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.

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.

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.

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.

DEATH VALLEY TEST

It’s been awhile. October has been the busiest month of my entire career. I’ve shot for 3 publications, a number of commercial clients and a gamut of random development sessions and test shoots. I’m finally catching up on edits and blogging. Amid all the hubbub I was able to schedule a shoot with new model Kristina Russ of COSMO Model And Talent Agency. 

A few months ago, Kristina’s face came across my newsfeed and immediately I thought to myself “This girl needs to be in my portfolio”. I reached out to COSMO and Kristina shortly after and things unfolded as they should. After throwing schedules back and forth we landed on a date. Without hesitation I had a team on board consisting of Isidro Valencia, a masterful makeup artist. Hair virtuoso, Matthew Tyldesley and we all know the amazing Project Runway famed Gunnar Deatherage and his work.

I pulled a couple of inspiration images and after a few minutes had a clear vision of what I wanted to do. Long flowing fabric in a desolate desert with smoke or fire in the background, something outer worldly and very dramatic. It was the only look I really cared about, I wanted this image to magnify the possibilities and show people what can be accomplished with just a simple vision. You have to trust your team and as a photographer, they must trust you. Fortunately, this team is my dream team, we had all the right tools to bring my vision to life. I wanted to go big and that is exactly what we did.

Kristina, having never stepped in a fashion shoot, was very green. it took some time to mold her expressions and I had to really work with her to gain the picture I wanted. But, she put everything into the shoot and I was very proud of her for stepping outside the box with us and trying new things. We did three looks and pulled out all the poses; jumping, lunging, glamour and beauty. It was a real challenge that she needed before she stepped on some sets. By the end of the 6 hour shoot, I felt like we had something I could dig my teeth into and was extremely excited to get into the digital darkroom.

The black and white image was a uphill battle. I was fortunate enough to shoot an original jacket designed by Gunnar and I wanted to make him proud. Also, Kristina had absolutely rocked the look, so I needed to make sure the final image was top notch. After re-touching, I just didn’t know where to go with it. I wanted it to be sleek and edgy, but I didn’t know which road to take. It took a lot of time back and forth with color, tone and curves to get what I wanted. It wasn’t until I created the large triangle behind Kristina, then it all came together. 

The image in the desert was all shot in the studio and compositied on the a stock image of Death Valley, California. it was comprised of three images, one of Kristina with the fabric, a stock image of a brush fire and lastly the background of Death Valley. Like the shoot itself, processing the image was one big experiment. I took things to new heights and played with new techniques, including shadowing, sharpening and frequency re-touching. It just goes to show, you don’t need a million dollar budget to achieve a golden image.

This entire shoot was built around patience. I sulked on these images for days. I would pull a few out of the batch and play around, then return to some commercial work. I didn’t rush into anything, I took my time and executed when the time was right. It’s not everyday you get to work with such talent on a simple creative test shoot in…. Death Valley. Joking.

FOOTBALL THEN FASHION

Sometimes it’s hard to put into words what I do with my time or what I do for a living. I have my hands in a lot of things; marketing, graphic design, art direction, filmmaking and photography. Some days present completley opposite adventures, and I love every minute. This past weekend I arose at 8:00am to prepare myself for some football and fashion. I started the morning in the press box at Papa John’s Cardinal Stadium assisting Chris Humphreys with The Voice-Tribune and his ongoing project to create the ultimate gigapixel stadium image.

We decided to tailgate for awhile then return to the press box to setup the Gigapan to shoot 1,300 images that would eventually become one. By kickoff we let the device work its magic and headed down to the sidelines. I was thrilled, I not only felt like a special VIP, but I also felt like a dream was being fulfilled. I had always wanted to be on the sidelines of a big game or event and this was it.

It was refreshing to jump into a different style of photography and really be completely out of my element. I learned from others quickly and did my best to capture all the action. Shooting football isn’t easy. You lose sight of the ball quickly and unless you have a long telephoto lens, you have to constantly move from position to position. The results weren’t as good as I had hoped, but I certainly gave it an old college try.

Once the game was over and we had our Gigapixel image shot, we hightailed it out of the stadium. Ignoring the red sunburn and sweat, I grabbed a quick change of clothes and headed downtown to the Skyrise Fashion Show at the Muhammad Ali Center. 

I walked in to a plethora of familiar faces and smiles, I felt like I was home. I setup and prepared to shoot the evening, but realized I was extremely early. At this point, the sunburn started to get to me and I felt like a heater burning up the room. I took my seat in a chair and sat down to relax and cool down. I love to shoot fashion shows, I can almost feel the same adrenaline that the models feel as they walk down the runway. There is a slight connection when the model glances towards my lens. Its very graceful and sometimes intense. Once the show began, a switch went off and I was into it. Luckily, there was some liquid courage provided.

It was a good first show for Anu and partners. She really made me feel special as my logo was on the step and repeat and I even had my own chair. I’m looking forward to seeing what SkyRise can bring to the Louisville fashion community.

Earlier in the day, Chris and I were discussing our respective jobs in the industry and photography. I think both of us are constantly amazed at the opportunities we’ve been given. And under 30 years of age, it’s humbling to even be able to get to do any of this, then make some form of living from it. For those that made this past Saturday possible, thank you.

THE ART OF FASHION

I just couldn’t wrap my head around it. Art becomes art at art in art. Say what?

When NFocus creative director, Gunnar Deatherage brought his idea for the August editorial, it really took me a while to really figure out what he was thinking. Even after storyboarding the entire shoot I was still nervous about it all. 3 of the 4 images would potentially be composites and that really frightened me. I knew I could do it, I just wasn't confident enough with my lighting and composition to make sure it actually looked right.

The concept of the editorial would be a woman who enters an art gallery and is then consumed by art, her own art and then becomes that very art. We wanted to express this through extensive makeup and Photoshop trickery. It would’t be an easy project in the least, but trial by fire and setting yourself up for failure is the absolute best way to learn, you won’t forget it.

I did some prep and bathed in knowledge as much as I could, pre-shoot. I was ecstatic and especially excited to work with Ms. Lauren Franck of Heyman Talent Agency once again. It would be a very long day and I knew that Lauren would be up for the job.

Our location was the Kentucky Museum of Arts and Crafts, otherwise known as KMAC. The first set would start with Lauren staring a painting and the shot coming directly from behind, full body.  The lighting at KMAC is actually pretty prominent, but I was running into the issue of making the image dramatic, so for over an hour I played with different light setups, using boomed softboxes, grids and even bouncing hard light. I eventually landed on good ole’ ambient light. I wanted the first image to have a sense of “dull” rather then excitement, there need to be something that caught the viewer, but off putting, leaving them with wanting more.

The second set was one of two composites, Lauren being pulled in by a painting resembling herself. Another example of tough lighting, I ended up bouncing one light from the sold white ceiling, I liked it right from the start so rather then playing, I stuck with the setup. I used a white diffusion panel on the actual art piece to make the post work a lot easier around the finer details. Looking back, I should of done the same with Lauren’s head, but you learn from your mistakes! That shot came easy, we moved onto the toughest set of the day. 

Lauren would be “taken” by a gold statue of herself.

We couldn’t switch in and out of the gold makeup so we had to plan the sets accordingly and really map out our day. I only had one camera so I had to use multiple tripods and leave them securely in place. We moved a large white riser in the middle of KMAC and I setup a one-light scenario, I wasn’t really happy with it but I rolled with it. I composed my shot and with Brooke Duvall’s assistance we had Lauren mock a “terrified” look. We then taped off the wall in the background to mark of the point of contact between Lauren and Brooke for reference when we posed Lauren on the riser with the gold makeup. It took quite a few shots and I didn’t know if we had it or not. I carefully removed my camera from the tripod ballhead and taped off the tripod.

Onto the next set, a beauty shot of Lauren slowly becoming gold which would be composed in a abstract fashion on the second image in front of the frame. The makeup took roughly two hours, I burned time by catching up on a few phone calls and Facebook messages. As we moved into the beauty set things were warming up and we hit a stride. Lauren rocked out a gamut of amazing images and I sent her right back into makeup to get painted in the full gold skin.

Another hour passed and we headed back down to the riser and had Lauren setup right where Brooke was once standing, we compared hand placement to the tape on the wall and went for it. However, because of Lauren’s height, posing correctly and maintaining positioning with the tape on the wall was not an easy feat. It took a grand amount of time just to make things looks right. I didn’t like the fact that there wasn't a safety net incase it didn’t work. By the end of the set, I knew it was all a gamble.

We changed looks and Lauren got her new gold skin touched up. At this point I was pretty worn out. It had already been a long day, but I was hitting that point of exhaustion. Fortunately, the last set would be the easiest. We setup the white riser in a blank corner and had Lauren stand up straight, I asked Gunnar to hold a boomed softbox overhead and within 30 minutes we had our shot. My favorite of the day. The entire team pulled weight and it was a great collaboration of amazingly creative people. It was a true honor to share the museum with everyone that day.

As with every publication, there is a pretty strong deadline. I immediately got to work on these images. The post work wasn’t easy at a all and I’ll be honest, we got lucky. With the third set, only ONE image out of the 40 we may of shot worked in combination with the other. 

Another challenge was creating a creative art piece from a beauty image. Me being a graphic designer was excited to get to that part of the process, but half way through I just wasn’t feeling anything I was doing. I fully admit being my own worst terrible critic and several of the drafts may of been better then the final composite, but in the end the halftone overlay worked for the overall image.

I'm constantly judging my work and pushing myself to be better and better. Did this fall short of MY vision? Perhaps… but I know it made a lot of people turn their heads as the response has been phenomenal. I’m always one to takes risks, this was one I won’t forget.

GEAR LIFE (IN MY CAMERA BAG)

I’m frequently asked the question, what camera is that? Or, what is your workhorse lens? I’m an extreme advocate of “it’s all about your eye, not your camera”, however in my field of commercial and print photography, lighting and gear play an integral role in quality. Whether I’m on assignment shooting a run-gun event or on location for a 12 hour fashion shoot, I have my setup on lock and a full proof system that works for me. As a disclaimer, this may not be the setup for you. Note: I’ve worked my absolute ass off to obtain these expensive products and I strongly endorse everything you see.

Featured below is not only a list of my gear and gear I regularly use(don’t own), but also some insight into my lighting setup and a few images showing just how much stuff I jam into my Gura Gear Bataflae 18L!

Bodies:

• Canon 5D Mark III
• Nikon D800
• Nikon D7000

Lenses:

• Canon 70-200mm f/2.8L IS II
• Canon 16-35mm f/2.8L
• Nikon 70-200mm f/2.8 VR II
• Nikon 14-24mm f/2.8
• Nikon 35mm f/1.8

Speedlights:

• Canon 600EX-RT
• Nikon SB-800

Bag & Accesories:

• Gura Gear Bataflae 18L
• Think Tank Photo Retrospective 5
• LensCoat Memory Card Wallet
• Black Rapid RS-4 Sling Strap
• Think Tank Photo Credential Holder
• CamRanger Wireless Tether & Remote
• OlloClip Lens System for iPhone
• iHome iDM8B Bluetooth Wireless Speaker (Music)
• Energizer 6 LED Headlamp
• Hoya Neutral Density Filter
• Nikon Remote
• Canon Remote
• Nikon CTO & Color Gels
• Cleaning Tools & Lens
• Eneloop AA & AAA Re-Chargeable Batteries w/ Charger
• iPad 3
• Apple Charger
• Sqaure iPhone Payment System

Radio Triggers:

• Pixel Soliders TF371

Tripod:

• 3 Legged Thing Jack w/ AirHed 2 Ballhead

Lighting:

• Alien Bee B800 Flash Units (3)
• Profoto D1 Monolight (4)

Lighting Modifiers:

• Paul C Buff Octobox (2 w/ grid)
• Paul C Buff Stripbox (2 w/ grid)
• Paul C Buff Parabolic Umbrella
• Paul C Buff HoneyComb Grids (All Degrees)
• Cheetah Stand 16" White Beauty Dish
• Westcott 16" Mini-Apollo

Lighting Accessories

• Cheetah Stand C8 (2)
• Manfrotto 420B Boom Stand (3)
• Manfrotto Sand Bags
• Westcott 5-in-1 Reflector

DIE HEUTE

Honestly, I thought I would never work with Karah Leigh Cannon. I first saw her in an image published by my friend and photographer Lana Wilson. I was astonished and immediately reached out. A blond bombshell with a fantastic look that could stand in for any Marilyn Monroe piece. At the time, I had zero professional work and I was still in my infancy as a photographer, Karah never corresponded. I finally had the chance to meet her at a Derby Fashion show, it was a quick discussion and we spoke about working together, but nothing came to fruition. It wasn't until Micah and I started the beauty book sessions that we really wanted to pursue Karah as a model and it just so happened that Karah stumbled into Lana’s studio one day while I was assisting on a shoot for Nfocus Magazine. I quickly took advantage of the impromptu rendezvous and discussed our plans for the beauty book. Karah was on board and agreed to shoot, after we wrapped I left with a sense of pride and clapped my hands on the way out. I’m not sure why I was so excited, but perhaps it was some form of pseudo goal to work with Karah and I would soon be accomplishing that.

A month passed and we were finally in the position to schedule a shoot with Karah. At first our ideas were all over the map, but when the time came we had honed our ideas into a solid style and lighting. It would be a extreme modern take on a vintage time line.

The evening before the shoot was spent cleaning my studio and setting up what would be our first set, a true photography challenge. I wanted dramatic flash lighting but also some extreme bokeh which resembled city lights. I bought 150 red Christmas lights and strewn them across a dark cloth background the positioned one Alien Bee about 15 feet away from the backdrop, with enough room to shoot Karah from a long focal length. I still had to bring in the ambient light from the Christmas lights, so I turned my Alien Bee to its lowest setting, opened my aperture to f/4, positioned my test subject a.k.a roommate and took the shot. The results were just OK. I made a few adjustments and saw my “test subject” getting frustrated, so I gave up and decided to test it on the fly in the morning, which is exactly what I did.

We started at 10am on a Thursday morning and dove right into hair and makeup. Karah being a makeup artist herself got along fine with Micah and the two connected on many topics. I took advantage of the time researching light setups and balancing ambient light. I probably switched modifiers maybe 4 times before settling on one strip box set on a overhead boom with a grid. This would be my first attempt. 

Micah wrapped up the first look and I was excited to get started. The first look was a “preparatory” stage in which Karah looked as if she was prepping for a evening out, the looks would progress into ultimate beauty. We positioned her in front of the strip box and I asked Micah to hold a silver reflector for bounce. The first attempt was an absolute failure. I wasn't happy. I switched modifiers to a beauty dish. Second attempt, failure. I just couldn’t nail that dramatic look and light with the ambient bokeh in the background. At that point I explained to Karah, that it was purely experimentation, but was confident we could lock it in. Finally, I attached 37" Octobox with a grid and popped off a few shots, way better. The light was full, but gave a sort of mysterious spotlight to Karah’s face. Nevertheless, slightly frustrated, I sent Karah into the second look.

I didn’t browse through those shots, I didn’t want to face the fact that I may have blown that set. Moving on, I broke down the dark background and pulled the Christmas lights to expose a seamless white background. Shockingly enough, this would be my first time shooting on white ever! I had always used fashion gray or some other color, so white was a new venture. 

Karah came out of the second look stunning. Glamorous and powerful. She stepped onto the seamless under a 3 light, clam-shell setup. Karah’s expressions were downright flawless, her attitude cast a captivating, foxy beauty, she knew her looks and what her face could ultimately do. 50 frames later, I was upbeat and convinced we had scored the shot.

The next set would be a challenge, I would be shooting a red vinyl backdrop that emitted strange reflections from indentations. So to avoid those reflections being too apparent and distracting, I setup three lights, one on the backdrop and two beauty dishes in the same clam-shell setup about 10 feet out. Within 15 minutes,  Karah was ready and I had only started testing. Needless to say, that backdrop proved it was absolutely worthless, but I knew I had to make it work, as I needed that pop of a orange-red. After a few light adjustments I had the setup locked in and we fired away. I had decided to purchase a turquoise old phone as a prop and Micah had the ingenious idea of having her hold it above her head. This was it and we all I knew it. 

As I pulled off the last shot, I gave a deep exhale of success and celebrated with high fives all around. 4 shoots and months later we had finally wrapped our beauty look book. I could barley contain the excitement, I had accomplished a goal and worked with models that I had been eyeing since I first started photography. A true triumph indeed.

I decided to really experiment with these shots in post. I did a few things outside of the box and really explored my inner graphic designer. With the help from Google Translate I decided on “Die Heute” as the title. German for “Then Now”, it tells the story of exactly what we wanted to express with these images.

Now, several weeks after the shoot, the response has been beyond anything I have ever posted on Facebook; a growing 439 likes and nearly 40 comments across the three images. A fantastic way to close up a amazing shoot and project. Expect a wrap up blog and video once the book comes to print.

WARDROBE WINNER'S CIRCLE

Derby time in Louisville, KY is crazy. Local fashion is at a peak and its a busy time for everyone in the industry. I usually don’t blog about anything other then my concept work, but this shoot was exception. I won’t go into detail like many of my other shoots, but I’ll tell the story the best I know how.

Fitz Fitzgerald is a well known clothing stylist in Louisville and when he approached me about shooting for The Voice Tribune, a local publication. I was more then honored to take on the job. It all came together very quickly.

I was pleased to find out that Ashley Smith, who had been one of my “GAGA girls”, would be the female model. Having a familiar face on the team really made the experience that much better.

Everything had been setup beforehand. 21C Museum & Hotel was the confirmed location and in the back of my mind I thought “Man, this is wild. No scouting, no phone calls, just showing up and shooting”. Which is exactly what happened.

When I arrived, I met the crew and Fitz was preparing the looks. While we waited for hair/makeup, I went around and scouted some areas in the building. It was my first time in 21C and its a pretty cool place. Although, I had seen many shots in the museum before, it was exciting finally get to take advantage of the artistic and contemporary place that it is.

I wanted these images to be stunning and worthy of publication. Quietly in my head I scanned through the knowledge I had learned over the past year and decided to experiment with some kicker lights. I really wanted a slick commercial feel, but with a taste of angelic drama and high-fashion. I wanted light everywhere, but I didn't necessarily have the lights to do it. With some quick testing, I ended up with a cross light setup for all the indoor looks.

We started in the back gallery hallway. A more casual look, but very Derby-esque. Things moved quickly! I had never been apart of a shoot where I was simply the photographer and the creative director was at the helm. I always give direction to the model behind the lens and I did, but in this instance most of the direction came from Fitz, which really took some pressure off. 

Because we were pursuing a certain look, Ashley didn’t have the freedoms like she did on the GAGA shoot, but she nailed it and gave off an impressive performance. Mike Edwards a 6'6" UofL high jumper, really didn’t have to do anything but look cool and that is exactly what he did. We blasted through the set and within 20 minutes, the models were onto the next look. We would head outside. 

It just so happened that a white Mercedes had been rented for a couple staying at the hotel and it was parked directly outside the front entrance. We took full advantage of this. Fitz posed Ashley and Mike on the side of the car and I setup one light and bounced the sun with a reflector. Snap, snap, snap, done. Onto the next look. Yes, it was that quick.

Hair and makeup would have to be changed so I had sometime to experiment. The next image was a formal “Barnstable Browns” look and would be shot on the long metal steps down from the hotel to the museum. Thankfully, my light stand from “Cheetah Stand” raises to a towering 12 feet and I could really get some great exposure on the models faces. I decided to stick a kicker light at the top of the steps for a nice rim light. Then I placed my high-velocity “model” fan at the bottom of the steps. I tooled around for about 30 minutes and keyed in my light. I was confident in this setup.

When Ashley and Mike gained their composure on the steps, we turned on the fan and Ashley’s dress flew up as if being suspended in air, I think I heard a few “ooooh’s” and “ahhhh’s” from the crew. I sprayed the shutter hoping for the perfect shot. At some point during the set, I knew I had nailed it. I showed everyone several of the captures and walked back to the dressing room. Energy was high and I was damp with sweat from all the commotion.

That was it. Show was over. I packed up, threw all the gear in my car, cranked the A/C and took a deep breath. I felt like I had accomplished something great and didn’t come down until the next day.

Even though post processing is essential to any publicized work, once I imported the photos, I was proud that I really captured what I originally sought out to capture. Bringing a vision to life with little to no post processing is always and will always be a major goal for me as a photographer.

Thanks to The Voice Tribune, 21C Museum & Hotel, Fitz Fitzgerald, Ashley Smith, Mike Edwards, Diana E Ray and AJ Brock. Cheers to Derby 2012.