engage360.me: Preston Mack on Photographing the Cover of MLB RBI 2015

Photographing a magazine cover used to be the pinnacle of marketing exposure for photographers, but as the print industry has contracted, other outlets have become coveted. Orlando-based commercial and corporate photographer Preston Mack once spent a photo shoot catching for Roger Clemens, but he’s graduated to bigger and better things and recently scored the cover image for the new MLB RBI 2015 video game. We spoke to him about the gig.

PS: Video game covers are big time nowadays. How did the shoot come about?

PM: I have worked for MLB Advanced Media (MLBAM) since 2003 when I covered the MLB playoffs for them. However, I shot baseball action and gigapans for them. I had to show them my portrait work. I have photographed many top athletes for print stories and covers over the years – I had to show that I was very experienced with this sort of thing. I am grateful for the opportunity to shoot this cover!

PS: Was this a commissioned shoot or “stock”?

PM: This photo was shot in a TV studio in Boca Raton, Fl on Jan 5.

PS: I’m assuming the background was composited. What kind of file did you deliver to the client?

PM: We had black duvatine stretched on a 20X frame behind the player. I shot the images with a Nikon D800 with a 24-120mm lens.

RAW + JPG files were delivered. I used a CamRanger to show the art director the images on my iPad as we were shooting.

Photo by Preston Mack

PS: Did the client show you comps before the final was released? What is your reaction to the final product?

PM: On shoots like this, they know EXACTLY what they want. They had multiple comps and ideas going in. Your job as a photographer is to interpret the image and “reverse” engineer the comp. They know nothing about light and modifiers. You and your gaffer will light the set accordingly.

I hired my friend Michael Smallwood, an Orlando gaffer, to light the set. He brought his 3 ton lighting truck down. We used 2 diffused 650 fresnels, behind the subject (at about a 45 degree angle) to create the hard light edges on Anthony’s face and body. A 4 bank Kino Flo was used to edge the black Marucci bat so it wouldn’t disappear in the background. A diffused fresnel in front was boomed over the camera, to give slight fill to his face. I didn’t want to have too much contrast in his face.

Today was the first time I saw the final composited image. It is awesome. I can’t wait to see it on a Play Station 4 video game box! Of course, I do not have a PS4. Yet…

Photo by Preston Mack

PS: How much time did you have with Cubs first baseman Anthony Rizzo?

PM: The shoot schedule was a two hour video shoot, then a two hour photo shoot. We utilized a green screen for the video portion, then replaced that with the black duvatine for the stills.

PS: You’ve worked a good amount with professional athletes. What are main pointers for dealing with this type of celebrity?

PM: I think that you need to be decisive and direct with the photo shoot. You need to know exactly what you want and to be in control of the situation. Athletes and celebrities have so many people taking their time from them. When you have them in front of your camera, it is vital that you are efficient and quick. I only took one hour to finish my shots. It is always good to use less time than you are given.

PS: What was the contract like? Was there room for negotiation?

PM: MLBAM has always been very fair with me. There was a healthy back and forth on terms. I think we both were happy with the final contract.

PS: How much were you paid?

PM: I feel that as a photographer, you need to offer something to the client that your competition does not. When I used to shoot action sports, I realized that my work was very similar to other people. I wasn’t appreciably better than the rest. However, in portrait photography I am very strong. I have had years of experience shooting portraits, working with strobes and continuous lighting. I felt that this shoot had to be shot with fresnels and kino flos. There really wasn’t the space or time to do 2 completely different lighting setups. We set the lights for video, the just moved in the black background for stills. Very efficient for the client and a big time saver for the athlete. Those production things matter as much as your skill in taking photos.

I was compensated well for my time and expertise.

PS: Does the license include social media rights?

PM: Yes. Social media is the biggest and most effective way to get the message out now.

PS: What percentage of your business is commercial vs editorial? How have you gone about growing your commercial business?

PM: When I left the Sun Sentinel newspaper in Dec of 2000, my freelance business was 70% magazines and 30% corporate.

I think that now I shoot 30% advertising, 60% corporate and maybe 10% editorial.

My photographic goal was to shoot for the big magazines. Over the years I have done assignments for People, ESPN, Sports Illustrated, Golf, Money, Forbes, Business Week, etc… And I loved every one of those jobs.

However, as you get older you really need to work less and make more. Magazines have low assignment rates (still around $500) and the frequency of those assignments are way down compared to the last few years.

It only makes sense that you grow your business in the direction of the money. In this case, corporate and advertising work. I don’t want to sound like a mercenary, but if you can’t make money, you will not survive as a freelance photographer. The profession is changing constantly. If you are able to evolve, you will have a chance to succeed and thrive.

Follow Preston on Instagram @pmack99 and Twitter @photopreston, or visit his website.