For the 4th year in a row I was fortunate enough to be selected to shoot along side some of the world’s best photographers at the Super Bowl as part of the NFL photo team. Let me take a quick moment to thank NFL lead photographer and photo editor Ben Liebenberg for once again inviting to be a part of the crew. My shooting position was on the field in one of the Eagles’ end zone corners. If you saw the game you know that there was a lot of touchdowns scored. As luck would have it, not a single one actual occurred in my corner! That’s just how it goes sometimes. Despite not being super close, I finally had a nice angle on the last touchdown of the game…a spectacular dive (and bobble…and catch) into the end zone by Eagles’ tight end Zach Ertz which proved to be the pivotal score of the game.
After the game my assignment was to photograph the closest quarterback to my position. That just so happened to be Eagles’ quarterback Nick Foles. I was able to find him relatively quickly and stick with him until he made his way up on the winner’s podium. This year’s post-game scrum was noticeably less chaotic than in previous years and I’m not exactly sure why. When I first got to Nick Foles, shockingly there was hardly anyone around him at all. The crowd of NFL personnel and photographers slowly grew but the PR staff quickly isolated Nick away from the majority of the other players on the field. In fact, much to my surprise Tom Brady never made his way over to shake his hand.
Some of my favorite images are the moments Nick shared with his wife and daughter after the game. I know that my wife and two young children are my biggest motivator in life and it’s nice to see that emotion shared with big time professional athletes.
When my friend and fellow creative Lee Morton asked to meet with me in December I couldn’t say yes quick enough. Lee is the owner of Mozell Films, an innovative video production company here in Baltimore. When we met, Lee mentioned he thought he had a good opportunity for us to collaborate. This was great to hear considering I’ve admired Lee’s work for a very long time. When he told me what the project was, I was a little surprised to hear that it was local iconic brand Brick Bodies. If you’re from the area you’ve probably seen their commercials and heard their famous jingle “…build your body with brick!”
The Brick family has built a thriving business for over 30 years. Because of their dedication to consistency their advertising had grown somewhat predictable so they reached out to Lee to disrupt and strengthen their message telling the stories of their members in and out of the gym. He created the “Who Will You Be” campaign – a bold question and a call to action. Be the best version of yourself or let life drag you down…the choice is yours. Could a commitment to self care elevate your life outside of the gym? That is the theory we would explore.
The fact that Brick Bodies was ready to go in a bold new direction with their advertising was exciting enough for me to want to be a part of the project. Now it was time to work out the logistics. Based on a number of factors we knew that a completely stand alone still shoot was not feasible, so we’d have to get creative in making the still campaign work within the framework of the motion shoot. For stills that meant the commitment to working efficiently with minimal gear using the constant lighting in place for video, occasionally supplementing with strobes. This would be a great way to make the stills and the video as cohesive as possible. I also knew that I’d have very little time dedicated to shooting and most likely stills would have to be made during or between motion takes. In most cases is this not an ideal scenario for a still photographer, however given my relationship with Lee and his willingness to make this a true collaboration I felt confident that we’d both be able to produce what we needed within these confines.
Over the three day shoot we followed three characters through three aspects of their lives…struggle, self care and success…covering an incredible range of scenarios. Lee and his team absolutely crushed the tv spot and the library of stills we created for the client will be a great companion.
STILL CAMPAIGN SELECTS
MOZELL FILMS – 30 SECOND TV SPOT
SUGGESTED CREATIVE EXECUTIONS
In addition to just handing over a library of images to the client, Lee and I envisioned a greater potential for the imagery for the ad campaign as well as some creative ways Brick Bodies could use what we made to display in their new state of the art gym at the Rotunda in Baltimore’s Hamden neighborhood.
BEHIND THE SCENES
Lead Director/ EP: Lee Morton
Director: Steve Celano
Producer: Lynda Meier
Photographer: Shawn Hubbard
DP: Kyle Deitz
AC: Aidan Gray
Associate Producer: Corey Jennings
Camera PA: Amanda Ferese
Data Manager: Nick Nyren
Props: John Fulcher
Gaffer: Dan Stack
BB Electric: Marc Elzey
Key Grip: Zach Frederick
BB Grip: Jason Shinsato
Wardrobe + Kit: Leandra Caprini-Rosica
MU + Kit: Jasmen Davis
Location Manager: Jon Jolles
Camera Accessories: DC Camera
Photog assist: Peter Grill
PA Day 1 & 2: Marco Gonzales
PA – Art Day 3: Evan Devine
G+E: Grip Serious Grip
BTS Day 1 & 2: Frankie Cerquetti
BTS Day 3: Nevin Baker
I was extremely thankful again this year to be asked back by the NFL to photograph Super Bowl LI as a part of their photo team. The amount of talent and experience in the group is nothing short of phenomenal and it was extremely flattering to be asked to be a part of the team again.
Compared to shooting regular season games, Super Bowls are their own animal that are generally approached a little differently. Normally when I cover games I’m shooting with at most one other person and occasionally by myself and I’m totally comfortable with that. I follow the game up and down the field and try and put myself in the best position to capture impactful moments. Working with a larger group of eight other photographers at the Super Bowl, my task is different…stay in one spot (this time, a corner of the Falcons end zone) and make sure I have that area covered. Working with a team of other photographers is always something I enjoy. Everyone has each other’s backs and you know if something is out of your range, someone else has got you covered.
Sometimes you are lucky…yes, lucky enough to be in a spot where action comes your way. From experience, that doesn’t always happen. I was fortunate to be in a position to capture some pivotal plays of the game and when added to the amazing shots captured by the rest of the crew, we ended up with a body of work that we all can be proud of.
My post-game assignment was to follow the winning quarterback. Immediately I knew I was going to be in for a challenge as the post game scrums after the Super Bowl rival some of the actual rugby scrums I was in in college. Luckily the last play of the game, the winning touchdown scored by James White, happened right in front of me. I was able to make any image of the score then sprint over to Tom Brady and try my best to stick with him amongst the chaos and hopefully make some nice images. I’m always critical of my performance, so I’ll let my editors determine how successful I was, but I’m always up for a challenge and I think I made a few frames that captured the emotion of the moment.
I’ve always loved the challenge of shooting with a camera phone. For years my Instagram feed was “iPhone only” and I only followed users who abided by the same rule because of the appreciation I have for making quality, creative images under the limitations of a camera phone. I’ve since opened up my feed to my professional images because there are benefits of showing that type of work on Instagram, but I still shoot with my phone quite a bit and still enjoy trying to make creative images with it.
When I photograph NFL games I typically spend a little time early in the day and try to make some iPhone images before the real action gets started, but I’ve always thought about what it would be like to shoot an entire game with just my phone. For in-game action I shoot with a 400mm lens, so obviously my reach would be drastically cut short. The sidelines of an NFL game is one of the most busy, cluttered atmospheres you can possibly shoot in, so working with the large depth of field that a camera phone produces means I’d have to be very careful with my composition to make clean images. There are a laundry list of other factors that make shooting an NFL game with a phone seem like a questionable idea, but I’m always up for a good challenge.
You might not know that the Ravens have two team photographers. Myself and Phil Hoffmann, who has been shooting for the team since 1996. We both shoot home games, but we split up away game duties. Phil was scheduled to shoot the Giants game in New York and being that the game was so close I thought it may be a good opportunity to shoot with my phone, so I told the VP of New Media, Michelle about my idea and asked if she’d credential me. Luckily she said yes and I started planning. First, I bought a new phone! I was using the iPhone 6 and honestly hadn’t planned on upgrading, but I figured I could use an extra edge so I got the new iPhone 7. I considered the iPhone 7 Plus for it’s extra camera, but it’s way too big for me to carry around full time and they were on backorder until December when I made the decision anyway. I also new I’d need some extra battery power so I bought a Mophie Powerstation. I also new I wanted to be able to put my phone on the end of my monopod for a different perspective so I also bought a Gadgin bluetooth remote to trigger my phone’s camera.
I’m definitely not the first person to shoot an NFL game with a camera phone. Andrew Weber shot a game last year with the iPhone 6s Plus and more recently David E. Klutho shot a game this year for SI with the iPhone 7 Plus. I knew I would be limited on the in-game action I could capture, especially without the extra reach of the Plus lens. Unless I was lucky enough for a play to happen right in my lap (which I was not) I was hoping to make up for it by making a lot of feature images. I also have great access with the Ravens and I knew I had to use that to my advantage. The players and coaches are used to having me around and most of them are comfortable with me getting fairly close but I knew shooting with a phone meant having to push those boundaries a bit more than normal. I did get a few strange looks and questions about what I was doing, but I don’t think it affected things too much because I’ve spent years building trust with players and staff.
So, how’d it go? Pretty similar to what I expected. Game action was tough. I knew what I was getting myself into and was still a little surprised at how far away everything was. I tried not to use the in-camera zoom too much because it really degrades the quality and I knew I could always crop in post and get better results. Out in the sun the phone performed great. Images were sharp and clear. In low light areas like the tunnel and the locker room the quality drastically changed and I was fighting motion blur and overall image softness. In some cases I just worked with it and used image blur in a creative way to make a more unique image. For the most part I used the iPhone’s default camera app occasionally using an app called “Manual” for a bit more control. One of the biggest things I had to account for was timing. The DSLR’s I typically use react instantly when I push the shutter. The iPhone camera has a slight delay which made timing more challenging.
The best part? I had a lot of fun. It was a new challenge and new challenges always excite me. For the most part I’m pretty happy with the results and despite being a little surprised about how well some of the photos turned out, I don’t think I’ll be replacing my Canon gear with a camera phone just yet. Hopefully I didn’t make myself obsolete…