to document the Great Lakes and rust belt regions from within. Something I think journalism could use more of, people from outside the NY/DC/LA markets telling stories.

They asked me to head up to Mexico, New York, a small town north of Syracuse, to photograph the Lighthouse Church of God where the pastor has taken the stand that his church will be protected from evil doers by allowing his church carry their handguns during services.

I worked with my Canon 1DX Mark II bodies and used an assortment of prime lenses including the 24 1.4, 35 1.4, 50 1.2 and 135 f2. Everything shot here was during one two hour church service and used natural light.

You can read the article here

Revisiting a tragedy for The Boston Globe

This wasn't meant to be a portrait shoot, but it ended up being one. The Boston Globe asked me to travel to Binghamton, New York to paint a moody picture of the city as they revisited the 2009 shooting which grabbed national headlines at the time.

The idea was to see how a community moves forward years after an incident like this. I was tasked with making a portrait of a victim's son, photographing the location where the shooting occurred, a memorial down the street and making artistic photos of the city. 

I ended up double dipping and making a portrait of Dr. King inside the memorial (a plan editors had hoped for) and catching some beautiful sunrise light on an American icon inside the location of the shooting.

The story ended up running on the paper's Sunday edition on the A1 page. You can read the story here.

Technical notes: assignment was shot on the Canon 1DX Mark II, 35, 50 and 135mm lenses.