I like to push myself. Soon after I post my images from a recently completed game or match, I'm on my computer reviewing them to see how I might make them better.

I'm wired that way. And, if I'm not critiquing my own images, I'm looking at another photographer's to see what he or she captured that I missed. Like I said, I like to push myself.

Learning how to evaluate and edit your own photos is an acquired skill. Knowing what to keep, and what to discard, takes discipline. Here are some suggestions.

Good sports photos tell a story

Like good writing, good sports photography tells a story. That means your photo must have a clear, identifiable subject. Even better, your action should be compelling, dramatic, highlighting a peak moment. Here are some suggestions to help you tell better stories with your photos.

Ask yourself, who is your subject? This photo (left) captures a peak moment. Two tacklers are about to sandwich the ball carrier. The one in the foreground (#28) has even left his feet. It's a peak moment.

But here's the problem - I can't see the ball carrier or the ball, so I don't really know who is involved, what is happening or why. Also, I can't see a single facial feature. I dug this one out of my trash file - which unfortunately is where a photo like this belongs. This one would never be published in a magazine, and you shouldn't place it in your gallery of keepers, either.

Does your image tell a story? In the photo you've taken, does the image tell a story? Specifically, where is the ball, who has it, and what is happening? Why is that moment worthy of the image you've taken? How is it part of the story? These are important questions. If you can connect your images to a story line, you'll have done well. But if players are not identifiable, the ball is not visible, and the action is not clear, then the image shouldn't be kept.

For example, in the photo at the right, several defenders are converging on the ball carrier. But because the ball is concealed, you don't really know what's happening. And because you see no faces, there's no drama or intensity. This is another one that made it into my trash bin.

Can you answer the question, 'Why?' With each image you review from your event, learn to ask, 'Why is this image important?' If you can't see the player's face, why are you keeping it? How does it contribute to the story of the game? Does it show a peak action moment from the game? Does it show a high-performing athlete? Does the image show one team overwhelming the other? Does the athlete's expression contribute to the story?

The volleyball image (left) is a peak moment that occurs in a volleyball match. The player facing me is attempting a 'kill' while the player in black is attempting a 'block.' I see the ball and player I'm featuring, and all the elements are well exposed and in focus. This peak moment was published.

Learn the difference between 'keepers' and 'discards'. Images that help tell a story, that show peak action, that depict the intensity, drama or other aspect of the game are ones to capture and keep. Just because they made it into your camera doesn't mean they are worthy of keeping. Those images that don't contribute to the story can - and should - be deleted.

Learn to frame your subject so that the action is coming towards you. You may need to reposition yourself along the field or court to do so. Notice the image below with the running back running upfield and toward me. Learn to anticipate the action and let it come to you and you'll capture the elements that tell the story - face, ball, and peak action. And you'll have more keepers to add to your gallery as a result.

Capture the drama. Sports photography is about capturing action, drama and showing the intensity of athletes in conflict. ABC Sports set the standard for this back in the 1970s with their timeworn slogan - "The Thrill of Victory and the Agony of Defeat."

Compete with yourself. Lastly, learn to compete with yourself. Always try to make today's batch of photos better than yesterday's. Become a steadfast critic of your own work, or have someone else offer you suggestions.

A good editor can be your best friend. Find one. Ask for feedback. And learn to trust their judgment.

Good luck!

As far back as seventh grade, my favorite day of the month was the day that Sports Illustrated hit the newstands. Sometimes I would mark it on my calendar. Other times I just knew it was time.

On that day, as soon as the last school bell rang, I would ride down to the corner drugstore on my two-speed Schwinn. There, I would walk briskly to the magazine rack at the back of the store. Without pausing, I reached into the stack of fresh copies and picked out one that hadn't been opened yet, whose pages were still untouched.

Then, I savored the moment. I would stand, almost transfixed, slowly turning the pages to look carefully at each picture. The athletes' facial expressions - exulting and grimacing - and sprawled, flying and contorted bodies amazed me.

That was my introduction to sports photography. And that was my dream.

My first NFL assignment landed a photo in Sports Illustrated.

Today I'm living my dream. After a 22-year career in advertising, I'm doing what I love. Exhilarating. Challenging. Exasperating at times. But immensely satisfying.

Because you're reading this blog, you may know the feeling. You have a new DSLR camera, or piece of fast glass, and you're wanting to make better pictures of your son or daughter. Or maybe you're a college photographer with assignments for your school's sports department. Or maybe your smaller digital camera just doesn't capture the images the way you wanted And you're wondering what type of camera to shop for. Or, you've been using your camera and lens for several months, but the images just don't turn out the way you'd like them to. Why? What should you do? How can you improve?

These are the questions I receive along the sidelines, in the stadium aisles or coffee shops I frequent. And in this blog I want to help, by offering insights, advice and tips on how to create Better Sports Photos.

Like many of you, I'm self taught. But I've also learned from some of the best (e.g., Mark Reis, Dave Black, Bob Rosato, Joey Terrill, Mark Terrill, John McDonough, Keith Ladzinski, Rod Mar, Robert Seale, Brad Smith and Rich Clarkson). And I keep teaching myself, I keep studying. I don't believe I've arrived, but rather, I'm a work in progress. And I have the notion that I can help others learn. If what you learn here helps you make better sports photos for whatever purpose, then I will have accomplished my goal.

Today I still savor the newest issue of Sports Illustrated. It's the first thing I grab at the physical therapy clinic or grocery store. Only now, in addition to looking at the great images, I'm also reading for photo credits. And along with recognizing names of other photographers I've met or studied under, now I'm on the lookout for images I've made.