#claycook

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 of what I would eventually come to find.

It all started with my friend Coury Deeb of Nadus Films and the "Give A Story" grant 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.

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.

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