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Photographic Lighting

Creating a football concussion Photo Illustration

I was commissioned recently to create an  photo illustration for Houston Methodist Hospital Foundation’s Annual Report  Photography for a story on concussions in high school football players.  This is a big issue not just for the NFL, but also in youth sports.

I think that originally we were just going to shoot a simple portrait of a young athlete in football gear, but after giving some thought to the issue, the art director and I collaborated on a few other more illustrative ideas.

A few years ago, I had photographed Matt Schaub, the Houston Texans quarterback at the time for Methodist's Leading Medicine publication.   We did a couple of different versions:  one was using a projected background created by a computer and an LCD projector of MRI brain scan imagery and another photo showing medical illustrations of nerve synapses in the brain.

I thought we might appropriate the brain projection idea, but add some other elements to it: a silhouette of a generic kid in a football helmet this time to keep the illustration anonymous; and a multiple exposure strobe effect to look like a violently shaking head.  Our art director helped us in researching a suitable stock photo of the brain that we could use in the projector.

After doing some testing in the studio (do we need a white helmet or black helmet, for instance?), and ordering some props (youth sized football helmet, jersey, and shoulder pads) we booked a young male model for the shoot.

(If we were truly going to be literal here, the concept probably should have been a brain bouncing around with multiple exposures/blur INSIDE a sharper helmet image, but I quickly decided that would have just been a blurry mess and would not have been as easy of a read as the brain inside a shaking helmet.)

This is an early shot, showing the strobe on the background (gelled orange), the projected image on the helmet foreground, but without the multiple exposure/multiple strobe on the background effect.

The key was to tripod the camera for the “brain exposure”, keeping it absolutely still for this exposure provided by the projector, and then with the shutter open, firing multiple strobe bursts (with strobe lighting the background seamless only) with the model's head in slightly different positions to show the silhouetted helmet with movement.  Although I liked the randomness of the head movement in each photo, we finally settled on zooming the lens smoothly and evenly to create the multiple strobe head images.

The intention was to do this just like the film days, creating the entire photo in camera, and we were successful with this for the most part.  Some of the images admittedly had some “unintended brain movement” from the long exposure of the projector (I think it was around 1/4 to 1/8 of a second), so we ended up retouching a couple of the selections with a “sharper brain” from another exposure.

Changing the color of the gel on the background strobe created some cool multi-colored silhouettes during multiple pops of the flash. I think it's especially interesting where the colors cross over and mix. Not a new idea, but fun to try nevertheless!

We used a Canon 5DS, and tried it with two different methods:  leaving the shutter open and firing the Profoto strobe manually, and also with the multiple exposure feature engaged.  We also tried two different methods to create head movement:  having the model shake his head around during the multiple exposures; and also leaving the model still and zooming the lens during multiple exposures.

We even tried this with different gels on the background strobe, but in the end my favorite was a monochromatic look with just the brain projection in color.

Another example with different gels and changing the color balance.

I prefer this monochrome version with lots of exposures created by zooming the lens.

Guideposts cover shoot with Boston Marathon bombing survivor Rebekah Gregory

Rebekah Gregory, who was injured in the 2013 Boston Marathon explosion

I recently had an inspiring shoot with Boston Marathon bombing survivor Rebekah Gregory for Guideposts Magazine.

Gregory, then just 26, and her five year old son Noah were spectators standing only 3 feet away from the bombs near the finish line when the explosions went off on April 15, 2013 at the Boston Marathon.  Her legs absorbed a lot of the bomb’s impact and shielded her son, likely saving his life.

Gregory and her son were both injured, and spent time apart in two different hospitals.  After months of trying to rehabilitate and rebuild function in her injured leg, and scores of surgeries, she made the brave decision to amputate, and hasn’t looked back since.

A single mom at the time of the bombing, she’s since gotten married and had another child.  She recently wrote a book, “Taking my Life Back: My Story of Faith, Determination, and Surviving the Boston Marathon Bombing,” with co author Anthony Flacco.

Rebekah Gregory, who was injured in the 2013 Boston Marathon explosion, photographed with her family at her home in Texas.

We photographed her at her home, and part of the mandate for the Guideposts cover was a powerful portrait of her on white seamless.  Luckily, her home featured a garage with a giant ceiling, so we set up our “studio” in there.   We used a Plume Wafer Hexoval 140 boomed into the center, directly over the camera for the white background stuff. We used three Profoto B-4 battery powered lights as our light source (and we later added an Acute 600 Air also).   My good friend Misty Rockwell did a great job with makeup.

We did some “happy” smiling photos, but I really wanted her to look resilient, and was more drawn to those tough and strong poses.   Although it didn't make the cut, we created some really strong tight portraits with a classic fashion cover lighting setup of Rebekah in a cool gray workout fleece, and used a small, lower light source below the camera as well as the Hexoval over the camera to really make the eyes pop.

Rebekah Gregory, with her son Noah, who were both  injured in the 2013 Boston Marathon explosion.

We also made some environmental portraits of her with her son in the driveway, and a family photo in the back with her husband and new baby, but my favorite shot might be her son hugging her on the white seamless, both of them with their eyes closed.

Rebekah is a class act who is using her platform as a survivor of this horrific event to promote and encourage others.   You can’t spend time with her and not leave inspired to do better in your own life.

Rebekah Gregory, who was injured in the 2013 Boston Marathon explosion, photographed at her home in Texas.

Rebekah Gregory, with her son Noah who were both injured in the 2013 Boston Marathon explosion, at their home in Texas.

Robert Seale speaking at Asian American Journalists Association convention

I'll be speaking at the 2018 Asian American Journalists Association annual convention at the Marriott Marquis, 1777 Walker St, Houston, Texas, Room 2734.

In addition to the regularly scheduled lineup of writers, editors and TV correspondents, longtime AAJA member Darrell Miho has organized an additional educational curriculum for still photographers over the three day convention.  I'll be doing a lighting talk from 11:00-12:30 Friday, August 10th.

Here's the list of speakers and subjects for the still photo program:

Thursday, August 9

11:00am Lisa Krantz, San Antonio Express-News:   Photo Stories

4:00pm Richard Tsong-Taatarii, Minneapolis Star Tribune:    Images from the Rohingya Crisis

Friday, August 10

9:00am Karen Warren, Houston Chronicle :  Baseball and sports photography

11:00am Robert Seale, Houston Commercial photographer:   Lighting for Impact

2:00pm Laura Elizabeth Pohl, freelance photographer:A Long Separation. Families Divided by the Korean War

Saturday, August 11

3:00pm Chang W. Lee, New York Times:2018 Winter Olympics and Paralympics

4:30pm Portfolio Reviews/Photo Critiques

The Photo Hangouts are FREE to all AAJA18 attendees! If you're not attending the convention and interested in just attending the Photo Hangouts please call or text Darrell Miho at 626.975.6349 or email us at aajaphoto@gmail.com

Chuck Norris put me in a headlock!

Actor and martial artist Chuck Norris on the family's Lone Wolf Ranch in Navasota, Texas.

When the Boogeyman goes to sleep at night, he checks his closet for Chuck Norris.

There is no theory of evolution. Just a list of animals Chuck Norris allows to live.

Chuck Norris has counted to infinity – twice.

There is no chin behind Chuck Norris' beard.  There is only another fist.

I've loved reading these “Chuck Norris Facts” for years.  It was pretty awesome when we actually got to meet the man in person recently when we photographed Norris and his lovely wife Gena for Houstonia magazine.

Actor and martial artist Chuck Norris and his wife, Gena Norris, have developed a new private-label bottled water manufacturing company called CForce Bottling Company on the family's Lone Wolf Ranch in Navasota, Texas.

Part of the hook for the story was that Gena had recently fired up a full blown water bottling plant on their giant ranch property near Navasota to bottle water from the natural aquifer they found on their property.  The plant is a state of the art facility and there is a charity component to their H2O endeavor.  You can read more about it in the Houstonia story here.

Since we were there in sort of the middle of the afternoon on a sunlit partly cloudy day, we needed a big light and lots of power for the outdoor shots.  We used a Profoto B-4 and a Plume Hexoval 180 for most of the outdoor shots.

Although we shot the bottling plant and did lots of still life shots of water bottles, the highlight for me was getting to make a cool environmental portrait of the former Walker Texas Ranger star and Gena on his awesome Texas ranch.  We also shot in their horse stables, which had amazing light.  Gena was a professional model, and the two of them together have a lifetime of experience in front of the camera and were just wonderful subjects to photograph.  I don't think I've ever dealt with two nicer, more accommodating people.

Actor and martial artist Chuck Norris in beautiful natural light in the horse stables on his Texas ranch.

Actor and martial artist Chuck Norris in the horse stables at his Texas ranch.

I couldn't resist taking a romantic silhouette of Chuck Norris and his wife, Gena in the horse stable.

As we were loading the gear back into our vehicle, he came back out of the house and gave everyone in the crew a paperback copy of a Chuck Norris Facts book.  I think he gets a big kick out of the cult hero status from all these “facts.”

Before we departed, Norris was telling us a story about going to Iraq to visit troops there.  He was standing at the front of a long line of soldiers eager to meet him, shaking hands, posing for photos, signing autographs and such.  When one of the soldiers (who was a particularly big strong guy) got to the front for his turn, the conversation went like this:

Soldier:  “Ok, kick me in the chest!”

Chuck: “I'm not going to kick you in the chest…”

Soldier:  “No, really, I want you to roundhouse kick me in the chest!”

Chuck:  “Come on, I'm not going to kick you in the chest.”

The soldier wouldn't let up, and was just dying to go back to the barracks and tell all his buddies that he survived a Chuck Norris roundhouse kick to the chest…..the line was starting to grumble from the delay.

Finally, Norris quickly grabbed the soldier, and in one quick motion the (at the time) 70 year old martial arts veteran spun him around backwards and put him in a choke hold and dropped the big guy to the floor like a sack of potatoes.

At this point all the other military guys standing in the autograph line, full grown men trained in combat, were yelling like little kids, “Put me in a choke hold too!  Put me in a choke hold too!”

Of course….after hearing this story, what do you think I did?

“Put me in a choke hold!  Put me in a choke hold!”

Here's the layout of the article by (then) Houstonia art director Tanyia Johnson. She has an excellent eye for design, and I'm forever in her debt for sending me on such a cool assignment!

 

BuzzFeed photo shoot with Olympic Gymnast Simone Biles

USA Olympic Gymnast Simone BilesWith the 2016 Summer Olympics in Rio coming up, I thought this might be a good time to write about a shoot we did earlier this year with US Olympic gymnast  Simone Biles.  Biles, who trains in Houston, is 4’9” tall and a three time world all around champion.

The media landscape is changing these days. This is the kind of shoot we might have done for Sports Illustrated once upon a time, but instead, this time we were commissioned by Buzzfeed to do this sports portrait shoot.

USA Olympic Gymnast Simone BilesIn the months leading up to the Olympics, the notable competitors (like Simone) have huge demands on their time. In addition to their normal training schedule, they are also doing interviews with various writers and television programs, and posing for photo shoots with not only media outlets, but potential endorsement partners. They are seriously busy, and it’s hard to stay focused on their training with all these various demands on their time.

To that end, we knew that we would have very little time to work with her, and that everything would need to be prepped carefully so as not to waste any of her time.

USA Olympic Gymnast Simone BilesThe photo editor wanted a classic, quiet portrait and sent several examples of gymnasts/fitness models on concrete walls and muslin backgrounds. Since Simone’s family-run training center was brand new and very modern, we knew we weren’t going to get the muted, moody industrial concrete wall background. We took a big muslin backdrop instead , and did a classic one-light portrait that stayed within the spirit of the comps.

USA Olympic Gymnast Simone BilesWe also prepped a secondary setup on a balance beam to capture some rim-lit “action” shots of Simone doing her thing. For this we used big tall C-stands with two Profoto B4’s and one Profoto 7B. (Note to self: always be careful when setting up lights in a gymnastics facility….one false step and you might find yourself neck-deep in a Nerf-cube-filled landing pit….not that this happened to me or anything….).

USA Olympic Gymnast Simone Biles

USA Olympic Gymnast Simone BilesWe mixed in some available light practice shots (I was able to dust off my usually dormant Canon EF 300/2.8!) of Simone and her coach working together to round out the assignment and give the photo editor lots of options.

The backdrop session went very fast…about 6-10 minutes. The balance beam shot went fast too, but not by choice. The coach shut us down after just a few frames saying the strobes were a distraction to the other young gymnasts training there. Even though we prepped them for what we were doing, you really can’t argue in that situation with the person controlling your access…..you just have to say yes ma’am and move on. I knew we had some nice frames already, ( thanks in large part to Simone’s perfect technique on the first few frames – thanks Simone!), so we pivoted and quickly moved on to available light practice shots.

USA Olympic Gymnast Simone BilesThe new family-run gym, World Champions Centre in Spring, Texas is an incredible facility.   Simone’s parents and brother work together managing the facility and they do it with class and good humor. We were surrounded by a steady stream of youngsters training at various stations who I’m sure were hoping to someday be the next Simone. A “WARNING” sign near the lockers read, “CHILDREN LEFT UNATTENDED WILL BE SOLD TO THE CIRCUS.”

Buzzfeed recently ran an extensive story and collection of the photos here. I thought the story and presentation turned out great! Because of the virtually unlimited space they were able to run many more photos than you would typically see in a normal magazine layout.  We in the newspaper/magazine journalism world have been talking about this advantage for years….it was nice to finally see a media outlet exploit the web format to full potential.

USA Olympic Gymnast Simone Biles

USA Olympic Gymnast Simone Biles

USA Olympic Gymnast Simone Biles

USA Olympic Gymnast Simone Biles

USA Olympic Gymnast Simone Biles

USA Olympic Gymnast Simone Biles

USA Olympic Gymnast Simone Biles

All photographs © 2016 Robert Seale/All Rights Reserved.

 

 

 

 

 

Photographing Tim Duncan – the greatest power forward of all time

Tim Duncan, photographed for the Sporting News on June 27, 1997. ©Robert Seale/The Sporting News

Tim Duncan, photographed for the Sporting News on June 27, 1997. ©Robert Seale/The Sporting News

I covered Tim Duncan during countless games, including three San Antonio Spurs NBA Finals titles in 1999, 2003, and 2005. I probably took thousands of photos of him, but on the occasion of his quiet retirement, I picked a few out just for this blog.

I first met and photographed Tim Duncan on literally his first full day in San Antonio. He was drafted in Charlotte at the 1997 NBA Draft and flown to San Antonio, and then early in the morning of June 27, 1997 at Trinity University I photographed him for The Sporting News, my employer at the time. I had a crazy schedule back then, and had just flown back from Vancouver, and then been dispatched straight to San Antonio the night before for the Duncan portrait.

My Filofax page from June 1997. Things were busy at TSN back then!

My Filofax page from June 1997. Things were busy at TSN back then!

There were three shooters there that day: the Spurs photographer (and all around classy guy) Clarke Evans, Patrick Murphy Racey, who (I think) was shooting for NBA photos at the time, and me. I think Clarke was the only one with an assistant, Patrick and I were there alone.

This “photo day scenario” was not an uncommon practice: you’re scheduled for a shoot with some big time pro athlete, and the team schedules several different media outlets for the same time frame. The athlete might be on set for half an hour, but each photographer gets 5-6 minutes on their own individual background , and you’re literally shooting a couple of feet away from the other photographers in the same room. I think Clarke and Patrick both had seamless setups, so I went outside on the balcony of the conference room we were in and set up my lights out there.

What I remember most is how quiet and childlike Tim was back then. He had a friend with him from college, and I remember them sitting together between the shots and chatting about nerdy guy stuff: knives, swords, or something.  I could totally picture them playing Dungeons and Dragons. I wondered how many 20- sided-dice might fit in his gigantic hand. It was really innocent, and there was no ego or bravado. I remember none of us being able to force much of a smile out of him. He was completely uninterested in being a star – he just wanted to play….and I don’t think he ever changed in the next 19 years.

An overhead remote shot of Tim Duncan. © Robert Seale/The Sporting News

An overhead remote shot of Tim Duncan. © Robert Seale/The Sporting News

The best part of covering the Spurs during the NBA Finals was the camaraderie among fellow basketball photographers, all of whom travel together for weeks during the playoffs like a big traveling circus. Everyone works long hours, but after the gear gets put away, there were wonderful late night meals at Mi Tierra or drinks in the hotel hospitality suite with guys like Andy Hayt, John McDonough, Andy Bernstein, Bob Leverone, Andrew Loehman, Ronald Martinez, and a host of others.

Tim working his way out from under heavy Pistons coverage. © Robert Seale/The Sporting News

Tim working his way out from under heavy Pistons coverage. © Robert Seale/The Sporting News

The worst part of covering the Spurs in the NBA finals (at least the first one in 1999…): hanging strobes and remotes in the ridiculously high catwalks of the God-forsaken Alamodome. The elevators only went to the middle mezzanine, and each pack/head/long lens/etc. had to be hoisted up with a rope from the top row of the nosebleeds.   I used eight 2000 w/s Dynalite packs and heads, and about 750-1000 feet of zip line to connect the strobes for the playoffs there. (If they ever tear the building down, I might visit just to spit on the rubble).

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A Sporting News cover of Tim Duncan from 1999. (Photo by Robert Seale)

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Sporting News cover featuring The Admiral and Tim from 2003. (Photo by Robert Seale)

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A cover from the Spurs 2005 NBA Finals championship. (Photo by Robert Seale)

After I left the Sporting News in late 2006, I had the good fortune to shoot Tim for a couple of covers while on assignment for Sports Illustrated. In 2013 I photographed him with his teammates Manu Ginobili and Tony Parker during a quick “studio” shoot in a parking garage. We had no more than 5 minutes to shoot the setup, and I had several lighting/background variations to run through. I had a little help, as Tim’s kids climbed all over me during the shoot….his son was hanging piggyback on me making faces, and his daughter was holding up “bunny ears” behind my head to try to get him to crack up. It was awesome!

A 2013 SI cover with the Spurs "Big Three." (Photo by Robert Seale)

A 2013 SI cover with the Spurs “Big Three.” (Photo by Robert Seale)

In 2015, we did another SI cover, this time for the NBA Preview issue. We had about 2 minutes with Tim and LaMarcus Aldridge. The concept (which SI carried through to several teams), was to have the newcomer to the team doing a signature move or pose of the team veteran. In Tim’s case, everyone knows he has a ritual in which the referee tosses him the ball, and he hugs it closely for several seconds before tossing it back to the ref for tip off. We managed to get LaMarcus to do the same move with Tim standing with him. There was no levity this time….just Tim with his usual deadpan expression, almost challenging you to try to take a “heroic” image of him.

A 2015 NBA Preview cover with Tim and Aldridge. (Photo by Robert Seale)

A 2015 NBA Preview cover with Tim and Aldridge. (Photo by Robert Seale)

The shoot was quick, but I took Tim aside at the end and gave him a large print from that first shoot we did together, more than 18 years earlier.

“Wow, man….thanks.”, he said….and then he disappeared quietly.

Timmy performing his pre game ritual before tip off. © Robert Seale/The Sporting News

Timmy performing his pre game ritual before tip off. © Robert Seale/The Sporting News

 

(Photos are © The Sporting News, or © Robert Seale.   Feel free to link back with attribution, but please don't steal my pictures.  Thanks.)

Sports Portrait shoot with Houston Texans star JJ Watt for Sports Illustrated

JJ WATT COVERIt's been under wraps for a few weeks, but we're finally able to show some cool portraits from a recent JJ Watt cover shoot for Sports Illustrated.  We were lucky, in that we were able to get a little extra time with Watt since he was featured twice in the magazine.  JJ's been tearing it up as the star of the HBO behind the scenes series “Hard Knocks” featuring the Houston Texans during training camp.

For the first set of shots, we wanted to create a memorable and “tough” looking portrait of him.  We were stuck working in the Texans practice bubble, which is not my favorite location, but sometimes you have to roll with it, and in this case, a studio portrait was in order anyway.  In addition to JJ, SI commissioned four other regional covers for the NFL Preview issue:  NY Giants receiver Odell Beckham, Chicago Bears RB Matt Forte, Bucs linebacker Lavonte David, and Seahawks QB Russell Wilson.  SI art director Chris Hercik and Director of Photography Brad Smith wanted these to look consistent, so we needed lighting schemes that other photographers could duplicate in other cities, without worrying about backgrounds or ambient outdoor lighting.

Houston Texans defensive end J.J. Watt posing for portraits in the practice bubble across from NRG Stadium in Houston, Texas on Wednesday, July 22, 2015.  © 2015 Robert Seale/All Rights Reserved.

Houston Texans defensive end J.J. Watt posing for portraits on Wednesday, July 22, 2015.  Photo by Robert Seale

We utilized several different lighting schemes to give the editors a few looks to choose from.  They ended up using a photo  lit from the back on both sides by Plume Wafer 140 strip banks with Lighttools grids inside, with a small Chimera strip Bank coming from below on JJ's face, to give him a “sinister” or intimidating  look.  Or, as Todd Rosenberg, the Chicago based photographer who photographed the Forte cover said: “Vincent Price lighting.”  All the lights were Profoto – a combination of B4's and one legacy 7B.

Our other setup was for a feature story where the editors of SI asked several different NFL players what position they would like to play, other than their regular position.  JJ, of course, said he wanted to play quarterback!  This led to a secondary setup where we ran JJ through a variety of quarterback action poses.  He had a lot of fun with it (I'm pretty sure he had practiced these before – he looked REALLY GOOD!  He even had the telltale slick QB crossover footwork on his drop back down cold.)  For lighting, we knew the imaging department would be dropping the action shots into action scenes from actual games, therefore, I shot from a low angle (just like I would shooting game action on the sideline), and used one Profoto B4 with a Magnum reflector to simulate outdoor sunlight.  We placed a 6 x 6 Scrim Jim in front of the Magnum reflector a few feet out in front of it to soften it somewhat…similar to what a movie crew might do.  It worked great, and gave us a wide open, evenly lit area for JJ to do his thing.

JJ Watt quarterback

Check him out! JJ Watt at quarterback. I'm pretty sure this is every defensive player's nightmare. Note the fancy crossover footwork on the drop.

Our crack assistants, Lauren Swanson, and Travis Schiebel had the lucky job of playing catch with JJ:  Lauren threw the balls in to JJ, and Travis played receiver.  I think JJ had a good time with it.  He even did a Peyton Manning style scramble while pointing at his “receiver” (Travis) downfield.

Sports Illustrated even sent a video crew down to document the shoot.  You can see the behind the scenes video here.

Houston Texans defensive end J.J. Watt posing for portraits in the practice bubble across from NRG Stadium in Houston, Texas on Wednesday, July 22, 2015.  © 2015 Robert Seale/All Rights Reserved.

I tried a few dramatically lit black and white shots of him as well.  

Houston Texans defensive end J.J. Watt posing for portraits in the practice bubble across from NRG Stadium in Houston, Texas on Wednesday, July 22, 2015.  © 2015 Robert Seale/All Rights Reserved.

Tight study of JJ Watt's chiseled profile in black and white.

Houston Texans defensive end J.J. Watt posing for portraits in the practice bubble across from NRG Stadium in Houston, Texas on Wednesday, July 22, 2015.  © 2015 Robert Seale/All Rights Reserved.

Another look we tried:  flare coming over the shoulder.  In the parlance of the great Joe McNally, assistant Travis Schiebel served as a VOL, or  “voice operated lightstand”  on this one.

Houston Texans defensive end J.J. Watt posing for portraits in the practice bubble across from NRG Stadium in Houston, Texas on Wednesday, July 22, 2015.  © 2015 Robert Seale/All Rights Reserved.

Happy JJ goofing off between shots.

Houston Texans defensive end J.J. Watt posing for portraits in the practice bubble across from NRG Stadium in Houston, Texas on Wednesday, July 22, 2015.  © 2015 Robert Seale/All Rights Reserved.

This is the cover shot, as originally shot: minus the red background.

Houston Texans defensive end J.J. Watt posing for portraits in the practice bubble across from NRG Stadium in Houston, Texas on Wednesday, July 22, 2015.  © 2015 Robert Seale/All Rights Reserved.

Look!  I'm taller than JJ!  Seriously, he's got a great eye, and is fully invested in collaborating on great photos.

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Lauren with about half the gear we used on the shoot. Travis brought a truckload of stuff too.

Executive portrait photography for Barron’s

2015_08_17_cmyk_NL_I recently had the opportunity to create some executive portraits for Barron's magazine.  Barron's, founded in 1921 is a weekly publication published by Dow Jones, and each issue features a profile of a mutual fund manager.  We're pushed to shoot these fund manager portraits in an interesting way, often with an environmental portrait link to their hobbies or interests…something more creative than a person at their desk.

Our feature subject for the issue, Juliet Ellis, the Portfolio Manager of Invesco's Small Cap Equity Fund, suggested a great location for her portrait, the Houston Methodist Hospital Research Institute, where she serves as a board member.  I was already familiar with the space and the personnel there, having photographed healthcare annual reports in the past for the hospital.  In the morning, we knew that it would make a fantastic “light and bright” portrait location….definitely a welcome departure from the average trading desk photo.

Although we had fantastic natural light for most of the shoot, we supplemented the ambient with just a low power  “kiss” of light from a Profoto B4 with a Plume Wafer 100.  We didn't want to disturb any of the cool natural shadows around her in the background on these, so we stuck with the small source and even added a Lighttools grid in some of these to focus our light and keep it from spreading everywhere.

We couldn't have asked for a more lovely and patient subject, and our friends at Barron's of course created a fantastic layout with excellent display.

Juliet S. Ellis, CFA, who is the CIO, US Growth Equities, and Sr. Portfolio Manager at Invesco Advisers, Inc., photographed at Houston Methodist Hospital in the Texas Medical Center in Houston, Texas on Wednesday, July 15, 2015.  © 2015 Robert Seale/All Rights Reserved.

I thought the inset in the wall made a great composition, framing her face nicely.

Juliet S. Ellis, CFA, who is the CIO, US Growth Equities, and Sr. Portfolio Manager at Invesco Advisers, Inc., photographed at Houston Methodist Hospital in the Texas Medical Center in Houston, Texas on Wednesday, July 15, 2015.  © 2015 Robert Seale/All Rights Reserved.

We loved the shadows on this one.  We supplemented the light on her face with a Profoto B4 through a Wafer 100.

Juliet S. Ellis, CFA, who is the CIO, US Growth Equities, and Sr. Portfolio Manager at Invesco Advisers, Inc., photographed at Houston Methodist Hospital in the Texas Medical Center in Houston, Texas on Wednesday, July 15, 2015.  © 2015 Robert Seale/All Rights Reserved.

The photo chosen for the cover.

Medical Healthcare photography project for Houston Methodist Hospital

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Dr. Brian Butler, working with 4-D images in Plato's CAVE facility at Houston Methodist Hospital.

We recently completed a big Healthcare photography project, completing principal photography for six annual reports for Houston Methodist Hospital.  We spent about 10 days shooting in and around several of the hospital’s buildings in the Texas Medical Center.

Moving around a giant medical complex with our usual plethora of lighting gear was a challenge, especially with tight and ever changing physician’s schedules.

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Dr. Lidong Qin with the “V-Chip” at the Houston Methodist Research Institute.

We even ran into a couple of situations where we couldn’t use our lighting gear at all. For example, we photographed a doctor and patient near an MRI machine, which meant that we couldn’t put any lighting equipment in the room for fear of damaging the imaging machines. (We were told that our cameras, tripods, and light stands would be sucked into the machine’s magnetic vortex during an actual scan!).

Fortunately, the machine’s lights were adjustable (somewhat) from outside the room and with a tripod in the doorway we were still able to get some good pictures. Another lighting challenge was shooting actual surgeries (we were able to photograph three of them, obviously with patient consent). We had to utilize the overhead surgical lights in the room, since you can’t exactly do flash photography while a surgeon is operating. Fortunately, halogen and LED surgical lights are bright , dramatic, and many doctors prefer to turn off the ugly fluorescents in the room, which creates dark backgrounds and makes everything very dramatic in photographs.

One of our “lighting tricks” in the hospital to match today’s flat screen LED monitors is to utilize (and of course hide) various LED sources in the room to make the subject look like they are only lit with only LED screen light. One of our main tools in this, believe it or not, is the 9.00 dollar Larrylight 8 LCD flashlights . We carry lots of these, and can stick them under and around computer screens to light things up when necessary.  One of my favorite shots from the entire project was a shot of Dr. Butler in “Plato's CAVE”, an area in the hospital with LCD projectors, and a giant interactive Ipad-like device in which doctors can combine imaging technologies into one interactive scan.  We placed these small LED lights all around the room to light the scene.

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Surgeons working in the operating room during a kidney transplant.

I always try to dress appropriately for the job. In sports, we often wear shorts and running shoes, for executives, we wear suits and ties, and in the oilfield, we wear Nomex coveralls, steel toes, and hard hats. To shoot surgeries in a hospital, I was able to fulfill my lifelong quest to wear scrubs to work!  At the Scrubs Store, near the hospital, I learned that medical duds now come in all colors and patterns, and I narrowly resisted the urge to buy Sponge Bob scrubs and stuck to basic black, to keep with my photographer persona.

Once you spend a day in these, you realize why doctors and nurses wear them all the time, even when they aren’t in surgery.

Sometimes that comfort comes at a cost. While pulling the drawstring tightly closed on my pants one morning before an important surgical shoot, I managed to snap and break the string on the scrub bottoms. Did you ever have a pair of warm-ups in high school gym class, with the string trapped inside the warm-up waist band with no hope of ever fishing it out? Well, that’s what this was like. Oh yeah, this happened with three cameras around my neck about two minutes before I was slated to be inside a surgical suite. For those who don’t know, scrubs are big and baggy (I think these had a 72″ waist or something). Without a drawstring, my scrubs would be useless, sitting around my ankles, and well…..that wouldn’t be good. Fortunately for me, a quick thinking nurse dug around in her desk drawer and found some binder clips and helped me tighten the pants up to the point that I could move around and still work without flashing the surgical team.

That harrowing incident aside, the reports turned out to be beautiful. I consider it a real treat to work with very smart people, and the staff at Methodist are all first class, from the PR and Marketing staff, to the physicians and researchers themselves.  The layouts were landscape format, with several full bleed photos of our best work. An added treat: one of the photos from our annual report shoot was selected to be in Methodist advertising.  We're hoping to do more medical and healthcare photography projects in and around the Texas Medical Center in Houston.

I can’t wait to don my scrubs again, and this time I’ll be more careful, ensuring that the only flashing going on is from my portable strobes.

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Neurosurgeon Dr. Gavin Britz, removing a tumor from a patient's brain.

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Examples of the full-bleed horizontal layouts in the Houston Methodist Annual Reports.

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Jordan Spieth portrait shoot in Dallas

Jordan Spieth during a studio shoot in Dallas.

Jordan Spieth during a studio shoot in Dallas.

My first job after college was a staff photographer position at The Augusta Chronicle in Augusta, Georgia.  I was only there one year, but I was able to cover The Masters and walk the unbelievably green fairways of Augusta.  It may be one of the most beautiful places in the world, and I consider myself pretty lucky to have photographed the tournament as a fledgling 24 year old sports photographer.  Augusta National is notoriously tough and very limited on credentials, but we were treated well there not only because we were the hometown paper, but also because our owner was a member.

I still remember surviving that week on pimento cheese sandwiches (one of the few concessions available there), which were cleverly wrapped in green wrappers so the course would still look pristine on TV even if patrons decided to discard their trash on the course.

I'm not a good golfer, but ever since my time there, I always watch The Masters with interest, and it was even more interesting this year since a young golfer I recently photographed was in the lead.

About a year ago I was assigned to photograph Jordan Spieth, a young PGA golfer who is now the newly crowned 2015 Masters Champion for Sports Illustrated.  It was a rainy winter day, and even though he was home and off the tour at the time of the shoot, his schedule was super tight with appointments, so we ended up renting a cool studio space at Bolt Productions in Spieth's hometown of Dallas.  Will Rutledge assisted with the shoot, and we were able to do 5 different setups in 20 minutes.  We used a variety of setups, all with Profoto gear from Bolt.  Jordan was incredibly polite, humble and cooperative.

It was a real thrill to watch him kill it at The Masters this week – he's got a great future ahead of him.

Tight shot of Jordan Spieth during SI photo shoot in Dallas.

Tight shot of Jordan Spieth during SI photo shoot in Dallas.

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A black and white profile of Jordan Spieth during a studio shoot in Dallas.