Capturing a ChampionHernan Rodriguez uses the Tamron SP 17-50mm, SP 90mm, and SP 70-200mm lenses for a knockout photo shoot with Evander Holyfield. |
Article By Jennifer Gidman Images by Hernan Rodriguez |
When LA photographer Hernan Rodriguez was commissioned to photograph heavyweight champion Evander Holyfield, he was surprised to find that previous professional images of the boxing great were sparse. "I always do research before a shoot to see past pictures so I can figure out flattering angles, and there was really nothing out there," he says. |
It fell to Rodriguez to create an entire compendium of photos for Holyfield, encompassing images that could be used for everything from editorial and books to websites and promotional collateral. "We needed a lot of range and latitude to shoot anything we could possibly imagine," he explains. "We wanted to create some of the most iconic pictures out there of him." |
Rodriguez used a wide range of Tamron lenses to achieve a variety of different looks for the professional athlete: the SP 17-50mm F/2.8 wide angle, the SP 90mm F/2.8 macro, and the SP 70-200 F/2.8 high-speed zoom. |
Setting the Stage |
Preparing for the shoot was a logistical challenge, as Rodriguez is in Los Angeles and Holyfield is in Atlanta. "He has a really tight schedule because he travels all over the world," says Rodriguez. "Then we found out his next venue would be in Las Vegas, which is a five-hour drive from us, so we rented a studio there." |
Rodriguez followed his usual procedure before the big day, making sure he had every angle covered. "For an icon like Evander Holyfield, I don't leave anything to chance," he says. "I diagram in detail every scenario or theme I'm going to approach, down to the lighting and f-stop. I also have to make sure I create an atmosphere in the studio that makes the person comfortable - I need to find out what music he likes, what food and drinks he prefers." |
Once the talent actually strolls into the room, it's imperative to get past any initial star-struck feelings and establish rapport, according to Rodriguez. "When Evander walked into the warehouse where we were shooting, there was instantly this aura of awe," he says. "It was hard for me at first, because he's so stoic and doesn't wear his emotions on his sleeve. It took me about an hour to break him down and start getting really honest images." |
To showcase all the different facets of the title-holder, Rodriguez carefully selected his backgrounds. "When you cover a broad spectrum of images, from upscale to casual to athletic, the background should be different in each one," he says. "You want those images to still hold the same impression 50 years later. I might choose a simple gray canvas for a clean, classic portrait, for example, or a purple background to give an image a little more punch." |
A lot of the particular look that Rodriguez is trying to achieve with each series, however, comes down to camera angle and lens choice. "I'll count on one focal length and one camera angle to project a certain feel," he explains. "I wanted an upscale image, for example, of Evander lying across this really nice chair. Because what I envisioned required a wide-angle view, I knew I would be using the 17-50mm for that shot." |
Rodriguez used the 90mm macro lens to capture more intimate portraits with the boxing great. "The 90mm's maximum F/2.8 aperture allowed me to shoot free-hand without having a tripod restricting what I was doing," he says. "In the image where Evander's wearing the hat and he's posed in front of a purple background, I knew I wanted a lens that was going to give me more of a headshot. I shot this one a little higher than eye level for a more approachable, personal look. He's very 'in the room' with you. If I had shot it from a different angle, it would have changed the whole dynamic of the image." |
A Pro Inside the Ring and Out |
The money shot of the series: Holyfield draped in a vibrant red robe, staring down the camera as if it were an opponent in the ring. "It turns out that the studio we used had done shoots for Maxim magazine, so they had this background with windows that we basically re-created to use for Evander," Rodriguez says. "I wanted to emphasize his imposing stature in this photo, so I shot him from the floor, using the 70-200 because of the distance." |
The predetermined lighting for this image was intricate, says Rodriguez. "We used lavender, blue, and amber gels on the lights to create vibrancy and saturation in the image," he explains. "First we created a wrap-around with one light behind me, one to the left, and one to the right to really create that celestial look." |
Rodriguez wanted to incorporate shadow into the image ("shadows create character, especially for boxers," he explains), so he placed the key light with a lavender gel about four feet above Holyfield, with an edge light coming in from the boxer's right (the viewer's left). Behind the Plexiglas background, though, was a white wall, which presented the biggest lighting challenge of the image. |
"I bounced three lights off of the white wall behind him: one amber in the middle, one blue, and one lavender," he says. "The fog machine, of course, was also great, because the fog picks up the colors of all of the gels." |
The all-day shoot was an exhausting but exhilarating endeavor. "His manager had told me beforehand, 'He's a champion and will do what it takes to get the job done,' and he did," says Rodriguez. "I was with him for seven hours." |
His rapport with Holyfield has even led to an ongoing relationship - he was commissioned to be the boxer's personal photographer, as well as invited by the champ to attend Muhammad Ali's recent 70th birthday celebration at the MGM Grand in Las Vegas. "All the best celebrity photographers show a side of the stars that you usually don't get to see," he says. "I hope I was able to do that with Evander." |
To view more of Hernan Rodriguez's work, check out his website at http://www.hernanphotography.com or follow him on Facebook. |