Photographing Heavyweight Boxer Butterbean for Sports Illustrated

Former Heavyweight boxer Eric "Butterbean" Esch near his home in Jasper, Alabama.

Former Heavyweight boxer Eric “Butterbean” Esch near his home in Jasper, Alabama.

Sometimes we head into an assignment with preconceived notions and expectations, and it’s always interesting when those stereotypes we carry in our brain are challenged.

I recently visited the lovely little town of Jasper, Alabama to photograph Eric “Butterbean” Esch on a feature assignment for Sports illustrated.  The magazine runs an annual “Where are they now?” issue, and revisiting these once famous athletes usually makes for great pictures and fun assignments.

The story brief was to visit with Butterbean in his home town of Jasper, Alabama. He had risen to fame in the early 90’s by winning Toughman competitions, later becoming a heavyweight boxer, then a pro wrestler, and later an MMA fighter. He was often called “King of the Four Rounders”, and he ended most of his fights by knocking his opponent out cold. He was not, however, a svelte guy known for his bobbing and weaving. Butterbean was a brute – a massive, huge fire plug of a guy – under 6’ tall and nearly 500 lbs at one time . He was down to a svelte 450 or so when we met last year.

He had briefly been on a reality show where he worked as a small town deputy, and I had seen clips of him in the first Jackass movie, where he dispatched Johnny Knoxville in the middle of a clothing store. If you haven’t seen it, it’s a clip worth watching.

I was fully expecting a tough, redneck, barbeque eating, southern, he-man figure. I had visions of him in full on Boss-Hog deputy mode standing in front of a police car. Of course my expectations were wrong. He had only been involved with law enforcement for a short time, and I think mostly for the benefit of the reality show.

Well, ok, if nothing else, we’ll eat well in this little Alabama town – perhaps we’ll have a great plate of ribs somewhere. That was not to be, either.

“Do you guys like sushi?” he asked me and the writer, SI’s Lars Anderson.

Lars and I looked at each other with the same puzzled look, “…uh, yeah….sure.” We DID both like sushi (very much) – we just didn’t expect to find good sushi in a landlocked town in the middle of Alabama. It actually wasn’t bad.

"Do you guys like sushi?"

“Do you guys like sushi?”

Butterbean was a soft spoken, genuinely nice guy, living the quiet life in his hometown where, people for the most part leave him alone. He was now a grandfather, and we saw him hug and squeeze his grandkids.

He had owned a restaurant, next door to his house for a while. A lot of his old memorabilia – pictures of him in his American flag shorts in Vegas with Cindy Crawford, Sylvester Stallone, and basically every 90’s celebrity you can imagine, signed gloves, championship belts, etc were scattered throughout the now defacto storage building.

Buterbean petting a horse in the Alabama rodeo arena where he first fought professionally.

Buterbean petting a horse in the Alabama rodeo arena where he first fought professionally.

After shuttering the restaurant, he had taken up many hobbies, among them woodworking, making turkey calls, and even winemaking. He gave me a bottle of port as we toured his property – a sweet gesture.

Despite all the good reportage from around his town, I knew that he would be immediately recognizable in his signature red white and blue boxing shorts. It rained both days we were there, but I really wanted to photograph him in his old fighting outfit. It would make a great opener before showing the other pictures of his current reality. For the full first day, he put me off, claiming he didn’t even know where his shorts were… “those are packed up in a box somewhere….” He said.

I pressed on, gently. When we arrived for his portrait on the second day, he had found the shorts and reluctantly agreed to don them for us. We went to a neighbor’s property (his was heavily wooded and surrounded by fences), for the shoot. He immediately turned into his old persona and gave us the crazy Butterbean poses and faces he was once known for.

As we were leaving and heading back to Birmingham, he shook my hand while departing….”be sure to let me know how you like the wine, ok?”

Lars Anderson, an excellent SI staff writer wrote a great piece, where he provides more background on the origins of Butterbean’s awesome nickname.

Butterbean Butterbean

Left Jab:  I don't often take photos with celebrities I photograph, but i just had to do it this time.....

Left Jab: I don’t often take photos with celebrities I photograph, but i just had to do it this time…..

The Definitive Guide to Starting a Successful Photography Business

Glamorous job?  Not really...most of my days are spent sitting in front of a computer, not frolicking in the pool shooting Miss USA.

Glamorous job? Not always…most of my days are spent sitting in front of a computer, not frolicking in the pool shooting Miss USA.

I get a call almost every week from various photographers:  old photojournalism colleagues leaving their newspaper staff jobs (sometimes voluntarily, sometimes not…), college students nearing graduation, assistants who are ready to strike out on their own, and sometimes, advanced amateurs in other careers who I’ve met at a workshop.  All of them want the same thing….”we want to do what you’re doing….you know, work full time as a commercial photographer.”

It happens often enough, and I’ve given the same advice so many times, that I thought it might be helpful to write it all down in one place, and along the way, dispel some misconceptions about what it’s really like to be a professional commercial photographer. I don’t mean for this to sound condescending in any way.  What follows is legitimate info for many who are just starting out, and if you find that any of it is below your experience or skill level, then feel free to move on.

Starting a photography business is tough.  When I’ve spoken with college students, I’ve told them not to pursue this if it’s only a passing interest, or something they think would be a cool job.  I tell them to pursue photography ONLY if you can’t imagine yourself doing anything else.  It sounds corny, but I often compare being a professional photographer to becoming an actor, or professional musician… LOTS of people want to do this, and only a handful make it in any successful way.

Ok, let’s assume the commitment level is there.  What is it really like to be a professional photographer in today’s world?

First, let’s dispel the notion that commercial photographers have a camera in their hands every day.  This will vary for individuals, and by season, but I would guess that I spend a good 75-80% of my working hours in front of a computer – not out shooting.  I consider that to be a pretty successful ratio.  No one starting out really thinks about it, but digital workflow, retouching, billing, marketing, pre-production, post-production, accounting, taxes, etc… and the plethora of general business paperwork takes up a ton of time.

Second, some basic economics about working for yourself in this business.  Let’s say you have a staff job at a newspaper, university, or company that pays you 65K a year, with company camera gear and computers, vacation time, insurance and 401K benefits.  You might want to seriously consider keeping that job.  You’ll need to more than double that figure in revenue to maintain that level of income for yourself.  Those with full time jobs who think this is just a fun, easy career often don’t consider all the various ways you’ll spend money as a commercial photographer.  It’s not just cameras and computers… you’ll need insurance (healthcare, liability insurance, and equipment insurance to name a few), retirement SEP contributions, accounting and legal fees, marketing expenses, website expenses, advertising expenses, digital storage expenses, office supplies, mobile and office phones, high speed internet, software upgrades (legitimate software… you can’t just steal it from the newspaper  or university anymore), really nice custom made portfolios, assistants, retouchers, sales tax, franchise tax, and enough reserve/cash flow to take jobs, pay everybody, and keep the place running while you wait around to get paid – sometimes for several months.

And, oh yeah, I’m not mentioning the fact that when working for yourself, you can kiss that 2-4 week paid vacation goodbye, and that you will spend every spare minute after hours, on your weekends, in your sleep, etc. obsessing about your business and thinking constantly about how to make it better.  A staffer can go home at 5 or on a weekend, disconnect, and enjoy their time off.  When you work for yourself – there is no time off… and every minute will be filled with worry.

Negative enough for you?  Sorry.  This stuff needs to be said… I’ll brighten up and get all cheery in a moment.

One of the biggest mistakes I see new freelancers making, particularly the former newspaper guys, is unrealistic gear purchases.  Many shooters, particularly those that spent a lot of time doing sports think they need to start their business with 3 of the fastest professional bodies (usually 6-7K a piece), a 400/2.8 (9-11K), a 300/2.8 (6-7K), all three zooms , 16-35/2.8, 24-70/2.8, and 70-200/2.8 (roughly 5K), and a new Mac laptop (3K).  After all, that’s what you used at the newspaper or university you worked for, right?  This is what the well-equipped photojournalist needs, right?

Ok, let’s think about this for a second.  That’s roughly 45,000 dollars – just for camera gear.  We haven’t even mentioned lighting, grip, cases, desktop computer, storage, printers, etc.  You haven’t designed a website yet, or paid for insurance, or any of the other previously mentioned things.  What kind of assignments will you do with said gear?  Shoot some football or basketball games?  For whom?

“I’ll just work for my local paper or an agency or a wire service…”    Think carefully about it.  There are predators out there waiting to take advantage of people who just want to go to games, news events, and be in on the action.  Their business models are built around having an endless supply of newbies to provide free (or almost free) content that they can turn around and sell.  If you’re one of the lucky ones, you’ll make 125.00 to 250.00 bucks for your effort (in many markets, there are people lining up to shoot games on spec/and/or for free).  When you do the math on how long a sporting event takes, getting there early, parking, shooting, editing, captioning and sending a ton of photos, leaving late, driving home, you’ll quickly see that the average fast food employee is pretty much kicking your ass. …and they didn’t have to invest 45K to buy their own French fry fryers, stoves, or spatulas.  They don’t have to wear a ridiculous fanny pack either.

Speaking of capital investment – that 45K in gear you bought can’t be amortized over 10-20 years like capital expenditures in some other business… it will need to all be replaced in 3-4 years, just like your computers… and as technology advances that cycle will continue for years to come.

This is tough for many former photojournalists to reconcile. Many have made their living this way forever, being at all the big news or sporting events, hanging out with their colleagues all carrying big giant lenses on monopods, credentials around their neck, etc.  To many, it becomes their identity, and it is difficult to reconcile that despite your years of experience, no one is going to pay you to go to the Super Bowl this year, or the Republican convention, or to the earthquake in Haiti.  It’s tough to tell someone who worked at a sports magazine, or a big metro newspaper that, yes, you can still make a good living in photography – it just may not be doing what you used to do.  Letting go of that identity is tough.  I know… it’s something I experienced myself.

The best piece of photo gear you'll ever buy.

The best piece of photo gear you’ll ever buy.

There are a few prerequisites to starting a successful photo business:  You need great, original pictures with a consistent vision ;  You need some serious money, as it is very expensive to start a photography business; You need a healthy knowledge about how to run a photography business.

(A client or two would help, too, but we’ll get to that later.)

The Top 5 Photography Books That You MUST Own

I can’t help with the first two… You’re really on your own there, but I’ve read a lot of business books, and several specifically about the photography business, self promotion, marketing for photographers, etc.,  so I can make these recommendations comfortably.

I’ve sent this list around to various friends in transition, students, and former assistants, and I can promise you, if you read all of these cover to cover, you’ll have a firm grasp on how your photography business should work, and a really good introduction to usage-based pricing, which is the cornerstone of what we do. (If you click on the titles below I have linked them to Amazon for you.)

The Real Business of Photography1.  The Real Business of Photography, Richard Weisgrau ; Allworth Press

One of the best books about photography business I’ve ever read, and really should be the first thing you read if you’re thinking about doing this for a living.  Weisgrau is a former ASMP (American Society of Media Photographers) executive director and he speaks intelligently about licensing photography, doing estimates, managing finances, etc.  A really great book.

Best Business Practices for Photographers2.  Best Business Practices for Photographers, John Harrington ; Course Technology

John runs the Photo Business News and Forum blog (www.photobusinessforum.blogspot.com) and has been a respected voice and frequent speaker in our industry.  If you’ve ever watched him dissect an estimate, and show how he turns a simple 500.00 job into a multi-thousand dollar job just by asking the right questions, it’s truly a thing of beauty.  His book has lots of actual examples of job estimates and email trails that show his process.  Very valuable stuff that few people are willing to share with their peers.

ASMP Professional Business Practices in Photography3. ASMP Professional Business Practices in Photography, American Society of Media Photographers – edited by Susan Carr (Seventh Edition) ; Allworth Press

Edited by the late Susan Carr, who really did so many things to educate and help her fellow photographers, this is the latest edition of ASMP’s business bible.  There are chapters on licensing, copyright, releases, paperwork, marketing, you name it.  A good overview of the commercial photography business.  I believe you still get one of these included in your membership when you join ASMP.

The Photographer’s Guide to Negotiating4. The Photographer’s Guide to Negotiating, Richard Weisgrau ; Allworth Press

Another book by Weisgrau, and really my favorite.  (You still have to read ALL of these, though – no shortcuts!).  He talks about negotiating tactics, how to present offers and counter offers, psychology, dealing with contracts, negotiating strategy, and includes some interviews with real world professionals who have been in business for years.

The Photographer’s Survival Guide5.  The Photographer’s Survival Guide, Suzane Sease and Amanda Sosa Stone; Amphoto Books

I’ve read a lot of books about marketing and self promotion, but this is easily the best and most useful.  Sease and Sosa Stone are both former art buyers, reps, and now consultants, who provide a ton of real world expertise to photography marketing and brand building.  They also discuss presentation, portfolios, promos, and even include a handy disc in the book with essential business and estimating forms you can use.

I can’t emphasize how important it is to study these books.  It amazes me how many people will invest 100k in their business buying the latest cameras and computers, but won’t take the time to study up on how the business works.  Don’t be the dork out there charging by the hour and giving away your copyright on every assignment.  It’s not supposed to work that way, and you’ll be doing all your colleagues a disservice if you fly blind into our chosen field.

All together, these books cost maybe 130 bucks…they really might be the most important pieces of equipment you ever buy.

Without a smart roadmap, your photography business could end up as roadkill.  (Photo by Chip Litherland)

Without a smart roadmap, your photography business could end up as roadkill. (Photo by Chip Litherland)

I have a note on my desk that I wrote down at an ASMP business seminar several years ago.  Detroit photographer Blake Discher, a super savvy business guy, was our speaker, and he said something incredibly simple that I’ll never forget.

“There are three steps to running a successful business:

  1. Create a unique value proposition.
  2. Ensure that you have a large enough addressable market.
  3. Make more money than you spend.”

Sounds simple right?  It is, but you would be shocked how many people don’t think about these simple steps.

Think about number one… What’s unique that separates you from all the other photographers in your market?  What skill or know-how do you have that’s totally you?  If you live in Denver, and you want to shoot outdoor/adventure sports, what makes you different?  There are 50 people already doing what you want to do in that market.  How will you stand out from the crowd?

Think about number two… Do you have a large enough addressable market to survive where you are?  I would love to shoot movie posters or fashion, but guess what – I live in Houston, and we don’t have any movie studios or fashion magazines here.  So that’s probably not a wise niche for me to choose.

You should really think about these first two, analyze your local market and competition, and consider your options carefully before hanging out your shingle.  Are you putting yourself in a realistic position to succeed?  If there’s a specific genre you want to shoot, and it doesn’t exist where you are, you may want to consider moving.

Number three is pretty obvious.

Anyway….those are the really simple steps.  Now I’m going to write about the nuts and bolts of starting up a photo business.  A lot of this is common sense and has been covered before.  Some of these are no brainers, but I’m going to throw them in anyway, just to be thorough.The

21 Tips for Starting your Photo Business

DISCLAIMER:  It would we wise to consult with your attorney or financial advisor:  I’m definitely not a lawyer or CPA, and I can’t even claim I stayed in a Holiday Inn Express last night either.

1.  SAVE A BOATLOAD OF CASH – Super important.  At a previous photo seminar I attended, the speaker said that you should have at least 6 months salary reserved before embarking on your own.  I think that’s a good guide, but bear in mind that your money isn’t just to buy cameras, computers, etc…You’ll need operating cash to do jobs, run the business and pay assistants while you’re getting off the ground.

2.  SET UP AN LLC OR S-CORP – Talk to your accountant about what makes the most sense for you in your state, but you definitely should be incorporated as soon as possible.  This will help you liability wise, and although you’ll have more paperwork to deal with, you’ll likely get to keep more of the money you make versus being just a sole proprietor.

3.  ENLIST PROFESSIONALS TO HELP YOU – You should have a CPA, a financial advisor, and a lawyer.  You will likely have the CPA on speed dial, contacting them throughout the year to file quarterly reports, sales tax, and pay estimated taxes.  Don’t be cheap and try to do this yourself.

4.  GET A SALES TAX NUMBER – State laws vary, and not all photo jobs are subject to sales tax, but in many states, you’ll be dealing with this all the time.  Don’t be the loser who tries to fly under the radar on this.  Operate your business like a grown up.  You might get wacked 5 years from now and find you owe your state a couple hundred thousand dollars.  That would suck.

5.  SEPARATE PERSONAL AND BUSINESS FINANCES – The first step here, after your corporation is set up, is to run to the bank and set up a business checking account.  Don’t operate your business out of your personal funds….you’ll be confused, and so will the IRS.

6.  BUY INSURANCE – If you’re lucky, you’ll have a spouse with healthcare insurance.  If not, that should be your first step.  Next, you need insurance for your business.  Make sure the policy is by a company that is used to dealing with professional photographers and their unique needs.  It should cover cameras and gear, rental gear, computers, provide shoot insurance for reshoots on botched jobs, rental studio coverage, lost portfolio coverage, and liability coverage.  Many buildings won’t let you set foot inside to do a shoot without proof of liability coverage.  ASMP is a good resource for this type of insurance.

7.  GET A BUSINESS CREDIT CARD – Another part of separating your personal and business finances.  This makes it much easier at the end of the year to see what you spent on gear, hotels, airline tickets, etc.  I recommend a business Amex, as the Membership Rewards program gives you points you can use toward all sorts of things, but any card where you can get points toward future spending will work well.

8.  ONLY BUY GEAR THAT MAKES YOU MONEY –  I mentioned the gear hoarding syndrome that many of us have a couple of posts back.  This is one of the areas that really sinks many photographers starting out.  It might be great to have a 600mm/f4 and 12 bodies, but you could probably do 85% of your jobs with one body and a 24-105mm lens and a small lighting kit.  Think before you buy.  Rent if you can, and ask yourself this question before giving B&H your Amex number:  “Will this piece of gear make me more money?”

9.  WORK ON YOUR WORKFLOW – Think about your archive 1, 5, even 10-20 years down the road and start with good workflow habits.  Learn to properly use Lightroom or Aperture and the correct file naming, organization, and back up system to protect your work.  Have a good computer system in place, with plenty of backup drives, and be disciplined.  If you’re new to Lightroom, Seth Resnick’s D-65 workshop is excellent.

10.  CREATE A WEBSITE AND EDIT RUTHLESSLY – This applies particularly to students and veteran newspaper guys in transition.  What you learned about portfolios up till now doesn’t really apply anymore.  In most cases, no one cares about your spot news or your sports action photos.  Figure out what you’re going after in your market, and edit down to a couple of niches.  Be ruthless in your edit.  No excuses.  Hire a consultant if you have to.

11.  CREATE A PHYSICAL PORTFOLIO – Depending on your market, showing up for a meeting with just an Ipad may not be enough.  There are ad agencies and design firms out there that are used to being blown away by incredible, expensive, custom made books.  We’re talking ink jet paper made from the saliva of free range fair trade South American wasps, and embossed leather from humpback whale foreskins.  Think about what your portfolio should look like, the market you’re after, and make sure it is consistent with the rest of your branding.  In short, it needs to be perfect.

12.  SETTLE ON YOUR BRANDING – Do you see IBM or Coca-Cola changing their logo every couple of weeks?  No.  You shouldn’t either.  Settle on a look, work with a good designer and make sure your branding is consistent across all platforms:  website, business cards, stationary, invoices, portfolios, promo cards, etc….and yes, you need all those things.

13.  NAME YOUR BUSINESS CORRECTLY –  My personal opinion –  but I think photographers should use their own name in the title of their business.  If you want to add “Photography” or “Images” or “Visuals”  or “Productions” to the official name, knock yourself out.  Know this though:  No client out there is going to remember “Hot-Shotz” or “Extreme Images” or “Ginger Snaps”  (I swear, this is not a joke….I met someone at a workshop who used that one – and you guessed it…..her name was Ginger).  They will remember you, Bob Smith, or whatever the hell your name is.  Then they’ll start googling you to look you up one day, because they’ve thrown all your promo cards in the trash without looking at them, and they won’t be able to find you.  Why?…..Because you named your business something generic.  Have you ever seen a coffee table book in the photo section of a bookstore with “Hot-Shotz” or something dorky like that?  No….you see Richard Avedon, Irving Penn, Herb Ritts, Patrick Demarchelier, etc…see my point?

14. WORK ON YOUR EMAIL ETIQUETTE – Being able to write well is as important than being able to take great pictures.  As a professional photographer, email may be the primary way that you interact with your clients.  You should project a friendly, easygoing but professional personality.  You should address every email to the person you’re writing (Don’t just send one word responses), and sign every email with your name.  Think about how irritated you get when a potential client emails you with one line that says, “what do you charge?”….and then signs the email with their first name, and no contact info because they haven’t bothered to set up their email signature properly.  Be a professional.  Set up a complete email signature that goes on every email (even on your phone) with your name, business name, phone numbers, website, and your email address listed in type that someone can click on (not an image file).  If a client is in their car, and their contacts are inaccessible, and hey have to search old emails to find you, you want to have all your information easily available for them to click on.

15.  JOIN ASMP – The American Society of Media Photographers provides education, guidance, lobbying, and business resources for commercial photographers.  You owe it to yourself and your colleagues to join.  You can also be listed on the ASMP Find a Photographer website, which is helpful, and probably the cheapest listing website for photographers out there.  You might also consider APA.

16.  EDUCATE YOURSELF ABOUT USAGE AND LICENSING –  You CAN do copyright buyouts, burn discs of entire shoots and hand over all your raws to the client, and you might survive for a little while this way, but you WON’T be in business for long.  This is not how professional photographers conduct business.  Read the books I mentioned earlier.  They will give you a good overview of usage based licensing.  Join ASMP, go to seminars, study online resources for estimating jobs and writing licenses, learn about contracts, talk to colleagues.  Learn about licensing and how it works in the different fields of editorial, corporate, and advertising.  Learn the language and key terms.  Learn the right questions to ask your clients before giving them estimates.  Run your business the right way, the ethical way, and don’t give away the store and sell out your colleagues.

17.  SET UP A PHOTOSHELTER ACCOUNT – This isn’t just for archiving, although it’s great for off-site backup that you can access through the web anywhere.  I handle all my client deliveries through Photoshelter.  You can give download access to specific people, and track what they’ve downloaded.  It’s much safer than using ftp.  You can also set up stock licensing and print sales. If you want to get an account, this link will take you there.

18.  USE INVOICING/ACCOUNTING SOFTWARE – I use BlinkBid, but some people get by with Quickbooks.  Others use custom Filemaker or Excel solutions.

19.  CREATE SOME GREAT “LEAVE BEHINDS” – Starting out, you may not have the funds for a full color, 48 page booklet, but you can easily print up some small runs of well designed postcards.  After you’ve shown your book to a potential client, it’s good to hand them a “leave behind” card with one of your signature photos to remember you by.

20.  NETWORK WITH OTHER PHOTOGRAPHERS IN YOUR MARKET  – Don’t operate in a vacuum.  This is where the ASMP membership comes in handy.  Social gatherings of photo organizations, or events like workshops, or Photo Expo are a great way to meet colleagues, develop friendships, and ask questions.  You might find out about a deadbeat client to avoid, or you might get an estimating or pricing question answered.  Not everyone will be as candid, but personally, I would rather help someone than have them underprice a valuable job because they are new to the game and screw it up for everyone.  You should always keep growing and keep learning.

21.  READ NUMBER 1 ON THIS LIST AGAIN.

If you are thinking of starting a successful photography business, know that it’s a tough road filled with long days of hard work and you’ll be up against ridiculously good competition.  Remember what I said earlier, only tackle this if you really can’t imagine yourself doing anything else.   I probably can’t change the way you see things, or change the work you produce, but if you have the goods, do your homework, and put these steps into place, you’ll be in a good position for your business to succeed.

Houston advertising photographer Robert Seale announces launch of new portfolio website

Check out the new Robert Seale Photography website.

Check out the new Robert Seale Photography website.

After several years with another company, I recently made the change to an HTML 5 site from Rob Haggart’s APhotoFolio.   I wanted a clean, customizable design that performed very fast, and APhotoFolio fit the bill.  My blog will still remain here (with links of course on the new site), and my archive will remain with Photoshelter, and I hope to focus on making more stock available there in the near future.

The biggest change you’ll notice, right away on the new Robert Seale Photography site, is the scalable HTML 5 design.  You can literally grab the bottom right hand corner of the web browser window, and drag it to fill your screen on any device, from a laptop to a 30 inch monitor, and the photographs will scale to that size.  This is an incredible improvement over the old site, and I’m very excited about it.  It works well on Ipads and Iphones as well, but hopefully, you’re viewing it on a big monitor!

Security is still a bit of a concern, as we’re now uploading bigger and bigger photos onto photographer’s websites these days.  I’m happy to have people link to the actual articles, and I always appreciate those that ask for permission first, but sites that just screen grab stuff with no attribution – that’s a no-no.  None of the photos published on the site are in the public domain, by the way.  Anyway, the photos are registered with the US Copyright office, so if anyone is stealing stuff or publishing my photos without permission, I’ll chase them back to their caves in Afghanistan (or wherever it is that copyright infringing losers hang out these days…a dorm room in Baton Rouge?), and shoot them in their kneecaps before I sic the attorneys on them.

I’ve refined the categories somewhat and added a ton of new work.  I kind of have my feet in two worlds:  Sports Portrait photography that I do for both advertising clients and magazines (Sports Illustrated, etc.), and Corporate Annual Report Photography which I do for Fortune 500 corporations, design firms, and ad agencies.  If you’re a Houston photographer, a lot of the annual report and corporate photography is of course geared toward the oil and gas industry.

Here’s how I’ve organized the portfolio section on the new site:

Under the Advertising and Editorial Photography category, we have several sub-category portfolios:

SPORTS ACTION PHOTOGRAPHY - This features not in-game, traditional long-lens sports action photography, which I used to do a lot of, but instead, sports portraits featuring athletes in action or motion, or photographs that emphasize movement.  I find that 9 times out of 10, this type of photography involves me laying on the ground in goose poop or mud, destroying my clothes, and getting covered in chigger bites, but that’s usually what it takes to make players look like they’re levitating.

SPORTS PORTRAIT PHOTOGRAPHY – This category features more traditional static portraits of athletes, including many high profile celebrity sports figures.  I’ve been able to photograph many athletes over the years like LeBron James, LaDainian Tomlinson, and Alex Rodriguez, although considering the trouble he’s in this week, it may be a while before Arod agrees to any photo shoots any time soon.

AVIATION AND SPACE PHOTOGRAPHY – As part of an ongoing personal project, I’ve been trying to make memorable portrait photographs of notable pilots, both civilians and famous military aviators.  I’ve also had the awesome opportunity to expand this body of work into working for several aviation magazines and aviation photography clients.  As a Houston photographer, I’ve also been fortunate enough to do several shoots with NASA astronauts including a series on the end of the Space Shuttle program.

REAL PEOPLE PHOTOGRAPHY – Although I tend to concentrate on annual report photographs and sports advertising , I don’t just limit my work to those two categories.  I often have opportunities to make environmental portraits of Texas musicians, Houston celebrities, sports celebrities, cowboys, barbeque pitmasters and just eccentric characters from all walks of life, and this category is a catch all for some of my other portraits that don’t fit these other main categories.

Within the Corporate  Annual Report Photography section, we have a few more portfolios:

OIL AND GAS-ENERGY PHOTOGRAPHY – Most photographers who live in Houston do their share of work in this area, and I enjoy this work very much.  The first photographers I admired were guys like Pete Turner, Jay Maisel, and Arthur Meyerson, and in corporate annual report assignments you kind of get to indulge that colorful and graphic inspiration first brought forth by these masters of the medium.  I also love challenges and problem solving, so for me, it’s really fun to be sent to a fluorescent-lit lab full of lighting challenges, an industrial factory setting, chemical plant, or refinery, and be forced to make good, interesting, well-lit, and well designed photographs out of something that looks unattractive to most people.  I’m fascinated by light/shadow, and good design, and man-made structures often have their own inherent beauty – you just to have to find it and make the proper composition in the right light.  This category focuses on photographs of people working within the oil and gas industry, some at-work portraits, offshore oil and gas drilling and production platforms, and aerial photography, which are all part of the job of an annual report photographer.

INDUSTRIAL LANDSCAPE PHOTOGRAPHY – Over the years, I’ve been asked to do “beauty shots” or landscape photos – wide overall views of industrial refineries, chemical plants, oil wells, and other oil and gas facilities and details.  With the right time of day and long exposures, these can often be interesting and beautiful.  That, and I get to wear cool Nomex coveralls and safety glasses, too.

EXECUTIVE PORTRAIT PHOTOGRAPHY – Dealing with athletes and sports celebrities for years has prepared me well for photographing busy CEO’s and other executives.  In most portraits of professional athletes, you have 5-15 minutes to get the job done, so preparation is key, and the same goes for corporate executive portraits.  Like the annual report stuff, finding an interesting background or setting to photograph an executive within the confines of an office building is an interesting lighting and logistical challenge.  We often scout ahead of time, show up super early, and have multiple lighting set ups ready to go and pre-tested in different locations throughout the building, so we can quickly walk from one setup to another and finish quickly to minimize the executive’s time commitment on set.

There are also sections for Press, which feature links and other news about me from other photography sites and blogs, a link to my Blog (robertsealeblog.com), which features behind the scenes info, lighting diagrams, and problem solving stories behind the photographs, and of course, the all important Bio page, where you get to read boring stuff about me.

I’m excited about the new site and I hope you’ll take a few minutes to check it out.

Houston Art Car Parade legend Mark “Scrapdaddy” Bradford

 

Mark “Scrapdaddy” Bradford with his 2012 Art Car “Mr. Green.”

Art Cars are a unique Houston institution, and I was fortunate during a recent assignment for Texas Co-Op Power to work on a story featuring the Houston Art Car Museum, and a colorful character named “Scrapdaddy.”

Mark “Scrapdaddy” Bradford is the Leonardo da Vinci of the Art Car world.  Not merely content to cover classic cars with hot glue gun affixed collections of things, Bradford actually is a unique combination of artist, welder, and engineer.  His outdoor studio, near the railroad tracks in the Rice Military area, looks like Fred Sanford’s house.  His studio may look like a scrapyard, littered with projects past and present, but recycling old metal is the lifeblood of Bradford’s sculptures.

If you’ve lived in Houston for any period of time, you’ve probably seen Bradford’s creations around town:  Giant 20 foot armor plated Armadillos, lizards made of airline galley spoons, fire breathing creatures with legs that move, and multi-legged creatures torn from the pages of a 1950’s science fiction movie.  His creations, really more moving sculpture than car, not only look fascinating, they have to work.

After photographing several of his creations in the Art Car Museum for the story, I just had to meet him.  Reluctantly, he agreed to a short portrait.  You get the impression he would much rather be welding his next piece together than stopping to pose for pictures with something from his past.

As the annual Art Car Parade rolls around this weekend, there will be around 200,000 people on hand who can’t wait to see what kind of contraption he’s cooked up this year.

Bradford with “Azaba” at his workshop in Houston.

“Spoonazoid”, made up of over 6000 discarded American Airlines spoons.

A detail of “Spoonazoid.”

 

Don’t mess up my abs: NFL Draft portrait shoot with DJ Hayden

UH cornerback DJ Hayden, the 12th pick in the NFL draft.

I recently photographed DJ Hayden, a cornerback from the University of Houston, who surprised many by being selected number 12 by the Oakland Raiders in the first round of Thursday night’s 2013 NFL Draft.  Hayden survived a freak injury: a November 2012 collision with a teammate in practice that ruptured his inferior vena cava, which is fatal 95% of the time, and normally only seen in serious car injuries.  Medical personnel rushed him to the hospital and saved his life, but his stock in the draft dropped with the uncertainty about his condition, with many pundits not even picking him in the first round.

I photographed DJ for a story leading up to the draft in Sports Illustrated, and of course we wanted to make a telling picture that spoke to the seriousness of his injury.  Normally, we might have scrubbed the shoot due to the rain and dreary weather, but we decided to press on, as the moody sky sort of went with the tone of the story.  DJ posed shirtless, baring a scar that went completely down the center of his abdomen. ( His last words to doctors before they split him open to repair his torn vein were, “Ok, just don’t mess up my abs…”)

We used two Profoto 7B’s on the UH practice field late in the day.  We decided to use a Plume Wafer 75 with a Lighttools grid from the right side, to just barely light the edge of DJ’s face, with a little bit of spill highlighting the scar on his wrist from the many needles and transfusions he endured during his hospital stay.  We used a regular 7″ reflector with a 3-degree grid with a Cinefoil snoot to highlight the scar on the chest and abdomen.  Andres Quintero, my assistant on the shoot, operated the 3-degree grid by hand to make sure it stayed in the optimum position as we shot.

With the under-exposed gray stormy sky, the result was a dramatic portrait that told the story of what DJ Hayden had been through en route to the 2013 draft.

Inspirational bracelets made for DJ during his hospital ordeal.

UH cornerback DJ Hayden, who survived a ruptured vein to be the 12th pick in the NFL draft.

Portrait shoot with former POW Col. Bud Day

The March cover of Air & Space, with Col Bud Day on the cover.

I’ve had a keen interest in military aviation since childhood…when other kids were reading Curious George and other children’s books, I was reading military biographies and books about World War II and Vietnam.  I remember one summer day, when I was in about 3rd or 4th grade, while returning books to our local public library, one of the elderly librarians tried to usher me from the “grown up books” to the “kid’s section” on the other side of the building.  One of the other librarians quickly corrected her, “He’s ok, Mabel….he just returned a book titled Guerilla Warfare and Terrorism. ” After that, Mabel left me alone.  (I actually can’t remember what her name was…… Mabel just seems like the perfect name for an old lady librarian).

I thought being a fighter pilot would be cool, I even requested info on the Air Force Academy at one point during junior high or early high school.  20/400 vision, however, and projectile vomiting during a simple Cessna 172 plane ride with a friend conspired to keep me out of the ejection seat.

After photographing the Doolittle Raiders a few years ago, one of my friends from the assignment, Matt Jolley, of Warbird Radio recommended me to some of the nice folks at Wings over Houston, the annual airshow here in the Houston area. I had mentioned to him an idea about a personal project, trying to photograph environmental portraits of notable pilots.  The people with the autograph tent at WoH were nice enough to let me set up in their area and shoot simple, white background portraits of the pilots who were there signing autographs.  I was able to photograph Col. Bud Anderson (a triple ace in the P-51 during WWII), Col. Dick Cole (Doolitle’s co-pilot on the WWII Doolittle Raid on Tokyo), Gen. Boots Blesse (a famous Sabre jet ace from the Korean war) and several others during my weekend there.  I was also lucky enough to meet and photograph former POW and Medal of Honor recipient Col. Bud Day.

The photos were interesting facial studies, but I lamented the limitations of the white background.  I would have loved to have captured each of them with their respective airplanes, but during mid-day sun at a packed airshow, it was just not in the cards.

The first shot we took, before sunrise on the field at Ellington.

Several months later, John Simmons, one of my buddies from the WoH event sent me an incredible video of Bud Day, eagerly climbing into the cockpit of an F-100 Super Sabre just like the one he had flown in Vietnam and going up for a flight!  The video was from the Collings Foundation, a non-profit foundation that owns and maintains not just World War II era prop planes, but also several Vietnam era jets, at….get this…..Ellington Field in Houston, Texas.  The F-100, painted just like Bud’s Misty 1 Vietnam bird is one of two in the world in flying condition.

John went to work, getting us permission from Rick Harris of the Collings Foundation to use the airplane.  We made arrangements to photograph Bud, who lives in Florida, during a visit to see his son George, a former F-16 pilot, who now works as a SWA captain in Houston.

A few months later, there we were before sunrise on a warm summer morning in Houston, pulling the F-100 out of the hangar and towing it to the proper spot on the taxiway.  We had scouted a few days before, using the iphone app LightTrac to position the plane.

Bud showed up in his flight suit, with his boots and Nomex gloves on – he was definitely ready to fly the plane if necessary!  His son George also wore his flight suit.  Part of my plan was to do a nice group shot of the father and son fighter pilots together.

We started shooting before dawn – long exposures on a tripod with battery powered strobes.  Nathan Lindstrom assisted on the shoot and did a great job.  We used a Profoto 7B with a  Plume Wafer Hexoval 180 on the side, and a Wafer 100 on another 7B boomed in front of the face as a fill.

The second shot, with a Wafer Hexoval 180 and a Wafer 100 as the sun rises in the background.

We next moved onto the backlit side of the plane, and photographed the Col.’s Day together and also the elder Col. Day alone, again using the same lighting setup.  Fortunately, the sun came out for a few minutes before going back under a layer of clouds. The sunrise was beautiful!

Col. Day with Col. Day…two generations of fighter pilots.

We next moved to a shot with a long lens looking at the signature angle of the F-100 – straight up the open nose air intake.  We carefully framed Col. Day in the foreground and backlit him from each side with a Profoto 7B and a Wafer 100 on each side.  We then boomed in a  Chimera small strip bank powered by an Acute 600.   Although 87 years old, and with his body ravaged by years of torture and POW abuse, in this pose, with this light, in front of the F-100, Bud Day looked like he could still kick some serious ass.

The shot that made the cover, Col. Day still formidable at 87.

We finished with a 3/4 side lit portrait, with his glasses off, which showed off the MISTY patch on his flight suit.

The 3/4 lit portrait with “The Hun” front view in the background.

We did some group shots with the Collings Foundation folks who had so generously donated their time and effort to showcase the plane, and some USAF U-2 pilots, who had gathered during the shoot.  All USAF pilots go through survival training at the AF Survival School at Fairchild AFB, named in Col. Day’s honor.  It was like watching a bunch of NBA rookies meeting Michael Jordan for the first time.

After packing up, the whole crew adjourned to a nearby Ihop for a truly memorable breakfast.  I could literally sit and listen to George and his dad tell flying stories for hours.  It was a fantastic experience.

After the shoot, I sent a few of the photos to my editor at Air & Space magazine, just on the off chance that they might be working on a story related to Col. Day, MISTY, or the F-100.  Several months later, as it turns out, there was a story on the MISTY program in the works.  They eventually decided to use one of the photographs of Col. Day on the cover of the issue, with another one running inside.

I didn’t want to jinx anything, so I didn’t mention it to Bud or George until the cover was posted online.  I’ve worked for many magazines, and covers often get pulled or changed at the 11th hour.

It was really an honor and a highlight to finally be able to make the call to Col. Day and let him know that not only was there a story on MISTY in the current issue of Air & Space, but that he had made the cover!  This was truly one of the coolest things I’ve been able to work on, and I’m grateful to A&S, the Day family, Rick Harris and John Simmons for making this happen.

Col. Day and Col. Day reviewing some of the photos with the me.

A little background on Col. George “Bud” Day:  He joined the Marines and fought in World War II just after high school.  He came back to the US and earned a law degree, then continued in the Air Force flying fighter jets in Korea and eventually Vietnam.   He miraculously survived a no-chute ejection the 1950’s.   At an age and mission count when other pilots were retiring, he volunteered for another tour and came up with the MISTY Fast Forward Air Control (Fast FAC) program, of which he was the commander.  MISTY pilots flew low and fast over North Vietnam, marking targets including SAM missile sites for other aircraft to attack.  It was so dangerous that it was an all volunteer squadron.

During one of these MISTY missions in 1967, Col. Day was shot down and captured.  Badly hurt and barefoot, he escaped after a few days and evaded the enemy for 12-15 days, subsisting on frogs and berries, traversing miles of enemy territory and crossing the river into South Vietnam.  He was within a mile or two of an American base when he was shot twice and recaptured.  He spent the next 5 years 7 months in the “Hanoi Hilton” being tortured along with other notable POW pilots like Sen. John McCain and Admiral James Stockdale.  For his valor, he was awarded the Air Force Cross and the Congressional Medal of HonorToday he is the most decorated living service member.  After returning from Vietnam, he received 13 medical waivers and continued flying.  He eventually amassed over 8000 hours – nearly 5000 of those in fighter aircraft.    As if that weren’t enough, he retired and went to work as an attorney, eventually suing the US Government on behalf of veterans who were not getting promised medical benefits and won.  As a result, millions of veterans (my late mother-in-law among them), have benefitted from the program, called Tri-Care for Life.

 

Here’s a cool behind the scenes video my friend John Simmons put together of the shoot:

Photographing the Doolittle Raiders 70th Anniversary

In 2011, I was lucky enough to photograph three of the remaining five Doolittle Raiders for a story in Smithsonian Air & Space.  It was an incredible experience and was a wonderful introduction to many wonderful people in the warbird community.

Through some wonderful new friends I met on this assignment, Larry Kelley, a B-25 owner and Doolittle supporter, and Tom Casey, who manages the Raiders’ appearances, I was invited to photograph the Doolittle Raiders 70th Anniversary  April 16-20 at Wright Patterson AFB in Dayton, Ohio.

I jumped at the chance, and was also able to bring my father (a big military aviation buff) with me on the trip to help me (and keep my light stands from blowing over!)

Larry Kelley, who owns and pilots “Panchito”, a vintage B-25 (and the one we used in the Air & Space portraits in 2011), was on a quest to bring a large contingent of B-25’s to Wright-Patt for the anniversary celebration and flyover.  Through tireless fundraising and incredible determination, he was able to get 20 B-25’s and their crews to Grimes Field in Urbana, Ohio  and the Air Force Museum at Wright-Patterson in Dayton for the event.

I had two goals for the event: first, to capture the massive gathering of B-25’s for my friend Larry.  (It was the largest gathering of flying B-25s since the end of WWII!).  Second:  I wanted to photograph a group portrait of all the surviving Raiders together.

Unfortunately, just after I arrived, we found out that one of the surviving Raiders, Lt. Col. Robert Hite, was too ill to travel to the reunion.   We were however,  lucky enough to photograph the other four survivors:  Col. Richard “Dick” Cole, 96, Maj. Thomas C. Griffin, 95, Lt. Col. Edward J. Saylor, 92,  and Staff Sgt. David J. Thatcher, 90.

Time was at a premium, as the Raiders had many different events and appearances scheduled, but I was able to make a group shot with them at Wright Patterson, specifically, the closed runway of the US Air Force Museum, which was temporarily turned into a ramp for 20 B-25’s specially for the event.  The area was open to the public, and there were hundreds of people milling around to view the planes (Picture a busy airshow crowd).  During a brief 2-minute window, we were able (with Larry’s help) to clear a path and photograph the Raiders in front of “Special Delivery”  a B-25 from Galveston, Texas with the Doolittle logo on the nose.   It was a bit unnerving to have an audience of 200 people (and a CBS Evening News crew) over my shoulder watching while we did the picture, but we got it done in record time.

Twenty B-25’s on the old runway at the Air Force Museum at sunrise.

With the help of some generous ramp crew from  the USAFM we were able to secure a jetway ladder and photograph all 20 B-25’s at sunrise the next day.  We then set up another portrait session at the Raiders hotel where I photographed each Raider on white and black backgrounds with old vintage leather A-2 jackets and flyboy caps.  Matt Sager, a photographer/brilliant mechanic from the Panchito crew helped out on both shoots and saved my butt with his Boy Scout preparedness.

The anniversary was an amazing experience, and it’s gotten good play in a few publications in the months following the event, including AOPA Pilot magazine, which ran a series of portraits, and a cool photo I took from the end of the runway during the Grimes Field takeoff.  WWII magazine also ran the group shot we made on the field at the Air Force Museum.  I’ve included some of the tearsheets below.

The four spreads from the AOPA Magazine……I photographed the portraits.

This is the last spread of the AOPA Mag: I was lying down at the end of the runway with a Canon 8-15mm Fisheye as the last plane took off for Wright-Patt from Urbana.

This is the spread from WWII Magazine, published by Weider History Group.

 

Robin Roberts with her mother Lucimarian Roberts

ABC Good Morning America anchor Robin Roberts, with her mother Lucimarian Roberts at the Oak Crest Mansion in Pass Christian, Mississippi in April of 2012. ©2012 Robert Seale

I am deeply saddened today to hear the news of the passing of Lucimarian Roberts, 88, the mother of ABC Good Morning America anchor Robin Roberts.

I had the honor of photographing them together last spring in Pass Christian, Mississippi for a magazine article for Guideposts.  Robin and Mrs. Roberts had just collaborated on a book, My Story, My Song, and the two were being honored in their hometown with a luncheon that day.  Robin’s sisters, Sally-Ann, and Dorothy were also on hand for the luncheon that day and it was great to see all of these accomplished women together.

A few days after the shoot, we found out that Robin’s health problems had returned and that she would soon be undergoing a bone marrow transplant.  Her sister, Sally-Ann was a match and is scheduled to be her donor.

My sincere condolences go out to everyone in the Roberts family, and I wish Robin a speedy recovery from her next round of treatments.

(All Photographs © 2012 Robert Seale)

ABC Good Morning Anchor Robin Roberts, photographed in front of the Oak Crest Mansion in April 2012.

Portraits of Olympians

Mary Lou Retton, photographed at her home in 2008.

Since the 2012 Summer Olympics in London is in full swing, I thought it might be interesting to pull together a collection of some of my favorite Olympic sports portraits.  I’ve had the fabulous opportunity to photograph several notable athletes, and I’m hoping to meet and photograph more of these folks in the future.

I photographed 1984 Olympic gymnastics champion Mary Lou Retton with her daughters in their backyard a few years ago for a magazine.  Mary Lou, now in her early 40’s,  is in incredible shape and is still incredibly fit and ripped.   It was a fun shoot, but it’s interesting to note that at least one of them was much more interested in being an equestrian than a future gymnast.  They were all good sports, though and played along for a memorable photo.

I’ve photographed Steven Lopez several times.  He won the gold in Taekwondo at the Olympics in 2000 and 2004, and a bronze in 2008.  He’s in London competing again on the 2012 Olympic team.

Laura Wilkinson, who won a gold medal with a horrendous broken foot in 2000, was a joy to photograph, and was willing to try several different concepts, including a waterline shot, and some slow shutter flash shots of her diving during sunset.  She also competed in the 2004 and 2008 Olympics.  Today, she is a motivational speaker and has her own foundation.

Stuart Holden, a professional soccer player, was on the 2008 US Olympic soccer team.  Although he’s had a string of injuries, he’s still playing professionally in Europe.

Bicycle motocross champion Kyle Bennett was on the US Olympic BMX team in 2008.

I photographed Peggy Fleming, who won the gold in figure skating in 1968.   After a breast cancer scare in the late 90’s she became an outspoken advocate for breast cancer awareness and early testing.  She stays in fabulous shape (she’s 60 in this photo…) with a regimen of yoga and running.

Raj Bhavsar is an incredible gymnast who won the bronze in 2008.  He was also an alternate on the 2004 team.  He has two gymnastics elements named after him, and is most well known for his prowess on the rings.  After retiring from competitive gymnastics, he is now performing with Cirque de Soleil.

 

 

 

Jeremy Lin portraits for Sports Illustrated

Jeremy Lin posing for a high flying pass on his first day back in Houston. This photo was featured as a double truck in Sports Illustrated. © 2012 Robert Seale

As Jeremy Lin was in the process of inking his deal with the Houston Rockets last week, I got a call from Sports Illustrated.  Often in sports, when a star player is traded to another team, there is a big fancy press conference to introduce the player to the media.  Usually the player stands at a podium with the new owner, professes his love for the new city and holds up a freshly minted jersey with his name on the back.  Interviews follow with all the local media outlets:  radio stations, TV stations, teenage sports bloggers, and typically, the surviving newspaper in town.

What most people don’t see, is the behind the scenes photo shoots.  Put together in a rush, the sleepy player gets herded to multiple locations throughout the building to pose for the NBA, a magazine or two, the local paper, and a host of team sponsor PSA’s.  It’s a challenging situation, very similar to “media day” shoots that we all engage in during preseason training camps. Each photographer or news outlet gets the player for a couple of minutes and they produce the best sports portrait they can.

After I hung up with the SI photo editor, I immediately called my good friend, Rockets photographer Bill Baptist, who I knew would be doing the same gig for the NBA.  I found out that we were scheduled to be on one half of the practice court, since the other half was being used for the press conference setup.  Billy had to do two large setups, so he generously offered to have our shoot moved to the empty arena floor.  I quickly jumped at the chance and agreed that a larger room would be beneficial for all of us.  This way, we wouldn’t be crossing cords or competing for space.  Plus, the last time Billy and I were that close together, I’m pretty sure he kicked my ass at tennis.

Stellar assistant Nathan Lindstrom and I showed up to the Toyota Center the next morning with a ton of gear, and made our way to the main arena floor.  An empty arena makes a great photo studio, but unfortunately, it really was empty:  as in, no floor!  Since the arena hosts a different event almost every night, the wood basketball floor was in storage – along with the basketball goals, etc.

With the help of some friendly folks at the arena, we were able to get one of the basketball goals rolled out onto the empty concrete floor.  I figured that, even if the floor didn’t show, we could at least utilize the goal as a background element for context.

We put together lighting setups in two locations:  A wide angle view with the goal in the background, backlit on both sides with Profoto 8A’s and  large Chimera gridded softboxes.  We used a Plume Wafer Hexoval 180 as the main light near the camera.

On the other setup, we put together a seamless paper backdrop with two different lighting setups:  a three light setup with two Plume Wafer 100’s with Lighttools grids, and a Profoto Beauty dish on a boom just above the camera.  The other setup was another Wafer Hexoval 180 to the right of the camera.  We used three Profoto Acute 600’s for power on the seamless setup.

Lin showed up in a brand new red Rockets uni and made his way to our set.  After shaking his hand and welcoming him to Texas, we quickly put him through both seamless lighting setups, and then standing and dribbling poses on the backlit concrete floor setup.

Part of Lin’s appeal is his status as a young, springy, high-flying point guard.  He looked great flying through the air, going to he hoop, and passing in mid air to his Knicks teammates during the a few months of “Linsanity” last season.  At the end of the shoot, I asked Lin how his knee was feeling.

He said it felt great.

Great enough to jump on a concrete floor?

Sure, he said.

Ok then, let’s do it.

I placed the camera, a Canon EOS1DS Mk III on the floor, and proceeded to shoot Lin leaping straight in the air with the basketball goal in the background.  He looked great – our only minor tweak being that of changing his hand positions during the jump.  At the end of the shoot, I handed him a towel, shook his hand and said thanks.  I looked down at my watch and a mere 12 minutes had passed.

He left the arena soon after and was mobbed……not by New York paparazzi, but by mouth-watering Houston real estate agents, eager to spend at least some of his 25 million bucks.