Cory is probably one of the funnier people that I’ve come across. It’s unfortunate that his cereal takes are kind of trash—but the humor outclasses where he ranks Honey Bunches of Oats with Almonds. It’s top 2, not 2, if you were wondering.
Either way, a few months ago Cory and I met to do a camera test of my new-to-me Hasselblad 500cm. This was one of the most flawless shoots that I have ever executed in terms of timing, gear reliability, and on camera talent. The man is incredible in front of the lens. It’s important to understand how their body moves and he gets it.
Thank you @gotake.studios for hosting me while JAMES ADAMS STUDIO was still under construction at the Cadillac Art Center.
PS - Before you comment, Michigan Bot: No, I will not send you this. 💙
Yaz and I caught up over coffee a few weeks ago. It had been far too long since it was just the two of us sitting across from each other like that. I remember the feeling of the last conversation more than the details itself. That kind of showed me how much life can change in between cups of coffee.
There’s been a lot of growth between then and now. A lot of uncertainty, movement, and becoming. I’m grateful to call her a friend, especially one I’ve known long enough to witness those shifts in real time.
I’m not sure if I said it enough between sips, but Yaz, I’m incredibly proud of you. The way you’ve moved through the currents of life with grace and conviction has reminded me that uncertainty is not always something to fear. Sometimes, it’s proof that we’re still growing into ourselves.
Thanks for visiting the studio.
Chuk is one of those people that I really enjoy being around. It’s never a bad time or a dull moment. We originally connected in a love for fashion—and almost fell out over $35 tacos the same day. Fortunately, we’ve sustained a friendship on a more personal level through music.
While visiting my studio at the @cadillacartscentre we jammed to a few oldies, discussed what qualifies something as being an oldie (ex. “Entourage” by Omarion), and even dove into the most recent songs that made us cry. Mine was “The Paper” by Deniece Williams. I’ll let Chuk tell you his in the comments if he feels inclined to share.
So I ask: What’s the last song that made you cry?
A few Saturdays ago I asked @kaceykal to stop by the studio in the early morning because I wanted to photograph him and develop a roll of film. I’ve known this man for a decade, yet he is one of the people that I’ve photographed the least. I can actually count how many times he has sat in front of my camera. Three times:
- Once to test my new-to-me Mamiya 7.
- Once to test my new strobe package.
- Finally, to help me test my new studio space.
In each of the three times KACEYKAL performed as only he could, but the images were lacking due to my unfamiliarity with the camera or the lighting concepts. I think I figured it out this time.
Shot on the Hasselblad 500cm using @ilfordphoto HP5+.
I was visited by my good friend @dariusbaber today. The man is always photo ready. It’s like he snaps right into the moment whenever the camera is around. A helluva person to photograph, for sure.
He requested that the next time I capture him on film. I’ll oblige. Today, I was a bit lazy and didn’t feel like loading up a camera and doing the mental math of figuring out the proper exposure for these high key images that I’ve been really into these days.
There’s a roll of HP5+ with your name on it in the studio, Mr. Baber.
Impromptu session with @atm_michael_s . — Some of my favorite images happen when nothing is decided in advance. I randomly put on “Teflon Don” and started snapping photos.
Natalia (Archivo Studios, Julio Sab’a) brought this chair in the space while we’re still building it out. It’s not intended for the studio, but it held its own within the frame. It’ll find its home somewhere in her own practice.
Temporary objects, permanent images.
Handled with care, always. 🤞🏾
Set design by @nat_stowe , for sure.
shadow test — ilford hp5, mamiya rz67 with 180mm at f/5.6 — in my portrait session with @miasheral , i wanted to explore a single strobe placed behind at an angle, essentially turning the hair light into the key. the goal is to present the shadow at the forefront of the image to see what kind of feeling it creates. i can sense this becoming quite sinister if i control the light spill onto the background and add negative fill to the shadow side.
darkroom print of ameera at people’s records + the scan featuring my fingerprint & the contact sheet for the roll.
i can see why labs charge so much for scanning. there is so much that goes into this process that i have never considered. this is a maddening process and it’s showing me how dusty my studio space is even if i think it’s spotless… i cannot wait until i move into my new studio space.
more on that later. i’m abt to head to people’s.
Grief has a way of making me retreat into myself, like a muted horn in the back of the room. But I’m learning that I don’t have to play solo. There’s a whole band of people who’ve carried me through my quietest moments, reminding me that healing—like jazz—is best when shared. Thank you for staying with me, even when I drifted out of tune.
“Best Accompanied with Jazz” was not created alone. I’d like to first thank @m3lissssssssa . Without her, I could not have brought this piece to life. A round of appreciation and applause goes out to the following:
Talent:
@aaronxhale@cheikhbeye_@chuk_obim@notliyongo@hbkmayan@atm_at.the.moment@nelsontsandersjr
Crew:
Ben Vrazo, Production Assistant
@justbrotherly , Stylist
@jondones , Production Assistant
@m3lissssssssa , Super Producer
@squarecr2 , Gaffer
Instrument Rentals:
@deseanjones & @urbanartorchestra
Location:
Motown Mansion
Season Booth Exhibition Credits:
@fineartinstalls , Artwork Installation
@dariusbaber , Prop Builder
@phtsdr , Film Development
@therealjimel , Film Scanning
@unfoldingcreative , Print Production
Limited-edition prints of “Best Accompanied with Jazz” are available through @season.contemporary via the link in my bio.
Grief never really leaves, it just learns to harmonize.
Slide 1: “2. Shadows in 4/4”
“Best Accompanied with Jazz” is available through @season.contemporary via the link in my bio.
