Andrew Mills, staff photographer for NJ Advance Media
At the end of the first quarter, I was hustling down the sideline to pick up my colleague’s disks and head into the photo work room to move pictures from the first half. As I passed behind the Giants’ bench, the ball was snapped and I stopped to make a few frames of Eli Manning as he dropped back to pass. I was using a Canon 500 4.0 Telephoto lens with a EOS 1DX body. My settings were 1000th of a second @ 4.0 at ISO 2000. As Eli unloaded the ball, I switched to a 70-200 2.8 and started hunting for the receiver. I began to track Odell Beckham toward me. I was too close, way too close. The only person closer was Dallas Cowboys cornerback Brandon Carr.
I kept firing the 70-200 as I tried desperately to switch to the 28-70 hanging around my neck. I’m shooting (and twisting the zoom to get as wide as possible) the entire time as the camera is being lowered. Total Hail Mary. In the end, I was able to make a frame that’s in focus (Remember: The picture is not a picture if it is not sharp) of the ball on Beckham’s fingertips, but again I’m tight.
Way too tight.
So the half dozen or so of the best photographers in the business have their long lenses trained my way. They’re far enough away not to switch, plenty of time to get the play in focus and compose a frame. The result: an incredible sequence of what will undoubtedly be considered one of the greatest catches in N.F.L. history. And in a couple of the frames, each captured at the 1,000th of a second or so, I’m caught in no-man’s land.
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Did you know, those are Canon cameras, I could tell by looking at the lenses (white lenses are Canon and with red ring)
Quote:
Except this one.
Did you know, those are Canon cameras, I could tell by looking at the lenses (white lenses are Canon and with red ring)
I learn something every day. I shoot with Nikons so that's the first brand that came to mind. Thanks.
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you welcome. What a photo. Or non photo in this case!
At the end of the first quarter, I was hustling down the sideline to pick up my colleague’s disks and head into the photo work room to move pictures from the first half. As I passed behind the Giants’ bench, the ball was snapped and I stopped to make a few frames of Eli Manning as he dropped back to pass. I was using a Canon 500 4.0 Telephoto lens with a EOS 1DX body. My settings were 1000th of a second @ 4.0 at ISO 2000. As Eli unloaded the ball, I switched to a 70-200 2.8 and started hunting for the receiver. I began to track Odell Beckham toward me. I was too close, way too close. The only person closer was Dallas Cowboys cornerback Brandon Carr.
I kept firing the 70-200 as I tried desperately to switch to the 28-70 hanging around my neck. I’m shooting (and twisting the zoom to get as wide as possible) the entire time as the camera is being lowered. Total Hail Mary. In the end, I was able to make a frame that’s in focus (Remember: The picture is not a picture if it is not sharp) of the ball on Beckham’s fingertips, but again I’m tight.
Way too tight.
So the half dozen or so of the best photographers in the business have their long lenses trained my way. They’re far enough away not to switch, plenty of time to get the play in focus and compose a frame. The result: an incredible sequence of what will undoubtedly be considered one of the greatest catches in N.F.L. history. And in a couple of the frames, each captured at the 1,000th of a second or so, I’m caught in no-man’s land.
Catching the Catch on Camera - ( New Window )