When it comes to baseball photography, few names stand out like Alex Trautwig. Currently the Director of Photography at Topps/Fanatics Collectibles and the President of the newly formed Professional Baseball Photographers’ Association (PBPA), Alex has carved out an impressive career in sports photography. From his early days as a student photo editor at Boston College and an assistant with the New York Mets to managing sports operations at Getty Images, his career trajectory highlights his passion for storytelling through the lens of a camera.
We had the privilege of sitting down with Alex to learn more about his career, the tools of his trade, and his advice for aspiring sports photographers. Here’s what he had to share.
“There’s so much that goes into working as a professional photographer that has nothing to do with the pictures you’re making.”
Q&A with Alex Trautwig
How did your early experiences at Boston College and with the New York Mets shape your career as a sports photographer?
Although I worked with the Mets during my time at Boston College, the two are such different parts of my journey. Boston College, although a fantastic school, does not offer much in the way of formal photography or journalism education. However, my time working for the independent student newspaper on campus, The Heights, prepared me to work in a professional newsroom and gave me invaluable experience. I made some great friends there and had tremendous access to our athletics program as there were not many people competing for the chance. It was a full-time job (oftentimes my priority instead of classes), and I would be nowhere without that work. In speaking with younger photographers, I cannot advocate for this enough. You see things on campus that you wouldn’t experience otherwise, you meet like-minded people, you’re forced to work on deadline, you cover a wide variety of subjects, and you have the agency to focus on your craft in a way that will never happen outside of academia.
Separately, working for the New York Mets set me up for every job I’ve had. Learning from one of my great mentors, Marc Levine, prepared me for what was to come on so many levels. One of my only regrets in life is that I did not convey this to him clearly enough—he was not the “here’s how you do it” kind of mentor, but watching him and taking in what he was doing on a daily basis was a masterclass in working for a team. There’s so much that goes into working as a professional photographer that has nothing to do with the pictures you’re making, and my experience working for the club was instrumental in wrapping my head around that.
During your time at Getty Images, how did you handle the logistics of producing quality photography content at 3,000 sports events per year?
Assigning sports, much like live event coverage, is just triage. Understanding what the most immediate need is, addressing it, and moving on to the next. There will be wins, and there will be losses, but you can’t dwell on either too long. There’s no shortcut to do an operations job like that, and the overwhelming thing is that no matter how much you accomplish in a day, there’s always more to do. The relationships you foster with photographers as well as media relations staff are what will make you successful in an assigning role and will allow you to know who you can count on in a pinch and who you can ask for a favor when you really need it. There’s an entirely different level of satisfaction that comes from knowing that the coverage you’re putting together is meeting the needs of global clients and telling the important stories happening across the sports landscape.
What does your current role as Director of Photography at Topps/Fanatics Collectibles entail, and how does it differ from your previous positions?
There are a few things more lasting than a physical trading card, and every day we are making something that people will hold onto for a lifetime, and that’s something I take very seriously. It was always a thrill to see my images end up on cards, and now, being on the other side of that, we’re working every day to make our products as great as they can be for the fans and collectors.
How has baseball photography changed over the years, and what are the biggest trends shaping the field today?
There has never been more of a need for images than right now, and it’s great to see such a focus on photography across mediums. The sheer volume—of both need and creation—is astounding. Sometimes, that can make it difficult to stand out as much as a photographer, but in the long term, the quality will win out, and that should always be what guides the work. From a visual trend perspective, teams, brands, and individual players are leaning into images that go beyond a specific game moment. We’re seeing more features, portraits, and behind-the-scenes images that tell of a story beyond the final score or show viewers something they haven’t seen before.
What led to the founding of the PBPA, and how do you see it benefiting photographers in the industry?
The PBPA exists as a resource and community for baseball photographers around the world and working at different levels of the game to give them a space to share ideas and techniques. Just as essential, we exist to honor those that have made significant contributions to the craft of baseball photography with our Lifetime Achievement Awards, as well as celebrate the best imagery of the year through our annual photo contest. All of these things help the game and those who photograph it, whether they are members or not. Additionally, over 10% of our membership are students, which is something that I’m really proud of—allowing them to learn from professionals and develop the skills they’ll need for the future.
What elements make a truly iconic sports photograph, and how do you capture those moments in high-pressure environments?
Emotion is the thing that resonates with the widest audience, and rightly so. Paired with the “big” game, it doesn’t get much better than that. When we’re talking iconic, it usually involves a big win or historic achievement, something that tells the story not only of the player but conveys the magnitude of the moment. There are, of course, great images to be made at a regular season game in July, but when the stakes are higher, players are just more emotional, and it’s up to the photographer to capture that. You have to be prepared for the moment, whether it’s a game-winning home run or celebrating the final out, and be thinking about what it might look like. For example, in the postseason, players are often likely to react towards their dugout as they run up the first base line, so you might choose to shoot it a little wider to give the context of the stadium, dugout, and emotion instead of just sticking with a telephoto lens. In the regular season, you’re much less likely for a player to show a lot of emotion running up the first baseline but would get more as they reach third or home plate.
7: What camera gear and equipment do you rely on for capturing fast-paced baseball action, and how has technology improved your workflow?
For a baseball game—three camera bodies. Always one with a 400mm/f2.8, one with a 135mm/f2.0 (interchangeable with a 70-200 if necessary), and lastly, a wide 16-35 or 24-70. With file sizes where they are for current cameras, fast and reliable memory is certainly essential to make sure that images are getting where they need to be. Not uncommon for two of those three cameras to be tethered, transmitting images via FTP to clients or an editor.
Are there any specific techniques you use to anticipate and capture the perfect moment during a game?
Broadly, it’s just about being present and being aware of what’s happening in front of you. Some photographers have a higher sports IQ, and that can help in anticipating what is going to develop on the field. I was never the best at that, but something that helped me was making sure every moment with a camera in my hand, I was looking around for the next frame and thinking about “what do we need” to make the assignment a success. Control what you can and work with what you can’t.
What key skills or experiences would you recommend to photographers looking to break into the sports industry today?
Speaking as a photographer, I think versatility is one of the most important things. Gaining experience working in as many different types of situations as you can, through a variety of subjects. Not only does it allow you to say yes to more assignments, but it ultimately prepares you to succeed in any environment. I’m not recommending shooting one of every sport you can just to “prove” you’ve done it, but the ability to shoot sports editorially and then shoot studio portraits in the same day makes you very valuable.
As a person who hires photographers, I think it’s essential to get a handle on some of the small things that do not involve a camera. You have to have a website, you have to have some sort of social media presence. You must be responsive to messages. You must be able to communicate clearly and effectively with clients and editors. If all the portfolios were exactly the same, the person who would get hired would be the one who prioritizes those things, stays organized, and is reliable.
Any other tips or highlights from your experience you’d like to share?
I have been incredibly lucky to receive guidance, feedback, and mentorship from some of the best people in the field. Mentorship is something I take very seriously because it has had such an impact on me, so all I would say is that if you’re a working professional and someone is genuinely looking for help, it’s a worthwhile endeavor to give them some of your time and pay it forward.
Final Thoughts
It’s clear from this interview with Alex Trautwig that being a successful photographer is about so much more than just taking great pictures. Alex shared some amazing insights about the importance of communication, organization, and building relationships in the industry. It’s those small but important details, like being responsive to clients or maintaining an online presence, that really set photographers apart. His advice on mentorship underscores his passion for the field and his genuine desire to support others, making him both a talented photographer and a great role model.
Whether you’re an aspiring photographer or someone already working in the industry, there’s a lot to learn from Alex’s experiences and outlook. His down-to-earth approach reminds us that it’s not just skill behind the camera but how you handle everything else that truly matters.
