‘What does liberation look like? What does freedom look like in this moment?’

This was the question Tyrell Hampton and his classmates asked themselves while studying photography at Parsons. It was also the question that I was especially captivated by as I sat in the quiet Alumnae Hall Commons Room, listening to the renowned photographer share his personal experience. What I did not anticipate was that upon walking out I would be inspired, not
necessarily to photograph with a specific camera or ratio of shutter speed to exposure, but rather to explore artistic concepts that are outside familiar to myself.

As a fashion-photographer, Hampton is prominent for his candid photographs of city nightlife that radiate exuberance and genuine joy. Prior to pursuing a photography degree at Parsons, Hampton grew up in Philadelphia, with a background in dance. This knowledge has supplanted his camera work, specifically with capturing movement.

In photography, Hampton prioritizes the mode of portraiture for the way it reflects the truest self of the subject. Dance, characterized by freedom and self-governance, helps Hampton understand and direct models during his shoots. This familiar knowledge mixes itself into the culture of movement in photography, which results in his dynamic compositions that highlight both the model and their clothes. Evident by the contortion of poses and angles throughout his body of work, it is clear that Hampton wields an expert knowledge on translating body language into a single frame.

‘Mind my business, keep it cute.’ Hampton said in reference to his unconventional entrance into the fashion photography world. By leaning into an under-the-radar vibe, he was able to sneak into nightclubs and capture the spirit of the city—a mesh of intoxicating dance and pounding music, subjects smiling, authentically and wide-toothed. This authenticity, Hampton claims, is of
the utmost importance when shooting.

‘If you wanna take photos, that's a no brainer. Take photos.’ When asked of his start to the industry, Hampton spoke about wedging himself in spaces, where not otherwise welcomed. Recalling his work as a production assistant, he shared his experience taking photos that may sometimes cross the boundaries of what is allowed. It was precisely these photographs that caught the attention of big names, propelling his career forwards.

To get to where he wanted to be, Hampton took every connection or slight access to the world he wanted to be in, as a way to step in, even if for a second. Whether that meant sliding into Instagram DMs with some questions or getting in on a call sheet, Hampton made sure that he was in the room where things happened.

When it came to my turn to ask Hampton a question, I decided to ask something specifically related to my own creative process. I had just begun to use a studio space to experiment with using a blank space but oftentimes struggle to create dynamic scenes against such a plain backdrop.

“Thinking about the world the shoot can live in...” was where he began his response.. Simple though nuanced, his advice inspired me to imagine not only the stories I could start to embody in the studio, but also the community I could surround myself with. As I started to look around in the very room, I noticed my friends smiling and nodding their heads to the continuous advice. Later that week, we had various plans for shooting. Right there, I realized that I could build the world my shoot lives in with everything I have next to me.

The implications of this response not only applied to the tangible work that could be done to a studio in order to elevate the subject, but also to ourselves as creators. The world that we can shoot in can be crafted just as so.