A 5000 Mile Collaboration: Shooting For Ta Mue Bem in Atlanta

It's a gorgeous, breezy day when I pull up to the curb of a posh condo building in Atlanta's Bankhead neighborhood to be reunited with an artist friend that I haven't seen in five years.

Mika hops in the car and flashes her beautiful smile. Her effortless joggers and tank top are elevated by one of her own pieces: a beautiful hand-beaded cape, made of seemingly millions of tiny seed beads, in shades of coco, cream and mauve. She greets me with a hug and hands me a gift. "If you don't like it, I can definitely make another." Impossible-I am in love with every piece I have from her. This one is a beaded cape similar to hers, but in vibrant, juicy peacock tones of indigo, purple and chartreuse. I am obsessed. Large, artisan bead pieces like this are an experience to wear. They have such a weight to them, it's like wearing a sensory blanket or a piece of royal armor. The beads are cool and smooth and there's no pinching or tangling with this level of craftmanship and materials-It feels like luxury. I thank her and we head off North towards a gem show.

Mika is a bead and jewelry artist who's traveled the world for decades along her journey of mastering her craft. Pairing fine bead work with hand-worked metals, rare vintage pieces, and crystals and stones that bring their own element of energy and symbolism, the jewelry manages to be contemporary and fresh while stilling rooting the wearer to history. As we browse the gem show, she reflexively names every rock in sight, explaining to me which countries have the best of which raw materials. She's got her eye out for something specific but she also expertly eyes vintage rings and other unique finds. We hash out details for the upcoming photoshoot days and catch up on personal life. These days, she is niching down to focus more on bespoke beaded pieces like drapes and collars, body pieces and ceremonial beaded masks, and less on smaller pieces like rings and necklaces.

The two of us met eight years ago when we were both living in Los Angeles. We were artists and mothers at pivotal points in our businesses; We were leveling up and rebranding. She reached out because she loved my work, and I fell in love with hers as well, and as we began to shoot commercial images for her pieces, a friendship developed. We would shoot seasonally for her line, always bringing the kids along with us and hanging out afterwards.

In 2020, as is true for many people the world over, we started to reevaluate our priorities, and reconsider what was important; Two days after Mika got on a plane and moved to Honolulu, my family and I hopped in our car and moved out of state as well. Mika and I stayed in touch-Bouncing creative ideas off of each other, cheering one another on and collaborating from afar. Mika found some photographers in Hawaii, but her and I were both missing the magic of working together in person. So this year she decided to make the 5000 mile journey to Atlanta so we could shoot.

Our first day of shooting was styled around Mika's beaded masks. For these she really let me have some creative freedom. The masks are one of my favorite things that we shoot and to me they feel so otherworldly and powerful. I wanted to shoot them differently than we have in the past. I envisioned almost a nightclub disco look-Something with color and sparkle and layers of depth. I wanted to be peeking at the model through a party curtain and I wanted gelled strobe lights to add a rim of color that gives off the vibe of being at a party or concert or maybe some dramatic ceremonial event. I grabbed some simple foil metallic party fringe and sequined tablecloths and we headed to the studio to meet our first model Clara.

We kept the clothing simple so as not to compete with all the color and sparkle. Clara was asked to come in clean, natural makeup and natural hair to allow the beadwork and accessories to be the focal point. We shot four masks that morning and the first three were all about saturated color. In post processing, I enhanced the models makeup just a touch for cohesion, and color toned the images for high drama.

The final mask is silver, and it is paired with a beautiful fringed drape. This look is supposed to feel bridal; Instead of color, it's all about white and bright and ethereal. This is a bride at a fantasy wedding, she's peeking through the curtains in the bridal room, preparing for one of the biggest days of her life. For these images, light and shimmery was the direction I went in, and I was careful in post-production to be sure that these felt almost colorless-not warm or cool. I wanted them to feel magical.

The next day, we have an ambitious shot list ahead of us. The photoshoot location is the private rooftop pool and lounge of the condos where I picked Mika up before. We've got dozens of pieces laid out, falling into three overall categories. When Mika and I are collaborating on a new campaign, it usually starts with the pieces she will be presenting alongside general ideas for creative direction. We start throwing ideas at the wall until we have a focus, which evolves into a shared Pinterest board. Wardrobe is ordered, model casting calls go out, and all the inspiration is distilled down into an organized shoot deck.

For our first look of Day 2, we are going for images that give bridal vibes, or luxury resort, wedding, honeymoon, pool, beach. The first set of capes feature traditional bridal materials like pearl, paired with other stones or even shells. These pieces have the perfect feel for a beach wedding or elopement; They look incredible over a bathing suit and are beach-ready. The model Mia comes with natural, vacay-worthy hair and makeup, and we get to work.

We opted for natural light for these pieces, and I applied a slight film look to these. I wanted them to feel understated but chic and editorial.

The next looks is all about Egypt reimagined. Mika has brought a breathtaking full-body piece in shades of cream, bronze and turquoise as well as several others in a similar palette. She's paired this with a terracotta pantsuit to lend an earthy feel. These pieces feel like priceless artifacts that could be centuries old but are so wearable today.

We start with this collection outside before moving indoors where I want to focus on the simple, warm wood paneling in the lounge. The elements here should feel earthy and ancient. The poses are simple and graphic and angular like paintings on a pyramid wall.

I go very warm on the editing of these images. I'm trying to bring a harmony to the tones of Mia's skin, her jumpsuit, and the wall behind her, evocative of Egyptian clay and the limestone and granite of the pyramids, allowing the beading to take center stage. Mia becomes a Queen. She is captivating. She is ancestral. She looks like legacy.

Our last collection centers on nightlife. These looks are for the socialite, the party girl, the fundraiser gala, the rooftop pool party, date night, the club or the office party. These pieces are all about being seen. We start indoors around the lounge to give environment, finishing up on the rooftop patio with the city lights surrounding us and the night stars above us.

While the lounge itself is very well lit, I harness the magic of my camera settings and my own strobe to make these look like swanky evening light. Mia is styled and posed for sophistication and a bit of sex appeal as well. These feel like a good date, like top shelf liquor, like an evening out with your group of besties who are all successful and confident.

The editing on the indoor images read sensuous and dramatic with cogniac tones.

Outdoors we switch to more dramatic, direct light with little diffusion. We wanted these to feel bold and and a little more

urban, a little more gritty. It feels like a summer night party on the roof in ATL because it IS.

Mika and I spend as much time as we can together while she is in town for Spring Break. Our kids get a chance to reunite as well, and I am sad to see her go. We touch base the following week to talk about the rollout of the images and share content that we have created around the campaign. I send her the images. She says, "I'm so thankful for your vision and skill, showing my work the way I never could envision." When Mika and I collaborate, we each come with our own point of view, and if I throw an idea into the mix that doesn't vibe with her brand, she let's me know and we toss it. At the same time she respects my opinion about styling and location and editing choices. Balance is key in a great collaboration, and this is why we are able to create work together that we never could without each other. The final campaigns are a unique amalgamation of two very different artists, and it brings me indescribable satisfaction every time. We've already begun the vision board for our next campaign and Mika has it in the books to come out again next year.

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