Robert Seale Photography Blog » Studio portraits

David Price for the cover of Sports Illustrated Baseball preview

Robert — Sun, 07 Apr 2013 14:11:15 +0000

: The final cover shot with blue background added in post by SI imaging.

I recently photographed 2012 Cy Young Award-winning pitcher David Price of the Tampa Rays for the cover of Sports Illustrated’s baseball preview issue. Each year, SI publishes several regional covers for the baseball preview, along with a centerpiece story, and of course all the usual team specific preview spreads. I was fortunate enough to do the Price cover and the opening centerpiece spread story on the Rays pitching staff. Legendary Sports Illustrated Staffer Walter Iooss and longtime staffer Robert Beck shot the other regional covers , so I was in good company!

This was a team effort with different photographers shooting covers in different cities, yet the magazine wanted them to look the same. I was sent a rough comp with a pitcher following through in his delivery, on black, with the broken glass added to the foreground in post. This is not an uncommon assignment, especially in the advertising world, so being able to interpret a comp and match what other photographers have done previously is a useful skill.

The first critical task was finding a place to shoot. Since we were trying to keep these consistent, we needed a large room where we could essentially set up a studio. Spring Training in Florida is often super bright, super windy, and there aren’t many private spaces away from fans and other teammates to do this sort of thing. We essentially needed to build a black box of black fabric 12 x 12‘s to control light in the shoot area, and we were lucky to find a spot in the minor league clubhouse that worked well. Setting up an overhead, a background, and two side 12 x 12′s in the wind and weather was something I was trying to avoid at all costs. You would need a crew of 3-4, and a million sandbags to do that, and we were on a limited budget.

: We photographed all five starters in various stages of delivery.

Since we were dealing with white uniforms, and the background was black, I decided to rimlight the pitchers from behind, using two large chimera strip banks oriented vertically on each side and fill from the front. Since we had left handers and right handers, I decided to use two small lightbanks on boomed C-stands positioned close to the ground in front of the pitchers (Chimera mediums I think…I normally use Plume stuff, but these were rentals). We had each light on it’s own Profoto 8A pack so we could shoot everyone fast. We didn’t know when we were setting up if we would get all five pitchers in rapid succession or spread out throughout the day, but we wanted to be ready so that we could maximize our time with them.

We varied the ratio slightly on the front lights depending on whether the pitcher was right or left handed (we just flopped settings on the packs accordingly). By doing this, we were trying to keep them from looking too flat. We also used cinefoil on the bottom third of the front lights to prevent the legs from getting too hot in the photo.

Since we were inside, and not on a mound, we drug the lights outside the night before the shoot and lit a practice mound in the same fashion so we would have foreground plates for the retouchers at SI to use.

We photographed all five pitchers throughout the day, in various stages of their delivery, but when it was David Price’s turn, we asked if he minded shooting a few photos outside. He was relaxed and said sure, so we promptly moved him out to a practice mound outside of the building we were in. We worked quickly and shot him with an Elinchrom Octabank at full power (2400 w/s) to overpower the high 1 PM daylight. Not an ideal situation, but you take David Price whenever you can get him.

The next day, we finished the story on Tampa’s pitching factory, shooting a setup with the Tampa manager and pitching coach, and a young prospect, Taylor Guerrieri, mentioned in the story. When we were done with Taylor, we asked him to hang around and pitch in the foreground for us, which made a nice framework for the coach photo…and of course we shot “normal” stuff of both coaches as well.

My favorite Florida assistant, Cy Cyr, was nice enough to join me on this adventure, and helped us out tremendously by renting gear for us from Rummel Wagner at Central Florida Strobe in Orlando.

In the end, SI imaging changed everyone’s backgrounds to blue, and they used a different mound, which was lit a little differently. All the photos were opened up in the shadows so that they were a closer match. The coolest part about SI’s final presentation? If you looked at the magazine on an ipad, you hear breaking glass as the cover appears. Cool.

: The same frame as the cover – shown as it was originally shot on black.

: This is the outside photo of Price – making the most out of crummy high noon light.

: One of our shots of young pitcher Taylor Guerrieri.

Tampa manager Joe Maddon and pitching coach Jim Hickey.

Photographing the Doolittle Raiders 70th Anniversary

Robert — Wed, 30 Jan 2013 05:51:32 +0000

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

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

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

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

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

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

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

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

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

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

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

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

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

Robert Seale shoots Eadward Muybridge homage

Robert — Thu, 25 Aug 2011 21:11:26 +0000

Trevor Bauer's pitching motion, in an Eadward Muybridge style grid.

Trevor Bauer, a pitching prodigy from UCLA, recently drafted third in the 2011 MLB draft by the Arizona Diamondbacks, is known for his unconventional pitching motion and training philosophy. He’s been compared to another wildly successful, yet undersized pitcher: Tim Lincecum of the SF Giants, who generates torque by rotating his hips, arms and legs in a whip-like motion, allowing him to pitch as fast as some of his taller, more muscle-bound counterparts in the major leagues.

When I originally got the call to shoot Bauer for Sports Illustrated, the photo editor, Nate Gordon and I discussed shooting a stroboscopic sequence on a black background, much like the work of Life Magazine photographer Gjon Mili. I had done this type of shot before, in fact my first cover for the Sporting News was a stroboscopic photo of Mets pitcher Pete Harnisch.

My first Sporting News cover: circa 1996.

I first learned about Mili and his work during college. I took about 27 hours of art history classes (is that enough for a third major?). The most memorable one was my mentor, Dr. Michael Roach‘s “History of Photography” class. Presented chronologically, each class featured a wonderful slide show and biographical talk about pioneering photographers. Each day we would tackle the work of two-three new photographers, and it was really great to go out and shoot later in the day, channeling the styles you had absorbed by osmosis that morning and trying to emulate that photographer’s look in your own photographs.

It’s great to formulate and grow your own style, but I think it’s equally important to know the history of our craft, learn all those techniques, and have them in your toolbox for when you’re called upon to provide a specific look.

In addition to Mili, one of those early photographers that Dr. Roach introduced us to was the pioneering motion sequence photographer Eadward Muybridge. Muybridge, using a series of cameras triggered in sequence, put together grids of individual photographs featuring motion studies of humans, horses, and other animals. There’s not an animator or artist who doesn’t own a dog eared copy of Muybridge’s “The Human Figure in Motion”, first published in 1907.

Anyway, I mentioned I had also been wanting to try a Muybridge homage, and perhaps Bauer’s motion was a good chance to explore the idea. Nate liked the idea, and after pitching it to Director of Photography Steve Fine, gave me the go ahead to put the shoot together. One wrinkle in this was that Bauer had not yet been signed to a contract by the diamondbacks at the time of our shoot. That meant that we had to literally scour the country to piece together a Diamondbacks uniform from several different vendors for him on short notice.

Bauer’s pitching coach Ron Wolforth, helped us find a nearby high school gym to set up the sets for both shots. Assistant Nathan Lindstrom morphed into a master set builder for this one, designing and erecting a huge plywood wall, that we painted a neutral gray. We used white tape for the larger grids and chalk pencils for the smaller lines between the grids, and set up the wall in the gym.

Next to that, we erected essentially a cube of black 20 x 20 overheads. For the Mili shot, it was important that Bauer be rim lit from behind in a pitch black environment. We used two Plume Wafer 100′s with Lighttools grids to accomplish this, and then added a third light to put a little more light on Bauer’s profile.

For the Muybridge shot, we took off the grids, and lit the set essentially from the front with the lights at 45 degree angles to the wall. Muybridge’s shots were lit with sunlight, and there were often imperfections and shadows on the walls of his photos, so we didn’t want to make the lighting too slick or neat. We were going for authenticity. Both setups were lit with Profoto 8A‘s.

The Bauer pitching sequence shot in our black 20 x 20 "cube."

We monitored the shoot with a tethered Mac laptop, so we could keep track of sequences and make sure we had all the different body positions needed to put together the Muybridge grid. With stroboscopic photos of a baseball pitch, you can’t fire the strobe more than 3-4 times, or the picture turns into a big busy mess. for this reason, we actually shot the photo as a stroboscopic sequence, and also separately with individual photos, which could then be pieced together into a panoramic sequence by a retoucher.

Although the Muybridge homage photo ran in color in the magazine, I actually prefer it in sepia tone, which I think better evokes the mood of his pioneering work in photography.

http://vimeo.com/26410832

(Assistants Nathan Lindstrom and Todd Spoth really busted their tails on this, and Todd put together a great Go-Pro time lapse of the shoot.)

Fan Portrait Campaign for Houston Texans Tickets

Robert — Thu, 04 Aug 2011 05:05:39 +0000

Two of my favorite shots from the 2011 Houston Texans Tickets

Last spring, I received a call to photograph stylized portraits of Houston Texans fans. The campaign concept was to honor the Texans season ticket holders by featuring a different season ticket holder on each 2011 game ticket. The Texans held a contest called “Your Story-Your Glory” in which season ticket holders wrote in about their fan experiences. The winning entrants were each featured on one of the tickets. The winners ranged from the super rabid passionate face-painting guys, to a nurse who works her shift in Texans scrubs, a champion tailgater, to a soldier who watched every Texans game he could while stationed overseas, to a couple who were married in the Reliant Stadium parking lot.

I thought it was an excellent idea, particularly with NFL teams emerging from a post-lockout /strike situation. I met with Laura Heidbreder, Creative Manager for the Texans, Jennifer Davenport, Director of Marketing, Designer Julio Guidi and several other members of their team and they outlined the concept and art direction behind the shoot.

On the shoot day, we actually set up on the floor of Reliant Stadium (sans grass), and set up a large grey studio backdrop. We kept the background neutral, because Laura and her team were going to drop out the photos and use a variety of different colors/type treatments behind the portraits. We used grey instead of a plain white, to allow for the rim-lighting effect, which would have been hard to select on a white backdrop. We lit the set with two Wafer 100 softboxes with Lighttools grids to create the rim-light effect. A large Wafer Hexoval 180 was boomed over the center of the set to light the fan’s faces. A video crew was also on hand to interview each fan for possible TV spots.

With the help of assistants Nathan Lindstrom, Travis Robertson, and stellar Houston makeup artist Wendy Martin, we set up for the shoot and welcomed each fan, at approximately 45 minute intervals throughout the day. It was a lot of fun trying to elicit crazy screaming reactions from the fans, basically recreating their passion from an actual game, in an empty stadium. It was really a blast, and made for a very fun work day: lots of laughing, lots of great expressions and great pictures.

Laura and her creative team then went to work, selecting the final images, and designing a fabulous set of tickets. The Texans held an unveiling on July 19th, once the lockout had officially ended. They also unveiled a TV commercial with each fan, based on video interviews with each fan on the same day as our still shoot. I think she did a great job, don’t you?

Here's all 10 tickets

Seale shoots portraits for COLORS Magazine

Robert — Fri, 04 Mar 2011 23:17:56 +0000

Banana label collector Becky Martz

I recently was assigned a portrait for COLORS, a very cool, artsy Italian magazine. COLORS is published by Fabrica, a creative think tank sponsored by Benetton. COLORS publishes each issue according to a different theme, and the latest issue (No. 79: Winter 2010-2011) is all about collectors.

Featured in the magazine, are profiles on people who collect toasters, tea bags, vacuum cleaners, dinosaur statues, etc. There was even one collector who collected items and memorabilia from the now mothballed Concorde.

My assignment was to shoot Becky Martz, the foremost collector of banana labels in the world. Yes folks….banana labels. She has over 10000 in her collection.

The photo editor was kind enough to send us some samples so that we could match lighting and mood to the spare style favored by the magazine. This was important, as there were other photographers who were working on this project in various locales throughout the world. Each layout was identical, so it was necessary to match the lighting so that the magazine had a unified look.

We decided to have a little fun with it, and we posed Becky with a variety of bananas as props, mimicking a pistol, a telephone, an infant, and even a bunch of bananas as the old “idea” light bulb over her head (which ended up being the main photo in the layout). We did all the photos in a makeshift studio that we set up in her living room.

We also shot close ups and details of her label collection, resulting in three spreads in the Winter 2011 issue.The magazine has received quite a bit of publicity, including a mention by the NYT Magazine Culture blog.

Two of the spreads from the Winter 2010-2011 issue of COLORS.

Studio portrait photography with NASA Astronauts

Robert — Fri, 18 Feb 2011 00:51:47 +0000

Cmdr. Mark Kelly and the rest of the STS-134 crew

If you ever want to feel bad about yourself and what you’ve accomplished in life, sit down for an afternoon and read astronaut bios. They represent the best of Type-A overachievers. They are an incredibly exclusive group – you have much better odds of being hit by lightning, winning the lottery, or becoming a rock star than orbiting Earth in space.

Last summer, I had the rare opportunity to photograph a group of astronauts who had all been major players in the Space Shuttle program for a magazine that I’ve always wanted to work for: Air & Space. I had a fabulous editor who was one of the most supportive and collaborative professionals with whom I’ve ever worked.

The working title of the piece was “Shuttlenauts”, and I was able to photograph many of the key people who shaped the program.

You might be asking: “Gee, dude – why aren’t these portraits environmental, with launch pads, shuttles, mission control, underwater training tanks, etc. in the backgrounds?” That would have been fun to do, but these current and former astronauts were assembled in one room (in various groupings) for two, 1-hour sessions, on separate days, several weeks apart. Some have since retired or joined the private sector, and some have taken management positions within NASA…..hence, not everyone would be in cool orange ACES high altitude pressure suit – in fact, many of them were going to be in street clothes. When working in a situation like this, with limited time, and lots of different outfits, I feel it’s best to simplify and unify the essay with a common background technique.

Shuttle Commander Eileen Collins; a group shot of "Station Builders."

There’s a great Richard Avedon quote about simplification: ” I have a white background. I have the person I’m interested in, and the thing that happens between us.”

Since we were photographing everyone on a standard backdrop, and some of the shots were large groups, I used something I like to call “corner lighting.” I’ll write more about this in a future post, but it’s basically a way to light large groups, or open up shadows on an individual portrait while still retaining some direction and shape. I think it works well, and is much more pleasing to the eye than standard “butterfly” lighting schemes or (God-forbid)…. ringlfash.

Although these pictures originally ran in color in the magazine, I’ve really decided I quite like them in black and white. The originals were captured as raw files with Canon EOS1Ds Mk III cameras. I did the black and white conversions in Adobe Photoshop CS5 from 16-bit TIFF files exported from Lightroom. Using Photoshop CS5′s “Black and White” adjustment tool. I set the reds at 60, yellows at 90, with the hue adjustment at 39, and the saturation at 4 to add a little warmth to the tones. I left the other colors untouched.

I’ve photographed sports stars and other celebrities, and I’m rarely starstruck, but I was just absolutely blown away to be in the same room with these people. As a kid, I really wanted to be a fighter pilot (who didn’t?), and many of the astronauts began their careers as Navy or Air Force pilots, and eventually many of them were top test pilots before joining the astronaut corps. These are my kind of people! (Blog sidebar: So, I gave up on the whole Air Force fighter pilot thing when I had to get glasses for my then 20/400 vision in 8th grade….so what career did the legally blind guy choose?….what else? A photographer. Hmmm.)

Veteran astronaut and STS-1 Commander John Young.

As for the actual shoot, we photographed some of them individually and some in small groups according to various themes as follows:

- the entire STS-134 crew, including Commander Mark Kelly (which at the time was slated to be the last shuttle mission.)

-John Young: Young is a total badass. He’s perhaps the most famous and accomplished astronaut. He’s a former Navy fighter pilot and test pilot. He’s been in space on 6 missions in 3 different eras of the US space program. He served as the commander of the first shuttle mission, and also STS-9, Gemini 3, Gemini 10, Apollo 10, and Apollo 16 (yes, he not only walked on the moon, but he also drove the lunar rover on the surface). Young was also Chief of the Astronaut office, and served on several backup crews, including Apollo 13. He is 80 years old, and reportedly still attends weekly briefings at NASA.

-Robert Crippen: Crippen is the astronaut most identified with the Shuttle era: he flew with Young on STS-1, and later served as commander of STS-7, STS-41C, and STS-41G; he also ran Kennedy Space Center, and was Director of the Shuttle program for NASA)

-Eileen Collins: Collins was the first female Shuttle commander (on STS-93), and also flew on STS-63, STS-84, and STS-114, when she was the commander of the first “Return to flight” mission after the Columbia accident)

-Pam Melroy: A former Air force test pilot, Melroy was pilot on STS-92, and STS-112, and served as commander of STS-120.

-”High Timers” : Three of the astronauts who have spent the most total time in space: Peggy Whitson: Now head of the astronaut office, Whitson has spent over 376 days in space during two stays on the ISS; Michael Lopez-Alegria: The spacewalk king. A veteran of three missions, he holds the record for EVA’s (10), and total EVA time (over 67 hours); Franklin Chang-Diaz, a veteran of seven shuttle missions.

- “Station Builders”: Astronauts who played a major part in building the International Space Station (ISS): Robert Curbeam, Suni Williams, Ken Cockrell, and Leroy Chiao. These guys were a great group and lots of fun. (I learned from them that former Navy pilots who are astronauts (Cockrell, Williams, Curbeam) wear brown boots with their NASA flight suits, vs. the standard black boots….It’s a Naval aviator thing.)

-Mae Jemison and Anna Fisher: both were MD’s as well as pioneering female astronauts

Dottie Metcalf-Lindenburger: A former Earth science teacher, Metcalf-Lindenburger, only 34, has already flown as a mission specialist on STS-131.

Dottie Metcalf-Lindenburger; Andrew Feustel

There were of course some key people involved in the program that we did not have the opportunity to photograph, due to scheduling problems, but I’m hoping to continue photographing other astronauts and adding to this collection over the next couple of years.

I don’t often have my picture made with the people I photograph. It seems a little weird to ask, I’m shy, and it’s just sort of strange. I have photos of me with James Brown and Spike Lee, and that’s about it. Near the end of the shoot, while shooting a group shot of the female astronauts, they playfully started kicking up their heels “chorus line” style. Once we stopped laughing, (there was lots of laughing) they insisted I join them. How could I refuse? It was a blast and made for an awesome behind the scenes souvenir photo.

Easily the highest IQ chorus line ever assembled (even with me handicapping the group).

You can see more of the astronaut portraits on the regular website of Houston photographer Robert Seale.

Lance Armstrong in 4 minutes flat

Robert — Tue, 01 Sep 2009 16:34:35 +0000

The 3 light, rim light setup, with a small stripbank directly over the camera.

UPDATE 8/24/2012: Lance Armstrong Portrait photographs available – contact us directly for information.

I recently had the opportunity to photograph seven time Tour de France champ and cancer survivor Lance Armstrong in Austin, Texas for an editorial client.

Lance was preparing for his Tour de France comeback, so he was only in Austin for one or two days in the time period that would make our deadline, so there was a very narrow window to schedule the shoot.

Celebrities have lots of demands on their time, and are often dealing with tons of requests for interviews, photo shoots, etc. Lance preparing for the Tour was no exception. On the day we were shooting him, he had a charity event scheduled, two or three television interviews, a live radio broadcast, and our shoot….all crammed between 7:30 and 9am, so that he could train the rest of the day.

3/4 length with the broad Hexoval 180 source.

Lance owns a really cool bike shop in downtown Austin called Mellow Johnny’s, and the shoot (as well as the other events) was scheduled for the bike shop location. We scouted the shop the day before, and determined that the best location would be in the basement area of the shop, where we could essentially set up a studio shoot, away from the charity event crowd and his other interviews. For the shots of Lance, we knew ahead of time, that we were only going to get a portrait of him in a Livestrong t-shirt. He was not going to pose in a jersey and bike helmet, he wasn’t going to pose on a bike….it wasn’t going to happen, so, in a way, it simplified things. The question then became, how many looks can we get out of a black t-shirt portrait in 4 minutes?

With limited time and no props, and no environment, I decided to try to get as many different looks as possible in the short time frame available. If you try to move a celebrity around to multiple locations, or move lighting equipment during the shoot, you are wasting their time, and you risk the shoot being over even quicker. The best way to photograph them and get multiple looks, is through careful planning, and essentially encircling them with all the lighting equipment you’re going to use.

I decided on three shots: The first would be a double rimlit tight portrait, with a small stripbank over camera; the second shot would be a broad softbox source –a large Plume Hexoval 180 slightly from the side; the third shot, would be a dramatic profile, lit with a Plume Wafer 100 with a Lighttools 30 degree fabric grid, with a projection of a bike wheel centered behind his head.

Another broad lit hexoval portrait, with different toning.

We started with a grey seamless backdrop, because we knew in the limited space that we had, we could use it as a grey/tan backdrop, we could make it go black, or if necessary, the art director could make a clip path and turn the background white….it gave us a range of options.

We arrived early, near 5:30am and began our setup. Each lighting setup was plugged in to a different set of power packs, so that we could switch between setups simply by turning power packs on and off. This kept things organized and simple, and allowed us to get multiple looks without fumbling around, switching heads, packs, stands, etc.

Andrew Loehman, the assistant on the shoot, actually hung a real bike wheel from a piece of fishing line, and held it at the proper distance between the background and the light to create the shadow of the wheel on the wall. A custom Dynalite projection spot provided the light. With more time, we could have created a custom bike wheel “cookie” for the spot, but with limited prep time, an actual wheel was used to provide the signature bike wheel shape.

Lance was in and out of our setup in about 4 minutes. Other than turning his body 90 degrees for the profile shot, he never moved, and even with that limited amount of time, without changing his wardrobe, and without a bike, we were able to give the art director several looks to choose from for the story.

(All photos © 2009 Robert Seale. All Rights Reserved. – please do not post, right- click, steal, or otherwise use any of our photos without permission. For licensing info, contact Robert Seale Photography through the “Contact Info” link on the right)

The last shot, a profile with a Wafer 100, Lighttools 30 degree grid, and projection spot.