Tiger for Gatorade

2009-07-09T07:11:00.001-07:00

Gatorade recently used my shot of Tiger winning the Masters on their label. All over the supermarket shelves!!!!

ESPN The Magazine

2009-07-09T06:49:00.000-07:00

A couple of assignments from the June issue of ESPN The Magazine. Mark Teahen of the Royals, and Colts defensive end Dwight Freeney meets Bears great Richard Dent for some schooling.

Coca Cola NASCAR Shoot

2009-07-09T06:24:00.000-07:00

Here are the results of the April NASCAR shoot for Coca Cola shot at Texas Motor Speedway. Signage and billboard displays throughout all the Nascar venues!

Jamie Squire is featured in Rangefinder Magazine - May 2009

2009-05-18T08:07:00.000-07:00

Rangefinder Magazine just published an article about my work in their May 2009 edition.

To check it out, go to:

http://www.rangefindermag.com/storage/articles/RF0509_Squire_Davis.pdf

Text is below:

A Jamie Squire photograph is often the perfect combination of
foresight and execution. Squire is an editorial and commercial
sports photographer who has covered sports’ grandest stages for
Getty Images. The 36-year-old has covered six Olympics, Super Bowls, World Series’,
the NBA and Stanley Cup finals and other major events. He is Getty’s second-most senior
photographer in North America.
“Jamie is one of the most talented sport photographers I know,” states Brandon Lopez,
director of Sport Operations for Getty Images. “He’s able to apply his creative thinking to
action sports, which allows him to capture photos beyond normal expectations. Rarely do
you find a photographer who can cover an event from so many different angles. From one
single event, Jamie is capable of putting together a take of photographs that typically looks
like that of four different photographers. His mastering of remote photography and drive to
discover unique shooting positions is what sets him apart from the rest.”
Squire is known for finding unusual angles for his sports photographs, a practice that average
sports fans, who are used to seeing clear, concise action shots, find shocking. “He doesn’t stand still.
He works multiple angles, uses available light in every way possible and even utilizes remote cameras
for wide dramatic compositions,” says Jim Surber, the senior sports editor for ESPN The Magazine.
“Sometimes he fires multiple remote cameras and works a handheld with no assistant!” Continues
Surber, “He has a great eye, but he’s never satisfied with just one look or angle. Most photographers
become too married to a camera position, or try a couple of different set-ups at most.”
Squire’s creative style stems from his attempts to avoid other photographers, as was the case with
one of his most notable photos—of racecar driver Michael Andretti. The shoot was before a practice
session as the storied driver neared the end of his career. Most of the photographers were gathered
near the front of the car, taking photos straight on as Andretti sat behind the wheel with his visor up.
Instead of sticking with the pack, Squire slipped around the rear of the car to look for another
angle. That’s when he realized he could get a perfectly framed shot of Andretti’s eyes through the
side view mirror. The result is a shot of a legendary driver near the end of his career looking back in
a mirror—symbolic to say the least.
“I feel like it’s an image that kind of defines me,” Squire says. “I like to look back. I like to
see what I did wrong. I like to see what I can do better. I think
a lot of athletes do that. I think it’s just kind of a metaphor for
life on some level.”
As much as that shot defines Squire’s personality, the Emory
University graduate has used foresight and planning that,
when combined with chance, creates a memorable image.
One such moment came at a pre-Kentucky Derby race, where
Squire knew a turf race was scheduled and knew his digital
infrared camera would yield a great photo because green grass
turns white in those photos. “I found a couple of websites that
will convert a digital camera to shoot black-and-white digital
infrared and I was pretty intrigued,” he says. “I’ve seen it used
in weddings, but I’ve never seen it used in sports. I spent a year
bringing it to every event I went to in an effort to capture a different thing.”
He did most of his work well before the race, making the arrangements to mount the remote
camera on the starting gate. On the day of the race, Squire mounted the camera and had it double-
checked to make sure it would stay on the gate as it was pulled off the track and then used a
PocketWizard to snap a classic-looking shot as the horses started down the front stretch. “By the
time the actual picture had been snapped, all
the work had been done,” Squire adds. “It’s not
a question of reacting and capturing, it’s more
pre-thought and planning and hoping that it all
comes together.”
“Jamie brings a story full-circle photographically,”
Surber says. “The only problem I have when
Jamie shoots something is not enough pages in
the magazine. He brings a different approach
to sports photography, be it through remotes or
trying to get shots from a location where no one
else is, that makes it feel fresh and unique—not
an easy task at all in the world of sports.”
Another remote shot that collided with coincidence
created a memorable shot of NASCAR
driver Ryan Newman celebrating in victory lane.
Squire wanted most of the shot to be under-exposed,
except for the strobes, so he used a Canon
EOS-1D Mark III with a 15mm fisheye set to 400
ISO at 1/30 of a second on shutter priority, with –1
stop expoure compensation. Newman completed
the shot when he just happened to pour out a
bottle of Gatorade in a swirling fashion.
“This is just one of the many examples confirming
my point about Jamie’s creative eye
and ability to anticipate an image through re-
mote photography,” Lopez explains. “This shot
was thought out well before the race even started.
Jamie set up a remote camera system, triggered it
from below within the mix of the crowd and came
away with this photo, which was more than he or
his director of photography could have hoped for.”
Still young in his professional career, Squire
was assigned to shoot the World Diving Championships
in Atlanta, which served as a test event
the year before the Olympic Games. Squire
says one of the unique things about the assignment
was that this was one of the few sports
locations that could allow a photographer to
show downtown Atlanta in the background. Instead
of shooting from a more typical position
poolside, Squire went up high and got a shot
of the then number one-ranked diver in the
world atop the platform with Atlanta at sunset in
the background.
It’s the kind of picture typically found with
Squire’s name attached, the perfect marriage between
foresight and execution. “It lent a sense of
scale and a sense of place to the Olympics that
were coming up in Atlanta. I was fortunate that
this picture ran all over the place as a preview to
the Olympics,” he says. “It was in the Olympic program
and Sports Illustrated. There was nothing
similar that anybody had seen,” he offers. “I call it
‘seeing a picture.’ Like visualizing a picture in your
mind and all the elements it takes for it to come
together before the moment happens.”
To see more of Jamie Squire’s work, visit his
website at www.jamiesquire.com.

Jamie Squire is featured in the July issue of Photo District News (PDN), a monthly publication targeting the professional photographer.

2008-07-18T21:31:00.000-07:00

Daytona 500

2008-03-12T21:44:00.000-07:00

This year I was able to capture another unique view from Victory Lane at the Daytona 500 (with the help of fellow photographer Matthew Stockman). This image of Ryan Newman celebrating was made with a remote camera mounted on a building behind the action. Much careful planning and a lot of luck went into the end result. I used a Canon EOS 1D Mark III with a 15mm lens set at Shutter Priority 30th/second -1 stop. My goal was to deliberately try and capture the strobes from the other photographers as the winner exited the car. There were several successful frames, but this one in particular stands above all the rest. The sheer number of strobes, the pattern they were in, and the gatorade were all happy accidents.