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| Photo by Jack Howard |
| Click photo to launch a gallery of baseball and softball images. |
Positions 1 and 3 are good places to capture batters. For the most part, position 3 is a better location for right-handed batters, and position 1 for lefties, but it is possible to get strong shots of lefties and righties from either position, particularly on big swings. Getting the ball in the frame makes for a stronger shot. Getting the ball on the bat is impressive, and challenging. Catching the ball in the frame takes practice, just as hitting the ball with the bat takes practice. For the most part, if you see the ball enter the frame before you've fired the shot, you've missed it. Start out with a loose horizontal composition, with lots of dead space in the frame. Work on your timing -- as soon as the batter makes a twitch, start shooting! As you get more comfortable with your timing, tighten up the composition to put more pixels on the batter and less in the dead space to be cropped out. Bunts, generally more common in softball, can make for good ball-in-frame shots, as the motion is different, and the idea of the bunt is to just deflect the ball a bit, so there's more time for the ball to be near the batter both before and after contact. If you've got a supertelephoto lens, in the neighborhood of 600+mm, you can also shoot both righties and lefties from position 4 from a more head-on angle.
Outfielders
The farther reaches of position 1 and 3 (well past the bags) are good shooting locations for outfielders, provided that they are running towards, and facing home plate while chasing down a fly ball. Follow them as they call the ball and start shooting as they move to make their catch. Then keep shooting as they try to turn a play and hurl a long ball towards a base to pick off a tag-up runner. Position 4, with a medium (200-400mm) telephoto lens, can make strong outfield images when they are facing the walls or fences of the stadium and chasing down long balls.
First Base Action
There's a lot of action centered on first base. From shooting position 1 or 4 (with a long lens) you've got a good angle to capture both the runner and the fielder as the runner heads for the bag. You can pre-focus on the first baseman if he/she is standing on the bag and wait for the ball and the runner to enter the frame. Positions 1 or 4 (long lens) and 3 (short lens) allow for shots of pick-off attempts (baseball only) with the baserunner diving back towards the bag.
Second Base Action
Any of the four shooting positions in our diagram provide good angles for dramatic second base action, most notably the steal. When there is a runner on first, especially with less than two outs, pre-focus on second base. If there's a steal, you're all set for where the play should occur. If action occurs elsewhere, change your focus, but you'll be ready for where the next big photo-friendly play will probably occur. Positions 1, 2, and 4 will usually capture both the baserunner and fielder (normally 2nd baseman, shortstop, or outfielder) well. Position 3 will usually highlight the fielder, especially if the ball is coming from the right side of the diamond.
Third Base Action
Reverse the advice for first base, and you've got third covered. Note that pick-off attempts at third are much rarer, as a wild throw will give up a run.
Home Plate
Whenever there is a runner in scoring position, it is a good idea to be pre-focused on home plate. That way, if there is a play at the plate, you're all set and just waiting for the decisive moment. Shooting position 1 is good to highlight the catcher in action. From a low hole in the fence from position 2, you can sometimes grab a great frame of a headfirst dive into home. Position 3 will work well for both the baserunner and the catcher, depending on the play, and the same holds true for position 4. Since you are pre-focused on home plate, there's no reason to not shoot the batter while waiting for a play to develop. If the batter happens to hit a home run, you've got time to capture a shot of the pitcher with the trotting baserunner in the background, and re-focus on home before the celebratory crossing of the plate jubilation shot.
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