ETHIOPIA

Throughout my journey to impoverished countries all over the world, one trait has reigned true: warmth. No matter what stressful situation or unknown location we find ourselves in, there is always a good person we meet among the madness. Good people are everywhere, even in the darkest, most forbidden war-torn corners of earth. These good people are responsible for uplifting others and guaranteeing people like you are aware of the problems that many face, everyday.

When I was first offered the opportunity to travel to Addis Ababa, Ethiopia I was really unaware of those problems and issues that plagued the city and the country as a whole. On the minimal available information I had been given, it was tough to wrap my head around what we would be doing or why we would be there. There is so little awareness and so little knowledge that I was forced to dive deeper and I only scratched the surface project. We give a grant to those world-wide foundations that need it most. The grant provides the opportunity to document, capture and provide the right tools, so these initiatives can raise awareness and gain traction for further funding. Our project in Ethiopia focused on the foundation “Youth Impact” which provides shelter, food and a solid path for homeless children located in the city of Addis Ababa.

Due to famine and communist civil war, nearly 60% of Ethiopia, Africa is under the age of 18 and of that demographic nearly 100,000 children are completely homeless and suffer from tremendous injustice. Poverty, addiction, prostitution and disease. Some children, just 6 years of age roaming the streets of the city. There is an extreme lack of leadership, parents and grandparents. It is a country of youth. Unfortunately, much of the world is ignorant to this injustice and only a brave few have taken the step to witness the problem then follow up with action. Before I even stepped off the plane, I knew it would be an experience, but I was unaware of the impact it would actually have.

While preparing for this project, everything suddenly changed. Although, Ethiopia is well-traveled by tourism, it’s also a country that is weary of exploitation. Just days before our date of departure, we hit a speed bump and had to re-think our strategy for both entering the country and the equipment we would haul. Our usual gear list consists of cameras, lenses, tripods, grip equipment, lighting, stands, sliders, and stabilizers. We had to break it down to something with a smaller footprint and less conspicuous. We had to play the tourist and travel completely under the radar, which isn’t easy for a professional production crew. Luckily, thanks to the efficiency of LensRentals, we were able to grab the right lightweight and mobile tools for the job on top of a stripped down version of our normal equipment list.

There was still one issue to overcome. I knew the project would involve children who have struggled. Children who have stories. I wanted to tell their story the only way I know how, through imagery. I decided to develop a portrait series of both children right off the streets as well as adults that have grown through the Impact program. I wanted to bring the aesthetic of my portrait work blended with a journalistic mood. That style involved creating a custom canvas soley designed from the ground up for this series. I consulted many weeks with Chelsea Niemeier, a local artist who creates custom backdrops. Unfortunately, I could not travel with a nine foot backdrop, so it had to be small, small enough to fit into a travel kit. We landed on a 3x4 drop that could be rolled around a Manfrotto 2983 Adjustable Background Holder Crossbar and then placed into a case which would house our Benro MoveOver8 Dual Carbon Rail Slider. Due to weight, we couldn’t pack any light stands, so I would have to hash out how to rig the background while on the ground.

After days of packing and working through the new gear, we had a solid gameplan and only one equipment kit per person. We could only cross our fingers to avoid any questions and hurdles during our entry into the country. Upon landing in Addis Ababa, I was nervous. I was stopped due to my camera kit having to be checked in Frankfurt, Germany. I fought it, but to zero prevail. The crew moved ahead and I was all alone in the Addis Ababa airport. Although, I attempted to catch up with the crew in the customs line, there were some unhappy customers who didn’t let me move ahead of the line, which took hours. But, I eventually got through by paying close attention to others moving faster through the checkpoint. By the time I entered the baggage claim, the crew had disappeared, so I kept pushing forward and was able to squeeze past a rope avoiding the final security checkpoint. Once I stepped outside the airport a weight fell off my shoulders, but I still had to find the team. After a small walk through the parking lot, I stumbled upon Reid, Justin and Coury sticking out among the African mob. We made it.

We were met by a man named Abraham Fiseha, who was at the helm of Youth Impact. He was well dressed and had a full head of white hair. Well spoken in English, he immediately came across as kind and warming. His demeanor was the comfort we needed after the long trip. We arrived to our hotel, which was unexpectedly more upscale then we had imagined for a 3rd world country. After a quick rundown of our schedule, we hit the rooms. Our week would start at sunrise.

THE CULTURE

At first sight I was shocked. Addis Ababa, Ethiopia isn’t the Africa I had been first introduced to. It is very different from Tanzania, which I visited in June of 2015 for The Waterboys Initiative. Ethiopia is far more developed, but more crippled. I recongized a small Western influence, but nothing like I’ve seen in alternate countries such as India. Ethiopian people are proud of their culture, religion and heritage. But, their eyes gave me a sense of desperation for more; a need to reach and achieve a better life.

Addis Ababa is beautiful, but broken. As we traveled down the streets we saw an extreme juxtaposition of humanity. Although much of the demographic is young, I immediately noticed a difference between new and old. The fashion was all across the board, from western hip skinny jeans and fake leather Air Jordan’s to authentic long white Africa dress that covered most of the body and head. And, underneath the clothing I didn’t see much happiness.

Photographing this project in Addis Ababa was one of the most difficult assignments I’ve had. Much of the content I photograph is street photography and a production-style touch of photojournalism. It’s not what I do nor what I’m known for, it’s something I really enjoy. It takes me outside of my comfort zone and into a life behind the lens. It’s my security blanket in these strenuous and precarious locations. Nevertheless, the people of Ethiopia are terrified of the unknown. Despite our project indirectly saving the lives of their own, they are hesitant of any type of picture, including documentary work. Due to the fear of exploitation, we were met with a lot of resistance and “hands over the face.” It made our job difficult, we had to be quick, inconspicuous and constantly in the shadows.

THE IMPACT

It was our task to focus on a foundation that was impacting the lives of children who so desperately need help. Upon arrival at the shelter, my reaction wasn’t shock, but difficulty. The shelter was small, similar to a one floor ranch-style two bedroom home. The front yard was piled with random rusted debris and the back porch was a concrete dorm with open doors and ropes covered in wet clothing. The shelter is completely surrounded by a 10-foot concrete wall which was embedded with shards of glass; an inferior barbwire. Unfortunately, Youth Impact has trouble keeping their shelters, due to high rent and troubled neighbors who complain about the amount of children populating the home.

Abraham Fiseha is the face of Youth Impact, a soldier of the children. He loves his country and over the years saw a great need to help the needy, which consisted mostly of children. His love for children permeates through the entire program and his thoughtful aura carries the entire shelter with strong leadership and an inspirational message. He wants the youth to succeed and has a deep passion for creating that success for each of the children. He is a hero to thousands. But, Abraham has a secret weapon. His name is Ermias Zeleke. A man with a troubled history and once lived on the streets; now the mentor to dozens of homeless children. Ermias is quiet, calm and collective. He has an amazing smile that can warm the heart in an instant. Many street children are disconnected, they are scared and alone. The street is their home and it’s hard for them to ever leave. Ermias hits the street every single day in attempt to gain the trust of the street children and build a bond so that may accept the opportunity to move into the shelter. It’s not easy, many times requiring months and months of constant inquisition and discourse.

THE SERIES

I had a clear idea of what to expect once we dove into the project. Youth Impact has blazed a trail for dozens of successful business men, architects, carpenters and artists. Once homeless, many Ethiopian Millenials have been saved through the Youth Impact initiative. I wanted to capture not only the current children living through the shelter, but also those blossoming people who had so much to owe to their mentors. It was a humbling experience to photograph this community that has so much to say, but no voice. Hopefully, this series provides that voice that they so yearn to have. This is dedicated to the outstanding team of Youth Impact that is making a significant difference.

Behailu Kassanhun
Orphan, he was taken into Youth Impact and has since graduated with a College degree and teaches Architecture.

Konjit Dejene
Orphan, joined Youth Impact at the age of 17, she has since graduated College and is currently a School Teacher.

Robel Yimer
Orphan, joined Youth Impact at the age of 16, he has since graduated College.

Amanual Haile
Orphan, joined Youth Impact at the age of 12, he has since graduated College.

Genet Fantanhun
Orphan, joined Youth Impact at the age of 14, she has since graduated College and is currently a Elementary School Teacher.

Kidist Tesfaye
Orphan, joined Youth Impact, she has since graduated College and is currently serving at a local hospital as a nurse.

Yemisrach Tesfaye
Orphan, joined Youth Impact at the age of 12, she has since graduated College and is currently serving at a local hospital as a nurse.

Dawet Daneyl
Runaway, joined Youth Impact from the streets of Addis Ababa, he left his home in Ghana to find work in Addis Ababa.

Fekeredin Kiyar
Runaway, joined Youth Impact at the age of 16 from the streets of Addis Ababa. He left a Muslim family.

Junedin Guye
Runaway, joined Youth Impact from a troubled life on the streets of Addis Ababa. He was addicted to glue and hash. He left his rice farm in Ziway for Addis Ababa. He has since rehabilitated.

Mubarek Abedela
Runaway, joined Youth Impact at the age of 16 from the streets of Addis Ababa, he left his home to find better work.

Sebesebea Akalu
Runaway, joined Youth Impact from the streets of Addis Ababa, he left his farm in Ghana to find a better life in Addis Ababa, which resulted in homelessness for over 4 years.

Habetamu Fentetahun
Runaway, joined Youth Impact from the streets of Addis Ababa, he left his farm in Dessie to find a work in Addis Ababa, which resulted in homelessness for 2 years.

Tiwoderos Abebe
Runaway, joined Youth Impact at the age of 18, he left his farm in Ghanda to find a work in Addis Ababa, which resulted in homelessness for several months.

Alem Kere Tiehay
Runaway, joined Youth Impact from a tough life on the streets of Addis Ababa. He has been jailed 8 times for alcohol related crimes. He left his farm in Ghana for Addis Ababa.

Eferem Tesefay
Runaway, joined Youth Impact from the streets of Addis Ababa, he left Ziway to find a work in Addis Ababa, which resulted in homelessness for several months.

We didn’t have a system to rig the beautiful canvas that I had custom painted, so we grabbed what we could from the pile of wreckage on the alley-way next to the Youth Impact shelter, a cracked wooden ladder and trashed twin bed frame. Using a Manfrotto 035 Super Clamp attached to the backdrop, draped over Manfrotto 2983 Adjustable Background Holder Crossbar, we linked the clamp to another Manfrotto 035 Super Clamp and secured it to the debris. Using gaff tape and zip ties we fixed the bottom of the backdrop to avoid kick up from wind.

The light setup was simple; a Profoto B2 Location Kit attached to a Manfrotto 026 Swivel Umbrella Adapter which we coupled to a Manfrotto 680B Compact Monopod for complete mobility. The Profoto B2 head is modified with a 46” Photo Softlighter II, one of the softest source of modification I’ve ever used. Luckily, I had two trusted assistants who spoke enough broken English to understand my instructions of feathering the light and keeping the strobe consistently directionally opposite the sun.

It was a true honor to hear the stories behind these young adults, who have so much to offer but, nearly had zero foundation to create a life. Fortunately, Youth Impact has provided a reachable dream and given the ladder of victory. Built upon a dark past, they are the future of Ethiopia.

THE BEAUTY

Ethiopia has impacted the world. It tells the legend of being the birthplace of coffee. It’s also known for being the possible location for the Garden Of Eden, which is so detailed in The Bible. Although, most of our journey took place in the centralized slums of Addis Ababa, on the last leg of our adventure, we left the smoggy city and ventured out the the beautiful pastures of Ethiopia. We eventually landed at the Ethio German Park Hotel in the heart of the Blue Nile Gorge. A historical land of wild baboons, unique plant-life and mile-high canyons. The jagged rock and sandy-brown texture painted a beautiful landscape that overlooked thousands of acres of farmland and housing. I remember sucking in the fresh air for a momentary high after a long arduous week of documentation.

We were finally able to break out the DJI Inspire Drone and capture the beauty of this amazing country. We spent the first few hours planning specific shots, which had to be captured at specific times. Our final shot would be the biggest obstacle in the entire production. The Blue Nile Gorge consists of a massive waterfall which has helped create the Portuguese Bridge; a rocky structure that has three large arteries. It was built in the 16th century by the Portuguese to cross the epic waterfall. Fortunately, we arrived to the canyon during its driest season. But, there were deep pools that local youth jump into from a thirty-foot craggy overhang. This was our shot, this was our ending. We wanted to capture the thirty-foot jump from three different perspectives; overhead drone, stabilized follow-shot and a static shot down below near the natural pool. After six jumps and a lot of trial & error, we had the shot wrapped. Despite the crew being absolutely beat, we celebrated by making the jump ourselves, in just our underwear.

After a strong day in the Blue Nile Gorge, we high-tailed it back into Addis Ababa. On the way, we dropped by a road-side farmer who farms Injera, which is the main source of food in Ethiopia. The crop was dry, wheat-like and was cut into large bails, similar to Hay. The man was kind and welcoming to a photograph, a refreshing end to a stressful journey.

The flight back to the United States was a long, somber journey. The east coast had been slammed with poor weather and all international flights into the States were immediately cancelled. We tried for hours to connect the dots and make it home in a decent amount of time. Unfortunately, we were not that lucky. We had a 24 hour layover in Frankfurt, Germany which actually turned out to be a blessing in disguise. Despite the lack of sleep it was invigorating to breath in some cold air, trek thorought the Bacharach mountain vineyards and explore the Frankfurt night-life. The late-night strawberry hookah was just the icing on the cake and a takeaway we needed. It took nearly 48 hours to get back into the United States. We had traveled from Africa to Saudia Arabia to Germany to Texas and finally to our destination, but I couldn’t help but reflect on the week in Africa. The world is such a big place; I’m just so blessed to have the opportunity to see it.

Our experience changed me. I now drink coffee and I obsess over Ethiopian spices. On a deeper level, I came back to the United States with a new found respect for those helping others and raising a community. When I am asked about Ethiopia, the first thing I see is the faces of children who had never seen themselves in a photograph. I only hope my photography and our films can shape the lives of people all over the world.

2015 - REVIEW

It is summertime again, vacation time. You go to your uncle’s house. He takes you on a tour around the city. There are many old buildings, but the oldest of all is on Main Street. The address is 880. He says that it is haunted, but you don’t believe him.

Choice: Do you go inside? Or: Do you stay there?

The paperback series “Choose Your Own Adventure” published throughout my childhood, really nailed it. The story provided the reader the option to make decisions throughout the book, in turn directly defining the ending on their own. It had multiple conclusions and multiple paths. Each choice results in another decision that formulates your adventure. I think life can be most compared to “Choose Your Own Adventure,” it’s made up of thousands of small decisions that build to larger decisions that really outline your entire childhood and adulthood.

Reflecting on the past 12 months, I made a lot of decisions; some educated, some risks and a lot of failure. The good decisions were sometimes overshadowed by the poor decisions. Each choice shaped the circumstances of my way of living, both professionally and personally. It was a year that really challenged me, a year that really changed me and a year that really defined who I am and hope to be.

It started out on high; my photography was really starting to evolve, I had just been published in several major national publications and plans were in place. I was busy, very busy, but I never chose a life any different. Personally, I was dating a beautiful woman who had common interests and I really thought to be the one. Similar to any relationship, we had had our low points, but we shared a strong bond. Having been divorced from a short-lived marriage in a “previous life,” I felt as if I had finally met someone who I could really share my life with. But, I made a choice. It wasn’t a bad choice or something malicious, it was unconscious. A choice built into my being; career first.

And, life handed me a serious case of heartbreak. The worst kind of heartbreak. Passionate heartbreak. The kind of heartbreak that didn’t fizzle or fade, a pain that burned stronger the more time that passed. My friends told me to “consume your life with work” and “stay busy.” But, that was already my daily life ingrained. So, I used photography to explore the thresholds of emotion. I used it as an outlet, similar to what I did during my days in music; I bottled emotion and exploded on the stage or on tape. Looking back, it was the worst kind of heartbreak, but also the best kind of heartbreak. It was life-changing.

I felt guilty over the failed relationship in some ways, but in others I felt inspired. Once the initial onslaught of 21-year-old non-stop-party lifestyle ceased, I finally decided to take on the momentous task of reaching out to my old-friend Sol Perry, a nutritionist and trainer who had successful lost over 100 pounds himself. It wasn’t easy finally coming to the realization of how poor I had treated my body over the past 5 years. We set goals, shifted my lifestyle and started on a path of work-life-balance and wellness.

Once the door was closed and I was truly alone, suddenly I was handed opportunities I could have never imagined. It felt like a snowball, one success after another. One opportunity after another. I’m not sure any mystical genie or crystal ball could have predicted the maturity and adventure of the past 365 days. Let’s review…

I photographed Kay Gaines for First For Women Magazine, a magazine with a circulation of over 1.2 million reaching nearly 4 million consumers.

I created the “Clay Cook | Community” which currently has nearly 1500 amazing photographers. It was recently stamped the “Blog Of The Month” by Digital SLR Photography Magazine.

I photographed Kate Finster; a record-breaking, national champion figure skater; who will be going for the gold in the 2018 Winter Olympics.

I had an image published on the Thomson Reuters Time Square Billboard.

I photographed Albert Blaise Cattafi, who has danced for Cirque Du Soleil and Florence And The Machine as well as choreographed Broadway shows such as Spider-Man and Flash Dance.

I produced an article for Digital Photo Magazine on lighting with one strobe and using ambient light to create a well-balanced image.

I was interviewed by Digital SLR Photographgy Magazine and featured across a 6-page article for thier April issue. The publication is distibuted world-wide.

My imagery was featured on photography blogs such as Fstoppers, PetaPixel, SLR Lounge, 500px and Resource Magazine.

Along with Nadus Films, I traveled to Tanzania, Africa to photograph Chris Long of the St. Louis Rams and the Goodwill Ambassador of Tanzania, Doug Pitt (Brad Pitt’s Brother) for their non-profit Waterboys Initiative. Our story was featured as a top article on ESPN and the documentary piece produced by the NFL and narrated by Matthew McConaughey made its debut on the NFL Network.

I stepped in front of the camera for a 16-page feature in The Voice Of Louisville on our travels to Africa for the Waterboys Initiative.

I collaborated with 20 photographers, artists and stylists for “Project Metanoia" which earned over $3,000 for the charity Fund For The Arts.

I ran a series of workshops all across the United States and educated over 150 photographers.

I mentored 6 incredible photographers through my internship program.

In partnership with Phase One, I’ve was named as a "Capture One Ambassador”

In partnership with Profoto, I was named as a “Profoto Ambassador” and featured in a 4-page advertisement, which was published in Rangefinder Magazine.

Along with Nadus Films, I traveled to New Dehli, India to photograph Dr. Ananthi Jebasingh, she is considered the modern day Mother Theresa of India. We also trekked through Agra, Rajasthan and Darjeeling.

I photographed a 20-page fashion editorial in the heart of Havana, Cuba for The Voice Of Louisville and Blue Equity. The first of its kind.

The image ”Hold Tight“ from my assignment in Tanzania, Africa was selected as an Editor’s Choice for National Geographic, resulting in being one of the top photographs of the year.

I hosted over 10 Live Editing seminars and have done several podcasts for brands such as Seamless Photo, TogTools, Business Of Creatives, The Angry Millennial, ConnectingThings, Tether Tools and X-Rite.

I became utterly addicted to Green Tea.

I lost 75 pounds.

There is a lot of “I and I” in that bullet-point review, but I can’t take all the glory. Every project requires a team and I’m confident I have one of the most efficient, hard-working teams on the planet. All of the success is a direct result of that team. My mission is to deliver a fantastic product for my clients, fulfill a craving for creativity and most importantly inspire others. None of it would be possible without the dedication the following people: Chris Miske, Jacob Roberts, Kelsey Page, Zach Erwin, Carly Secrest, Dana Rogers, Dave Meall, Jordan Hartley, Bethany Hood, Anastasia Page, Blake McGrew and Justin Gustavision.

In order to recount this year, I returned to my 2014 Review as if to look for a hint of a telepathy superpower; I found nothing but excitement and peace. That state of action remains the same 52 weeks later, but now I feel ravenous and strong. I can’t predict the future or read my own palms, but I can make wise choices and those decisions will design my path. It has been a year of growth, enrichment and change. I’ve had to bear some hard lessons, but it has been the choices I’ve made that have characterized who I am today; secure, energetic and determined to accomplish every goal I have set in that path.

CUBA

I left Cuba with a song stuck in my head. I didn’t know what was being said in the song or how to pronounce the artists name, but I knew the melody. It was everywhere; every nightclub, bar and restaurant. Every waking moment, I would hum the melody and mumble the lyrics as if I knew what the lyrics meant. As I write this post stationed in a coffee shop down the road from my studio, that very song began to play over the loudspeakers and I couldn’t help but smile. My Cuba experience was memorable, not only because of the vibrant and beautiful landscape, but the people, who have really stuck in my mind and overshadowed that song. Its fascinating to see the advancement that Cuba has made because of its newly negotiated relationship with the United States and it’s sweeter to hear a taste of Cuba in a little coffee shop in Kentucky.

When I’m asked “How was Cuba?”, unlike most countries I’ve visited, it’s pretty simple to explain the cool cars and architecture. What isn’t easy is to explain the people, fashion and culture. It’s an explosion of race, age and color. Upon landing in Cuba for the first time, I didn’t feel a sense of danger or the need for steadfast movement like I had in Africa and India. We were met with open arms and welcomed like superstars. I was instantly enthralled with the untouched Cuban history and culture.

About two weeks after my return from India, I received a call from the Publisher of The Voice Of Louisville regarding a project in Havana, Cuba for Blue Equity, LLC who had established some business roots in Havana. The project consisted of capturing a twenty page fashion editorial as well as a large feature on the rich culture, communist government and beautiful society. The production called for two five-day trips. The first mission would be to scout locations, meet and cast talent and lock down hanging details. The second trip would be the actual production; game time. When it comes to these types of travel scenarios, I’m skeptical until the flights are booked, but I knew this was the real deal. This was a dream situation that doesn’t come around often for editorial photographers, if ever.

I was in the dark for much of the time leading up to our first trek down to the island. I usually have a great idea of what the target and end goal was for the production. But, a great deal of trust had been placed in my lap on behalf of The Voice Of Louisville, the Government of Cuba and Blue Equity, LLC. I had to own it, I had to deliver, no matter the obstacles that stood in the way.

Getting to the island of Cuba was not an easy flight. It was an all day process from Louisville, Kentucky. A process that included 3 total flights and a solid 10 hours. Although, Cuba is only a 40 minute flight from Miami, the process to get on the flight is arduous and time-consuming. Despite the language barrier, we were able to expedite much of the process based on the relationships that had already been built by the team of Blue Equity, LLC. There is no doubt that we traveled in style, which made the flights easier.

Upon arrival in the Havana airport, we were met with a breath of hot weather, but a bleak overcast sky. I didn’t know what to think, I just followed the pack and hung towards the back of the line. We pushed through customs and after a short wait, we had our bags and loaded everything into a 9-passenger van, guided by our driver, Rafi. I quickly learned that Cuba was a visual paradise. The color, texture, automobiles and landscape was overwhelming, I didn’t know where to focus. The sun began to peak through the clouds and set into the horizon, which covered everything with a red-orange blanket of color. We pulled to a roundabout and arrived at The Saratoga Hotel located across the street from the Parque de la Fraternidad located in central Havana. Shockingly, our hotel was incredibly luxurious. I checked in, changed clothes and headed up to the rooftop to catch a sunset view and cocktail. I was blown away. I’ve seen a lot of stunning landscapes, but this topped the list. I felt a blast of untapped energy and vibrance.

The people of Cuba have a yearn to grow. The island is plentiful, with a lot of room to change. The majority of the Cuban people seem to be happy about the possibility of the trade embargo being lifted and the tourism restrictions being alleviated. Since the Castro revolution in 1959, Cuba has been locked into their own civilization without influence the exception of their communist relationship with Russia. The aesthetic of the architecture was gorgeous, but confused; worn Spanish neoclassical, odd North American art-deco and boring rectangular superstructures covered in a bland shade of beige introduced by Soviet Union ideals. The streets are electrifying; classic cars sputter from destination to destination without traffic restrictions. With the revolution, import from North America ceased, so classic cars are commonplace and modern cars are considered a luxury.

Over the course of the next few days, we worked hard during the day and played hard at night. But, my camera stayed by my side at all hours of the day. Occasionally, a photo opportunity presented itself and I took advantage of the moment. Other times, it was production meetings and finding the best possible locations to photograph the fashion. I switched back and forth from “production photographer” to “street photojournalist” in an instant to guarantee I gained the proper content and knowledge we needed. Throughout our time in Cuba, I was able to really start building the foundation required to create this piece. Despite the language barrier, we were able to put the puzzle together with only a few missing pieces. It felt like a tease, but we needed that taste before we swallowed this whale of a project. I left Cuba anxious and uptight but, wise and equipped. The next step was to rally the troops. This would not be a easy creation.

Fortunately, the PhotoPlus Expo took place in New York a week before the production date. I was able to meet my equipment sponsors and chat about the project in person. The team at Digital Transitions provided us a Phase One 645DF with a IQ250 digital back along with a Schneider Kreuznach 40-80mm f/4 zoom lens and a Schneider Kreuznach 110mm f/2.8 static lens. In consideration of using this setup, we made the executive decision that tethering to Capture One was essential. Thanks to my friends at Tether Tools we created the most mobile, small scale, on location tethering system possible. I knew we would be jumping from location to location and we didn’t have the time for an immense amount of setup. With this knowledge, we also knew that carting a lot of lighting would be impractical. The Profoto B2 Location Kit was an obvious choice. We had to rely on the hard light of the sun, it was a risk, but a necessary risk. The B2 head through a Photek Softlighter would provide a soft fill to reduce shadow density caused by the hard sun.

The day before we were set to fly out; my assistant Zach and I, checked gear, gaffed labels, charged batteries and prepared the equipment as if we were heading into a war zone. We made sure all cameras, lenses and accessories could be stashed in a Think Tank Photo Airport Security and a Think Tank Photo Airstream, which was meant for carry-on only. We placed our tripods, a small collapsible lightstand, modifiers and other heavy duty equipment into checked luggage.

This shoot was a heavy burden on my back. I had a lot to deliver and a lot of hype to live up to. I mentally prepared for a tough few days and made sure Zach was briefed on the logistics of the production. Zach had to work twice as hard as anyone else. Not only was he responsible for the equipment, he was also responsible for language translation and behind the scenes.

Just in the difference of a month, Cuba was changing. As we shuttled through customs, I noticed everything had a sense of organization and controlled chaos, unlike our last trip. Time was cut in half and we made it to our destination in less then an hour. Because of the influx of tourism, the Saratoga Hotel was booked months in advance, so this time around we stayed at The Atlantic; a high-rise apartment complex with full-service accommodations and an incredible rooftop pool. Once again, I was taken aback and had a moment of reflection. I was truly living out my dreams.

The next morning, we hit the ground running. The sun began to soak the city like a warm bath, which designed beautiful lines and shapes on the city streets. Despite a few last minute audibles by the Government Of Cuba and their choice of locations, we adapted to the scenario and landed at our first location, right in the heart of a military base whom had not been advised of our production. We were left to setup, while the rest of the team made sure the hair, makeup, designers and models were moving. Within twenty minutes of setup, we were faced with a series of guards who shut it all down. Fortunately, Zach was able to speak some broken Spanish and make sure everyone remained calm. As we waited for the rest of the team, we had the unique opportunity to speak with a solider who was on a break under a tree canopy. He was just 17-years of age, quiet, collected and had a hint of excitement in his voice. We talked about the influx of tourism, his role in the military and America. This short chat gave me the opportunity to cool-off physically and mentally. The soldier under the tree was the much-needed catalyst to kick off a calm, but efficient shoot.

The crew arrived and after quick conversation, we were given the go. Setup and pre-lighting began immediately and within 10 minutes we had the frame. Our beautiful model Naivys Fernandez stepped in front of the lens wearing a colorful loose purple blouse and pants. With the click of the shutter the production began, on a military fortress, overlooking the city of Havana. I was in heaven.

But, immediately we had technical problems. The tether wasn’t working properly and we had a storage issue. We pushed through it, without a distraction and resolved the issue by removing one tether cable in the chain to the MacBook Pro. The files couldn’t import onto our backup drive fast enough causing the error. With that problem behind us, I could finally breathe and work magic. I was excited to work with each model. It was refreshing to be in such a new environment with new talent.

The sun was record-breaking hot and my camera was heavy. With all the accessories, it was close to fifteen pounds, which can add up after ten hours of lifting and holding. By late-afternoon I was pretty beat and my forearm felt like rubber. Although the team stopped for lunch, we decided to keep moving. Each set required about thirty minutes of time with setup and pre-lighting. The models were rolled out like products on a conveyor belt, it was an extremely productive process and very essential. But, it was a challenge to capture models in the right lighting and include the surrounding environment. We wanted the people, we wanted the bustle and we wanted the noise. Sometimes, that required the right amount of patience. We waited for the right moment and the right timing for the story to form.

And, fifteen looks later; we were still shooting and I was completely bushed. We wrapped the day on the rocky shoreline with our backs to the Malecón and a crowd of people. I was excited, confident and ready for a cocktail.

We started day-two before sunrise. I wanted to go above and beyond the production requirements and capture some really engaging portraits of the Cuban people. So, we hit the shoreline to capture some of the fisherman along the Malecón as the new day sun hit their backs. We brought along $100 in cash, the Profoto B2 Kit and the Photek Softlighter. The fishermen were gracious and open to a photograph. Of course, it made it easier when we handed them 10 Cuban Pesos, which is about what they would make for a full day of fishing. We ended up walking about 4 miles down the Malecón back to The Atlantic just in time for a quick breakfast with the crew. They had no idea Zach and I had left, alone.

We were faced with a serious technical issue right out of the gate. The tether completely failed due to a bad cable and we had no backup cable to spare. Fortunately, the Phase One IQ250 provides a wireless tether and allows connection to Capture Pilot on an iPad. Despite the problem, we breezed through the day knocking out set after set. I was challenged and put in a few uncomfortable scenes, but that unrest is needed and is very normal for a shoot of this magnitude. I wanted to keep the look consistent and have the model in hard light for every shot. But, I soon found that to be an impossibility with the movement of the sun and the sheer amount of looks we had to capture. My intuition kicked in and I lit a few sets softly, which provided a nice contrast to the other images in the editorial. It’s a melting pot of style, which is very similar to the fashion and culture of Cuba.

With the final look, we had ran out of available locations. We made an about-face and decided to shoot on the rooftop of The Atlantic. As the sun hit the horizon, the beautiful María Karla Herrera leaned against a gold lion statue to perfectly frame her body against the skyline. I snapped the shutter and we had our cover and the production was a wrap. My body felt like it had been in World War III and my mind was burned. It was a bittersweet moment.

We celebrated the wrap with a late-night party on the roof with all the models, designers, hair stylists, makeup artists, assistants, government officials and advisors. While others cashed out early to catch our early flight, I celebrated into the cool night. The flight home was quiet, sobering and almost sad. I was happy it was over, but upset to be leaving Cuba and all the friends I had made. Cuba is changing day-in and day-out, but I think Cuba changed something it me. It was a breath of fresh air and opened my eyes to how much I truly love photographing people and the art people create. I’m incredibly blessed to have that privilege, every single day.

A very special thanks to the team that made “La Mirada de Belleza” possible.

Photography: Clay Cook
Photography Assistant: Zach Erwin
Additional Processing: Jordan Hartley
Publishing: Jonathan Blue, Tracy Blue
Creative Directon & Style: Lori Kommor
Cuba Director: Jorge Luis Fria
Production: Clarissa Perez, Anotnio Hernandez, Jessie Fraga, Grises Esobar
Production Assistant: Juan Reffreger, Rob Penta, Cordt Huneke
Finance: Anarlyn Olivia, Ivo Zuaznavar
Style: Leo Leon, Oscar Gonzalez Puildo
Style Assistant: Yeny Rodriguez, Barbara Giselsa Rodriguez
Designer: Jacqueline Fumero, Jose Luis Gonzalez, Juan Carlos Lopez, Carmen Flot, Roly Rius, Emiliano Nelson, Mario Freixas, Emiliano Nelson, Ismael de la Caridad
Model: Laura Pupo, Laura Ortega, Jorge Perez, Ivis Gonzalez, Maria Karla Herrera, Miguel Gonzalez, Yessica Borroto, Naivys Fernandez

INDIA

I always seem to start these posts with a philosophical statement or an excuse on why it’s been so long. At times, I’ll look at my watch and wonder where the day has gone. Other times, I’ll sit; staring at a blank document hoping words will magically appear. Being a full-time photographer requires consistent hard work and energy when you have no stamina to give. When I think of my travels through India, my brain and body feel an instantaneous exhaustion. It’s not easy to push out a post of this magnitude when the experience was a narrative of tremendous strain, pressure, beauty and elation. Although, I’m relieved to be in the comfort of my own home, I can’t help but think of the people that still live in that rabid environment and extreme culture every single day. I could describe every point and highlight of our travels and production, but I’ll let the images tell the story. After all, that’s what I do. I’m a creator and image maker. I take a vision or moment and bring it to a tangible state of living.

Dr. Ananthi Jebasingh is considered the modern day Mother Theresa of India. She has saved the lives of thousands of children all across the slums of New Delhi, India. She started her school in a public toilet with 5 students and now has over 5,000 students in several locations. Her school “The Good Samaritan” is headed by a foundation called “The Friends of the Good Samaritan.” This foundation partnered with my friends at Nadus Films to provide a narrative short film that could be promoted to the West for potential child sponsors and investors. With the United States at the forefront, the content had to be warm and inviting, but also dramatic, in attempt sell a deep awareness for the trouble that has developed in New Delhi, India over the course of hundreds of years. Over population and financial struggles have sent the public into a downfall of poverty, serious health concerns and unlawful living conditions. Along with the short film, our job was to capture it all; the good, the bad and the ugly.

Fortunately, the flight to and from New Delhi was relatively painless. It was the longest international flight I had ever been on; it was also the most comfortable. I traveled light once again; I packed all my personal effects such as clothing, health kit and bigger items such as my 3 Legged Thing Monopod and a 46” Photek Softlighter in my checked baggage. I carried along my Canon 5D Mark III, Sony A7II, multiple lenses and Profoto B2 Location Kit in a Think Tank Photo Airport Security then stuffed my laptop, chargers and accessories into my Swiss-Army backpack. I carried a heavy load, but I felt it necessary to protect my equipment with my life, I will never trust international customs. Upon arriving, we were immediately taken aback by the extreme humidity and heat. It was like a punch to the gut and a gallon of salt-water thrown on your face. Then, walking into our living quarters for the production, we were pleasantly surprised by the atmosphere, it looked somewhat clean, but pitch dark and zero accommodations such as no working internet connection, no air conditioning and no food. Welcome to India.

Albeit, we had booked in the most secure and pleasant hotel in the area, we were still located in the poorest outskirts of New Delhi. It was a struggle to communicate with the hotel staff as they resembled a 17-year-old American teenager who was working at Subway after school for side drug money. Over the course of the next two weeks it was a constant battle to receive what they considered luxuries and we considered daily life. Cold showers and late-night rooftop cigarettes were a blessing in disguise. Beers had to be fetched from a local market.

The first few days of production were tough; every morning was similar to a military man prepping for battle. We figured out what to wear, what gear to travel with and what headspace to be in. As soon as we stepped foot on the ground the sweat beads began to form and soon enough; our clothing would be completely soaked from head to toe. The front glass element of our lenses required at least 45 minutes to acclimate to the brutal humidity that the monsoons brought forth.

Our production began in the heat of it all; the slums. The poorest classes of people are known as “The Untouchables.” These people live in small concrete fortifications, literally on top of themselves. These slum shelters are completely illegal, but are guarded by the Delhi mafia who pay off select government officials who allow the landlords to operate these incredibly unsafe domains. The slums were rough; the smell resembled a mildew rag soaked in fresh vomit, microwaved and thrown into a toilet of hot curry. The heat and rain didn’t help. The quarters were extremely tight and when our crew arrived, you would have thought Elvis had shown up; people flocked to witness the production. People gathered by the dozens and in the marketplace, people gathered by the hundreds.

Amidst, all the trash and illegality of the slums lived a series of schools. And, it was clear; “The Good Samaritan” is the highlight of each and every student’s life. The main branch is a giant building, similar to a hospital with dozens of classrooms and hundreds of students. The textures tell a long history of battle and many different owners. In contrast, the second location is nestled into small living space with a small group of students, settled right outside the Dakshinpuri slum. The third location is on the outskirts of Delhi and is a standalone building consisting of a few classrooms, an open toilet and two offices. This location also hosted the Christian church, where many students and teachers would worship every Sunday for several hours. Photographing Dr. Ananthi Jebasingh was a true honor and privilege. Her quiet demeanor and warm personality shine through the photographs and her leadership is a staple for the schools and children that attend those schools.

Throughout our journey and production, I had days where I had to squash the feeling of sickness and keep pushing through the sweat and tribulation of the day. Even on off days; through the Taj Mahal in Agra, the Camel excursion through the base of the Neemrana Fort in Rajasthan, the sudden monsoon at the Jama Masjid Muslim mosque and even the late night celebrations at the Underdoggs Sports Bar… it was a quest for adventure that took strength and will to experience.

At the end of our production, we had the freedom to travel to various cities in the continent; we choose the beautiful Darjeeling, India. Known for their spectacular Himalayan views, fresh tea and unique oriental culture. Right at the base of Mount Kangchenjunga, the third highest peak in the world, Darjeeling was by far the most incredible city I’ve ever seen. The trek required a quick plane ride to Bagdogra, India then a three-hour commute by truck. We were relived when we finally arrived to our final destination. Our mountian-side hotel was quaint with a spectacular view. We fought mildew and damp sheets ever night, but it was all worth the rich adventure. On the third morning, we trekked up to Tiger Hill in attempts to catch a glimpse of the Himalaya mountain range. As the clouds loomed over and the sun peaked through, Mount Everest shows its face for the first time in over 15 days. A Buddhist woman began to worship and sing enchanting songs of praise. It was a moment I will never forget.

On our final day in Darjeeling, security was at an all-time high due to India’s Independence Day and people were wild in celebrations. We decided to take advantage of the holiday and cross the border into Nepal. With the bribe of two Military leaders, we were given the opportunity to cross and grab a quick warm beer. Although, our passage was short-lived, it was completely worth the trip through the ancient-tropical-leech-invested Sukhiapokhri Forest.

Every day presented a new challenge and a new life experience. I’ve seen things that not many people have the opportunity to see and I’ve visited sites that represent a solid mark in my ever expanding career. This trip was a marker point on the road map to being the man and photographer I want to be. As I took my seat on the plane home to the states(after four insane security checkpoints) I felt more inspired than ever to accomplish my personal and professional goals and felt a breath of pure happiness, something of which I have not felt in quite some time.

Coury, Reid, Justin and I couldn’t have done it without the help of some very important people on the ground, such as our wild driver Bitu, our translator George and our guide Sharon. Thank you from the bottom of my heart for making this wild undertaking such a grand success.

TANZANIA

I’ll be honest; I haven’t been inspired to write much this year. I was hit with a few personal hurdles early in the year and I decided to take this year to re-align with myself and really start improving my lifestyle. It started with my health and wellness both physically and mentally. I knew it would be a year of personal growth, but when I stated I was truly blind to just how much growth I would achieve through life experiences. Although my career has never really slowed down, I’ve finally began to balance life and career. I’ve never been happier.

If you could describe my travels thorough Tanzania, Africa in one word; indescribable. It was the adventure of a lifetime and I’m blessed that I was able to visit such a beautiful country. I can’t go into every detail, but I can highlight some of the more memorable moments over the course of seven days.

Several months ago I was approached by Coury Deeb of Nadus Films to head over to Tanzania, Africa with director of photography, Justin Gustavison, to capture production photography for a short documentary. The project; the Waterboys Initiative.  A non-profit foundation that builds water relief wells in rural villages all over the country of Tanzania. Waterboy Inititive was founded by Chris Long of the St. Louis Rams and to promote the foundation he brought on Doug Pitt (Goodwill Ambassador Of Tanzania), John Bongiorno (President, WorldServe) and Nadus Films to build content to be pushed through the NFL and various other major contributors.  The content is to raise awareness as well as to gain the attention of more celebrities, players and investors.

Logistically, this trip would be an adventure and a lot packed into a short amount of time. We had to be prepared for any circumstance and any scenario that was thrown in our lap. I spent a full day prepping my camera and lighting kit to be completely portable and low profile.  With my ThinkTankPhoto Airport Security, I packed a Profoto B2 Location Kit, Canon 5D Mark III, Sony A7II as well as lenses and every accessory I could possibly need in the African bush. Luckily, our friends at B&H Photo and Profoto stepped in to sponsor our travels, so we had the right gear to tackle the job.

WEATHER DELAY

I knew this wouldn’t be a quick flight over to Tanzania. But, what was supposed to be a 24 hour trip turned into a two day adventure to make denature times, all due to weather. Unfortunately, we were grounded in Atlanta for a day with none of our luggage. I seemed to remember complaining about the absence of my toothbrush, when I realized I was about to head into a culture where a toothbrush may be a considered a luxury. I’ve never actually had to pull a “Home Alone” and run full speed through an airport until this trip. Myself, Coury and Justin took a full sprint from one end of the Amsterdam airport to the other end to catch our flight to Kilimanjaro. Flights are never comfortable; 9 hour flights are especially uncomfortable. I seemed to hit a wall and became very ancy after the third movie hit the credit roll. It’s impossible for me to sleep on a plane, so stretching near the bathrooms and giving my legs some “exercise” was the only remedy from the insanity.

When we arrived to the Kilimanjaro airport and made it through customs, we all lit up a celebratory cigarette, it was the best smoke I’ve ever had and I don’t smoke. The air was fresh and there was a energetic aura among us. We we’re driven to the Mount Meru Hotel in Arusha, Tanzania by a private guide. The hotel was incredibly swanky and nice, an extreme contrast to the world and culture on the outside.

ARUSHA MARKET

My first experience in Africa would be an interesting and incredibly hectic one. In two Safari trucks we were driven down to the local Arusha market to get in some documentation of Chris Long and his wife Meg. We were told to keep all valuables and jewelry secured and safe. As soon as the car hit park, we jumped out of the truck first. Suddenly, we were mobbed by a large crowd of people, who were either attempting to sell and barter or simply made money by being a translator or guide. Luckily, our drivers could translate Swahili for us and directed us to the right people. The market was beautiful, rich and colorful. The culture was fruitful, vibrant and loud. As we made our way through the nooks and crannies of the market I was snapping the shutter like a madman, I couldn’t keep up with the photographic opportunities, it was overwhelming. I did my best to focus on the project at hand, that being Chris Long, but my eyes constantly wandered to the better subject matter.

VILLAGE IN THE DUST

I didn’t exactly ever know where we would land hour after hour. I suppose that was the thrill of it. I knew we were heading to a remote village, but I wasn’t truly aware of how remote. When we pulled off the main road and started driving into a desert with no roads, I knew this was the adventure we had asked for. This path was rough and extremely bumpy; it could make someone with a steel stomach feel weak. About an hour of winding through trees and dust we arrived to people running from one end of the village to the other in an extreme dust storm. It was the most incredible sight I have ever seen. Out of the dust emerged a indigenous people who treated us like celebrities. We immediately got to work and I began snapping away. The dust added a compelling element to every single shot. It was excessive and overwhelming, but it opened visual opportunities we couldn’t pass. We finished the day with a quick 30 minute photoshoot, where I did my best to capture the emotions of Chris, Doug and few of the Maasi. It was a time- pressure situation, but I prevailed with some great imagery. We hopped in the truck and high-tailed it out of the village before sunset, at which time traveling becomes very dangerous.

SAFARI

Even though we had a mission and clear objectives, the most exciting portion of the trip was the Safari. I really didn’t know what to expect. People from all over the world pay thousands of dollars to experience an African safari and here we were. It felt like something out of Jurassic Park, just waiting to see a monster appear out of the century-old-trees. We didn’t have to look far. Giraffe, Elephant, Water Buffalo, Wild Boar, Baboon, Flamingo, Zebra and many more species of animals casually enjoyed their natural habitat. Needless to say, I’ll probably never look at a local zoo the same again. It was a rush and thrill to be in this environment with so many incredible animals that were only feet away.

KILIMANJARO

During our stay in Arusha we happen to meet Adrian McCrae, an Aussie risk-taker who enjoys hang-gliding of mountain tops. Adrian is also an extremely charitable person. We were extremely interested in his stories, so much so he arranged a quick flight up to the summit of Mount Kilimanjaro, one of the seven tallest summits in the world. Mount Kilimanjaro is 19,000 feet above sea level and Mount Everest is 24,000 feet above sea level. Only hours before our flight was schedule to head back overseas we jumped into a 4-seat Cessna plane that was smaller than my Nissan. We opened the windows and took off. I was actually quite nervous, the last time I was in a plane that size I had paid to jump out of it (skydiving). It took roughly 30 minutes to reach Kilimanjaro and we did several passes. It was freezing, the temperature had dropped some 40 degrees from sea level, not to mention wind chill. I was able to maneuver a few shots of the summit through the open window. After a few moments tipping the wings we headed back down to the ground and I was relived upon touchdown.

I wish I could do into more detail of each and every moment spent in Tanzania. The people are beautiful and so is the landscape, they make it easy for a photographer like myself. Even though most of the people of Tanzania have probably seen a camera, they are still completely enthralled with the technology. And, they just stare into the lens. I hope I have the opportunity to return one day, but this experience will be something I’ll never forget.

“The very basic core of a man’s living spirit is his passion for adventure. The joy of life comes from our encounters with new experiences.” – Christopher McCandless

VEGAS IMPROMPTU - FIREFLY

If there is one takeaway from my week in Las Vegas this past month, it’s the Gangnam Asian Barbeque. I’m only half-joking! In reality, WPPI reenergized my love for impromptu production and imagery. I’m so numb to the call sheets, clothing and overall client expectation. It was a breath of fresh air to do something completely off the cuff and on your own terms.

While the east coast was getting slammed by a snow storm, myself and my assistant Jacob were officially stuck in Las Vegas, with no plans or no events to attend. Our flights were just cancelled, with no warning or delay. The first available flight back wasn’t until two days later. So, instead of sulking in our hotel room, we decided to take advantage of the extra hours in Las Vegas. Along with our friend David Crewe from Phlearn, who decided to stick around as well, we began the planning process for an edgy editorial out in the desert hills. I scoured Pinterest and Google Images for about 10 minutes and found the direction I wanted to head. As we headed off to the Asian BBQ, David and I sent out the correspondence to make it happen. Shortly after, we had a model, makeup artist and a full crew of people who wanted to head out to the rocky desert landscape with us.

The missing piece was styling, so we asked our model to bring what she could and we would fill it out, even if we had to purchase clothing and return it. Which is exactly what happened. We had all the right pieces for an edgy wardrobe, but it was missing the most important facet of all; a long coat or jacket. After, the crew met and hit the road in two cars, we made a quick stop by Burlington Coat Factory and we had our model, Taylor, try on several different selections. Although the green military jacket was a winner, we decided it better to be safe and stick with the long black coat.

With wardrobe and some accessories in place, we headed out to the very end of Las Vegas Boulevard, where we were met with a massive landscape of desert hills that overlook the city. The weather was perfect and I even enjoyed the strong wind. At first glance, I thought I would be breaking out a strobe, but the natural sunlight was low and beautiful. I decided to shoot only natural light, which I something I hadn’t done in quite some time. I loved the look of the hard sun light against the dark styling.

With little fashion experience, our model Taylor did a great job with direction. We starting with walking and movement and went into more posed structured imagery. We only had about 30 minutes with Taylor, so we moved quickly and efficiently. Once I had my shot, I bowed out and let some of the other shooters on set take a stab at it. I guess you could say it was an easy day, a stark contrast from the previous experience at Red Rock Canyon. It was a real pleasure being in such a beautiful place with such talented and friendly folks. Although, you could consider the extra hours in Las Vegas an added expense, the impromptu shooting certainly made it all worth it.

Against All Odds - Profoto B2 Review

In my short few years as a photographer, I’ve been lucky enough to see a lot of things that many do not have the ability to see. On the same token, I’ve also been in quite a few perilous weather situations fighting the odds. In this profession, there are so many positions and people involved to capture a professional advertising campaign, re-scheduling due to weather costs a lot of money. So, it’s my job to take what’s given and make lemonade from a lemon. In other words, I make it work. 

During my stay in Las Vegas for WPPI (Wedding & Portrait Conference and Expo), I met with David Crewe of the educational brand Phlearn to discuss a fun and laid back photoshoot in Red Rock Canyon. 24 hours later, we had a beautiful model Nanako Hawley, a gorgeous parachute dress from Lindsay Adler and Dream Shoot Rentals and the brand new Profoto B2 system which had only been introduced hours before.

I had no inclination of how to use the system and to be honest, I was quite skeptical. I have been a loyal Profoto user since 2012. I love my D1 500 set and when Profoto introduced the B1, I was floored and was definitely into it. Then Profoto announced the new lightweight B2 head and pack. I was excited, but was disappointed when I saw the native battery pack and looked at the power specifications… it was only 250w/s. 

That skepticism all changed when we left the canyon.

As we came over the ramp and looked out to the top of the canyon we could see some severe cloud cover. I was worried, but ready to face the elements. Once we entered Red Rock Canyon and began to drive up the mountain, we soon realized we were in for a real treat. The cloud moved overhead and we started to notice small pellets of ice smacking the window. Before long, we were trapped in a dramatic hail storm with freezing winds and soaking wet conditions. But, we weren’t giving up. Once we reached out destination and setup, we realized that this would be a very short shoot. The temperature was near freezing and the wind was strong. A stream of rain and hail continuously beat down on us.

Despite the nasty conditions, we dove in and began snapping shots with little zero testing and pre-lighting. I fumbled around with the Profoto Air Remote and the B2 Battery Pack until I found a suitable setting. But, by the time we pinned the dress and began getting what we wanted the beautiful mountains had completely disappeared in cloud cover, I knew we had to move. After a brief second set, I called the shoot and we headed back to the car. We could barley feel our hands, I was covered in mud and Nanako needed to get warm. For the first time in a long time, I was disappointed and felt completely inadequate. I didn’t have time to acclimate to the B2 system and the weather had just got the best of us.

We packed our gear and hit the road with full intention of leaving the canyon. As we headed out and down the mountain, the hail had stopped and suddenly we hit a patch of dry area. I asked to stop the car and capture another quick set, luckily everyone was on board. I was ecstatic. We unloaded and began breaking out all of the gear. Our clothes were soaked so we striped off our wet jackets and hung them over cacti. The sun was slightly peaking through the clouds and I had a beautiful clear background; I could finally relax and enjoy the shoot.

The Profoto B2 Kit turned out to be a lifesaver for myself and my assistant Jacob. The B2 head is about a third of the size of a B1 head and it weigh’s less than a Canon 600EX-RT Speedlight. The battery pack is about the size of a macaroni and cheese box and weighs much less than a Paul C Buff Mini-Vagabond or any lithium battery pack. The portability and quick-to-setup system helped save time and gave us the ability to move sets with zero hassle. I shot most of the images at half power which was plenty for a nice balance of ambient and artificial. The pack was easy to use and navigate as the buttons are clear and simple. Since the B2 head was running on battery, I was worried about the recycle time and potential misfiring. Well, there was zero recycle time and I didn’t have one single misfire. Call me impressed.

Near the end of the shoot, I started messing around with the Air Remote controls and my camera settings. Almost instantly, I figured out how to achieve High Speed Sync and suddenly the game changed for me. I was able to bring down the ambient level of the sky and still maintain my depth of field. I captured every shot at 1/1000 shutter speed. This was my first time ever using High Speed Sync and it’s everything I’ve ever wanted in a strobe and more.

Finally satisfied and confident with the results, we packed up and hit the road back to the Vegas strip for a hot shower and a cold beer. Excitement was in the air and both my assistant Jacob and I were enthralled with the B2 system. My skepticism had been left at the canyon. The Profoto B2 system is real deal. if you need proof, just scroll down and watch.

Special Thanks to Chris Fain with Profoto, Lindsay Adler with Dream Shoot Rentals & David Crewe with Phlearn for all the help and assistance with making this shoot happen.

Under Pressure

As a photographer, my skill set is constantly put to the test. In most cases I’m handed an idea on a slab of wood and the mission is to hand that idea translated to a tangible artifact back to my client on a silver platter. It’s never an easy process, but it’s apart of my job. I’ve shot in water maybe half a dozen times and I love it, I love the challenge and I love doing something different. The idea brought forth by makeup artist Casey Ritchie was to shoot a model in black murky water, with only the face to be seen and the makeup as the stand out. 

The first step was to think of a way to shoot this idea in a studio setting. The only way I felt it could be accomplished was with a simple kiddie pool, rather then using an indoor pool or bathtub, where it would be trouble to rig lights safely. We placed the kiddie pool right on the studio floor and filled the pool with warm water, then draped a black cloth background over the pool and in the water. The next hurdle was lighting and camera placement.

Fortunately, I have a lot of experience with booming my camera for a 90 degree overhead angle without the used of a ladder or crane. So, we secured a Canon 5D Mark III with a Manfrotto 026 Swivel Umbrella Adapter and wrapped a Vulture Equipment Works A4 camera strap around the head of the stand in case the adapter failed. I fired the shutter using the CamRanger; a wireless DSLR remote control and tethering system.The next step involved lighting the pool. Unfortunately, we could jump in the water for pre-lighting so, we had to guess and use the palm of our hands to predict how the light would fall on the face. 

Canon 5D Mark III
70mm (70-200mm f/2.8L)
f/16
1/180
ISO100

Key: Profoto D1 | 8.0 Power | Profoto 20.5" Softlight Beauty Dish w/ 25° Grid
Side: Paul C Buff Alien Bee B800 | ¼ Power | Paul C Buff StripBox w/ Grid
Side: Paul C Buff Alien Bee B800 | ¼ Power | Paul C Buff StripBox w/ Grid
Fill: Paul C Buff ABR800 Ringflash | 1/8 Power

The key light provided a powerful dramatic light from overhead and the sole purpose of the side lighting was to add  some beautiful catch lights in the models eyes. The ringflash added a directional contrast and the white foamcore reduced the shadow density under the chin and body. We triple checked for security and safety; when dealing with water, you never want to cut corners and risk a model’s life.

Unfortunately, we weren’t able to nail the lighting until the model was in the water; we fought with reflections and inconsistent shutter clicks, which wasn’t something I had ever had to deal with. About 20 minutes in the water, our model was shivering and very cold, I knew we needed to get the shot. I made the executive decision to send for a space heater and turn up the heat in our house. Luckily, Lindsey, our model, was an absolute trooper and was prepared to do something different. She fought the shivering and braced the luke-warm water through two more looks. By the last look, we had adapted to the scenario; my studio felt like a sauna and the air approaching 90 degrees.

Three looks later we had the shot we needed and I could tell our model was relieved. We carefully broke down the lights and emptied the pool bucket after bucket. I wasn’t handed an easy scenario, but I certainly think we delivered a photograph worthy of a silver platter.

GEAR HEAD

Location Gear Kit

Manfrotto 420B Combo Boom (5)
Manfrotto Swivel Umbrella Adapter (2)
Avenger A2033FCB 10.7’ C-Stand (Black) (2)
Avenger Grip Head (2)
Standbagger Original Roll Up Model 13
Extension Cable And Storage Reel (2)
Tether Tools Tether Table Aero Master
Avenger G100-1 Sandbag (12)
Matthews Apple Box Full (2)
Matthew Apple Box Half (2)
Paul C Buff Grid Set (2)
Paul C Buff Alien Bee B800 (4)
Paul C Buff ABR800 Ringflash Unit
Paul C Buff 47" Foldable Octabox
Paul C Buff 35" Foldable Octabox And Grid
Paul C Buff Foldable Stripbox (2)
Paul C Buff Mini-Vagabond Lithium Portable Power Pack (2)
Profoto D1 500W/s (4)
Profoto 20.5” Softlight Beauty Dish | Sock
Profoto Softlight 25 Degree Grid
Profoto 2’x5’ RFI Softbox
Photek 46” Softlighter II
3 Legged Thing Frank Carbon Fiber Tripod System
3 Legged Thing Jack Magnesium Alloy Tripod System
Rock N’ Roller Multi-Cart R10RT
Rock N’ Roller Multi-Cart Expandable Shelf
A-Clamp (5)
Stanley 24 in. Pro Mobile Tool Box
Stanley 37 in. Mobile Job Box
Stanley 65-Piece Homeowners Tool Kit
Westcott 5-In-1 Reflector (4)
Lastolite 3’x6’ Skylight Rapid Kit
Lastolite 6’x6’ Skylight Rapid Kit
Midland Two-Way Radio (4)
Savage Universal Seamless Backdrops
Oliphant Studios Canvas Backdrops

Camera Kit

Think Tank Photo Airport Security V2.0
Canon 5D Mark III
Canon 5D Mark III Battery Grip
Canon 70-200mm f/2.8L IS II
Canon 16-35mm f/2.8L
Canon 50mm f/1.2L
Canon 600EX-RT Speedlight
Black Rapid RS-4 Sling Strap
Eneloop Re-Chargeable AA Battery Charger (6)
Eneloop Re-Chargeable AA Batteries (24)
Think Tank Photo DSLR Battery Holder
Think Tank Photo Pixel Pocket Rocket Memory Card Carrier
Canon 5D Mark III Remote
Pocket Wizard Plus III (4)
Hildozine Caddy for PocketWizard Plus III (3)
CamRanger
CamRanger Charger
LEE Filters 4x6” Graduated ND Filter Set – Soft Transition (3)
LEE Filters 72mm Adapter Ring
LEE Filters 82mm Adapter Ring
LEE Filters Foundation Kit
LEE Filters Wide Angle Lens Hood
Tether Tools Connect Lite Mounting Bracket
Tether Tools Wallee Modular System for iPad
iPad 3
Custom Brackets CB-Mini-RC
Tether Tools 11” Articulating Arm
Tether Tools 8" Rock Solid Accessory Extension Bar
Tether Tools Jerkstopper
GoPro Hero3 Black Edition
GoPro Hero3 Battery (2)
GoPro LCD Touch BacPac
GoPro 3.5mm Mic Adapter
GoPro The Frame
Headlamp
PocketWizard Plus III PC Sync Cable (4)
PocketWizard Plus III Sync Cable (4)
PocketWizard Plus III Pre-Trigger Remote Cable
Pixel TF372 Soldier Wireless Flash Trigger (3)
Pixel Soldier Sync Cable (3)
Glass Prism
Glass Lens
Rode VideoMic Pro
Rode VideoMic Pro Deadcat
Azden WLX-PRO Lavaliere System
Overboard Waterproof Phone Case
LensPen
Standard TTL Cable
HonlPhoto Color Effects Filter Kit
HonlPhoto Speed Strap
Hoya 82mm Neutral Density Filter
iPad Charger
Apple Dock Connector VGA Adapter
iHome iDM8B Bluetooth Wireless Speaker
iHome iDM8B Bluetooth Wireless Speaker Charger
CTO Gels
Logitech UE6000 Headphones
Gura Gear Et Cetera Case 1L

2014 - REVIEW

When someone asks about my year, an overwhelming breath of anxiety falls over me. I tend to think of all the failures and mistakes that transpired. I sulk on the jobs that I lost or perhaps the connections I never followed up with. But, just as soon as I start dwelling on the missteps, a blast of positive reflection and extreme anticipation hits me like 10-ton a freight truck. I started my photography career in 2011 and every year since the milestones have become bigger, brighter and bold.

Although I hit a few holes, they prepared me for the mountain that I was to climb. I not only grew as a photographer, filmmaker, writer and educator but as a person. Albeit cliché as that may sound, my life went through an absolute change and I finally accomplished a life-goal that I’ve been working towards for close to 13 years.

Turmoil, emotion, adventure, elation, sweat, change, breakthrough; are all words that could describe the past 12 months. Rounding the corner to 2014, I was modest, working a full-time marketing position at a camera store to make rent, in the meantime attempting to drive harder and faster with my photography business. The balancing act was something I became used to and a tangible reality. When I was offered a position at Fstoppers.com in January, I didn’t know my comfortable living was about to shift sideways. Of course, I took the Fstoppers opportunity seriously and everything was sent into overdrive.

I traveled out of the country for the first time. My imagery was nominated for a North American Hairstyling Award. I enlisted with the agency Wonderful Machine. I hosted my first live webinar with hundreds of photographers all over the world. I became an official brand ambassador for brands such as SmugMug, Tether Tools, X-Rite and Savage Universal. I shot medium format film for the first time. I spoke to a live audience at the PhotoPlus International Expo in New York City and I shot for clients such as USA Today, Livestrong, Modern Salon, ProSales Magazine and First For Women Magazine. And, those were just some of the milestones.

In uniform with a roller coaster, this past year has had its drops, hills, turns and corkscrews. Halfway through, the ride took a swift turn and I came out the other side as a full-time photographer. I left my job at the camera store and became the career man I’ve always wanted to be. Taking the jump required every bit of bravery and strength I had, as well as a pure obsession with photography that couldn’t be stopped. Although, I could brood on the failures and mistakes that made me a better photographer, that blast of hope is what keeps the fire inside burning hot. When I’m asked about my 2015, it’s hard to say. I want to continue to educate and instill a passion in others as well as continue to grow my clientele on a national scale. I’m significantly blinded by the anticipation and eager to become even more obsessed with my love for creating, inspiring and paying it forward.

PHOTOPLUS 2014

I could sit here and reveal every single detail about my week at PhotoPlus Expo this year, it was an exciting ride. I met a lot of new faces and ran into a bunch of old friends. My assistant Jacob and I had a lot of great meetings and I was fortune enough to speak about my camera setup for Tether Tools at the Unique Photo Booth. It was a very busy time, talk about working hard and playing hard…

Highlights to note; our cab got in a wreck, we partied South Beach style on a New York rooftop, and even jumped around in a “bullet-time” photobooth. But, instead of breaking it all down, I’ll let you soak it in with this small gallery of images Jacob captured during the week. 

Chroma Kinetics

For the first time in my photography career, I walked into a collaborative photo shoot completely clueless. No tearsheets, no mood board, no pre-lighting, just a strong team and a small studio.

Fashion photography requires a lot of pre-production; wardrobe, hair, makeup, concept, lighting and composition. Sometime ago, I was approached by a close friend and model, Casey Neel, whom had just given birth to a beautiful baby girl. She had spent a few weeks in the gym to get back in the game and wanted to schedule a test shoot. I had been buried in commercial client work, but I jumped at the opportunity to collaborate. With that said, I contacted my friend and Project Runway alumni, Gunnar Deatherage, who was also itching to create. I also reached out to Casey Ritchie, a fantastic Mid-West makeup artist to round out the team. Collectively, we came up with a few ideas, but nothing seemed to click. I was frustrated and felt a hint of anxiety as I showed up to shoot. I didn’t know what I was going to do, nor did I know what the end result would look like.

While the model was being primped in hair and makeup, I was breaking a sweat, racking my brain back and forth for nearly 2 hours, switching backgrounds and swapping lighting scenarios. I felt dead in the water; I didn’t have a clue how I was going to light the set and didn’t have any solid direction. I was on my own. Soon enough, hair and makeup was complete and Casey changed into her clothing that Gunnar had so graciously prepared. It was a combination of high fashion sportswear and a lose-fitting ethnic garb. I loved it, but now all eyes were on me. I felt like a souped-up car that just needed some gas and an address.

I had settled on a blank, dramatic Studio Gray seamless in the hopes of potentially going black and white. I broke out of my normal setup and eventually settled for a Profoto Softlight Beauty Dish, something I rarely pull out of the closet. First shot was an absolute dud and I knew it wasn’t right. So, I pulled the plug. 

Just when you thought a sinking ship couldn’t get any more dredged with water, buried in the stack of seamless paper backgrounds I happen to notice a bright blue color that was gleaming through the pile like a piece of shining silver. Miraculously, it perfectly matched the color of the headband and purse that the model was wearing. I had only used the Blue Jay seamless once, but it just seemed fitting. I asked Casey to take a quick breather and I changed the background. Burning up a second sweat, I then positioned the beauty dish accordingly and took a quick test shot… right out of the gate; we had our image. I didn’t know exactly which direction this was heading, but I liked it and I dug deeper. I worked with Casey on jumping, lunges and a slew of motions that could bring out the flare in the color and clothing. We worked, worked and worked some more. Nearly 30 minutes later we had the shot and moved onto the second look. Along with the motion shots, we captured some experimental products shots. I played with a new toy I had built several days prior; a 3-way mirrored prism. I thought it might be a great companion to the regular shots and add a more “advertising” finesse to everything.

I took down the blue seamless paper backdrop and by default rigged my hand-painted Oliphant canvas. It was the easy and comfortable move, I knew what the results would look like and I knew I could pull off a good image. But truthfully, I really didn’t know what to do next. Once our model Casey was ready to go in her second look I snapped a few shots and once again had that feeling of disappointment. This shoot needed to have the feel of an editorial. So took a step away and re-collected, then once again looked to the growing pile of seamless paper and grabbed theDeep Yellow roll. A few minutes later we were back at it and I was seeing smiles from all across the board. Everything felt right and it was the perfect accompaniment to the previous look. Once I had the shot there was no reason to continue; it was a wrap. I took a deep breath and scanned through the day’s images with a giant smile on my face. No planning, no preparation and somehow we came up with a shining set of imagery, all due to the bright colored Savage seamless paper. That was the piece of the puzzle that made it a picture.

The lesson here is that you can’t be afraid to step outside the box and experiment. When something doesn’t feel right, change it. When a lighting scenario just isn’t working, change it. When the backdrop isn’t right, change it. It took me nearly 6 seamless backgrounds and a dozen lighting setups to find the right course of action. Set yourself up for failure and you just never know what result might come of it.

KMAC Couture 2014

ONE HOT LIGHT

When I first saw Theresa’s face, I knew I had to capture it. Fast forward to a week later and she was sitting in my studio. That Friday was a long day, I had shot for 8 hours for Louisville Magazine and raced to my studio to find Theresa and my team, consisting of makeup artist Casey Ritchie and stylist Jamie Hubbard, ready to rock. The hard work of the day was well worth it. The concept concentrated on androgyny, blending the lines of male and female fashion. I won’t dive into the logistics of the shoot or any pre-production, but rather the technical aspects. 

The first set, I lit Theresa with one stobe pulled back 10 feet and raised 12 feet to mimic hard sunlight. The lighting diagram can be seen below and is explained in this Fstoppers post here.

The second set, we got creative. I wanted to do something very dramatic with my new Oliphant backdrop, but I also wanted to shoot at a very shallow depth of field, almost like a celebrity portrait. I fired off strobes and tried several lighting techniques, but I just wasn’t getting what I wanted, I made a quick executive decision to lock in my 50mm prime lens and open up my aperture to f/1.2. Then, I proceeded to only use the modeling light on the strobe. The light was harder than I wanted, so I clamped a Westcott Diffusion Panel to the Paul C Buff Octobox and what came of it was a beautiful triple diffused light source. White balance was though to lock in, but once I had it, the results floored me.

A first time for everything; it was the first time I had done anything like that in the studio and it was all a big experimentation, but an experimentation that paid off.

PROJECT ONEIRIC

It all started with a simple idea. Late one night, well settled into an inebriated state; Josh Eskridge, Antonio Pantoja, Steve Squall and myself came forward with an idea to create one of the biggest collaborations the city of Louisville had ever seen. I remember seeing a “Framed Show” with fashion & conceptual photographers Brooke Shaden and Lindsay Adler. They had both chose the word “Entrapment” and using that word they had to create a photograph. I mentioned the project that evening to Josh, Antonio and Steve and they seemed very into the idea. But, I didn’t want it to be just another collaboration, I wanted everything to be on a grandiose scale which involved regional competitors as well as peers.

Unfortunately, there is some small town drama here in the great city of Louisville, KY. We prepared ourselves to deal with the waves that this project may create, but with that strong support system and creative backbone we also were confident our project would sail far and wide. With the concept in place, it simply came down to the collaborators involved. We mulled for weeks and weeks, It had to be the right people with the right social structure who could not only being their “A-Game” but also maintain professionalism under any odds. It was not easy by any means. Many were considered.

Fast forward two months, time was ticking, and The Kentucky Derby was fast approaching, we knew it was now or never to execute. I formed a Facebook group with the four “Board Of Directors” and the “casting” process began to take shape. We followed a few simple guidelines and selected the collaborators: 20 creative talents consisting of published photographers, makeup artists, stylists and hair stylists from all over the region.

Photography: Clay Cook, Steve Squall, Josh Eskridge, Antonio Pantoja, Joey Goldsmith, Cristian Caballero, Heather Rous, Tyler Zoller

Makeup: Isidro Valencia, Micah Severo Ruelas, Casey Ritchie, Rick Bancroft

Hair: Matthew Tyldesley, Raina Trimble, Dylan Kremer, Liz Lane

Styling: Gunnar Deatherage, Chris Caswell, Megan Wilde, Maui Crane

We had to play right and had to play fair. Each photographer would share a team of a stylist, makeup artist and hair stylist. In other words, we had 4 stylists, 4 makeup artists and 4 hair stylists who would collaborate with two photographers each. The teams were drawn at complete random. Each photographer was then responsible to bring on a model and an assistant or two. 

The team selection process was actually quite nerve racking for me. I was among some amazing talent and would honestly be happy with anyone, but I also had collaborators I had worked with previously whom I had a great relationship with. My friend Chris Miske selected names one by one out of containers and the teams were locked in. Energy was high, I could see magic form right before my eyes and I was stoked to be on the front lines of it all.

My team was drawn last and included creative director and stylist Chris Caswell, makeup artist Micah Severo Ruelas and hair stylist Matthew Tyldesley. A rush of relief came over me, I had a dream team. I had worked with all of these talented gentleman many times and was more than confident create an amazing composition.

Once all the teams had been selected, every collaborator had to submit a word of interest. A word that could potentially tuned into a photograph.Once all twenty words we’re submitted, they we’re voted on and the word with the most votes would be the project word and title. 

I spent nearly two hours scouring through an online dictionary and thesaurus, looking for the right word. I had almost fallen asleep at my desk when I came across the word “oneiric” meaning “dreams.” I was enthralled with the pronunciation and meaning of the word. I immediately submitted the word to the group, but I was in good company with some very deep and interesting words. I voted for Megan Wilde’s submission of “purge.” But, to my surprise “oneiric” came out to be the winner!

While the teams ventured off into their own Facebook groups and messages, the work had only begun for me. I needed to find a location to host the shoot. Since we were guaranteed 30+ people on set and the temperature outside was below freezing we needed a massive location, with heat. I made dozens of calls and even got the Mayor’s office involved. I could fill a blog with all the details of the location debacle, but I’ll spare you.

We got lucky.

With only a week left until the shoot my friends over at The Icehouse agreed to host the shoot. Meetings were set and I took a quick tour of the location. This whole time I had ignored my concept, trying to make the shoot work with the date we had chosen. But once I had The Icehouse locked, I immediately drew up plans for my project photograph; In stark contrast to my usual commercial and fashion editorial work, I wanted to re-visit my aphotic graphic design roots and show the word “oneiric” with a sense of nightmarish gloom. A personalized portrait and an exploratory glint into my own worst fears. I wanted dark, I wanted different, I wanted my own nightmare.

My first fear; although I’m a good swimmer and like water, I’ve always had a fascination of drowning and the process of your final moments in water. One of my favorite films of all time is The Abyss, because they explore the subject of water so intimately. Also, the fear of falling; I’m not afraid of heights by any means, but I’m more enthralled with the subject of falling to one’s death. The image of “The Falling Man” although controversial is one of the most fascinating images to ever be captured. And finally, snakes. Like Indiana Jones, the thought of snakes slithering over me in my dreams is haunting. When I do see snakes in a real life situation, I don’t necessarily scream at the top of my lungs, but a cold chill runs up my back. With that said, my vision was to show a woman floating over a water well with the look of falling, but the “mirage” of floating if you will. And, for the added touch snakes would be slowly moving towards the well.

After a few phone conversations, the vision was locked in and it was time for execution. I had worked with Rebecca Bussey on only two occasions and loved her “doll-esque" look. As I wanted the woman to resemble some form of nightmare or death, Rebecca’s pale look was perfect. The guidelines we set in place stated we had to use one piece of the location. My idea was to use the broken concrete on the 4th floor and combine that with a well, water and floating model. The model would be shot from directly above on a green screen for easy post-masking. I started the shoot by rigging my camera on a large boom and raising it 16 feet at 35mm. Then, using the CamRanger, I fired all the shots remotely. I did this process for the broken concrete and shooting the model.

Sunday, February 16th; It was creative chaos, the best kind of chaos. Nearly 40 people were on set and the energy was exploding through the roof. I was interviewed by a local news station WDRB and a photojournalism class even made it out to the set. I could go on and on about the logistics, but let’s just say it was a success. My concept went off without a hitch and by the end of it, I was exhausted, but very happy with the results. We ended the night with some sushi and sake, a lot of sake.

Saturday March 1st; Right after the shoot, we locked in a date for the release party. Once again, Derek at The Icehouse stepped up and agreed to host the event. It was one of the most insane weeks of my life. I was not only doing editorial work for clients, but also planning production and promotion for the "Project Oneiric” event, I hadn’t even touched my image yet. Luckily, everything went smooth as silk and people stepped up to help. The Sunday before the scheduled release, I crammed in a editing session with my contract editor and roommate Chris Miske. In just under 10 hours I had the image composited and complete. The next day the image was sent off to print. I decided to forgo the frame and have a simple thin-wrap metallic print that was light and could easily mount.

The day of the release party was stressful, but having a history in show production, it was just another rodeo. Hanging the prints was a challenge, the projector was having issues, the photo booth wasn’t cooperating and the band was have soundcheck issues. But, when showtime came, I was floored with the attendance. Over 300 artists, designers, competitors, friends and family joined to celebrate the project collaboration and network with others. For me, It was never necessarily about the collaboration or photography; it was about the event itself. The project was simply a catalyst to bringing the Louisville/Lexington creative community together for one evening of networking, music, fashion and fun. It truly meant the world to me to have such talent in the same room and the resulting images were just outstanding, it was an honor to be displayed among such art. All images are being shared here: Glass Label

We all worked very hard to make “Project Oneiric” a success and there are several people we’d like to personally thank for that; Derrick Pedolzky of Oak Street Productions, Derek Steinbrecher of Crushed Ice Events, Joey Wagner, A Lion Named Roar, Andrew Kim, Justin Gustavision of Nadus Films, NFocus Louisville, WDRB and The Courier-Journal. Without the support of these people and businesses this event would not have happened. It was a grand success and by far our best Glass Label Industry Affair to date.

QUITE THE COMPOSITE

As you may know, I had the amazing invite to join the Fstoppers team as a official staff writer. With that comes a lot of writing and potentially less personal posts. However, I plan to do my absolute best to save some of the more creative, unique content for this space. I’ve received a lot of amazing comments and feedback on some of my more recent work “Let Them Eat Wedding Cake” a feature editorial for February’s issue of NFocus Louisville Magazine. Much of that feedback was about the lighting and the entire aesthetic of the shoot. The entire concept was a play off “Marie Antoinette” and the whimsical vintage world of that age. It required a lot of planning, but was well worth the pre-production.

But, it was the post-production that truley played a integral piece to the entire puzzle. Getting everything right in camera is an important part of photography, but processing and grading is what can really breathe a totally new life into an image.

On the first set, I was tasked with shooting all 3 models in a dark corner, there was some ambient light flowing in through windows camera right, but I realized that my lighting just wasn’t right. I made an executive decision to composite everything. Just like that, my mind set had totally changed for the shoot. The rest of the day was comprised of shooting all for the compsoite. Gaining the proper background images and making sure I had everything I needed to tackle some pretty detailed post-processing. 

Compositing; It’s a pretty simple process. Lighting and capturing each individual model, then snagging a couple of background images all on a tripod, all the same frame. Then, taking those images, combining them all in Adobe Photoshop and blending everything together. Perhaps easier said then done, but once you do if a few times, it turns into a pretty seamless workflow. I dive a little bit more into the technique in this video here. With strong deadlines, I usually have to farm out the initial masking and layering to my friend Chris Miske, who can usually knock them out in a day or two. Then I’ll take on the re-touching and color grading. 

Our last frame consisted of a beautiful tile wall that screamed “Antoinette”. We wanted the background, but unfortunately there was a giant mirror attached to the wall with massive bolts. It was throwing light everywhere, so to keep things clean and easier and post, I hung my Westcott Scrim Jim over the mirror and made sure to get a shot of a clean tile wall which was adjacent to the mirror.

“I enjoy the challenge of creating a single image from a series of photos. With this image the lighting from each image was blended to create a stark contrast of the foreground and background composing a faint silhouette around the subjects. On every project a challenge with this image the most difficult element of the photograph was replacing the decorative plaster moldings. It took several attempts with many different types of techniques finally ending upon the one seen in the photograph.” - Chris Miske

It’s never easy to look at the RAW images and gain a vision of the final image, many think “behind the scenes” but the RAW image is very much the birth of something greater. That final photograph is always in my head and when compositing it’s post processing that makes everything come to life. When the light just isn’t working and you’re up for the challenge, give it a shot. It’s well worth the process.

LIGHTING LUCY

For whatever reason, January has been plagued with cancelled and re-scheduled shoots. However, the silver lining; it has given me a grand opportunity to experiment and really test my skills in the studio. In other words, do something on my own terms for me and my portfolio. I’ve wanted to shoot Lucy for quite sometime and always had the vision in my head, when a commercial job decided to re-schedule I jumped at the chance and got a team together in less than 30 minutes. What I was so exciting was that the majority of the team had never worked together. It would be a melting pot of talent that had never been on the same set and I knew it would be a winning combination. With a strong vision of mod styling fused with retro art, I brought together Raina Trimble and her bold artistry with Jamie Hubbard’s commercial styling. And with Lucy’s gorgeous look, I knew we would walk away with some images we could all be proud of.

I won’t dive into details, but rather focus on the technical aspects of this image. I wasn’t sure how I would execute the style of lighting I wanted, all I knew it that I wanted dramatic, moody and… fog. We started with the basics, one soft key and one background light. The key light was modified with a Photek Softlighter II and the background light was modified with a 30° grid and several CTO gels for a strong warmth. From there we built. I needed the legs and hands lit, so we placed a soft box with a grid under the key light just for that pop and fill. Finally adding a low powered speedlight with a red gel to accent Lucy’s jacket. Once the lighting was locked we unleashed the fog and I started snapping the shutter. Right out of the gate I was extremely pleased with the lighting and the mood.

It all may seem overkill for a portrait like this, but I felt it was much needed for the results I wanted right out of camera. Some lights just play a small role, but without them the image may lose interest. Next time you have some creative time in the studio, start small and build, you never know what unique light you may find beyond “the key”.

JUST A VISION

Something intrigued me about Brooke, she was a fresh face and one I hadn’t seen much; she had a gorgeous look and was tall. We soon became friends via social media and when I put out a casting call for my workshop, to my surprise Brooke was one of the first to jump on board. I really needed a model with some experience for the workshop, but I figured I’d give Brooke a shot. Photographers coming at you from every direction and fighting of cold weather isn’t an easy thing, but Brooke pulled it off. She worked hard and gave it her best; so much, that I knew I need to get some one on one time with her.

So in a rush before the holidays, I inked a shoot on the books. We exchanged ideas and a team formed. I brought on board the amazing and very trusted makeup artist Isidro Valencia. Also, Sarah Julien, the young and very hungry new stylist in the scene. I spent a couple of hours pulling some look ideas and we expanded on it.

When the day of the shoot came around, I setup two backdrops, the Oliphant canvas and a Fashion Gray seamless. Our first looks we played with real raw emotion and natural makeup. I wanted soaking wet hair and a very sultry attitude. We played “whip your hair back and forth” for about 30 minutes, until we had the right shot. I liked the drama of one light and the Oliphant canvas served as a perfect background as always.

I knew Brooke hadn’t served much time in front of the lens, but this was the time to really work with her and break her out of the shell. I worked her pretty hard and she was a real trooper. Brooke took direction well and listened, many models have trouble with that. After we knocked out the first look, we moved onto a more dramatic second look. Big hair, bold makeup and a very fashion forward selection of clothing.

I wanted to go with a strong black and white, full body, but really wanted to highlight Brooke’s legs. I knew I needed more than just one light to do it. So I setup a Profoto D1 with a large softbox camera right and then stacked two Alien Bee B800’s with stripboxes directly under for one soft tall line of light. This line of light put a strong shadow behind her for the very high fashion look as well as not to mention a sweet catch-light in her eyes. Once Brooke stepped on the backdrop we started molding poses. About 10 minutes in, Sarah noticed Brooke had locked in something unique, I noticed it immediately and we knew it was the one. We mastered it. Making sure the pose, clothing and light was perfect and I snapped 4 frames and set the camera aside.

I got up off the ground and walked outside. The studio was stale and we already nailed the shot. I didn’t feel the need to try and top what we had already shot. As I perused the surrounding area, I noticed a long fence line that we’re backed by some very ominous cloud cover. Although we didn’t have much options as we we’re right in the middle of a office parking lot. But, we got creative and used the fence in several different ways, until finally landing on a composition I felt would work well. I shot everything wide open at f/1.2 to blur the background and cranked the shutter to compensate. The aesthetic that was coming through reminded me of a London bridge or some sort of “Chanel” advertisement. Once we hit the pose and expression, we called it a wrap.

I always strive for imperfect perfection. Something that creates stimulation or mood. Editing plays a large role in that, but with these images, I wanted something that could square up with any major publication or advertisement. However, I really didn’t exactly know how I wanted to accomplish that. When I imported them in Photoshop, I just saw something in my head and did the best I could to replicate it. The point is; all it takes is a small vision or picture in your head, with that vision, do your best to bring it to reality. Once its reality, all of that hard work is instantly worth it.

2013 - REVIEW

THE OLIPHANT PORTRAITS

I spent a lot of time thinking about how I should approach my first shoot with my new hand painted canvas backdrop from Sarah Oliphant. I could do a fashion editorial or shoot an awesome model on it, but when I really sat down and thought about where I am and what I’ve done, I thought it only appropriate to simply… shoot my friends.

When I first picked up the camera in 2011; I shot friends at parties, roommates and random people who must have thought I was crazy. Since that time, I’ve met many talented people who have become close friends and have been absolutely pivotal to my career.I shot a series of portraits; portraits of my friends and those that have helped me to where I stand today. All of these people have made a crucial impact on my career and I only know of one way real way to thank those individuals; that is do what I do best. Deliver portraits that will hopefully last a lifetime and beyond. So, I went out and bought $200 worth of props from Hobby Lobby and set up a studio in my cold dirty garage. I wanted raw, simple, intimate and the real person, not just the person everyone perceives them to be.

GUNNAR

This is Gunnar Deatherage; creative director, stylist and fashion designer.

Since I first saw his “Spy-Wear” editorial grace my newsfeed I thought of him as someone larger than life, a fashion rockstar. Then he went off to shine in two seasons of Project Runway. When our paths crossed I was absolutely ecstatic. Gunnar and I started working together a year ago for NFocus Magazine, since then we have shot over a dozen editorials, covers and features in the most unique places all across the city with some incredibly inspiring people. I’m honored to call him a friend.

ISIDRO

This is Isidro Valencia; master makeup artist and one brilliant creative soul.

I first met Isidro on a project with friend and photographer Josh Eskridge. Isidro and I tossed ideas back and forth for weeks, a creative collaboration finally happened in September of 2012. From that moment, it seemed the creative force that is “Valencia” took the Louisville scene by storm. Bringing to the table a unique vision beyond the norm he has become one of the most sought after artists in the city. Despite him being in such demand I’m fortunate enough to work with him nearly once a week and I’m truly honored to call him a friend.

JOEY

This is Joey Goldsmith; photographer and the man I consider one of my closest mentors.

I’ve known Joey for quite sometime now, long before photography was a glimpse in my mind, Joey was shooting the promotional images for my band when I was just 17 years old. I always thought photography as the coolest creative process. I was enthralled with Joey’s work and his masterful lighting. Once I decided to pick up the camera 8 years later it was this man that introduced me to dramatic lighting and it was a shoot of his where I was first informed of the fashion industry. He gave me a shot and I am forever grateful for that. Joey is one of those people that I can depend on for not only a great time, but a very trustworthy opinion. He continues to push and produce inspirational work everyday. I’m honored to call him a friend.

STEVE

This is Steve Squall. Brilliant photographer, co-owner of the local apparel company Tribe and a very close friend.

Although we are very much freelance, we are blessed with the opportunity to shoot for the same magazines and we are often squandering to see what the next month may bring. Some may say that Steve and I could be in direct competition every month. But, it’s that healthy competitive spirit that has led us to becoming very close friends. When I first stumbled upon Steve’s work I was indifferent, inspired by Terry Richardson and Jürgen Teller, his work was never about the technicalities or the camera; it is and has always been about the photograph. It was work I respected a lot, but had trouble understanding. It all changed when he took a concept with one of the country’s top interior designers, Lee Robinson and flipped it upside down. Steve captured Lee jumping off his couch as well as sliding down his banister… I had to think to myself, what would I have done? Well, certainly not that. It was then where I changed my perspective and set a goal to know my subjects and bring out the real uniqueness of each individual I shoot. It is that aesthetic that changed the game for me and I have Steve to thank for it. I’ve become absolutely enthralled with his work and look forward to seeing what he just might do next. More and more I see a bit of “Squall” everywhere and I’m confident that will continue. I’m truly honored to call him a friend.

MICAH

This is Micah Severo Ruelas. Masterful makeup artist and friend. I owe much of my creative growth to him.

Micah and I bonded with one unique idea. The idea to create a concept series based upon the music, art, and fashion of Lady Gaga. Over a period of 3 months we shot 7 models, at 7 unique locations, based upon 7 different songs. It was a very stressful time, but we pushed through and created a piece that still remains in my portfolio a year later. Though we never received a response from Gaga herself, it was completely worth the time, effort and money. The Gaga Series has formed the foundation of where I stand today; as many of my current clients hired me because of that very concept. It’s all due to Micah’s hard work, vision, energy and time and I can’t thank him enough for just giving me a chance when I was every bit of unknown in this industry. Since that time, we have created some amazing photographs and continued to push the "glamour” envelope. I don’t get to work with Micah as much as I would like, but when I do, we set to make an impact. I’m very honored to call him a friend.

ANTONIO

This is Antonio Pantoja. Business partner (Glass Label), prodigious filmmaker and one of my closest friends. A man I’ve looked up to sometime, not just because of humility, but his ability to simply talk to people. 

Where do I start? Antonio and I are somewhat kindred spirits. We started our creative path nearly the same time and since then, as individuals, have exploded on the Louisville market. I first came across Antonio’s work via Facebook some time ago, just like everyone else. I noticed a strong energy to his work and his down to earth heart was fascinating. Coming from a video background myself, I took a strong intrigue to his eye and creative short films. Soon after, I touched base and a strong bond was formed. We meet on a whim and collaborated on a “48 Hour Film Project” titled “Green Glass Door” and the rest is well… history. Since then as a collaborative duo, we’ve produced numerous short films, won many awards and created some fantastic commercial projects for some very strong corporate clients. All this while, Antonio has become one of the most reputable filmmakers in this region and I’m grateful to create alongside him. We’ve been fortunate enough to shoot inspiring people from all walks of life and we’ve grown a lot together as individuals and as a company this past year. With this portrait I wanted to show the very person that many people don’t know outside of social media; the Pantoja that is vulnerable, the gentle Pantoja, and the real Pantoja. The man I’m honored to call a friend. 

But, don’t ever ask for a death-shot, it’s dangerous.

CHRIS

This is Chris Miske. The jack of all trades and a master at many; visual effects artist, game developer, carpenter, cook, an endless supply of bizarre trivia and the man I call my roommate. You probably don’t know him, but many in the industry do.

I’ve always told Chris, If I had the chance to reenact the film “The Cell” in real life; I would want to spend a day inside his brain. I met Chris, by chance, many years ago, back when I touring across the US in my musical outfit “(intheclear)”. Chris’ depth of knowledge and design skills impressed me… we immediately became close friends. Over the years Chris and I have worked on many projects, not only for my old band “(intheclear)”, but also collaborations in graphic design, video and photography. When I first started taking on commercial graphic design work it was Chris who tagged along and assisted in photography. When I first picked up a DSLR in 2011 it was Chris who tagged along and assisted in lighting. I owe much of my early success to his labyrinth of knowledge and I consider him a strong mentor through those initial months. Although, Chris is contracted freelance, he is a crucial piece to the puzzle. I shoot a lot and I do mean a lot, which means I always have a plethora of post processing and thankfully I’m able to farm out much of my complex image editing to Chris. Many of the images you see in my portfolio have been touched and corrected by Chris in some way. I can’t thank him enough for his value in my career and I’m truly honored to call him a friend.

CASEY

This is Casey Neel. Mother to a beautiful daughter and very much my model muse. You may just recognize her.

For whatever reason, we clicked. Fate brought us together one afternoon to shoot an editorial on the under-construction Big4Bridge, a walking bridge spanning Kentucky to Indiana. Casey had won a possible modeling contract and I had just recently started shooting for NFocus Louisville. It was both fairly new to us, but the energy was high and excitement was in the air. The images proved to be some of my favorites that remain in my portfolio today. The second time I worked with Casey it was natural, the images came easy. Since then, we have stayed close and worked together on several occasions. No offense to the many other incredibly talented models I’ve worked with, but if I had only one model and one shot left, it could be Casey. Not because of her gorgeous look or personality, but simply the energy we are able to create. When I inquired with friends about this project, when I mentioned “model” they said “Casey”. With one 2 year old child at home and another one on the way, it all takes a very strong woman and Casey is just that. I’m so honored to call her a friend.

Special thanks to Cassie Lynn Young for the hair and makeup.

JOSH

This is Josh Eskridge, close friend, photographer and a man I owe much of my success too. He alone and above all has played a significant mentor role for me.

The first time I met Josh, he was hauling a light stand and beauty dish over his shoulder with a swarm of gorgeous women crowding behind him waiting to be photographed. I thought to myself “who is this guy?” I wanted to be him. Suddenly, when I realized who it was, I was nearly star struck. I had long known Josh’s work and even stalked his page quite a few times. I really didn’t know the real Josh, I only knew the perceived Josh. Our first conversation was brief, but it sparked a friendship and respect that stands strong today. When we started collaborating I quickly saw a kind-hearted individual that shoots for the love and creativity, not the money. Although Josh takes his craft with the utmost respect and sincerity there is a playful aesthetic to it, nothing is predictable and that is what is so highly intoxicating about his work. One moment he may be shooting natural light then the next breaking out a mirror and 6 lights. It is and has always been inspiring. Through our collaborative efforts, Josh not only taught me studio lighting, but opened my eyes to the power of natural ambient light. It’s hard to put into words what this man has done for my path and it just can’t be summed up in a few small sentences. I can only say that he has been one of the most inspiring people in my life, his professionalism and eagerness to create is addicting. I’m honored to of had the opportunity to share many sets with Josh and I’m honored to call him a friend.

CHRIS

This is Chris Caswell. Commercial stylist, interior designer, creative director, local celebrity and for about one month of the year, as Chris would put it, we’re pretty much married.

Chris has opened so many doors for me; “Louisville Magazine” to “The Voice” to “The Kentucky Derby”. I really can’t thank him enough. The entire month of April (and May) we are contracted to document nearly every party for the Kentucky Derby festival and for “MyDerbyLove”, an online Derby blog. This past year, we formed a close friendship and respect. I saw Chris almost every day, sometimes 2 or 3 times a day. Now, I’m always excited to work with Chris and his team, because of that creative bond. And when I say team, I mean it. For this shoot, he made sure to have his personal assistant and a personal makeup artist by his side, never a dull moment! In this entry for the “Oliphant Portraits” I wanted to show Chris’ quirky attitude, fashionable attributes and his “married to the job” work ethic. If there is one thing I love about Chris, it’s his ability to multi-task, get work done, but also have a carefree and fun time doing it. We all seem to constantly laugh on our shoots, raising moral, which is a crucial element for any photo shoot. I’m looking forward to taking on Derby 140 with Chris and I’m truley honored to call him a friend.

For those that know me personally know that my life was completely different just over two years ago, things have changed 180 degrees. I went from “content” to “alive” in a matter of months. I’ve just scratched the surface of people that I owe my success to, however the people that I’ve featured in this series are people that define who I am as an artist today and for that I am forever grateful. 

This particular project was mind-blowing. To have such talented people together in one room isn’t a rarity, we are actually all good friends! But, to have everyone under my roof was an honor.

To Gunnar Deatherage, Isidro Valencia, Joey Goldsmith, Steve Squall, Micah Ruelas, Antonio Pantoja, Chris Miske, Casey Neel, Josh Eskridge and Chris Caswell… thank you for giving me your trust, thank you for all that you do and please continue to inspire. The world is indebted to your talent.

Meeting Sarah Oliphant was surreal. The talent that has been through her studio and the images she has helped create is unfathomable. Most don’t get it, but many photographers do. It’s brought such dimension to my work. A special thank you to Sarah for working with me and customizing this canvas, the art you create inspires imaginative people every day.