IN GOOD COMPANY

CONTEXT

In Good Company is a completed long-form portrait series developed across personal, creative, and extended social circles, forming a loose but intentional constellation of subjects connected through proximity, relationship, and shared presence. The work is currently in the sequencing and design phase for publication as a book or zine, with no fixed release date.

FRAMEWORK

The work is structured around a simple premise: to photograph people within a consistent visual and interpersonal approach, allowing meaning to emerge through accumulation rather than singular narrative. However, meaning is not always immediate within the making of the work itself. Some of the most defining relationships within the series became legible only through distance—through returning to images after time had passed and seeing interactions, gestures, and relationships that were not fully understood in the moment of making.

There is no fixed theme imposed on participants. Instead, the project relied on continuity—of attention, of process, and of photographic language—to create cohesion across varied individuals and encounters. The title reflects this orientation: the images are not isolated portraits, but part of a broader consideration of what it means to be in relation to others.

APPROACH

Portraits were made using a combination of digital and analog systems, including the Fuji GFX 50S II paired with vintage lenses, as well as medium format film cameras such as the Pentax 67 and Mamiya RZ67. Lighting shifted between available light and simple studio setups, depending on the environment, while maintaining a consistent emphasis on clarity, presence, and tonal control. Sessions were minimally structured and conversational, allowing subjects to settle into the frame without heavy direction. The approach prioritized attention over performance, with small adjustments in posture, gaze, and framing shaping the final images.

FORM

The project is structured as a completed sequenced body of work rather than a collection of individual images. Portraits have been edited and organized in relation to one another, with meaning developing through adjacency, pacing, and repetition across the series. The work is currently in the layout and design phase, where sequencing, scale, and material decisions will define how the publication is ultimately experienced.

OUTCOME

In Good Company functions as a unified portrait series shaped through sustained engagement, repetition, and return. The work is defined not only by what was seen at the moment of making, but by what becomes visible in hindsight—when distance allows relationships, gestures, and dynamics between subjects to surface more clearly within the completed body of work. As a forthcoming publication, the series reflects both presence and delayed understanding, emphasizing relationship, attention, and the cumulative weight of repeated looking across time.