Browsing Category

Corporate Magazine Photography

Corporate Industrial Photography for ExxonMobil 2014 Annual Report

SEALE_Oil_and_Gas_refinery-001

Long exposure of Oil and Gas facility in the Middle East under a full moon glow.

Last year we had the awesome opportunity once again to create some really interesting oil and gas photography for ExxonMobil's corporate annual report.  I'm very proud to have worked with this incredible company for many years.  We usually have several assignments that take us around the world, and this year was no exception.  We photographed oil and gas facilities in Scotland, Belgium, The Netherlands, Saudi Arabia, and West Texas.  We also did a few days of offshore oil and gas photography in the Gulf of Mexico, shooting from helicopters and living aboard a state of the art offshore drilling platform and drill ship.

Portrait of a mechanic in Scotland.

Portrait of a mechanic in Scotland.

For the European portions of the assignment, assistant Travis Schiebel helped out and we had a lot of cool experiences, including being surrounded by sheep while shooting long evening exposures near a plant in Scotland.

After a morning sunrise shoot in Antwerp, we were having breakfast, enjoying our waffles (hey, you have to, right?),  in a sidewalk cafe, when suddenly a parade of elderly French Foreign Legion soldiers came marching through.  We were able to follow them and hear some great stories of battles in Algeria as they went on their annual barhopping jaunt through the city.  You haven't partied until you've partied with 85-year-old Legionnaires.

Saudi_fishDallas assistant John Sutton helped me out in Saudi Arabia, as we photographed in three different facilities there.  I had been there a couple of years before and it was great to see old friends again.  One of our friends there prepared a wonderful traditional meal of whole cooked fried fish, which we ate with our hands while sitting together on beautiful woven rugs.  The last time we were there, we enjoyed “mandi”, a lamb cooked in a tandoor oven ground pit and served over rice.  Both were fantastic.  I'm not normally a super adventurous eater, but I'm getting better about embracing and sampling the local cuisine wherever we go.  I felt honored that locals embraced us and were thoughtful enough to share their food and culture with us.

Saudi silhouette with   incredible twilight color.

Saudi silhouette with incredible twilight color.

Oil and Gas photo shoots usually involve a lot of long days, getting up super early for sunrise, and staying until late evening for sunsets, and these fun mid-day diversions make the assignments really fun.  By the way…..the light in Saudi was incredible – fantastic sunsets, and beautiful warm early light.  One night, we were lucky enough to photograph a new facility under the light of the full moon, which provided a wonderful backlit glow to the shiny new steel plant.

When the annual reports were recently released recently, we ended up with several well designed two page spreads.  Here are a few samples below.

SEALE_Antwerp_2_Oil_and_Gas SEALE_Antwerp_Oil_and_Gas SEALE_Scotland_Oil_and_Gas SEALE_Texas_Oil_and_Gas

Annual Report Cover Photography for ExxonMobil

The cover of the ExxonMobil Annual Report, taken in Qatar by Houston photographer Robert Seale.

The cover of the ExxonMobil Annual Report, taken in Qatar by Houston photographer Robert Seale.

When I was growing up, my best friend was an overachiever who at age 9, was the Rupert Murdoch of the lawn mowing business in our home town. His empire stretched far and wide, and he spent his days in the summer and after school riding his hefty John Deere riding mower (which he bought with his own funds) around town.

My friend was a year older than me, but I often helped him with trimming, weed-eating, etc, and before long, I had talked my dad into letting me take his beloved John Deere riding mower, (which he was very protective of), into the neighborhood in search of elderly ladies who needed regular yard work.

Well the money started rolling in, you know….HUGE sums like 10, 15, even 20 dollars a week! I promptly blew through everything like a 10-year-old rapper with a new record contract, only my vice of choice was video games and candy – not hookers and Bentleys.  I loved banana Laffy Taffy, and I think I single-handedly kept that confectionary company afloat during the early 1980's.

My mother, who ran banks for most of her career, saw this silliness and decided that I needed a lesson in financial responsibility. She promptly set me up with a checking account, and taught me how to balance and reconcile a bank statement. I was to use the account when I needed money, like for lawn mower gas or oil – her reasoning was that if I had to stop and write a check that perhaps I might think twice about my impulsive spending habits. She also made me set aside 150 dollars, which seemed like all the money in the world at the time (and to me, it certainly was…), and buy shares of Exxon stock with my little nest egg.

Well, I was pissed. Do you know how good I could have become at Galaga or Defender with 150 dollars in quarters?

One of the interesting things about being a shareholder, even with a mere 5 shares at the time, was that I would receive mailings and publications from the company. We used to get Exxon’s quarterly magazine (called “The Lamp”), and a big hefty magazine full of interesting color pictures once a year….which, logically, was called the Annual Report. It was impressive, and the photographs were interesting – lots of brightly lit refineries at night, colorful chemistry labs, and portraits of rig workers in the North Sea.

Some companies do different versions of these. The Summary Annual Report is exactly what it says, a condensed version, usually with a cover and a few pictures inside. The larger, full-blown version of the Annual Report is called the F&O, for Financial and Operating Review, and features many more pages of photos. Although the 1980’s heyday of the over the top, multi-page annual reports has passed, and some companies just file their reports electronically as website pdf’s, some companies still produce great printed publications for their shareholders.

Later, when I was in college studying commercial photography, I really admired the guys who did corporate photography for these big companies….Exxon, Coca-cola, IBM, etc. I always thought one of the coolest challenges was to make big heavy industrial facilities look sexy. After all, anyone can make a bikini model or a pro athlete look great…but how are you with the inside production line in a paper mill? Can you light it or compose it in an interesting way to make a cool frame out of it?  My parents didn't understand how someone would make a living in photography, particularly in photojournalism, but when I pointed out the cool photography in these annual reports I think they realized that commercial photography could be a viable career.

Fast forward a few years, and after being “sidetracked” with a full time job that I loved at a sports magazine, I began to finally use some of those skills learned in college doing industrial photography for various oil and gas companies around Texas.  One of my goals was to shoot for ExxonMobil, the largest oil and gas company in the world, and eventually they became a client.

Although I’ve now worked for them for several years, and had several covers of The Lamp, and lots of published pictures big and small in various pubs, I am particularly proud to have made the cover of the BIG annual report (or F&O) for the company this year. The cover photo is an aerial photograph taken from a helicopter in Qatar, of a huge Q-Max LNG tanker leaving the port at sunset. It took quite a bit of logistical planning, support and effort to make, and I’m particularly proud of it.  It really is ironic and odd that I’m now shooting for the first corporate annual report publication I ever laid eyes on, as a 10-year-old.

Also amazing is that this particular frame was shot during our last pass around the harbor, handheld, wide open, on a Canon EOS-1DX at 2000 ISO during the last little flicker of available light.  A shot like this would have been impossible 4-5 years ago.  High ISO camera sensor technology has come a long way.

Anyway, I’ve finally created a new tearsheets gallery on my main portfolio website to share some of this work in printed form. There are various examples of my photography in print for a variety of clients, from oil and gas companies, aviation portraits, to Sports Illustrated covers. Check it out, it really is an eclectic mix.

Now if I can just figure out how to get John Deere as a client.   Hmmmm….

The new tearsheets section of the Robert Seale Photography portfolio site.

The new tearsheets section of the Robert Seale Photography portfolio site.

Robert Seale photographs Leading Medicine Magazine for The Methodist Hospital System

Houston Commercial Photographer Robert Seale - Methodist HospitalI recently completed a cool corporate photography project for The Methodist Hospital System’s Leading Medicine publication.  Methodist is the official health care provider for several of the sports teams in the Houston area, among them, the Houston Astros, The Houston Texans, The Houston Dynamo MLS team, Rice University, and The Houston Ballet.

The project was coordinated by the creative team at Methodist, working with the help of an outside agency, Adcetera, here in Houston.

Among the stories we photographed for the issue, were a story on Houston Texans running back Arian Foster’s vegan diet (I think he has since recanted…), and a story on NFL quarterbacks dealing with concussions, featuring then Texans quarterback Matt Schaub.

Houston Commercial Photographer Robert Seale - Methodist Hospital

We had a lot of fun with Arian Foster and his vegan diet story.

Houston Commercial Photographer Robert Seale - Houston Texans Matt Schaub

The photo of Matt Schaub for the NFL quarterback concussion story. We used an LCD projector to project a brain image on the side of Schaub's head.

Houston Commercial Photographer Robert Seale - Houston Texans Matt Schaub

Another view of Schaub, using the projector to generate a background of brain synapses.

For the Schaub story, we ended up trying two photos in addition to his cover shot setup:  in the first “concussion story” shot, we used an LCD projector to project an image of a brain on the side of Schaub’s head.  To make the head stand out and keep the “brain area” in mostly shadow, we used a Profoto strobe with a small softbox (a Plume Wafer 75)  on a backdrop in the background (to silhouette the head with a graduated falloff), and then another Profoto Acute 1200 from 90 degrees camera right with a 3 degree grid on a Profoto grid reflector.  This gave us a nice tight light on the face, but with a quick falloff to black so that the brain image would show well on the side of the head.   The second concussion shot was more simple, as we just projected an out of focus image of brain synapses in the background, with the same keylight on Schaub.

In addition to the inside stories we shot for the magazine, one of the ideas was to create a giant fold-out cover, reminiscent of the Vanity Fair “Hollywood issue” covers with a representative from each team/organization featured on the piece.

The tricky part was, these were eight (count em – 8!) separate photo shoots!  Planning was crucial, and just to hedge our bets, we actually created two lighting schemes that we used on each and every shoot:

-A large, soft, one light setup with a big Plume Hexoval 180 camera right – very close to the subject.

-a three light setup, with two gridded rimlit softboxes and a Plume Hexoval 140 boomed into the middle.

(Both of these lighting scenarios are shown in diagram form on a previous post about a San Antonio Spurs SI cover shoot here.)

With the help of assistant Nathan Lindstrom, we created a template on seamless during the first shoot with exact locations and measurements for all the lights.  The strobe settings, angle, and height of the lights were matched exactly on each shoot, along with focal length and camera position.  We unfolded this giant diagram at every shoot to place everything in the proper locations.

Houston Commercial Photographer Robert Seale - Methodist Hospital

The inside tri-fold cover with the 3 light setup. (L to R): Texans running back Arian Foster, Rice basketball player Jessica Goswitz, Houston Dynamo soccer player Brad Davis, Texans QB Matt Schaub, Houston Ballet's Lauren Anderson, Olympic gymnast Chris Brooks, HS soccer star Lindsey Biggart, and Houston Astros pitcher Bud Norris.

Houston Commercial Photographer Robert Seale - Methodist Hospital Houston

The outer tri-fold cover with a one light setup. Background is a heavily retouched image provided by the ad agency.

The project went on for almost three months, due to the crazy schedules of the athlete participants.  Once the final work was completed, the Methodist team and the Adcetera team produced a marvelous, incredibly printed publication – and ended up using BOTH lighting setups – one as the outside cover foldout, and one on the inside.  The final retouching and composites were put together by the agency.

Among the really fun moments… having longtime Houston Ballet prima ballerina Lauren Anderson teach me the proper way to stretch on a ballet bar rail.  (There are photos, but hopefully, I will take them to my grave… you really DON’T want to see what that looked like!).

Behind the scenes with Houston advertising photographer Robert Seale

Crew photo at the end of the Houston Ballet/Lauren Anderson shoot: From left – Nathan Lindstrom, makeup artist Wendy Martin, Arick Chikiamco, Lauren Anderson, me, Sheshe Giddens, Melanie Fritzsche, and Hugo Perez.

Behind the scenes with Houston advertising photographer Robert Seale: Lauren's idea:  It's not every day you get to hold a world class Prima Ballerina on your shoulders.

Lauren's idea: It's not every day you get to hold a world class Prima Ballerina on your shoulders.