Canadian Sports Photographer & Mentor - Jeff Vogan

From Local Fields to Global Arenas: Jeff Vogan’s Photography Story

From photographing his son’s local games to covering global sporting events, Jeff Vogan shares an honest and insightful look into the world of professional sports photography. In this interview, he speaks about mastering high-pressure moments, building efficient workflows, avoiding common business mistakes, staying relevant in the era of AI and reels, and what it truly takes to break into elite sporting events like the FIFA World Cup.

About Jeff

Jeff Vogan’s journey into photography began with a childhood fascination inspired by his father’s slide projections, but his passion for sports photography truly evolved while photographing his son’s sporting events. What started as capturing family moments soon turned into professional work covering marathons and triathlons before he transitioned into full-time sports photography in 2016. Known for his mastery of fast-paced action, athlete portraits, and workflow efficiency, Jeff has built a reputation for blending technical precision with creative storytelling, while also consulting photographers and sporting organizations on optimized live-delivery workflows.

Q1: Where did you start your journey in photography? Which company, which genre?

My father loved to take photos. I remember him setting up the screen and slide projector to show his 35mm slides. Years later, when my mom bought me a present for my graduation, I asked for a camera. I hadn’t yet discovered my love of sports photography, so I photographed whatever caught my eye.

When my son was born, I started taking photos of him. When he started playing t-ball, I was taking photos. Then he started playing soccer, and I was coaching while running up and down the field, taking photos. When he was headed to England for a lacrosse tournament, I bought a prosumer camera.  My interest in sports photography was really just an interest in photographing my son.

Eventually, I started shooting for a couple of companies that covered marathons and triathlons. It was my first taste of shooting professionally. I envisioned starting a company that covered sports tournaments. In 2016, I left my corporate job to become a full-time, professional sports photographer. I learned very quickly that the model of having a team of photographers shooting sports events on spec was not a model for me.

I work by myself and love every minute of it.

Q2: What do you like most about Sports Photography? Which other genre do you like the most?

In sports photography, what I love most is the absolute lack of a safety net. You don’t get to ask a national-level swimmer to re-take a turn or a diver to redo a mid-air twist. You either capture the peak action, the emotion, and the water droplets frozen midair, or you miss it. It forces total technical mastery.

Outside of sports action, I love capturing portraits of athletes. I have taken portraits of Olympic gold medalists and even a UFC champion. Helping make a 10-year-old athlete look and feel as epic as a world champion is extremely satisfying.

Additionally, I do a lot of commercial work. The work from my previous career gives me the skills beyond just operating a camera that are of value to brands.

Q3: Any mistakes which you have learned the most from? Can be technical as well as practical mistakes related to photography?

The first large event where I was the official photographer was in March, 2016. It took me three weeks to deliver the images with the naming and folder structure Skate Canada required. I vowed to figure out a way to be more efficient. I started using Photo Mechanic software and explored how to automate my workflow and processes. I now design workflows for large sporting organizations and countless photographers through my workshops and consulting services.

From a business perspective, I learned at my first event that shooting on spec was a terrible business model for me. Shooting, editing and posting images with the hope that people would buy images was a lot of work for very little return. I learned very quickly that once I could show a quality body of work, I could shoot for people who hire me and pay in advance. 

Q4: Any tips for sports photographers starting their journey?

• Build a portfolio and a body of work. Improve your skills. Go out and shoot amateur sports. Don’t expect to shoot your cousin’s hockey game and then expect to shoot NHL games. 

• Master your workflow, not just your camera: Taking the photo is only 10% of the job. If it takes you hours to deliver images after a game, you’re already irrelevant to modern sports media. Learn to ingest, select, caption, and transmit live.

• Be invisible and professional: Respect the athletes, the coaches, and the officials. Building a reputation as someone who understands the flow of the sport and never gets in the way is what gets you invited back.

• Invest in glass over bodies: Of course, you will need a decent camera, but the glass is critically important. Save up and get yourself a 70-200 2.8.

Q5: Any YouTube / Instagram channels or photographers you follow the most?

I follow several photographers from around the world. Some are recognized leaders, while others I follow because their work inspires me.

Q6: Any financial advice for photographers struggling to stay afloat?

• Invest in a website: Develop a website that helps you get found, tells people what you do, and what services you offer. The week that I wrote this, I was hired by a company in Italy. I have been hired by people & companies in dozens of countries. They all found my website and liked what they saw enough to contact me.

• Fix your business model: Stop shooting on speculation. If you are shooting youth or club sports, implement a pre-registration fee. If they don't pay upfront to be photographed, they don't get shot.

• Track your data: Know exactly what it costs you to run your gear, insurance, and travel. If you don't know your cost of doing business, you're likely pricing yourself into a hole.

• Upscale your target market: Shooting an entire team pays more than shooting one player. Shooting the entire club pays more than just shooting one team. Shooting for the league pays even better. Then set your sights on commercial brands.

Q7: Any tips on how to reach the big leagues in sports photography? Like IPL/FIFA/Olympics season?

Be realistic. Many accomplished photographers have never been to the Olympics and never will. I got my start in 2016 and have never been to the Olympics. I will be working at the FIFA World Cup this year, the biggest event I will have ever covered.

Getting to major international tournaments requires a flawless mix of a unique visual voice, absolute reliability under pressure, and specialized speed.

1. Work your way up the credential ladder: You don't start at the Olympics. You start at local club meets, move to university championships, and target national qualifiers. Agencies need to see that you can handle the pressure of a major media room.

2. Automate your live delivery: Major tournaments require near-instant delivery to wire services or social media teams. If you can use tools like Photo Mechanic to deliver a perfectly captioned, tagged image to an editor's FTP server within seconds of the whistle blowing, you become an invaluable asset.

Q8: Everyone wants reels these days. Do you think photography is no longer in demand?

No, it’s just that the demand has just evolved. While short-form video dominates algorithm feeds for casual scrolling, high-end photography still holds a massive premium. A single, iconic, perfectly composed still image has a staying power that a 9-second reel simply cannot replicate. Brands, commercial clients, and athletes still rely heavily on powerful photography for billboards, website hero images, print media, and definitive historic documentation. Video captures the movement, but photography captures the definitive, permanent soul of the moment. You just have to target clients who value longevity over fleeting views. You can’t frame a video and hang it on the wall.

Q9: I've noticed some innovative shots you have taken, like top views and playing with lighting. How can one up their game with creative shots in the day of AI?

I shoot for commercial brands, national and provincial sporting organizations, as well as clubs, and individual athletes. At least right now, they want “real” images. I try to make my photos different but authentic by shooting from different perspectives and controlling the light. 

AI can easily generate a generic, perfectly lit photo of a runner or a swimmer, but it cannot replicate the raw, authentic grit of a real moment, nor can it replicate true physical perspective.

To beat AI, you have to lean heavily into things that require a physical presence and a human eye:

• Change your physical axis: Stop shooting from eye level or standard sideline positions. Get up into the catwalks or rafters for an absolute top-down aerial perspective, or drop your camera right down to the level of the water or the turf.

• Embrace extreme, unpredictable light: AI loves "perfect" lighting. Find the harsh, dramatic shafts of sunlight cutting through a dark stadium, or use strobes to create heavy, high-contrast silhouettes.

• Get a unique perspective: Use remote-triggered cameras placed in spots we can't stand.

Final Thoughts

One of the biggest lessons from Jeff Vogan’s journey is that success in sports photography goes far beyond owning a good camera. Consistency, workflow efficiency, professionalism, creative perspective, and strong business fundamentals are what separate sustainable careers from short-lived passion projects. His insights reinforce that authenticity, speed, and the ability to adapt will continue to hold value even in an AI-driven creative landscape.