2024 in Review
December 12, 2024After a bit of a blogging hiatus, I’m back with a write-up for 2024. The year was a long one for me, but I got to do some things that I’m really proud of.
I photographed fewer concerts this year than in previous years, but I photographed more concerts that I cared about, and I take that as a huge win. Personal highlights included photographing Tinashe (x2), Bôa, The Marías, and Janelle Monáe. Each of these were self-assigned, and I am proud of myself for being able to do a bit of relationship building—something that I’ve struggled with in the past. In the case of The Marías and Janelle Monáe, I think some of my best work came out of those shows.
Thanks to some kind peers in the industry, I was referred for quite a few gigs. Most of these weren’t concerts, but there were some notable things like photographing a couple of stops of Deesha Dyer’s book tour, and covering an event for Brooklyn Academy of Music.
This was my first year in the Adobe Community Experts program, and it’s been nice sharing bits of knowledge that I’ve gathered over the years. I did my first photo editing gig for TED at their conference in Atlanta, and this was also my first year covering events for Jazz at Lincoln Center. In things that almost happened, I almost had a shot at having some photos in an exhibition, but it wasn’t meant to be. A Norwegian fitness center licensed an abstract photo of mine for a mural in one of their locations, and that was exciting because it was the first time I’ve had one of my abstracts licensed in 9 years.
Not everything was a win. I still didn’t get to join a festival team, and many of my pitches fell flat, but this leads me to something else I did this year—I changed my portfolio layout.
After a long 1-on-1 with a fellow photographer, I came to terms with a lot of the things I had been doing in my portfolio that were just there to please others. I added things that weren’t my best work, because different people would tell me how it would be attractive to editors or other people in hiring positions. I made so many tweaks to the content of my portfolio in an attempt to make my work look more palatable, and you know what? It didn’t work—not once, not ever. Having someone I trust look over my work and point out where the voice was different helped to shine a light on what I’ve been doing wrong. All I’ve really wanted to do is be allowed to make the kinds of photos I love. I love photographing live music, and I love photographing it the way that I do. The right people will see the quality of my work and choose me for the style I offer, and I’m tired of trying to predict what other people want. I’m proud to say that I have a portfolio with my favorite work and that feels like I haven’t had to compromise.
I’m hoping that next year brings even better things, and that I can find myself in the company of people who appreciate my style and hard work. To the people in my life who believe in me and share my work, I’m incredibly grateful for you and all your kindness. Let’s hope 2025 is a good one.