CAPTURING THE UNSPOKEN
It’s hard to call days like this “work.”
A music duo called 84 Faces reached out,
they’re dropping an album,
and they wanted me on the visuals.
We’ve worked together before.
One of my favorite case studies,
perfect example of a starting website,
designed around their debut album.
That project wasn’t just a website;
it was a showcase of “Designing with Depth”
It’s not just a flyer,
not just an album cover.
It’s an experience,
a connection to the audience.
think of every color, every font,
every detail across the board.
A cohesive vibe, consistent and intentional,
so the brand feels alive no matter where it’s seen.
That’s my favorite part of branding.
I do it for myself, too.
What colors come to mind when you think of me?
Orange? Black?
That’s by DESIGN.
My bad, back to 84
Booking this shoot was EFFORTLESS.
I was at another event, vibing and shooting on my phone.
I feel the familiar vibration and see the notification
as i hit the glowing red button to stop recording.
Without missing a beat, I confirmed the concept, date, and price.
Sent them a link, and the deposit hit my account
before the performer on stage was done with their set.
Creating, getting paid—all from my phone.
That digital plug life.
[SHOOT DAY]
I pull up to the location: 84 Lumber,
the highway sign in view, ready for the shoot.
As we walk through the field, it hits me—
they never sent the music.
I have no idea what the story is here.
Radical honesty?
I get hyped to close deals so fast,
sometimes I forget the details.
That’s why I build systems,
why I put effort into keeping my process tight and light.
My brain doesn’t naturally track details;
it tracks energy.
So, I pull out my phone,
scroll back through the text.
They sent a photo of a sign,
not this exact one,
similar vibe—retro, raw,
shot like it could be mine.
I crack a joke to ease tension, then ask them straight up:
“What’s the story here?”
In ten seconds,
they give me everything I need.
The foundational TRUTH
“We want the vibe of a couple on a walk,
trying to work things out.”
That one line paints the whole scene.
I see it—the awkward energy,
that quiet tension of people on the edge.
We’ve all seen it.
That couple at the restaurant,
talking in loud whispers,
the air heavy with things unsaid.
More honesty?
Directing people isn’t my strong suit,
especially if they’re not models.
Instead, I create comfort,
let them move naturally,
then find the shot.
This shoot was no different.
It was a collaborative rhythm—
staged shots, happy accidents, perfect candids,
a mix of my three cameras, each one capturing a piece.
The wildest part?
After the shoot, they finally sent the music.
Before I start the car,
I download the photos to my phone (another cheat code),
load up a Lightroom slideshow,
and hit play on the album.
The connection was effortless.
For me to shoot this story without hearing the music first
—it’s a reminder to trust the vision,
to trust my instincts,
to trust my eye.
This didn’t feel like work,
and it was my highest-paid shoot of 2024
Price of the brick gon up…
