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.

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

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.

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

10-10-TEN

Back in August, I was approached by Christan Turner of PinnacleTen to shoot a series of images in effort to re-breathe some life into her brand. We set a date, got a model and discussed ideas. The major vision was to create a “evolution” of fashion, which would eventually become the 10 image - 10 look composite. 

For me it started out just like any other shoot. Fortunately, I had friend and master makeup artist Isidro Valencia by my side and I had worked with model Courtney Blanton on a few occasions. The day started with Christan lugging in hanger after hanger and shoes for days. It looked like a fashion bomb had gone off in the studio at Outdoor Photo Gear. What I found most interesting is that all of this wardrobe came directly from Christan’s closet. Initially I was shocked, but not surprised. What’s a stylist without a closet full of awesome clothing?  Working with Isidro and Courtney was familiar ground, but I really didn’t know what to expect from Christan. What I came to soon realize; I adore her styling and respect her attitude for an original idea. She knows what she wants and that is the kind of player I like to have on my team. I had also never worked with hair stylist David Hudson, I was impressed with his energy and more importantly his work. Despite Courtney having short hair, he brought an edge that was much needed.

Once hair and makeup was complete Courtney jumped into the first look with a bang. When she steps in front of my lens, I never have really worry, she knows light and always plays the camera well. With our composite in mind I kept the same light setup and explored poses. Look after look we knocked out a series of portraits, experimenting with motion and unique positions. When all work was complete, we gave hugs and high-fives in celebration. But, the real work was about to begin.

Months passed and and the majority of the editing was completed, I decided to tackle the composite. With the help from my friend Chris Miske we made a “panoramic” style of image carefully position each model in our frame.

We quickly realized the issues, hands were in odd places, faces didn’t quite work and it was an uneven mess. I came back to Chris and we re-worked the entire image and made sure it was right, back and forth, back and forth. Blending the shadows is never an easy feat especially on a gradient background. When it was right, I knew it. A few hours and a lot of pixel peeping later, we had a solid composite.

I couldn’t wait to get it online and share it to the world. But, by the time the final image was delivered to my desk, the day had come and gone. I had to wait another 20 hours, if there is one thing I’ve learned this year, it’s to be patient and wait until everything is right.

This is an image I won’t forget, it plans to be a staple in my portfolio.

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.

THE FEROCITY OF FRANCK

I don’t usually post about development or commercial shoots, but this one was quite special to me. Despite working with many many models from all over the region, this shoot had a special place and felt like a baptism of brilliant new talent. 

Months ago, Cheryl Franck had reached out to me to book a model development session for her daughter and Heyman Model, Lauren. After many phone conversations and even a few live meetings we had our ideas in place and team set. Inspired by Gucci, Prada, and Dior ads, we wanted to go high fashion and fashion that could sell the look. Nothing over the top, just sexy, simple and sleek. It took a couple of re-schedules to finally land on the right time and location. Thankfully friend and photographer Josh Eskridge stepped up and offered his studio/loft space for what we needed.

Lauren had only posed in front of the lens a couple of times. It was my job to not only her teach her a few techniques, but also the ins/outs of a full-on fashion shoot. When Lauren showed up I really didn’t know what to expect, I had shot her the previous week, but only for video and a few short stills. I liked her elegance, but was really looking forward to one on one time with Lauren. Although somewhat reserved on set, I was impressed with her poise and attitude.

Our team consisted of master make-up artist and hair stylist Isidro Valencia, Apricot Lane manager and freelance wardrobe stylist Katie Meinhart, my amazing intern Jenna Madiona and assistant Josh Eskridge. 

The day started early and I had all the preparations in place. I was completely enamored and very excited for what was in store. By Noon hair and makeup was complete and Lauren suited up in her first look. She stepped on the backdrop and I started firing away.

Shot after shot we seemed to be nailing it and I could tell Lauren had been practicing and gaining inspiration since we first shot together. She had a ferocity in her eyes that I hadn't seen. She turned the switch in an instant and went from a lovable teenager to a powerful and engaging subject that demanded attention. I told her some of the best models I had ever worked with were photographers or had some knowledge of lighting and photography. She caught on quick. She learned her key and noticed her kicker. I was very proud of Lauren.

I kept the experimentation at bay, but brought on a few newly learned photographic skills to the table. We used Josh’s V-Flats, broke out the gold reflector and even explored the use of two reflectors at once.

I expected the shoot to last every bit of 6 hours, but with 4 looks, I quickly learned this would be an all day affair. We started at 10am and by nearly 7pm we had completed the shoot. 4 completely different high fashion looks in the studio, out on the roof and inside the complex.

I left the shoot feeling completely satisfied and excited to get into post process. Derby would come and go and the images sat for a bit. But, in the end, I put a lot of work into the editing. I spent meticulous time on color and the aesthetic of each image. Some took 30 minutes to edit, others took days of back and forth scrutinization. All the wait was worth the result. 

I’m very proud of what our team accomplished that day, not only did we build all portfolios, but we walked away with a sense of accomplishment and our creative tank filled for more.

I’ve heard things like “New York” and “one of Heyman’s brightest” from all around. This is only the beginning for Lauren Franck.

Derby On, Sunday Off

I’m feeling all different emotions and being pulled in all different directions. Confident, accomplished, determined, but also haggard and burned. I’ve had to push aside many people and projects just to keep my head above water. The Kentucky Derby is called “the most exciting two minutes in sports”, but for me it has been 4 weeks of non-stop action.

At the start of every new year Kentucky Derby preparations start heating up. By February, I was buried with the multimedia presentation “Fashion Pastiche” for the biggest Derby fashion show in Louisville; "Runway For The Roses". I had kept my options open and had heard chitchat of potential projects for the Derby, which never came to fruition. By the first of April, while others had there Derby planned, I had no plans. I knew I needed to get involved and it needed to be solidified soon. 

At the 138th racing of the Kentucky Derby, I sat in a posh box in section 113, hungover from the previous nights festivities, just staring. Staring at all the photographers on the track, I wanted to be them and I felt the itch. Right then, I told myself I would work 2013 and work it all.

The first week of April I received a call from interior designer and Louisville Magazine style editor Chris Caswell, I had collaborated with Chris on a few occasions and had a good working relationship. We had just finished up a fun Derby editorial for the April edition of Louisville Magazine. He had been contracted by a start up blog called MyDerbyLove to cover a plethora of events all leading up to the 139th racing of the Kentucky Derby. They needed a photographer. The pay was decent and the job was straightforward; shoot each event, pass out QR cards, take names and turn the images at journalism speed. Twelve events including the Kentucky Oaks and Kentucky Derby, I was on board before I even checked my schedule. This was my ticket.

We jumped right in a week later to our first event, “Taste Of Derby Festival” at Louisville Slugger Field. I was nervous. I had covered a few step and repeats and candid photo journalism, but never a combination of event photography, journalism and step and repeat. It was all run and gun and it had to be good. We entered through the media entrance and were handed our credentials. We split up and I started shooting everything in sight. The florescent stadium lighting was gross, my speedlight was malfunctioning and I had forgot my Black Rapid camera sling strap. I was an obvious mess. Nevertheless, I kept my composure and pushed through the problems. I surveyed the area for photo opportunities, but came up short. Luckily, I received a text from Chris minutes later to meet, we hit table after table and Chris being the local rockstar that he is introduced me to a handful of important people. An hour in, I had a decent amount of images and we walked out the door, I was honestly relieved. The ice had been broken and I learned what not to do.

That Friday we were tasked with covering the Kentucky Derby Festival “They’re Off Luncheon” a kick off event for sponsors and media. Followed by the “Fillies Derby Ball”, a black tie auction event and dinner. The next day, “Thunder Over Louisville”, one of the biggest fireworks shows in the world.

We showed up a bit late to “They’re Off”, but we managed to snap a few images while people were settling into their seats and grabbing drinks. “My Old Kentucky Home” was gracefully sung by Miss Kentucky Jessica Casebolt and the lunch started with an introduction by our Mayor Greg Fischer. The room was very dark which offered a challenge, but the stage was well lit and I was able to grab a few high ISO shots without the need of flash. We enjoyed a nice steak lunch and headed out.

We returned to The Galt House 6 hours later to shoot the “Fillies Derby Ball”. Upon entering I felt immediately out of place; high-society women in sparkling gowns and black tie tuxedo brand men approached the event with there chins high. To avoid any possible awkwardness, I began shooting. There were an abundance of fashionable people and we had no trouble meeting our image minimum within the first hour. We sat down for a decent dinner and a few glasses of wine which helped ease the sense of unease. The auction ended and the band Louisville Crashers went on stage. Once Chris and I had had our fill, we cut out, party favors in hand and managed to stopped by Nulu’s “Before I Die” chalkboard on our way back to his home, where my car awaited.

When I booked these events I knew there would be some events that ran together or a few I just wouldn’t be able to shoot. Luckily, my intern Jenna agreed to take on the job of covering “Thunder Over Louisville” on my behalf. Nervously, I sent her into the wolves with my gear and quick 20 minute run down, yet she performed beautifully. I’m really proud of what she captured and how she stepped up.

The following Sunday, I was brought in by Aveda to shoot a clean water charity event for 21C. Hundreds of hair stylists from all over the city converged on the one event to not only show off some crazy cool hair styling in support of Aveda’s cause, but also to literally scream for their team. It felt exclusive and the fashion show was an absolute blast. However, the weekend had worn on me and I was ready for rest, which would eventually come… after I edited the images from the weekend.

We were coming down the strech,“Opening Night Cocktail Reception” at the Kentucky Derby Muesum and the “Heyman Talent Model Search” down at Fest-A-Ville Waterfront Park. Chris and I decided to kill two birds with one stone and attend the events together. It was dreary and drizzling, but I knew I needed to show face for Heyman as I would be shooting the winner of the search. Also, as a sponsor I would be judging the contestants as well. We arrived and made our picks, which was far more difficult then I anticipated. Not surprisingly, Chris and I differed on just about every single contestant! While the models trickled in, we engaged in causal conversation for another 30 minutes  then decided to move onto our next event at the Kentucky Derby Museum.

Fortunately, we had Chris' lovely assistant Jamie a.k.a. “JE" around to write down names, which is my least favorite part about event photography. I have pretty bad hearing from my days of sitting in front of amps and screaming guitars, so typing in names in a loud venue can be trying for me. We walked in and the first person we stumble upon is Louisville’s own Tracy Blue. Boom. I walk around the corner into the venue and is handed a glass of wine. Chug. Snap. Snap. JE followed with a handful of QR cards and her phone for names. I went up to the second level to take some wide angle shots of the venue floor, which turned out to be my favorite of the night. Naturally, when you have a camera in hand, people gravitate towards you and ask for a photo. This event was a breeze, despite a few lighting hiccups. With the job done we left opening night at Churchill Downs with mobs of people still entering the track.

Now, with Derby week upon me, I was scrambling to get things done and edits completed before the big show. I knew that from Tuesday through Sunday, my life would be in complete madness.

It started with coverage of KDF’s WineFest 2013, a melting pot of winery’s that assemble to show off their prime products and share samples to hundreds of wine fanatics. We arrived at the East Belvedere early to find Wine Fest rather bare. Nevertheless, we stayed and explored, but decided to leave shortly upon arrival, without drinking a drop of wine.

The next day I headed over to Waterfront Park to meet up with my friends in A Lion Named Roar who would be performing an acoustic huddle session for ”America's Best Racing“ a group dedicated to promoting horse racing to a younger demographic. Upon arrival I suddenly found myself on a massive tour bus cracking open a cold adult beverage with the band. Speaking with the "America's Best Racing” crew, I received a synopsis of their intentions and tour. It was overall pretty exciting.

A Lion Named Roar grabbed their guitars and headed outside to begin their huddle session, which I gladly followed to snap a few shots. After a few well played tunes, we bounced back into the bus for an interview, quick shot of bourbon and I said my goodbyes.

I hopped over to The Ice House for an official media party where I rendezvoused with Matt Stone and Dustin Strupp, two Courier Journal photographers whom I had admired for quite sometime. It was quite an honor to join the fun with them and pick their brain over free drinks and food. We ended up hitting a late night karaoke bar and I couldn't of asked for better company.

As Chris Caswell covered “Celebrity Day At The Downs”, I reported to Dillard’s to cover an event for Nine West founder and infamous shoe designer, Vince Camuto, who was in town for Derby with his gorgeous wife, Louise Camuto. The day started slow, but when you put models in front of my lens, I get shutter happy. The event was fun and I got to see a lot of familiar faces as well as meet a lot of new ones. Dillard’s had a fantastic presentation and the line for autograph’s was steady throughout the day. The hubbub eventually slowed and we wrapped up, I handed Vince a business card and I headed out the heavy glass doors.

I grabbed a quick bite to energize and bounced over to the “Derby Poker Championship Celebrity Gala” with Chris. Myself, not being a poker player, I really didn’t know what to expect or didn’t expect much excitement. We arrived to a decent crowd and a painter stroking away on the backside of the floor. To the right was a dozen poker tables and a small step and repeat to the left, which we would cling to awaiting any worthy celebrities. After about an hour the entire left section of the building opened up to a club and people started to warm up. I snapped a few images and Chris made his normal rounds introducing me to his fine friends. The beauty of this event is I actually had time to mingle and grab a few drinks, as we weren’t under the gun for a quick turnaround. Then the ladies from “America’s Best Racing” showed up and we had a few good laughs before Chris and I headed out the door to catch some sleep before the big day ahead of us.

Morning came early and I starting prepping immediately. I knocked out a few edits and headed out the door to meet Chris, so we could get down to the track by 11:30am. The day was warm, but quite beautiful and the rain had subsided for the Kentucky Oaks. We parked and walked the half mile to the track. We arrived to a bare pink carpet and made a few rounds, when we ran into Churchill Downs official photographer Andrew Kung, who I’ve admired for years. We shook hands and made casual conversation, he mentioned the “Longines Kentucky Oaks Fashion Contest" would begin in about an hour. With time to burn, we decided to grab a Kentucky Oaks Lily:

1 oz. GREY GOOSE® Vodka / 1 oz. Sweet and Sour Mix / 3 oz. Cranberry Juice / Splash of Triple Sec 

I also took the opportunity to visit my parents in their box and take a quick snapshot, while Chris did some live blogging. Shortly after, I headed back down to the section entrance and rallied with Chris again. We headed over to the pink carpet where the fashion contest was set to begin. I staked my spot on the black astro-turf and awaited the contestants. I suddenly noticed a stunning red-head with amazing bone structure walking down the step and repeat. Always on the lookout for fresh talent, I pulled out a business card and was fully prepared to make a hand off. A voice came over the speaker system "Supermodel Coco Rocha”, I cupped the card and pulled up my camera in one smooth motion hoping she didn’t notice. A swift Google search proved this Vogue cover model was the real deal. I regained my thoughts and blew off the “epic fail”.

20 minutes into the contest, I looked at my watch and over to Chris and he nodded, it was time to move on. I really needed some candid lifestyle images, so we roamed to the jet set upper decks. Chris would point out the fashionable trendsetters and I would swing my camera around for that perfect shot. It was perfect team work and after a couple of races, we had ditch the track to get ready for the evenings festivities.

We were tasked with covering the “Barnstable Brown Gala”, “The Julep Ball” and “Unbridled Eve”. The media check in was 6:30pm and the red carpet opened at 7pm, for all of them. And there was only one photographer, me. This is where a clone or two would come in handy. We decided to split and I would cover the Barnstable Brown red carpet while Chris with his iPhone would cover Unbridled Eve. We would have to hit The Julep Ball later.

I showed up for media check in right at 6:30pm, there were some media outlets already setup and I really didn’t know where to go. This would be my first celebrity red carpet coverage and I had heard horror stories. I staked my place right in front and waited. Opportunely, a photographer from Getty setup right behind me and we struck up a good conversation for a few minutes. Then what seemed like a rabid monsoon struck the red carpet, it rained violently and the winds were strong, camera crews and photographers were scrambling for cover, but I held my position front and center. It continued to rain so hard that the PR crew let all the media on the red carpet to hide out under the tent until everything calmed down. An hour later, the rain had settled and people started showing up, but no celebrities. It was nearly 8:30pm and Chris was texting me on my E.T.A. to other events. I had only took one shot and that was of A Lion Named Roar, who were the first to grace the step and repeat. I had to stall time. My text to him: “I’m gonna hang for 20-30 more min, If nothing we should dip over to Julep. I’ll take a few crowd images here to fill the blog”. At 8:52pm things started to heat up and celebrities started to grace the red carpet. My friend from Getty had worked hundreds of red carpets and this was just another rodeo for him. He would yell out the celebrities name to grab attention and he would keep there attention by raising his hand. I followed suit. It worked well. By 9:30pm I had to hit the road, the last shot of Barnstable would be Miranda Lambert. I jumped out of my position and passed it on to my friend from Getty. I handed him a quick card and told him to touch base. I grabbed a quick beer from a friend’s house directly next door and popped my head in to say hello. Just a quickly as I came in, I was back out. I practically ran down to my car and high-tailed it downtown to the YUM! Center for the Julep Ball.

I parked in the media garage and took a sip watered down Dr. Pepper to wet my whistle. I walked a block to the YUM! Center where I met Chris and we walked in. It was already 10:00pm and we were obviously late, but we grabbed our credentials and briskly walked over to the main hall. The red carpet was barren. So we bounced upstairs and into the arena. It was dead. Nevertheless, we had to grab a few quick shots. So we did just that. As we exited the B-52’s were starting their set. I looked around and the majority of the tables were empty. I shrugged as we exited and moved over to Unbridled Eve in the Galt House.

Walking in I was slapped with yet another credential. At this point I looked like a billboard advertisement. I was also on a high. I really lived for it. I’m not going to lie, I felt like a celebrity all on my own right. I immediately started snapping away. I felt a confidence I didn’t have when I has started this gamut, I was going right up to celebrities of all kinds and asking for a photo, no matter what “list” they were on. I ran into a few familiar faces and met a few new ones. Chris and I grabbed a drink and I swallowed it down. By 11:30pm, I had a full set of images and I was ready to move onto my last stop for the evening the “Maxim & Maker’s 46 Fillies & Stallions Party”. Unbridled Eve was Chris’ last stop, so I said my goodbye and we would reconvene tomorrow at the track.

Arriving at Mellwood, I saw the line of women and got a pep in my step. I was technically off the clock, but would definitely be shooting. I found a parking space across the street. I walked in front of the line, then suddenly remembered I looked like a billboard. They let me right in, no questions asked. I hit the red carpet and it was great to see many of my friends awaiting in front of the hot lights. I was running on adrenaline. But gladly accepted the drink I was immediately given. That is when I was put on the spot and asked to step on the red carpet myself for a quick photo with Maxim’s Amanda Mertz and Jade Brownfield.

The rest of the evening escalated quickly and some celebs started gracing the red carpet. Including Adam Richman from Man vs. Food, Derek Anderson, Shaquille O'Neal, Aaron Rodgers, Kevin Ware, Russ Smith, Luke Hancock and many more. Inside the venue was a sauna, it was a hot mess, hot being the key word there. After a few drinks with my pals Joey Goldsmith, Dustin Strupp, Josh Eskridge and Steve Squall. I decided to call it and get into the office for some late night editing as I had to get all the images turned around by morning. I didn’t hit my pillow until 6am.

I woke a couple hours later and amped myself for the climax, the whole reason any of this was happening, the run for the roses. I looked out the window and knew it would be a long day. It was raining. But, I held my chin high and packed my gear air tight. My first stop was “The Julep Brunch” hosted by Lee & Babs Robinsion, A celebrity brunch that I was assigned to cover for NFocus Magazine. The brunch was in an beautiful mansion off River Road, it was quite surreal. Fortunately, my friend Gunnar Deatherage and his boyfriend Nick were in attendance  By 12:30pm I had to hit the road and headed to Churchill Downs. I said my good byes and thanked everyone for their hospitality.

Upon arrival to the parking lot, I fortunately found a wide open spot, closer to our destination. This proved to be a double edge sword as I had parked next to what seemed like the most inebriated group of dudes ever. The constant yells of USA! USA! USA! really jazzed me up to brave the cold rain. /sarcasm. I’ve totally been that guy, so I didn’t complain.

Still awaiting Chris’ arrival, I eventually stepped out of my vehicle and walked away to avoid any further awkwardness from the fun group beside me. A few minutes later Chris came briskly walking up soaking wet already. It would only get worse. After the half mile walk in the hard rain and by the time we arrived on the red carpet, we looked like we had just stepped out of a pool fully clothed. The celebrities were lined up and we had no choice but to rush past them to our allotted square. I began shooting immediately. Arriving late, I didn’t have the best spot at first and George Linsey from 102.3 The Max had the prime spot in front of me conducting iPhone interviews. As the celebrities walked down the carpet I knocked out shot after shot. This was a another moment where I feel sort of like a rockstar myself with the crowd of onlookers behind me screaming at the top of their lungs for stars like Kid Rock, Lauren Conrad, Emilio Estevez, Lance Bass, Nerlens Noel and Peyton Siva among others. The carpet became more stark by the minute and photographers were leaving their prime spots, which I gladly took for a few last shots of the carpet. At this point, my job was done. My Kentucky Derby was over. But, that didn’t stop me I wanted to meet with friends and have a good time. I pushed out a few text messages and went exploring with Chris. We made it onto Millionaire's Row, looking like lost puppies, searching for any friendly faces. No response, no avail. Chris was over it and decided to bail to go blog from the comfort from his home. I was on my own. I decided to take this opportunity to gain a different perspective and headed out into the rain near the track’s edge and captured what I like to call my “Pulitzer”. My gear was soaked, I was soaked and an hour searching, awaiting any calls or texts decided to head back to the car myself. By the time I got back into the car and turned on the heat, I was done. For me the rain never stopped and I didn’t even end up watching the race, I edited the days images instead. I did end up meeting with friends later that evening at Nowhere Bar to catch a drink and recount the month. I was numb to it all.

I woke the next day and took a deep breath. It was Sunday and Derby was over, what do I do now? Where do I go from here? The rain continued and I sat down to write this blog. I can only hope 140 will be a legendary as 139.

I want to thank Chris Caswell and MyDerbyLove for opening the doors. It was just another rodeo for them, but a brand new experience for me, that has proved invaluable.