Dale Jr. celebrates winning the Nationwide race in a car that paid homage to his father, a Wrangler-paint-themed No. 3.

NASCAR Nationwide Series driver Jennifer Jo Cobb (27) and Johnny Chapman (43) crash between turns 3 and 4.

The sun sets as drivers in the Nationwide Series Subway Jalapeño 250 head into turn 4.

It looked as though Saturday’s NASCAR Sprint Cup Coke Zero 400 was going to be put off until Sunday due to rain, but it was only postponed a couple of hours. I stood between turns 3 and 4 the majority of the race, but moved to the pits when there was about 30 laps remaining in the 160-lap race. As luck would have it, a major, 19-car crash happened in turn 3 about 10 laps after I moved. After the crash though, Mark Martin’s car, which was on fire, came down pit road and I was able to get a few frames of that.

Tires supporting American troops were on all of the Sprint Cup cars for Saturday's race.

This was the last race on the decades-old pavement at Daytona International Speedway. The entire track will be resurfaced.

A football-field sized American flag was unfurled on the grass before the race to commemorate July 4th.

Tony Stewart's car is reflected in puddle during the rain delay.

Drivers David Ragan (6), Jamie McMurray (1), and Martin Truex Jr. (56) crash in turn 3.

Ragan heads to the apron after crashing.

Ragan angrily throws a piece of safety equipment into his car after coming to a stop.

Mark Martin heads down pit road in search of fire extinguishers.

Kevin Harvick celebrates in victory lane.

Harvick burns out on his way into victory lane.

Harvick does a celebratory burnout after winning the Coke Zero 400.

Since we knew this would be the last game of the series, we had to prepare a little more than previous games. We set up “celebration” cameras on the press level way above the floor (set to shoot on available light) to capture the madness was sure to ensue following the game. And each photographer had a ladder that we brought to them as soon as the game was over so they could shoot above everyone without having to stand on the risers that were brought out for the photographers.

Madness following Game 7.

Me!

I don’t have many pictures from Game 7, because we were all so busy checking and double-checking everything. We were even so busy we forgot to get a group shot of all of us on the NBA Finals logo. This Finals was just as fun as last year — working with Jordan and Shawn was a blast, and I’m already looking forward to next year!

ESPN reporter Rachel Nichols during pre-game.

Superstar Kobe is interviewed while walking from the locker room following Game 7.

Me and Shawn at air cargo.

Jordan and I having fun at air cargo.

Shawn contemplating life.

McDonough putting up his gear.

Before leaving the court on Sunday night, I had the chance to meet Flea from the Red Hot Chili Peppers. He only had time for quick picture, so here I am with some guy I don’t know and Mike (far right). I know Flea has played the National Anthem at Lakers games on his bass, so it would phenomenal if he were to do that in L.A.

Me, Flea, some guy I don't know, and Mike Clarke, another SI assistant.

We had two days off in Boston, and I was so fortunate to have Wendi come up and visit. We got to see a few cool things in Boston, and believe it or not, the highlight for us was visiting the Boston Public Library. It was more like an art gallery-meets-gothic-church than a library, which is why it was so fascinating to me. There was even a wedding there during one of our visits (we went twice!).

Inside the Boston Public Library.

Boston Public Library's courtyard.

One of the many beautiful murals inside the library.

Couple getting married in the library.

Me and Wendi

Jordan outside the TD Garden after a long day.

Flash Wizards wait to be attached to cameras while Shawn installs a remote camera.

Here, I'm preparing a piece of black wrap for our glass remote.

We are pretty much using the same setup as we did in Los Angeles, with a few exceptions. For the Finals, we get one remote behind the backboard, or “glass camera”, and one on the shot clock (which is situated several feet above the backboard). In L.A., McDonough installed the shot clock camera, while Bob used the glass remote. In Boston, we’ve reversed it. In the picture above, I’m preparing a piece of of what we call “black wrap” that goes around the camera to prevent reflections from showing up in the picture (I’ll take a picture of the glass camera during tonight’s game and post it later to give you a better idea). This wrap is taped around the camera and to the backboard itself. At some NBA games, there can be several (sometimes 4 or 5) cameras mounted to each backboard. For the Finals, however, the NBA allows only two on each backboard.

In addition to Bob and John, SI photographer Damien Strohmeyer is also shooting the three games in Boston. He is shooting available light from an elevated position. His assistant, Mike Clarke, has been a great help. He has helped up set up many of our remotes and then took us to a killer Italian restaurant here in Boston, Regina Pizzeria, which has been open since 1926.

Mike, left, and Shawn get ready to install some remotes.

Regina's Pizzeria.

Shawn and Jordan laughing at some of my amazing jokes at Regina's.

The friendly staff at Regina's.

Before I leave you, I wanted to share a photo from our day off in L.A. Jordan and I rode around Hollywood and Beverly Hills, and then visited the Annenberg Space for Photography, which was phenomenal. You should definitely check it out if you get a chance. Again, thanks for stopping by, and I’ll have more updates from the Finals in the next couple of days.

Jordan outside some really big, pretty buildings near the Annenberg.

The energy and intensity here is palpable, much more so than during conference finals. Hours before the game begins, TV crews, news photographers, and reporters line the sides of the court to watch and analyze both teams as they warm up. The pre-game show is very impressive — a tubular-shaped fabric is lowered around the scoreboard to the floor in the middle of the court, where footage of Lakers dominating their opponents is shown (below).

Pre-game show.

Remote cameras can take anywhere from 15 minutes to an hour to install. Some locations are standard (behind-the-glass, on top of the shot clock, etc.), while other ones vary, depending on the arena and types of stories the magazine is covering. Once a location is found, the camera must be installed, secured, focused, and then have its exposure set. In many instances, getting the camera mounted takes the most time and thought. It can’t obstruct the view of a fan, has to be in a place where fans won’t block the shot, and it must be mounted to something that won’t give or be moved during the course of the game. Sounds simple, but you’d be surprised how easily something can go wrong and render a remote useless.

Here I am preparing a camera for installation.

Flash wizards.

Equipment ready for installation.

During the game, Shawn and I are responsible for checking the remotes and the Flash Wizard system to make sure everything is operating smoothly. Flash Wizards (pictured above) are radio-controlled devices that trigger all of the remote cameras at the exact millisecond that the strobes fire. Every camera has a different “lag time,” which is the time between when the shutter button is pressed (or triggered, in this case) and the time that the shutter opens. This amount of time is a fraction of a second, but it’s paramount that all the cameras fire at the exact same millisecond, or the cameras won’t be synchronized with the strobes (We shoot almost all of our basketball games on strobes, which means the entire arena is basically turned into a large studio). The strobes fire a quick burst of light, and the Flash Wizard system makes sure that the cameras are triggered at the same time. Make sense?

So back to us working during the game. While Shawn and myself are keeping an eye on everything, Jordan is in the back transmitting images to the magazine. Shawn and I pull cards from a few cameras during timeouts and between quarters and run them back to Jordan. One computer is set up for John, while the other is for Bob. During the game, I stand a little off the court so I can get to the remotes quickly and easily. Below, I’ve posted a picture from where I typically stand.

In the back of the arena, Jordan transmits images live from the game.

Some of the NBA photo crew make adjustments to their Flash Wizard system during the game.

My view of the court.

Jordan borrows my runner's pass and shows how me how it should be done.

Just before halftime, I noticed the halftime performers Dan & Dania (quick-change artists) milling about in one of the tunnels just off the court. I really liked the light that was falling on Dania as she looked onto the court.

Well, that’s all for now. Check back in a couple of days, and I’ll have another update from the Finals. Thanks for stopping by!

]]> http://myphotosoup.com/?feed=rss2&p=1715 0 http://myphotosoup.com/?p=1698 http://myphotosoup.com/?p=1698#comments Thu, 03 Jun 2010 06:51:08 +0000 Kevin http://myphotosoup.com/?p=1698 [...]]]> LOS ANGELES — So for this year’s NBA Finals, I’ve decided to blog about the whole experience. This is my second year working as a Sports Illustrated assistant at the Finals, which is a pretty cool event to cover. In case you haven’t kept up with the playoffs, this year’s matchup is between the Los Angeles Lakers and the Boston Celtics, an epic rivalry. The series starts here in Los Angeles, goes back to Boston, and finishes back in L.A. (if the series goes to games 6 or 7).

Just like last year, I’m working with fellow SI assistants Jordan Murph and Shawn Cullen. These guys, who are SI photographer John W. McDonough’s regular assistants, are ridiculously fun to work with. I’m here assisting SI staffer Bob Rosato. Today, we went to the arena (sans John, who is healing from having an NBA player land on his neck) to begin installing the 18 remote cameras between the two photographers. We got most of the cameras in place, which will make tomorrow (Game 1) much, much easier and less stressful.

During the games, Shawn and I will make sure the cameras and system they run on are working properly, as well as run memory cards to Jordan, who will be transmitting the images to the magazine. What’s cool about working Lakers’ games is the amount of celebrities that you bump into (literally) while walking in and around the court. I’m really looking forward to this series (I think the Lakers will take the Celts in 5), and I’ll have another post about Game 1 late tomorrow night or on Friday. Then it’s two days off in L.A., one of which is my birthday! Anyways, here’s a few pictures from today:

A view of the court from the catwalk.

Shawn installing a remote camera on top of the goal.

On the way back from lunch: From left, USA Today photographer Bert Hanashiro, Jordan, Shawn, and Bob.

Bob installing a remote camera in the catwalk above the court.

Jordan trying to figure out what is going on....

Came down to Hilton Head for a couple of days with Wendi for a little break now spring semester is finally over, and I’m about to be on the road for the next month for NBA playoffs. Waited til sunset to try to get a nice shot of the Harbour Town Lighthouse … it’s absolutely beautiful down here.

What’s this mother goose thinking? Write your own caption in the comments section!

I worked a few Braves games last week for the debut of future superstar Jason Heyward, and I was able to get in a few shots of the gorgeous light coming into Turner Field.

I’ve posted to this my Kevin Liles Photography Facebook page, but I thought I’d share here too. I never get tired of photographing silhouettes, no matter how cliché some may say they are. Even after being away from newspapers for almost 3 years, I’m still compelled (when I’m not rushing somewhere) to stop and photograph features when I see them.