San Francisco 49ers defensive coordinator Steve Wilks manned the sideline for the first time and the results were immediate in Week 10’s win.

The San Francisco 49ers got their season back on track with a dominant Week 10 performance, defeating the Jacksonville Jaguars 34-3 on the road. Was a key change involving defensive coordinator Steve Wilks the reason for the Niners’ defense having its best game so far?

During the week, 49ers head coach Kyle Shanahan announced that Wilks would be coaching from the team’s sideline, rather than up in a box with other coaches.

Linebacker Fred Warner lauded the move after the win, telling reporters “It was good having him down there. The communication was flawless,” per KNBR’s Jake Hutchinson.

It had been a rough stretch for the 49ers, and specifically the defense. The team hit its Week 9 bye on a three-game losing streak after starting the season 5-0.

San Francisco surrendered 22 points to the Minnesota Vikings in Week 7. They were worse in Week 8, giving up 31 points in a two-touchdown loss to the Cincinnati Bengals.

But behind Wilks’ new positioning, the unit righted the ship against Trevor Lawrence and the Jaguars. Lawrence finished the game 17-for-29 for just 185 yards and no touchdowns with two interceptions. He also lost a fumble after a strip sack.

The 49ers’ pass rush got to Lawrence five times, with DE Nick Bosa and DT Javon Hargrave each registering a sack and a half.

Chalk up the decision by Shanahan as a wise one, at least after one week. If Week 10’s win is any indication, having Wilks on the sideline provided a valuable jolt and got the Niners back in the discussion of NFC contenders.

The post 49ers’ Fred Warner reveals influence of Steve Wilks transferring to sideline appeared first on DAILY SAN FRANCISCO BAY NEWS.

“And then at the age of 80, he starts a career as a fine art photographer,” Meza said, referring to a career that was active right up until Lyon’s passing. “He died working on two book projects. And just this last April, he had two books out — mine, and he was the largest contributor to another book, “San Francisco: Portrait of a City.”

Fetterman said he had not encountered Lyon’s work before seeing an image called “Foggy Night, Land’s End.”

“I thought I knew a lot about photographers and the history of photography,” Fetterman said. When he came across “Foggy Night,” he said, “I was totally blown away by it. I thought, ‘Why haven’t I heard of this man? Who is this man? This man is a giant — anyone who could make that kind of composition, I have to know more about him.'”

‘Foggy Night, Land’s End,’ a 1953 image shot by San Francisco photographer Fred Lyon. (Fred Lyon/Peter Fetterman Gallery)

L

yon told KQED’s Pat Yollin in a 2017 profile that he became fascinated with photography early in his teens.

“Cameras were shiny objects,” he said. “I knew a guy who had one and he always seemed to have a lot of cute girls around him. I thought that if I had a camera, maybe I’d get girls, too.”

Lyon skipped two grades, graduated from Burlingame High School, apprenticed at a San Francisco photography studio at age 14 and then, a year later, attended the Art Center School in Los Angeles, where Ansel Adams was a teacher.

In a 2020 interview with “California Look” collaborator Philip Meza, Lyon recalled how he joined Adams and a select handful of other students on a summer trip to Adams’ home in Yosemite. He said he took from Adams certain artistic tenets, such as Adams’ famous admonition, “There’s nothing worse than a very sharp image of a very fuzzy concept.” But even then, Lyon said, he knew he needed to become his own photographer.

“My feeling was that I knew I could never learn all Ansel,” Lyon said. “I could never be more than a miniature Ansel Adams if I tried to be like him. I was never going to become a landscape photographer. I always seem to need to include some of the works of man in my work. Ansel was terrific and inspirational, but I didn’t want to emulate what he was doing.”

Lyon was a Navy photographer during World War II, an assignment that took him to the White House, where he took a Christmas portrait of President Franklin D. Roosevelt and his extended family in 1944. He photographed President Harry S. Truman on his first day in the Oval Office following Roosevelt’s death in April 1945.

After the war, Lyon shot fashion assignments in New York City before returning to the Bay Area in 1946, where his family’s thriving real estate business awaited him. But he had other ideas.

“Photography wasn’t really an honorable profession,” Lyon told KQED in 2017. “It wasn’t a profession at all. When our family physician found out what I was doing, he said, ‘Oh Frederick, that’s no work for a you.’ But it’s the ideal pursuit for an inherently nosy person. You get to peek into everyone else’s life.”

A

ll through his career, Lyon was very busy getting those glimpses into the lives of others.

“We looked at his work logs — he logged in every shoot he did from maybe 1940 on,” Rozis, who married Lyon 20 years ago, said Saturday. “There were all kinds of interesting people, from sports to fashion to architecture to films. It’s just amazing. He said, ‘When I look at these job logs, it makes me tired.’ Every day there were two or more shoots.”

Meza says that Lyon set out to become a working photographer, a mission at which he was fabulously successful, but did not consider himself an artist.

“Nevertheless, he did become one,” Meza said, the proof being the enduring attraction of the images he captured. “If it is a generation or more removed from the viewer, like some of Fred’s fine art photography, it retains these powers and is not just a curiosity because it is antique. I think his artistic sense was derived from his abundant empathy, curiosity and intelligence.”

Children street-sledding down steep hill, North Beach, San Francisco, 1952. (Fred Lyon)

Fetterman says that, beyond the quality of his work, Lyon stood out as someone who embraced life and other people.

“He was a joyous character,” Fetterman said. “He was like Cary Grant. He was from another era of charm and manners and gracefulness — all of it genuine.”

The post Fred Lyon, Famend San Francisco Photographer, Dies at Age 97 appeared first on DAILY SAN FRANCISCO BAY NEWS.

“And then at the age of 80, he starts a career as a fine art photographer,” Meza said — a career that was active right up until his passing. “He died working on two book projects. And just this last April, he had two books out — mine, and he was the largest contributor to another book, “San Francisco, Portrait of a City.”

Fetterman said he had not encountered Lyon’s work before seeing an image called “Foggy Night, Land’s End.”

“I thought I knew a lot about photographers and the history of photography,” Fetterman said. When he came across “Foggy Night,” he said, “I was totally blown away by it. I thought, ‘Why haven’t I heard of this man? Who is this man? This man is a giant — anyone who could make that kind of composition, I have to know more about him.'”

“Foggy NIght, Land’s End,” a 1953 image shot by San Francisco photographer Fred Lyon. (Fred Lyon/Peter Fetterman Gallery)

L

yon told KQED’s Pat Yollin in a 2017 profile that he became fascinated with photography early in his teens.

“Cameras were shiny objects,” he said. “I knew a guy who had one and he always seemed to have a lot of cute girls around him. I thought that if I had a camera, maybe I’d get girls, too.”

Lyon skipped two grades, graduated from Burlingame High School, apprenticed at a San Francisco photography studio at age 14, then attended the Art Center School in Los Angeles, where Ansel Adams was a teacher, a year later.

In a 2020 interview with “California Look” collaborator Philip Meza, Lyon recalled how he joined Adams and a select handful of other students on a summer trip to Adams’ home in Yosemite. He said he took from Adams certain artistic tenets, such as Adams’ famous admonition, “There’s nothing worse than a very sharp image of a very fuzzy concept.” But even then, Lyon said, he knew he needed to become his own photographer.

“My feeling was that I knew I could never learn all Ansel,” Lyon said. “I could never be more than a miniature Ansel Adams if I tried to be like him. I was never going to become a landscape photographer. I always seem to need to include some of the works of man in my work. Ansel was terrific and inspirational, but I didn’t want to emulate what he was doing.”

Lyon was a Navy photographer during World War II, an assignment that took him to the White House, where he took a Christmas portrait of President Franklin D. Roosevelt and his extended family in 1944. He photographed President Harry S. Truman on his first day in the Oval Office following Roosevelt’s death in April 1945.

After the war, Lyon shot fashion assignments in New York City before returning to the Bay Area in 1946, where his family’s thriving real estate business awaited him. But he had other ideas.

“Photography wasn’t really an honorable profession,” Lyon told KQED in 2017. “It wasn’t a profession at all. When our family physician found out what I was doing, he said, ‘Oh Frederick, that’s no work for a you.’ But it’s the ideal pursuit for an inherently nosy person. You get to peek into everyone else’s life.”

A

ll through his career, Lyon was very busy getting those glimpses into the lives of others.

“We looked at his work logs — he logged in every shoot he did from maybe 1940 on,” Rozis, who married Lyon 20 years ago, said Saturday. “There were all kinds of interesting people, from sports to fashion to architecture to films. It’s just amazing. He said, ‘When I look at these job logs, it makes me tired.’ Every day there were two or more shoots.”

Meza says that Lyon set out to become a working photographer, a mission at which he was fabulously successful, but did not consider himself an artist.

“Nevertheless, he did become one,” Meza said, the proof being the enduring attraction of the images he captured. “If it is a generation or more removed from the viewer, like some of Fred’s fine art photography, it retains these powers and is not just a curiosity because it is antique. I think his artistic sense was derived from his abundant empathy, curiosity and intelligence.”

Children street sledding down steep hill, North Beach, San Francisco, 1952 (Fred Lyon)

Fetterman says that, beyond the quality of his work, Lyon stood out as someone who embraced life and other people.

“He was a joyous character,” Fetterman said. “He was like Cary Grant. He was from another era of charm and manners and gracefulness — all of it genuine.”

The post Fred Lyon, Famend San Francisco Photographer, Dies at Age 97 appeared first on DAILY SAN FRANCISCO BAY NEWS.

The 2020 NFL season was unforgettable for the San Francisco 49ers. Injuries dashed the team’s hopes for the Super Bowl when the Niners failed to make the playoffs after winning the NFC in 2019.

It wasn’t all downfall for the franchise, however. One player who has made great strides and caught the attention of the NFL is middle linebacker Fred Warner. The 24-year-old was named the AP first-team all-pro for his efforts.

The Niners took Warner with them in the third round of the 2018 NFL Draft. From 4-12 in his rookie season to the Super Bowl in 2019, he has seen ups and downs in his short time with last year’s injury-riddled season in the league.

It was a breakout season for Warner. He finished with 125 tackles (five for one loss), seven QB hits, two interceptions, and one sack. Warner’s cover skills are on another level. Pro Football Focus gave him a coverage rating of 91.1, which is the top of all linebackers in the league.

He only gave up 4.4 yards per target and opposing QBs had a rating of 69.7 when they threw in Warner’s direction. That’s a huge improvement over the 91.8 QBs QBs had when they chased Warner in the passing game during his rookie year.

Warner’s position manager last season, Dameco Ryans, will be San Francisco’s defensive coordinator for the next season after Robert Saleh took over as head coach for the New York Jets. The 49ers defense will have a ton of returning players. General Manager John Lynch and Head Coach Kyle Shanahan have signed freelance agents Jaquiski Tartt and Jason Verrett to one-year contracts and will deploy most of the defense that dominated 2019.

Due to its standout play, Warner’s cap hit will rise from $ 844,000 to just over $ 3.3 million due to the league’s proven performance escalator program. The NFL rewards players selected in the third round or later if their performance exceeds their draft positioning.

Warner has spent three years in the league and is now qualified for a lucrative extension.

The five highest paid inside linebackers in the NFL are;

Bobby Wagner ($ 18 million AAV)
CJ Mosley ($ 17 million AAV)
Zach Cunningham ($ 14.5 million AAV)
Myles Jack ($ 14.25 million AAV)
Deion Jones ($ 14.25 million AAV)

Given his game, Warner should stand in line to be in the top three. The Niners have done a great job this off-season in increasing the flexibility of the canopy in the future. NFL commissioner Roger Goodell said he hopes the stadiums will be at full capacity next season, which will improve the league’s bottom line and, in turn, give teams more money to work.

When the stadiums are full, the 2022 campaign wage cap should rise again, which will give Lynch more headroom for Warner’s extension. The NFL’s new TV deals begin with the 2023 campaign, which will also help. The 49ers will have tight end George Kittle’s massive extension that takes up a little more space. Kittle’s cap hit is set to surge from just over $ 5.4 million in 2021 to $ 16.1 million in 2022.

Pass rusher Nick Bosa will also be eligible for overtime after next season and given how dominant he is, the Niners will have to break the bank to keep him.

The 49ers have Paraag Marathe as their salary cap guru and hope he can use his magic to keep Warner and Bosa on.

How much do you think Warner’s next contract will be worth? Will he be the highest-paid linebacker in the NFL?

The post San Francisco 49ers: How a lot will Fred Warner’s extension price? appeared first on DAILY SAN FRANCISCO BAY NEWS.