
I have some stuff coming out in a few magazines this month and I thought I would share the story behind the story so to speak.
'March of the Penguins' (above) is a piece on the Pittsburgh Penguins hockey team for ESPN the magazine, centered on four players, two younger (Crosby, Fleury) and two older (Gonchar, Roberts) youth and experience and how this mix has helped change the teams fortunes and drive them to NHL playoffs.
The (pesky) Penguins were a little more uncooperative in reality than we had been led to initially believe. The magazine had asked me to concentrate on the 4 and my brief was to get individual portraits, group if possible, player interaction, practice, the locker room and anything else that caught my eye. My main problem going in was that the Penguins PR had shot down the idea of the group shot and I would not be able to schedule any individual one on one time nor would I be able to set up a small portrait set, I would have to grab everything on the go, fine I have done this before no problem. Well as it turned out things got a little trickier.
I did not realise (nor did the magazine) that I would be part of a larger press pool and would have shared access in the locker room and where ever else. It was a bit of a scrum and the players were seldom without a microphone in their face. On top of that the players were not told of my presence nor was I introduced to any of them by the PR and had to pick them out myself, so it was impossible for me to establish any connection with any of the subjects, frustrating.
I attended two practice sessions, one @ their training facility, the second @ the Mellon Arena the following day which was a game day. I had no access to the players before practice, when they were on the ice I was stuck behind the glass and then had to make a dash for the locker room with the media pack. It was all a bit sketchy. Whilst the first day was a little chaotic I was assured the second would be more self fulfilling. This as it turned out was not the case. One of the players Gary Roberts wasn't even in the locker room the second day, good job I had gotten 5 frames on him (although not very good) on the first.

The job was shot on Canon 1DS Mark 2 (digital) a change from my usual mediums of choice (hasselblad/film). The format is certainly a challenge and I am more inclined to shoot horizontal as I find the vertical to be a little long and skinny especially with my attraction to the square format.
As you can see from above and below my pictures underwent some dramatic cropping. I gave the magazine full frame 35mm files, I try not to crop my own work and this is especially easy for me when shooting square, my books are square. It can be quite the challenge for an art director to work the square on to a rectangular page and my work is usually cropped in some fashion but there are some great (good) layout surprises from time to time.
Photos © AHI think the layout looks good all things considered. Did I get anything for my own book ? Probably not but that was not the exercise, in trying circumstances like this one needs to put the clients needs first.
As it turn out and per an earlier post I have had limited fortune with Pittsburghs finest (sport stars). Having dealt with a contrary Ben Roethlisberger (his luck took something of a bad turn shortly after our encounter) maybe the torch has been passed onto the Penguins as they were dumped out of the 1st round of the NHL playoffs last night. Looks like you are free of the Hetherington hex Ben, good times are here again for Steeler nation !
5 comments:
hey Andrew. i'm curious- what is/was the reason for going digital on this shoot? was this a client mandate, or are you moving the way of digital in general?
i'd be interested in hearing your experience with the migration from an editorial standpoint.
i think the job was a success btw.
ben
the irony in this case was that the magazine needed the pictures in a hurry they were going to be for the next issue
i shot on a monday and tuesday and returned to NY tuesday evening
initially i was told that the mag would need final tiffs ready to go wednesday morning
well the scheduled changed a little
i sent in an edit wednesday morning, jpegs
they made a select and i processed files for a thursday morning delivery
then @ 5pm thursday evening they decided that they would like match prints made for the friday
the irony is that had i shot neg the whole process probably would have been quicker/cheaper as they could have had final prints ready thursday night with no rucsh charge
my migration in to digital is happening very slowly but i will keep sharing my experiences as we go
i may right a post on this and expand the comment
thanks for taking the time to read my ramblings
i enjoy your blog very much
stay in touch
ah
thanks Andrew. i'd love to see more posts about your thoughts and jobs with film vs. digital. as always- great info.
have you ever worked with a Hasselblad (or any medium format) w/ a digital back?
ben
there are a number of concerns moving into the digital age for someone like me and the type of work i do
firstly there is not a full size 6x6 chip available for my hasselblad it is more like a 4.5 by 4.5 so i will be cropping my frame and may have to use a different focal length to compensate
then there is the issue of the back itself - it is an expensive proposition and also expensive to rent somewhere in the region of $ 400.00 a day
what about a back up ?
@ the moment i travel with 3 bodies and 4 film backs as well as 2 60mm just in case as well as other lenses so i am well covered just in case
also there is the issue of file size and shooting tethered or to card - if i am without an assistant this will be impossible or difficult to manage
i can reload the film pretty quick even on my own
i believe one doesnt get too many frames on a 2gig card when dealing with such large files
when i shot with the mark 2 i had my 5d as back up
moving forward i want to try and keep my camera bag as light as possible
most european airlines now weigh carry on luggage and have big restrictions which is a huge drag when travelling on your own
also film hand check are an issue in some countries - they will not happen
and to answer your initial question no i have not shot medium format with a digital back
also with any commercial clients the preferance now is for digital - makes perfect sense
so far i have managed on 35mm, tethered with an assistant and digital tech
the H3 might be the way of the future but that is a huge investment and its not square and the back up question rears its head
i cannot imagine having 2 $ 30,000.00 cameras + lenses in my bag
i think there may come a point where i may have to choose digital for jobs film for personal
35mm just isnt the same as medium format, my pictures look a certain way because of the camera i use my relationship with it, i have alot of shooter friends dealing with the same problem
there is also a murmur starting that magazines may start to demand digital only submissions
this is not neccessarily coming from the editors but from higher powers who are looking for ways to cut cost and streamline
although digital isnt neccessary cheaper, they might take a leaf from the NY Times model and have a flat all inclusive fee to incude all camera/digital expenses
interesting times scary and yet exciting !
i will continue to post on my experiences as we move forward
ah
damn, Andrew, thanks! it's so good to hear what it's like in the trenches for a successful editorial guy like yourself. great info. thanks again.
ben
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