About Those Juan Soto Photos

On December 12, the day of Juan Soto’s introductory press conference with the Mets – imagine for a moment being one of the three people in New York City who still requires an introduction to the concept of Juan Soto – the temperature at nearby La Guardia Airport peaked at 43 degrees. Soto wore a turtleneck and chain under his blazer, presumably to ward off the cold, but possibly because he was inspired by the look his new teammate Mark Vientos rocked during the National League Championship Series.

During the press conference, Soto swapped out the blazer for a crisp, new Mets jersey, but he left the turtleneck in place. The temperature was down to 37 by the time he ventured out to the elevated seats behind home plate for a photo op. “We got about fifteen minutes with Soto and his family,” said photographer Brad Penner in an email, “and it was COLD.” The photo op wasn’t just quick. It was weird, and the images it left us with are bizarre and beautiful. “I’ve done many press conferences,” wrote Penner, “but few that were like this one.”

As he so often does, Soto seemed to jump right out of the photos. “I chose a seat as close to where Soto would be,” Penner said, “so I could line him up with the scoreboard, rather than the field and seats.” That was smart, as the Mets displayed a “Welcome to the//New York Mets//Juan Soto” graphic on both scoreboards, each featuring three images of him. That left many of the photos with seven Sotos in them, quite possibly a world record. With the focus of the lens necessarily all the way in the foreground, the scoreboard isn’t crisp. You can just make out the tiny “Welcome to the” portion of the graphic, but only if you zoom in and enhance like a CIA agent tracking Jason Bourne through a train station. (Also, there’s no comma between “Mets” and “Juan Soto,” so it reads like the entire team has been renamed the New York Mets Juan Soto. Take that, Cleveland Napoleons!)

Soto was standing in an area that was much darker than the field and the scoreboard in the background, and in the twilight, the black fabric of the turtleneck discolored his paper-thin jersey in an odd way. The white jersey shone brightly where it hung free, but where it lay flat against the turtleneck, it failed to contain the darkness within. The numbers on Soto’s jersey lit up like reflectors while the underside of his cap swallowed light like a black hole. In one picture, Soto smiles and spreads his arms wide, but his arms and his entire head are fully engulfed in impenetrable shadow.

In case you can’t tell, I adore these pictures. They’re not the action-packed hero shots that we’re used to seeing splashed across the sports section or the homepage of our favorite baseball analytics website. We’re accustomed to crisp, perfectly lit pictures of batters flattening fastballs into pancakes and pitchers grimacing mid-delivery with their UCLs stretched past the point of no return. But for the past month, with no new art to take their place, these photos of Soto looking, of all things, human, are everywhere. There he is on the television, in the newspaper, on the internet: in the dark, wearing a baseball jersey over a chain and a turtleneck that probably cost more money than I have ever seen in my life, alternating between posing confidently and standing awkwardly.

That’s part of the deal for professional baseball players. From the moment they arrive at spring training until the moment their season ends, they’re fair game for photographers. The Imagn photo service has 4,455 pictures of Soto, 1,113 of them from the 2024 season alone. But when the season ends, the players disappear. In the winter, they get to live their quasi-private lives away from the cameras, and baseball editors get to scroll through Imagn’s 56 pages of 2024 Juan Soto pictures in an attempt to avoid reusing that one shot they used back in December.

But now we’ve got art of Soto in a Mets uniform. Sure, the art isn’t what we’re used to, but it beats using an old photo of him in a Yankees uniform. Here’s what you see what you search Imagn for Juan Soto (which you can do here).

For any editor whose news organization didn’t send a photographer to Soto’s presser, this is what you have to choose from. It’s one closeup after another: Juan Soto with his arms outstretched like Moses parting the Red Sea, Juan Soto nervously smiling and adjusting the cuff of his turtleneck, Juan Soto with his hands raised like he’s conducting an orchestra, Juan Soto with the same goofy, sideways smile that Steve Carell wore in the poster for The 40-Year-Old Virgin.

I was a teenager when digital cameras began to fully replace film cameras, and I remember that era just well enough to appreciate what the transition cost us. Today, you can take and instantly delete an infinite number of pictures until you get one that shows exactly what you want it to show. Before that option was available, you couldn’t see your photos until you remembered to take the roll to the developer months later. When you finally got them back, you’d discover that you had your finger over the lens for a couple of them, that you had your eyes closed for a couple more, that the lighting was off for a couple more, and that one was, for no discernible reason, completely gray. If you were a total amateur like me, you’d consider yourself lucky to end up with two or three photographs that actually came out well. In other words, photography used to accurately represent real life. Real life is 90% crazy eyes and pre-sneeze faces, and you don’t get to dial up the saturation. I don’t mean to sound like a crank. I love having a decent camera in my pocket at all times; I’m just saying that it has distorted our world a bit.

For that reason, I love the fact that these pictures are everywhere you look. Penner took all of them, and he’s a fantastic photographer. He took the widely circulated picture of Francisco Lindor celebrating on the field after the Mets dispatched the Phillies in the NLDS, and he even had a comp in mind for the madness of Soto’s press conference: Kemba Walker’s 2021 introductory presser for the Knicks, which took place at the top of the Empire State Building. But still, these are not the perfect pictures we’re used to seeing. They show the rare photo opportunity that ends up looking every bit as contrived as it actually is.

For the next month, do your best to enjoy these pictures. The moment Soto arrives in Port St. Lucie, you’ll stop seeing them. They’ll be replaced by low-angle shots of a godlike Soto in a crisp uniform, an immaculate Florida sky behind him. He’ll be launching batting practice home runs and laughing with his teammates. It will be perfect. There will be no turtleneck.