Robert Seale on faculty of 2014 Atlanta Photojournalism Seminar

ATL_Seminar

Photo by Bernat Armangué / Associated Press

I’m pleased to announce that I’ve been invited to speak again at the Atlanta Photojournalism Seminar Nov. 13-15, 2014. I’ll be doing a couple of workshop sessions on lighting on Friday Nov. 14.

I attended the event in 1992 as a young photographer at my first real newspaper job, and also spoke there previously in 2004. It’s a real treat to be invited back to such an awesome event. The staff that puts on the workshop (all great photographers in their own right) do a hell of a job putting this thing together every year. It really is a first class event.

Among the other Friday speakers: my old sports photography colleague, Jamie Squire from Getty Images, speaking about (logically enough) Sports! Eric Seals a photojournalist with the Detroit Free Press will be leading a session on GoPro and drone photography. Also, I’m really excited that Judy Hermann, from ASMP (American Society of Media Photographers) will be speaking on business practices for photographers.

Saturday speakers include National Geographic contributor Amy Toensing, Scott Strazzante (San Francisco Chronicle), Al Diaz (Miami Herald), Ken Lyons (Denver Post), and freelance photojournalist extraordinaire Matt Eich.

Thursday is devoted to video presentations, and in addition to Eric Seals, other speakers include Wes Pope (University of Oregon), Lauren Frohne (Seattle Times), Oliver Janney (CNN), and Amani Channel (Visual Eye Media).

The Atlanta Seminar has been around for quite some time – here’s an overview from their website:   “The Atlanta Photojournalism Seminar was founded in 1973 by a group of photojournalists representing newspapers, magazines and wire services. Its reason for being is to promote the highest standards of photojournalism through an annual educational conference and a photography contest judged by working photographers.

Speakers throughout the years have included Pulitzer Prize winners, Photographer of the Year winners, major magazine and wire service photographers, influential directors of photography, important educators in photojournalism, academia, and others important in this profession. Founded as a regional event, the Atlanta Photojournalism Seminar has grown to become one of the most prestigious photojournalism competitions, with participants from throughout the world.”

You can see the entire schedule, list of speakers, contest information, and registration information at: Photojournalism.org.

Hope to see you there!

 

Farewell to the Captain: Covering Derek Jeter through the years

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Derek Jeter, Throwback uniform, Legends Field, Tampa, Florida, January 1999.

Derek Jeter’s first full season in the majors coincided with my first year at The Sporting News: we both started in earnest at our respective jobs in April of 1996. He was 22-year-old rookie, and I was a fledgling 26-year-old sports photographer.

I covered him in various Yankees games throughout the years, including Six of his World Series appearances, and photographed portraits of him several times for various stories and covers. He was always a humble, quiet, gentleman – a real class act. On the day of his last MLB game, I thought I would share some photos and memories of Mr. November.

I first photographed Derek during game action of the 1996 Yankees season. I don’t remember much about him from that year, other than  having my lens trained on him for hours, trying to get that elusive shortstop levitation picture. That 1996 World Series was my initiation into Yankee Stadium “Bleacher Creature” culture. As the young guy at TSN, I was relegated to shooting most of the series from a camera platform over the right field wall. The cool part, was I shot next to my late friend, legendary SI baseball photographer V. J. Lovero. I remember him being unfazed, even giddy as the Creatures conducted “Roll Call.” For the uninitiated, Roll Call, is a series of chants by the Bleacher Creatures of each players name – (“DEH—RIK —JEEEE—TER!!!), which continues unabated until the player being called tips his cap or otherwise acknowledges the fans, at which point they go nuts, and then move on to the next player. Once that is done, they revert to pelting photographers with beer and open mustard packets.

In 1997, I made portraits of him during the off season at Legends Field in Tampa, which resulted in a cover later on. I was still shooting 35mm then, and he was patient with me as I ran him from station to station, trying to get some different looks out of him.

Composite

An early Jeter cover from a 1997 photo session in Tampa.

In 1999, we had a project where TSN named an “All-throwback Team.” Guys that were old-school, who played the game “the right way” were photographed in black and white in  old uniforms in vintage, Charles Conlon style stiff poses for a photo essay that would be published just before Spring Training.

The tough part wasn’t shooting the photos. It was finding old gloves, uniforms, shoes, etc with no production budget, and then scheduling all of these during January and February before Spring Training started. I was lucky in that the owners of Mitchell and Ness, and Ebbetts Field Flannels, makers of old authentic jerseys, really embraced the project and let us borrow their cool jerseys. One of our issues was finding pants, believe it or not. Nobody had old school baggy baseball pants. I scoured the country looking for them but had zero luck. I didn’t want to create an entire photo story with waist-up portraits of every player. I thought that would be boring. Peter Capolino, the owner of Mitchell and Ness, dug around in his basement and found me a pair of pinstriped pants that we thought would fit Jeter. The problem? One leg was pinstriped in blue, and the other side was pinstriped in RED!

My memory is fuzzy, but he said something about them being made for an old timers event for someone who split their career between two teams…..(for some reason, I’m thinking Tug McGraw -Mets/Phillies – which would make sense since M&N was in Philly), but I can’t remember for sure. In any event, there I was back at Legends Field (which has a nice overhang roof reminiscent of the old MLB stadiums), trying to convince Derek Jeter that he’s not going to look like an idiot in half red/half blue pinstriped pants.

“No, really, dude…we’re only going to run these in B&W….nobody will ever know….really, trust me, come on….”

He was dubious, but he played along anyway, and we made some portraits of him in his “authentic” 1930’s era Yankee uniform. I wanted to shoot type 55 Polaroid, but my boss insisted I shoot color on the photos and have our backshop convert them, so here’s the evidence of Jeter in those goofy pants. Sorry Derek!

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Rare color scan of the Derek Jeter “throwback uniform” shoot from 1999. Note the goofy pants with red and blue pinstripes.

Composite

The “Throwbacks” Sporting News cover as it appeared. Jeter is shown in a composite with Roger Clemens, who was wearing the uniform he wore in movie “Cobb.”

During Game 4 of the 2001 World Series, I was working the New York games with my colleagues, Albert Dickson and John Dunn, and I was still hurting from the night before. Game 3 was the game where President Bush threw out the first pitch, and it was only a few weeks after 9/11. It was a fantastic moment. Unfortunately, because we had to be in our photo positions 3 hours before game time, because of security concerns, I took a screaming Tony Womack line drive to my jaw during BP. My head was ringing and my ligaments in my face were so stretched that my jaws/teeth didn’t line up correctly for a month. I would have gone to a hospital, except that the hospitals were experiencing a scare over anthrax!

So, it’s now Game 4, and on this particular night I was on the 3rd base side…waaaaaay outside – almost in left field. My head still hurt, but despite that and my remote position, there were distractions to keep us busy in the early innings. Just after the game started, the Yankees escorted Spike Lee into our photo well very close to us. I don’t know if they actually sold seats in the photo wells, or if they were just trying to accommodate VIPs, but a few minutes later I was shoved forward as Pete Sampras and his wife Bridgette Wilson (who’s really stunning by the way…), were also seated in the well next to us. A few innings later, I was bumped and shoved forward again as Flavor Flav came by to say hi to Spike (his seats weren’t as good).

Derek Jeter rounds second after his 10th inning walk-off home in Game 4 of the 2001 World Series.

Derek Jeter rounds second after his 10th inning walk-off homer in Game 4 of the 2001 World Series.

After Tino Martinez tied the game with a two run homer in the 9th, the clock soon struck midnight. The Yankees flashed a sign on the scoreboard that said “Welcome to November Baseball.” I was really tired, and remarked to the photographer next to me that I really wished I had the other half of that pastrami sandwich from lunch at the Stage Deli. Jeter came up to bat in the tenth, and on a 3-2 count, blasted the game winning walk off homer, earning him the nickname “Mr. November.”   The fans stayed in the stadium cheering, and singing “New York, New York” until the wee hours. I was ready to go, and found my colleague from MLB, baseball photographer extraordinaire Brad Mangin just standing there with a big grin on his face, taking in the scene. Maybe it was because of my aching head, or maybe it was because I was tired and hungry, but I was ready to head in. Brad stopped me….”Dude, this is one of the best World Series games ever played!” I stopped, took a few more pictures, and hung out with Brad on the field for a few minutes watching the fans, and it is still one of my favorite World Series memories.

Derek Jeter jumps into the arms of his teammates after Game 4 of the 2001 World Series.

Derek Jeter jumps into the arms of his teammates after Game 4 of the 2001 World Series.

In 2002, Jeter was named the cover of the Sporting News “Good Guys” issue. For several years, we did a special issue featuring players who made outstanding community or charity contributions, hence the name. This was about players who were the antithesis of the thug millionaires many had come to associate with professional sports stars….David Robinson had been our “Good Guy” the previous year I think.

I was in New Jersey for the NBA Finals against the Lakers with my colleague Bob Leverone. We were dispatched to Pier 60 after Game 4 to shoot Jeter with his family for the GG issue. For this feature, we photographed the players in street clothes, not their uniform, and Derek showed up in a beautiful custom suit. As I began to shoot, I noticed he was wearing a Platinum Rolex President with a diamond bezel. It was a really nice watch, and not nearly as crazy or blingy as some others I’ve seen, but I thought it would be too distracting on the cover.  I also thought that it might send the wrong message on a cover highlighting his foundation’s good works. I asked to adjust his wardrobe for a sec, and I gently pulled the cuff down over the watch. He looked at me like I was nuts, and I don’t think he knew why I was doing it, (I said something about making the suit look straight), but I felt like it was the right thing to do at the time. His parents and sister were there as well, and we made a nice portrait of them together. They were all lovely people.

Derek Jeter with his parents and sister, from our "Good Guys" shoot at Pier 60 in New York in 2002.

Derek Jeter with his parents and sister, from our “Good Guys” shoot at Pier 60 in New York in 2002.

Jeter's "Good Guys" Sporting News cover.

Jeter’s “Good Guys” Sporting News cover.

One of my favorite portraits of Jeter - taken with simple window light during 2002.

One of my favorite portraits of Jeter – taken with simple window light during 2002.

In 2004, Alex Rodriguez joined the Yankees and although everyone was abuzz about Arod, we also requested some shots of Jeter and Arod together at the shoot. I’m not sure when their relationship supposedly cooled, but Jeter was just as solid as ever, showing up on time with a good attitude. One of the shots of them together made the cover a few weeks later.

Arod and Jeter together during Spring Training, 2004.

Arod and Jeter together during Spring Training, 2004.

Arod and Jeter Sporting News cover, 2004.

Arod and Jeter Sporting News cover, 2004.

I left the Sporting News in Dec 2006 to work on my own, but I’ve been lucky to cover Jeter a couple of more times since then. I really would love to have seen that final single he swatted a couple of nights ago during his final home game. Hopefully I’ll get to make another portrait of him at some point.

Until then, Captain….it was always a pleasure.

 

A happy Jeter probably laughing at something stupid I said during a 1997 photo shoot in the Yankees Florida clubhouse.

A happy Jeter probably laughing at something stupid I said during a 1997 photo shoot in the Yankees Florida clubhouse.

 

 

 

 

What’s in my Bag? – Houston Commercial Photographer Robert Seale

Commercial Photographer Robert Seale's Photo Bag

Anyone remember the old American Photographer magazine? I’m talking pre-American PHOTO, when the magazine had great long form feature stories on photographers. One of my favorite features was the “What’s in your camera bag?” double truck. As a young high school photographer, I loved seeing what everyone was using, and I loved the quirky stuff and homemade gadgets that photographers carried. I still vividly remember the features on Roger Ressmeyer, the late Brian Lanker, Jodi Cobb, and a host of others. I also remember an old Amphoto book on advertising photographer Al Satterwhite, that had several pages in the back with pictures of the contents of his cases. I loved seeing the actual gear he worked with, and how organized and thoughtful he was about packing it.

**Funny sidebar:  (One of the memories that sticks in my head from the old American Photographer was a story about famous nature photographer Art Wolfe.  He was operating in super cold polar conditions, and was frustrated with his Canon F-1 with motor drive (it froze and stopped working), so he ripped the body off the lens, tossed it into the icy water, grabbed another body and kept on shooting.  I was horrified!  He just chunked a 1000 dollar camera into the water!  Who would do that?  Holy crap!  I was shooting with a Canon AE-1 at the time, and an F-1 seemed like the most expensive object in the world.  My second thought was, “Wow, Art Wolfe is so successful he can AFFORD to throw away a thousand dollar camera!”)

Recently, I’ve noticed the genre has been resurrected in the form of photographer blog posts, and I still love seeing these articles and photos of “gear porn”. (Actually, my stuff is not so exotic these days….if Laforet is putting out gear-porn, mine probably barely qualifies as gear-Cinemax….).

I do lots of different types of assignments, from sports portraits for Sports Illustrated, to corporate annual reports for oil companies, CEO portraits for business magazines and companies, to advertising campaigns for hospitals, and we pack specific gear each time depending on the nature of the job.  There are times where you might need a 600mm/F4, or a medium format digital system, or a ton of Profoto lighting.  Most of the time though, this primary camera kit stays close to this setup shown below.   So here it is, the gear I typically travel with and some commentary on why I use what I use.

(CASE #1) Think Tank Airport International 2.0 – This is a great, slightly smaller version of the usual Think Tank rolling case. It has never failed me on numerous different international flights. The full size TT roller is large enough to raise some eyebrows at the sizing box, but this one always gets through. I’ve even had pretty good luck with it on some commuter airlines too. In fact, I like the bag so much I bought two of them!  I’ve always held that you shouldn’t ship everything you own on any flight, and that you should carry on at least enough gear to get started on the job and make some sort of picture.  We’ll start with the contents of my primary kit:

 

Commercial Photographer Robert Seale's Photo Bag

Camera bodies:

Two EOS 5D Mk 3’s, and one Canon EOS 1DX.   I used to carry two EOS1DS Mk III’s and a 1DX, but I’ve replaced both of the S bodies over the last year or so with the newest version of the 5D. I’ll be real honest. I have a love/hate thing going here: I love the quality of the files, and the increased dynamic range and high ISO capability of the 5D3 vs. my old DS Mk3 bodies…..BUT, ergonomically speaking, I MISS having a big, durable, real, weather sealed, substantial professional body in my hand.  I hate having to carry two chargers.  I also can’t for the life of me figure out why Canon moves critical buttons to different locations on these two bodies. For instance the button to light up the LCD display is on the far right on one, and the inside far left on the other. Madness! In addition to the form factor change, I really miss the 1/250 flash sync of my old professional bodies. I have grips on both of my 5D’s but it’s just not the same.

I love the EOS1DX. It may be one of the best cameras I’ve ever laid my hands on. The autofocus is awesome, low light sensitivity is incredible, and I love the fact that it is just perfect for me ergonomically. I’m not happy about the 18MP file size though, which I consider to be a slight step backwards (My Ds bodies were 21-something). I’m also really disappointed that Canon only bumped the 5D3 roughly 1MP. After waiting 4 years, I really expected to have something with a file size in the 26-36MP range. If the 1DX had a file size around 22MP (similar to the 5D), then I would use these exclusively.  I don’t necessarily need 12 FPS, but it’s nice.  I could live with 6 FPS and a bigger file.  My dream camera is something in a big well made, durable professional body form factor (like the 1DX) with a file size in the 30-40MP range, with 1/250 sync, and USB 3 connectivity….and it better get here soon!!!

**(Note about cameras – “It’s a black box with a hole in it!”   That was the standard quote from my colleague Dave Einsel every time someone starts the age old Canon vs. Nikon argument.  I’ve used both Nikon and Canon over the years and enjoyed using both.  I have good friends who are reps for both companies.  I started with Canon FD manual focus gear, switched to Nikon F4’s due to the fantastic capabilities of the SB-24 speedlight, and then back to Canon EOS stuff (autofocus!), and then back to the F5 (autofocus!), and have been shooting Canon since the 1V came out (2001 or 2002?).  I was a staff photographer for many years, so usually the switch was not my choice, and due to a change in what my newspaper/magazine was using for their company gear. I started my own business in 2006, and have stuck with Canon since then, but I’ll be honest, I came REALLY close to switching when the D800 came out. Both companies make wonderful cameras and lenses, and leapfrog each other every couple of years with new technology and capabilities. It really comes down to personal preference and what you can afford at the time you’re buying. Remember that while new cameras are cool……your gear is a tool, and although it’s there to help you solve problems easier, most of those problems really need to be solved in that most important piece of gear – your brain.)

Lenses:

Canon EF 24-105/4L – I actually have three of these. (Must have backups for your backups right?) It’s not a super expensive or exotic lens, and as silly as it sounds, it is my favorite Canon lens (and one of the reasons I’ve stayed with Canon despite the back and forth tech jumps with their rival Nikon). When I shot portraits with a Hasselblad (pre-2005), I carried around 40, 50, 80, 120, and 150mm lenses. With the conversion to 35mm, the 24-105 pretty much sums up that entire range. When you’re shooting celebrities, CEO’s, or famous athletes, any lens change or delay in the shoot to fumble around changing lenses could mean your subject ending it right there and walking away. With a 24-105 and a big CF card, I can keep the camera to my face and keep shooting without changing a lens. The IS comes in handy at times too.  Remember that it distorts quite a bit between 24 and 50, so it helps to use the lens profile correction in Lightroom with this one.

Commercial Photographer Robert Seale's Photo Bag

 

Canon EF 16-35/2.8L II – This lens is much improved over the first version.

Canon EF 70-200/2.8L II – Tack, tack sharp, but with IS it is rather heavy. I have an F4 version that I sometimes use in this slot.

Canon EF 24-70/2.8 II – This one is super tack sharp, and sometimes you need the wider 2.8 aperture. No IS like the 24-105/4L.

Canon 100/2.8L macro – One of the sharpest lenses I’ve ever used. This slot in my case rotates depending on the assignment. Sometimes I’ll swap the 100 for an 8-15, or a tilt shift.

Canon 1.4x III teleconverter – Sometimes necessary on the 70-200 if I don’t have longer lenses handy.

2 Pocketwizard Multimax wireless units – I have a bunch of these spread around various cases. I still carry a couple in the main case just in case we need to do something strange that the new Plus III’s won’t do.

2 Pocketwizard Plus III – For triggering from the camera hotshoe, I like to use these.

2 Canon 580 EX II speedlights – I rarely use these, but still carry them around. I know I can rig something up and still make a picture if my lighting gear gets lost on the plane, and there are situations where we hide them in the set to light a certain area. My wife has the cool new Canon 600 speedlights, but I haven’t upgraded mine yet.  If you’re buying new ones get the new 600 EX.

LPA Pocketwizard Cords for Profoto and the 580 speedlights. – these are in my lighting cases also, but I keep backups in case they get lost or we rent packs and they forget to include them.

** Funny story sidebar:  (Early on in my career, I was at NHL hockey star Joe Sakic’s house, in a little beachy area between Vancouver and Seattle – far from any civilization or camera stores. I set up my lights in his back yard, and to my horror, I realized I had somehow misplaced my sync cords. It was high noon, and available light was not a great option. Sakic’s wife got me their yellow pages (remember phone books?), and I called a local wedding photographer, who bailed me out by loaning me a cord. Sakic was patient and cool. (Hockey guys really are the best). I was incredibly embarrassed, but I consider it one of the greatest lessons I ever had. Always, always, always, pack redundantly. Have backups spread around in different cases. Things break, and you should always cover your ass in case something doesn’t arrive. If you are shipping gear, don’t put all your softboxes, or heads, or stands in the same case. You never know when one will turn up broken or missing.)

Extra glasses – I have an extra set of glasses here, and in my briefcase. These may be the most important lenses in my bag, as I’m blind as a bat without them.

Wiha technical screwdrivers – I have these scattered in various cases and bags. They are handy to tighten lens mounts after a rough helicopter ride.

X-Rite ColorChecker Passport Color balance calibration target

Really Right stuff quick release plates – I use these on my cameras and my 70-200 to mount them on an Arca Swiss ballhead. They are expensive, but wonderfully machined pieces that make your life so much easier.

Kinesis CF Card Wallet – This large card wallet folds flat and holds 12 CF cards. I’ve used these for many years, and I actually like the size (though my assistants probably don’t). My theory is the small ThinkTank card wallets are wonderful, but so small that they can easily be misplaced, left on set, disappear in a jacket pocket, etc. This big thing from Kinesis is large enough to notice when it’s missing. I might walk into a restaurant and leave gear in the car, but hard drives and cards are always with us. ALWAYS!  You can replace gear easily with insurance, but you cannot replace the photos you just took.

SanDisk Extreme Pro Compact Flash card 32GB 160MB/s – I’ve replaced most of my cards with these, although I still have a few older 16 GB versions. I rotate cards and buy 2-4 new ones every 6-8 months or so.

Inova X2 Flashlight – I usually have at least one of these in my bag – sometimes more. I love flashlights and experimenting with different LED sources. Sometimes we light paint with these on long exposures, and they are always handy for packing up in the dark.

Petzl Zipka 2 headlamp – I have a bunch of these in various bags. They have a retractable cord on them that fits around your head or wrist. Very handy.

Extra lens/body caps – these get lost, so I try to have extras with us.

Revlon makeup compact mirror. – These are handy for helping subjects fix their hair/makeup, etc on set.

Lens cleaning cloth – My favorites are these large ones that Jody Grober gave me from Robert’s Distributors.

Domke wraps – I use these to wrap around the bodies to protect them in the case. I’ve always done this, and it keeps the LCD’s nice and pristine. I use black ones on the 5D’s and a red one on the 1DX so we can differentiate the bodies quickly….and because I’m a freak.

Nikon AN4B camera strap – I’m super weird and picky about camera straps. I LOATHE big obnoxious straps with giant lettering that come with the camera bodies these days. The AN4B is a simple thin black nylon strap, and I’ve used these for years. I don’t know what I’ll ever do if they quit making them. I use a similar strap from Canon on the 1DX body, mostly so I can quickly tell the cameras apart if I’m in a rush. It’s called a Canon L3 camera strap. They are gray/black, and just say Canon on them….very low key and thin. This is the same camera strap that originally shipped with the EOS1-V. From time to time, B&H still gets them in stock.

The RED FOLDER – Guys who’ve worked with me know what this is for. I keep model releases, property releases, etc. in a big red folder in the outside pocket of the roller bag. The idea is the same as the big Kinesis CF wallet. If it is big and red, it’s hard to miss. These are critical to doing a professional job, and with few exceptions, we get one from every person we shoot.

Commercial Photographer Robert Seale's Photo Bag

 

Customs forms (CBP 4455) – for foreign travel, I register all my gear at a US Customs office, have it inspected and signed. A Carnet is better, but more time consuming to get and to use. Having the gear registered in the US at least proves that you left with it, and are returning back to the US with the same stuff.  It won’t help you with a customs guy in Canada, but the US agents will be ok with it.  So far, this has worked well for me.

** Funny sidebar: (A few years ago, my buddy Chris Covatta, working for Upper Deck at the time, was traveling into Canada to shoot the Vancouver Grizzlies (remember them?  That went well, huh?).  The Canadian border agents see his plethora of camera gear, and detain him.  He was delayed for a while, and the conversation went something like this.  “So, you got a lot a camera stuff there, eh?  Isn’t there a Canadian who could do your job?”  Covatta came very close to saying:  ““Hell no!”  For a Canadian to shoot a sport, it must involve toothless bastards with sticks and little rubber object that hurts like hell when it hits you. They don’t have a clue about hoops!”  (ed. note:  These were Covatta’s words, not mine….I happen to like Canada.)  But he held off, paid a fee and was allowed in after someone with the team vouched for him.  I’ve been reminded of this several times during my own travels there.  Canada may be the most difficult border to cross – much worse than China or Saudi Arabia in my experience.

(CASE #2) – ThinkTank Airport International 2.0 (Part Deux!)

This roller has some auxiliary stuff that I don’t necessarily use on every trip. For instance, if I was shooting a simple business portrait across town, I probably wouldn’t take this with me. However, for international travel, or big corporate photography assignments on the road, this case usually goes with us.  I have a different packing philosophy here.  Instead of the normal dividers, I pack everything in small bags or sometimes a backpack, so we’ve got bags to work out of when we arrive.

Commercial Photographer Robert Seale's Photo Bag

 

Canon EF 300/2.8L IS – I used to use lots of big glass when I shot more sports action, but these days I’ve pared down the 400’s and 600’s to just a simple 300/2.8, and honestly, it rarely gets used. It does come in handy when you need it, and I often use a 1.4 converter on it. I might replace this one day with the Canon EF 200-400/4, but good grief, 12K for a lens I rarely use seems like a lot of money.

Funny, (yet informative) sidebar:  Current prices on long lenses….a Canon EF 600/4 is now 12,999.00.  A 400/2.8 is now 11,500.00. A 300/2.8 is now 7,299.00.  Quick math question….how many games do you need to shoot at  125.00 per game to pay for your big lens?  I’m not endorsing this rate – some publications pay better , but even major sports publications are still paying the same rates they paid in the 1980’s, when cameras and lenses were much cheaper than they are now. The salad days of card companies and other corporate clients shelling out 1-2K rates for sports action/game coverage are gone for the most part.  Most do not pay anywhere near what it would take to buy crazy exotic sports photographer gear and remain profitable.  Now, let’s do the math based on a 400/2.8.

400/2.8 = 11500.00…at 125.00 per game (what some “so-called wire services” are paying, believe it or not).  – that’s 92 games!…..just to buy ONE lens, not allowing anything for the multiple digital cameras, other lenses, laptop, cards, and PROFIT you should be making.

Canon TS-E 24/3.5L II Tilt shift – The new version of the Canon 24 tilt shift. Absolutely an incredible, sharp, sharp, sharp lens. I rarely use it, but it does come in handy for perspective control in tight spaces.

Canon EF 8-15/4L Fisheye – I replaced my fixed 15 fisheye with this one a couple of years ago. Again rarely used – but there’s really no substitute when you need it.

Canon 24-105/4L – A backup of the other go-to lens in Case #1.

Canon EF 50/2.8 Macro

Chargers for cameras – It pisses me off that i must carry two different types of chargers.  The 5D grip should have been designed to take 1DX type batteries.  Ugh.

Backup CF cards – I rotate the older cards to a ThinkTank card wallet, and keep them in another case, so we can continue working if the Kinesis wallet (God forbid!) were to get lost.  Backups!

More Wiha screwdrivers

More Petzl Zipka headlamps

Larrylight 8 LCD flashlights – these little nine dollar lights have a clip and magnet, and are fantastic for hiding in a set and mimicking computer screen light.

Funny sidebar:  We spent a day in a hospital once, hauling around a Rock and Roller cart full of lighting gear, and then used Larry Lights on every single picture.  I’m not sure my client knew what to think…..probably that I was a weirdo.

ThinkTank Speed Demon waist pack and Speed Changer side pouches – These give the assistant a way to carry extra stuff once we’re on location.

**Funny sidebar:  (The ThinkTank waist bag you see here is probably a collector’s item.  It has a Canon CPS logo on it and was given out to all the Super Bowl photographers at the 2005 Super Bowl in Jacksonville.  My friends and Think Tank founders Deanne Fitzmaurice, Kurt Rogers, and Doug Murdoch arranged for the generous swag and I’ve been using it ever since – and I’ve bought a TON of their other bags.  The party was notable, not only for the cool gift and weird menu (we had alligator as I recall), but for the fact that my wife and I  got to sit and dine with the legendary Neil Leifer.  Later that same year, Neil shared a photo position with my wife and a couple of other photographers at  the World Series in Houston, and sent her a signed print as a thank you for making room for him in the crowded space.  Neil is a class act.)

Sharpies – I still carry these, despite the fact that i no longer write on film canisters.

Gaffer Tape – I’m picky about this too (Imagine that). I prefer the small core, Permacel 2-ply tape. It is superior to the big rolls of thin crap you find in most camera stores.  Sorry, but there’s no Amazon link for the good stuff.  Call Jody at Robert’s Distributors and tell him I sent you.  ;-)

Electronic cable release – I carry ones with a button, and another one with a Pocketwizard compatible miniphone jack

Filters – I didn’t put them in the pictures, but I own filters (Heliopan thin filters) for pretty much all the lenses. I hate using them, but I put them on if I know I’m going to a dusty or saltwater environment. I remember a quote from some bigshot photographer years ago who said something like – …”why would you put a 20 dollar piece of glass in front of a 2000 dollar piece of glass?” I buy nice filters, and they certainly aren’t 20 bucks, but that quote has always lingered in my mind.

Sensor cleaning kit – Sensor Swabs, cleaning fluid, and Arctic Butterfly gadget.  Note:  The pre-moistened, pre-packaged swabs are absolute crap.  Horrible.  don’t even try it.  Buy the dry ones and use the cleaning fluid.  Be careful though – did you know the TSA thinks the cleaning fluid is a hazardous substance?  No kidding.  I tried to FedX some once, but had to buy it locally.

**Funny sidebar:  (Does anyone else think “Arctic Butterfly” sounds like a sex toy rather than a piece of camera gear?

Me, (in airport security check line):  “So, it’s a little wand with a light brush on the end, that has a little battery powered motor that spins, and it’s for cleaning your camera sensor, and….”

TSA agent:  “Yeah……sure, buddy, suuuuuuuure it is…….whatever you say…….”)

 

Houston Commercial Photographer Robert Seale featured in ASMP advertising

ASMP_PDN-JUNE_SEale_full

I’m honored to have a testimonial quote and one of my sports portraits featured in the ad for ASMP (American Society of Media Photographers) in the June 2014 issue of PDN (Photo District News).  This is the big 2014 Photo Annual issue, (which I should probably enter next year!), but nevertheless it’s cool to be in the issue, albeit in a bit of a loophole sort of way through the ASMP ad!  Hey, whatever works.  ;-)

Nevertheless, I’m proud to be featured by our main professional photography organization, ASMP, and I would encourage anyone interested in commercial photography, whether corporate, advertising, or even magazine editorial photography, to definitely join the organization.  ASMP provides a number of member benefits, member discounts on insurance and equipment, lobbying on issues affecting commercial photographers (copyright and photographer’s rights), and a number of educational programs and resources to help you with your photography business.

Here's a tighter crop of the June 2014 ASMP ad in PDN.

Here’s a tighter crop of the June 2014 ASMP ad in PDN.

Photoshelter Video: 11 Essential Tips for Freelance Photographers – Hosted by Robert Seale

Photoshelter’s  Allen Murabayashi and I had a nice discussion on June 6 about what it takes to start a business as a freelance photographer.  Photoshelter has posted the link here:  Video:  11 Tips for Freelance Photographers – Hosted by Robert Seale

Allen brought up an interesting point about photography professional organizations, mainly ASMP, APA, and NPPA, and if those organizations were slow to catch on/educate their members about changes brought on to the industry by the digital revolution.  He had a point, but as I said during the webinar, most of the organizations are volunteer oriented in their education programs.  Many on the ASMP side (which I’m more familiar with) have given selflessly of their time – time they could have spent working on their own business, to try to help colleagues about these and other issues facing photographers today.  Judy Hermann, Blake Discher,  have hosted excellent ASMP programs for continuing education for us, and in particular, Peter Krogh, and the late Susan Carr published books related to the changes in our industry brought on by digital licensing and workflow.  Just wanted to add those points to the discussion.

Another issue I brought up is the changing world of licensing in a digital environment.  We used to live in a very cut and dried world, where media buys and photo  licensing were finite ideas with very defined parameters.  For instance, an old media buy might consist of:  “20 metro billboards, 52 full page inserts in Time and Sports Illustrated  magazines, 50K POP displays at a defined size, and 500K direct mail pieces.”

Today, a more likely scenario is:  “We’re doing a web campaign through a third party web advertising vendor that will serve up an unknown number of ads in an unknown number of websites, based on a user’s previous browser history, in various sizes for a duration of 6 months.  We won’t know the number of total impressions until the campaign is over.”

One of our challenges will be to come up with licensing models to meet the needs of clients, and fairly compensate content creators at the same time in this new landscape.  I welcome the discussion of how any of you:photographers, reps, or art buyers have handled these new situations.  Feel free to discuss in the comments section below, or email me privately, and perhaps I’ll do a follow up on this in a few weeks.

Upcoming Photoshelter Webinar: 11 Essential Tips for Freelance Photographers with Robert Seale

Photoshelter_Robert_Seale_webinarRobert Seale, established corporate, advertising and editorial photographer based out of Houston, Texas knows a thing or two about starting a freelance photography business. After 11 years as a staff shooter for Sporting News and additional years of experience shooting for various newspapers, Robert decided to take the plunge and go freelance. Today you’ll find him working with clients such as Sports Illustrated, Men’s Health, ESPN, Rolling Stone, along with Fortune 500 companies, and more.

Throughout his freelance career, Robert has kept his business successfully afloat by building upon a solid foundation. In this live video webinar via Google Hangout, Robert will cover the 11 key tips photographers should know to run their business smoothly and grow it over time. Whether you’re considering going full-time freelance, or have been doing it for years – Robert will offer up essential tips and lessons learned in an in-depth dialogue with host Allen Murabayshi about what it’s really like to be a photographer and small business owner.      

In this webinar you’ll learn:

  • The steps you must take before going freelance
  • Money issues: how to balance your budget, and keep on track
  • How to build out a marketing plan
  • What gear to invest in and how to know when to rent vs. buy
  • The number 1 thing you need to do for your business

Join us Friday, June 6th at 4pmET for this live video webinar Google Hangout – sign up to receive the link to tune in.

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…..

Advertising Photography Concepts for Huntsman Corporation

Advertisement by Houston Texas advertising photographer Robert Seale for Huntsman insulation products.

Advertisement for Huntsman insulation products.

We’ve been fortunate to work on an ongoing advertising campaign for the Huntsman Corporation (HUN), a very large differentiated products company.  Huntsman doesn’t make products that you or I can buy in the store, but their products are everywhere…the foam in auto seats, insulation in buildings, even the soles of athletic shoes.

The challenge for Huntsman then, is showing what they do, without “selling” a specific product.  Their advertising is often BTB in trades within the industrial world, and the theme/concept for their ongoing campaign is collaboration between Huntsman and the partners who use Huntsman materials in their products.

To that end, I’ve done a few shoots for them, always collaborating with the incredible Chris Pearson, a British designer who really knows his stuff.  I’ll break down a few of the recent shoots I’ve done for them below:

In advertising photography, unlike corporate or editorial photography, you often get a very specific comp or brief.  In the old days, designers would draw the concept on paper, and after these were presented to the client, the advertising photographer was brought in to execute the idea.  These days, the comps are often “theme boards”, or “mood books” – multi page PDF presentations with a mixture of drawings, existing stock (to show mood or lighting style), and sometimes, full-on Photoshop illustrations made up of 10 or more individual photo elements….a background from here, a person from there, etc…with color changed to suit the designer’s vision of the final piece.  Sometimes there is room for collaboration and interpretation, and a good photographer always tries to give the designer what they want, but improve on the concept if at all possible.

For the first shoot, we needed to show a builder and a client looking at plans within an unfinished home highlighting a spray foam insulation product.   We used Plume Wafer 100’s with Lighttools grids on each person, lighting each model’s face.  We used a large softbox to fill the scene (very slightly) from above the camera, and a low shutter speed on a floor level tripod to open up the ambient light coming in from the window.  I used the new Canon 24 Tilt shift on this shot. (If you would like to see more lighting scenarios from previous shoots, you can find them here.)

Advertisement by Houston Texas advertising photographer Robert Seale for Grocery store shoot for Huntsman freezer insulation products.

Grocery store shoot for Huntsman freezer insulation products.

For the grocery store shoot, which was to highlight the insulation products Huntsman makes for commercial freezers, , we had to rent a large grocery store location after hours (the middle of the night!), and balance our strobes to the existing banks of fluorescents overhead.  It was a tough lighting situation, as the lights couldn’t show in the final picture.  We ended up using two large rectangular softboxes high above the camera on either side of the camera, feathered up slightly above level, and two Canon 580 speedlights inside the glass freezer cases on each side to pop a little fill on each model’s face.  A retoucher removed signage on the back wall in post.

Advertisement by Houston Texas advertising photographer Robert Seale for Stadium shoot with two soccer players for Huntsman products in athletic shoes.

Stadium shoot with two soccer players for Huntsman products in athletic shoes.

For the third shoot, we rented a large Texas high school football stadium to highlight Huntsman’s products used to create Adidas soccer shoes.  Since the theme, was one of Huntsman working together with other companies, the decision was made to show a couple of soccer players doing pre-game drills….working together on the soccer field.

Finding soccer players that looked realistic was a tall order for casting, but eventually, we found models with soccer experience, and we shot a series of drills that players might do together on the field – running, stretching, warming up, kicking a ball back and forth, and heading the ball back to each other.  Again, the emphasis was on teamwork – not competition, hence the identical uniforms.

This shoot was the most elaborate in terms of lighting.  We brought in three assistants for the shoot, and used Profoto 7A’s with Bi-tube heads and Magnum reflectors from behind the subject on high-rollers, 2 more 7A’s with large Plume 140 strip banks with grids from a slightly closer to side angle (still slightly from behind though), and a Plume Wafer Hexoval 180 feathered up slightly from high above camera.  We shot throughout sunset, and did enough takes to make the models really, really sore the next day!  A retoucher was able to duplicate the edge of the high school stands in the background and create a mirror image that made the stadium seem larger than it actually was.

In the end, the client was very happy, and we had a great time creating images for some hard to illustrate concepts.

High-tech engineering schematic of the set.....drawn with pinpoint laser accuracy.

High-tech engineering schematic of the set…..drawn with pinpoint laser accuracy.

Behind the scenes set shot, showing assistant Andrew Loehman with the 5 light setup.

Behind the scenes set shot from the soccer shoot, showing assistant Andrew Loehman with the 5 light setup.

 

 

Robert Seale photographs Leading Medicine Magazine for The Methodist Hospital System

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

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

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

Houston Commercial Photographer Robert Seale - Methodist Hospital

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

Houston Commercial Photographer Robert Seale - Houston Texans Matt Schaub

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

Houston Commercial Photographer Robert Seale - Houston Texans Matt Schaub

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

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

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

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

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

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

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

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

Houston Commercial Photographer Robert Seale - Methodist Hospital

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

Houston Commercial Photographer Robert Seale - Methodist Hospital Houston

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

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

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

Behind the scenes with Houston advertising photographer Robert Seale

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

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

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

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.