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Car Photography Races Through Richmond

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At high-speed or on the street, Richmond photographer Wayne Hunter captures the unique aspects of each car in his lens. 

The sun begins to set on I-95, one of Richmond’s busiest highways. Colors of gold and amber cascade onto the pavement as a black Subaru contrasts the scene, carefully staying out of the way of cars making their way home. Photographer Wayne Hunter doesn’t have much time left, as his light slowly disappears. He leans out of a second Subaru adjacent to the photo’s subject car, hood scoop and minimal decals in frame, and snaps a rolling photo of the automobile in its natural environment. For this Richmond photographer, getting the perfect shot means catching the car at its best; wherever and however that may be.

PHOTO: Hunter‘s Eye Photography

As car enthusiasts fix up and modify their vehicles to perfection, often spending thousands to get it just right, photographers like Hunter bring in a new level of admiration by capturing each driver’s masterpiece. For Hunter, falling into the specialty of car photography came by accident. 

“We were taking pictures of all our cars,” Hunter said, “and [a friend] started teaching me a few things.” He decided to pick up a camera for himself, and started playing around with new ideas in photography. “I ended up picking up a camera from Best Buy a year or two later — just an entry-level Canon — which I still use a lot.” It sparked the beginning of a talent he carries into today’s car culture in Richmond.

Car photographers can learn and develop in the local environment, with a thriving community that dominates Richmond’s roads and parking lots. Within the ever-growing groups, photographers have ample opportunities to take stunning photos of many types of cars. But as the community increases in numbers every year, sometimes there’s only room for photographers with the right style of talent. 

PHOTO: Hunter‘s Eye Photography

“There has been a huge influx of photographers. Cameras have gotten cheaper, even brand new entry-level [models],” Hunter said. “Everybody’s trying to get into it; it’s been a very competitive market if you’re actually trying to make decent money from it. My thing is that you have to value the work, value the equipment — everything costs money. Everything takes a lot of time as well.” 

For most freelance photographers, the best-case scenario is making a somewhat decent wage while working unique schedules and hours. An increased public interest in car photography brings more eyes onto the work, and Hunter’s photo shoots have brought him attention at car events. After a few years of hard work and dedication, he’s been given the opportunity to be the official photographer for one of the East Coast’s largest car shows.

PHOTO: Hunter‘s Eye Photography

“The biggest [car show] I have coming up is Spring Fest,” Hunter said. “Before that, I show a local car show in Lynchburg for charity.” Although Spring Fest would have taken place in Ocean City, MD this year, it has been postponed due to Covid-19. 

Hunter noted that, as far as individuals interacting with photographers at car meet-ups, he’s seen a slight difference since quarantine began.

“I still have a couple of shoots coming up. I’ve only had one cancellation, but as far as the car meets, the work has been a little slow,” he said. 

Even as groups are banned from gathering and individuals stay home, Hunter is still finding ways to continue doing what he loves. As photography is already a socially-distant activity, he’s focused on many kinds of shoots, and he chases opportunities to get back out there. When it comes to the photos he loves to capture, there are a few aspects he looks for in makes and models of cars to capture his eye the most. 

PHOTO: Hunter‘s Eye Photography

“I enjoy the cars that have a lot of customization,” Hunter said. “I like to get a lot of the little details, and things like that. I prefer a lot of the [cars] you don’t see in the States, like [Nissan] Skylines.” With a variety of importers at work in the Richmond area, cars like these show up on local highways more often than you might expect.

Car photography is a niche subject. It’s often a difficult type to shoot, but for Hunter, the reactions from the people make it worthwhile. His favorite elements about working with drivers is to keep them involved even after their photo shoot is over. 

“I try to work with them as much as possible,” he said. “I try to have a one-week turnaround once I start editing, and I’ll keep them involved in the process.”

PHOTO: Hunter‘s Eye Photography

Knowing the tough nature of competitive photography in the area, many photographers are expanding their horizons, including Hunter. 

“I don’t want to be pigeonholed into just being a car photographer. I love doing portraits,” Hunter said. “That’s another aspect I’m trying to get into, doing some other creative stuff. Maybe even getting more into composites, or superimposing a subject or car from one photo and putting it onto a background from another location. It can sometimes be hard to stand out, so you don’t want to end up getting stuck with the only thing you can count on.” 

Although he started off shooting cars and modified vehicles after a day with friends in the past, he noted that being well-rounded as a photographer could be beneficial as he looks to expand his opportunities. 

PHOTO: Hunter‘s Eye Photography

“I want to continue to progress, and probably invest in some lenses. You have to learn that it increases the quality of your finished result,” Hunter said. “I would like to grow more with car photography, but I don’t want to just be a car photographer.”

Photography is not only important work for the car community to get the word out about events and meet-ups, but for the individuals that want to showcase their vehicles that took months of hard work and dedication to complete. As long as Richmond’s car community keeps growing, and as long as people are interested in modifying vehicles, niche photographers will always have something unique to bring to each driver.

To check out more of Hunter’s work, find him on Instagram and Facebook.

The Visual Narrations of Selah Marie

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Richmond portrait photographer Selah Marie started out as a model, but it was only when she got behind the camera that she truly found her calling in life.

You never know what you’ll fall into. Even if you have a clear goal for what you want to do, things can happen that lead you in a different direction entirely. For Richmond-based photographer Selah Marie, this was definitely the case. When she realized modeling might not be her calling, she tried stepping behind the camera instead and found that it came naturally for her. The results were enough to make her forget about her original goal of fashion modeling for good.

“I always had a camera, ever since I was younger, and I’ve always taken pictures. But I didn’t find it to be my passion until 2015,” she explains. “I guess when I used to watch America’s Next Top Model and stuff like that, I wanted to be a model. But when I got in front of someone else’s camera, that went… not how I expected it to go. After looking at the images of myself, I was like, ‘Oh no, I can’t do this.’”

Marie found that her lifelong dream wasn’t what she was meant to do with her life. But she soon found a new passion, seemingly by accident, only landing on photography after she began playing around with a camera and wanting to learn how to shoot.

“Let me just pick up a camera and figure it out,” she says, describing her thought process at the time. “And then I just reached out to some models, and I was just like… shooting.”

While photographing individuals from the area, portrait photography gradually became a primary focus for Marie. Photographing a single person and creating unique photos became a discipline she wanted to perfect. It’s not her only interest as a photographer — there are other areas she hopes to dive into, as she explained.

“Oh my God, fashion. That’s one of the things I’m trying to get into, as far as practicing,” says Marie. “However, my comfort zone is portraits.”

While portrait photography is a common specialty in the world of photography, Marie differs from others when it comes to the ways she composes her shots. Natural props like flowers have become a staple of her photography, and she loves the aesthetic of film, although mastering it was challenging to her at first, because she had to learn how to recreate that aesthetic through digital means.

“[The models] were like, ‘Oh my God, did you shoot with a film camera?’ But no, I don’t have one,” she says of her process. “I would use the grains to add texture, because I wasn’t that familiar with Photoshop. So I would just replace it with grain to make the image look like it has more texture in the skin.”

Learning the skills of photographic composition was challenging enough, but one of Marie’s biggest challenges came from learning how to use the equipment she was given. While cell phones have made photographers out of everyone, understanding the high-end Nikons and Canons that professionals use can prove to be difficult at first. 

“When I first started shooting in the daylight, the sun would be too much. So my images would be overly exposed,” she says. “I was like, ‘Oh my God, what is going on here?’ That was one of the hardest challenges for me, trying to shoot daylight. [For a while,] I was really stuck in the studio.”

Marie eventually mastered adapting to changing surroundings, and has since branched out of portrait photography, capturing graduation and wedding photos.

“I’m just now starting to let people know that I do more than what they see on my main page. I just started putting up the graduation photos and engagement photos, because I want people to know that I do everything,” she says. “I’m a creative photographer, but I can do your engagement shoot.”

While it was never her original goal, these days Marie hopes to build a future for herself in the world of photography, and she’s even thinking about moving into the world of video.

“I do see it being long term,” she says. “I can’t go full time [yet], but I do see that down the road. I also see me being behind the scenes of movies, sharing my ideas with directors and seeing the things I create inside the movie. That’s one of my other goals as well.”

Photography doesn’t come easy when you just happen to fall into it, but Marie has been lucky to do something with her work that is not only beneficial for the people she shoots, but for her as well. Marie knows that her photography not only helps those in front of her camera open up, but gives her the creative outlet to express herself as well.

“Everybody tells me the same thing: how I make them feel when they’re in front of my camera,” she says. “They will tell me that I make them feel more confident than ever in front of a camera, or even away from it. Like, I made them feel so beautiful. And then, when I show them the image, they’re like, ‘Wow, I can’t believe she made me look like this.’ Just to see the smile on my client’s face or a model’s face, their reaction lights up my world. That’s my favorite part — that’s what keeps me going.”

All photos by Selah Marie

Transcending the Familiar With Maggie Ellmore

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Photographer Maggie Ellmore’s arresting color schemes and fantastical imagery are both otherworldly in effect and deeply rooted in her local community.

Maggie Ellmore’s photos are some of the most colorful and impressive pieces of art I have ever seen. She draws inspiration from cinema, art history, and music to create beautiful sets and whimsical photographs that transport you to another world.

Her website describes her work as something that “makes you feel as if you’ve transcended into a new reality in between the familiar and the unconventional,” and I couldn’t have said it better myself.

After starting photography in middle school and maintaining it through high school, Ellmore decided she wanted to do it for a living and go to school for commercial photography. “The past few years, I have been going to school at Appalachian State University,” she said. “Last summer, I did an independent study for five weeks, where I did about 10 or 11 shoots working with a set that I modified.”

Ellmore hand-paints her own sets and does almost everything herself, to make sure the shoot is as cohesive as possible. She also uses common objects and similar items to accessorize the shoot. “From styling to wardrobe, makeup, the sets, the photography, the editing, I do it all,” she said. “I felt that it was important to do that in order to solidify a unique look.”

The sets can take a while to paint, but Ellmore said she can usually turn around a photo in a week or two. “Sometimes I can sit on an idea and wait to work on it for months or years in order to get the timing right,” she said. “But from idea to final photo, it’s usually a few weeks.”

Her unique aesthetic draws on inspiration from photographers David LaChappelle and Miles Aldridge, as well as David Bowie. “I think that music pushes the narrative,” Ellmore said. “They all inspired me to convey what I want in a way that hasn’t been done before.”

Ellmore’s shoots really do make you feel as if you have entered another, more colorful, world. Her 2018 “Eyeris” shoot was a final project in one of her classes, and was shot in Roanoke, Virginia.

 “I reached out and went around to local businesses to shoot,” she said. “I also have friends who have houses that haven’t been touched since the 70s.” The clothes in that shoot were mostly thrifted, and Ellmore modified them to include the eye elements, she said.

As a local artist, Ellmore finds her work to be rewarding. “I work in such a unique niche that I have been lucky enough to work with some amazing people and businesses who want to actually work with me and trust my creativity,” she said.

She also tries to collaborate with other local artists because she “feels there is value in learning from other mediums,” and applies it to her work as much as she can.

Even quarantine can’t stop her from working and photographing. “Right now, I am working on a self-portrait series,” she said. “I have a six-foot by six-foot set in my garage, and I have been working on detailed production and slowing things down a little bit.”

Ellmore’s work can be found at her Instagram, Facebook or website. Check it out.

All photos by Maggie Ellmore

Poetry Meets Modeling With Richmond’s Tiffanie Brooke

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RVA #39 is on the streets now! Here’s another article from the issue, in which artist and poet Tiffanie Brooke reflects on modeling, writing, and the power of the human body in self-expression.

“We are more than the skin we crawl around in.” 

Let’s be honest: among the self-styled “Instapoets” of the world, often there isn’t more behind their words than vaguely-poetic interpretations of fortune cookies and phrases from motivational posters. And while it is wildly popular, whether or not it is authentically poetry could be up for debate. Exceptions to this generality are somewhat rare, but Richmond’s artist and poet Tiffanie Brooke is undeniably one of them. Her writing is both accessible and well-crafted, a refreshing combination in the literary world of stuffy academic writing and pandering to popularity.

Brooke is an alternative model and a deeply candid poet. Her work is evocative, both in front of the camera and on the page. It’s her juxtaposition of imagery that defines who she is as an artist, and it provides a window into her expressive dynamic of strength and unique vulnerability.

RVA Magazine’s R. Anthony Harris had a chance to talk with Brooke about her work, and explore the ideas that sparked her artistic beginnings.

PHOTO: Tiffanie Brooke by Charles Long, RVA 39

R. Anthony Harris:  How did your modeling begin?

Tiffanie Brooke:  I had a very negative outlook on my body when I was a teenager; I was super thin, I didn’t have a chest. My cheekbones jut out. My nose goes off in one direction. I consistently beat myself up… One day I came across America’s Next Top Model, and I became obsessed. I was seeing women that looked like I did, and they all had something about them that matched my “weird.” 

RAH:  How long have you been writing? 

TB:  I’ve been writing as long as I can remember. My brother and I were advised to write in those god-awful composition notebooks by counselors when we were very young. We grew up in a very confusing environment for two small children; I did not come from a communicative family. Writing was, and still is, my form of communication, though this non-direct writing has given me a safe way to express myself. 

RAH:  When did both of these ideas start to intertwine? 

TB:  They intertwined when Instagram became popular, honestly. I thought it was the perfect way to give my work a visual; to further push whatever I was writing about at the time. I wanted to give “selfies” another form, and transform how the imagery in my writing was supposed to look. Why not try to capture a visual of how I feel when I’m “in it,” versus a photo of something else entirely? After all, I’m writing about an experience and how it affects me.

RAH:  What writers do you draw inspiration from?

TB:  James Kavanaugh, Kris Kidd, Louis Gluck, Claudia Emerson, Jayne Pupek, and Richard Siken are a few that I obsess over when writer’s block settles in. Each one is immensely different in their writing types and points of view, but I sympathize with a lot of them. They all seem to capture the vastness of my personality traits.

RAH:  What about photographers?

TB:  I don’t have many photographers that I draw inspiration from, really. I enjoy Jason Lee Perry’s works — I read over a particular piece, and envision it as a movie with me in the middle of it: “What would this scene look like?” 

RAH:  Do you see modeling as a way for people to read your writings?

TB:  Modeling in itself is a form of communication, so absolutely! Saint Jerome said, “The face is the mirror of the mind, and the eyes, without speaking, confess the secrets of the heart.” Modeling and writing are both forms of expression, so it made sense for me to combine the two. Tacking onto what I’ve said before, we’re conditioned to choke down how we physically handle our emotions. I try to capture those emotions visually.

RAH:  Is your body a weapon or a tool?

TB:  Tough question. I am consistently working with, and against, my body. I think we all are, in some shape or form. 

RAH:  Is it a problem when trying to be taken seriously as an artist? 

TB:  There is a very fine line in the public eye — of owning your body, and being sexualized for exhibiting confidence — and that has nothing to do with being an artist. It’s hard being a woman in any industry. Shit, it’s hard being a woman, period. Most of my modeling used for my writing is nude. It’s not an attention thing at all, but more to push that vulnerability of here I am, in all that I am. Clothes are character-building, and we aren’t entirely truthful with ourselves until the veil of that day-to-day character is removed. Unfortunately, because of my comfort in that, I am often looked at as an object… and it stops there. 

RAH:  What does objectification mean to you? 

TB:  Taking something at face value, without intent to find out the inner workings of an individual. 

RAH:  Do you objectify other people?

TB:  Not all the time, and not on purpose. Sometimes I have to force myself to. I am a very deep person; I spend a lot of time in my head. If I didn’t push myself to draw a line with someone that is bouncing around too much mentally, I’d be miserable. We all have individual ways of processing relationships with others, and sometimes it comes down to what we find works best for us. I have a tendency to switch off my feelings for someone completely, and that’s typically where I end up objectifying. 

RAH:  Is it demeaning, or are people just looking for a quick way to understand another person? 

TB:  When I write about a specific person, I don’t use names as to not intentionally hurt or demean someone. I always give individuals code names, and honestly I think it makes some pieces more mysterious and puzzling. I like that about poetry. That said, resonation is such an important factor in any type of writing — we are all looking to be understood in some way. Music and writing are excellent ways to fill that void of alienation.

RAH:  I have to ask about the Yoda tattoo. Do you love his wisdom, or are you just a super nerd? 

TB:  The Yoda tattoo began as a tribute to my relationship with my dad. There aren’t many positive memories attached to him when I think back on my childhood, except for our shared TV time. He got me into Star Wars when I was really young, and we’d watch the series over and over, weekly. Maybe for him, it was one of the few things we could do together that I wasn’t talking his ear off, but that I walked away from with an adoration for a fantasy world I wanted to find myself in. We didn’t expect there to be sequels, but it’s a relief to have something we can continue to connect on.

RAH:  What do you hope people understand about your work? 

TB:  I am so much more than a “half-naked girl on Instagram.” There is always more than meets the surface; everyone is where they are because of an experience that set them there. If we all took a little more time to understand each other at more than face value, we would come to know that we are more than the skin we crawl around in. Writing is free, and always available. Whether pen-to-paper or in the notepad on a cell phone, the ability to set our inner workings out in one way or another is incredibly healthy — and important. You never know how much your experiences can aid another person’s until you make yourself vulnerable. 

Intro by S. Preston Duncan. Interview by R. Anthony Harris.  

Walled In

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RVA Mag #38 is on the streets now! Here’s another article from the issue, a photo feature in which photographer Heaton Johnson and model Jessi Rosenberg explore tiny spaces as a metaphor for the arbitrary limits people attempt to place on art.

“When I approached Jessi to do this shoot, I didn’t have a clearly defined concept or purpose. While touring her home, the first thing that caught my eye was a wooden alcove in the master bedroom. The tightness of the space immediately evoked feelings of claustrophobia and discomfort.

“The feeling of being boxed in, confined to an area or even a category, has always made me incredibly uncomfortable. Most of my life has been spent trying to overcome real and perceived pressures to ascribe to certain parameters. I’m slowly overcoming these limitations; it felt right to have her do the same.” —Heaton Johnson (@heatonjohnson)

Photos by Heaton Johnson. Model: Jessi Rosenberg

Finding Freedom

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Through his camera lens focused on motorcycles, photographer Liam Kennedy makes his home on the open road and inside the bike community.

Candid but clear, and often colorful, the photos of Norfolk’s Liam Kennedy tell a visual story of life on the road in modern motorcycle culture. His photos follow Virginia’s subculture throughout the Old Dominion and across the country.

“I think motorcycles attract someone who wants to be free,” Kennedy said. “A motorcycle, from the outside, looks like a violent activity — but in reality, it’s nothing like that. It’s the closest you can get to feeling like you’re flying.”

Kennedy came to the profession through his background in the military; he was a photojournalist for eight years, and did his formal training as a Mass Communications Specialist in the U.S. Navy. On the heels of his years in the service, he’s found a calling for his work within his own subculture of motorcycle enthusiasts. Between planning cross-country trips and traveling back and forth to Richmond, he’s made a place for himself in the statewide community of riders and builders.

“In Virginia, people are very interconnected with each other,” Kennedy said. “The culture is the same from Norfolk to Richmond. We all know people in each area, but there isn’t one scene over the other — there’s a competitive aspect to what we do, I suppose, but you’re hard-pressed to find that around here. There are no real bike shows where people are winning big awards (at least with our kind of choppers, anyway). It’s hard to explain; we enjoy riding, we like unique bikes, and there are a lot of talented people in Richmond, Portsmouth, and Norfolk. I don’t build bikes, but I can appreciate what some of these people are doing.”

Kennedy plans to make his official move to the River City within the next few months. While he’ll make Richmond his home base, much of his time will still be spent on the road, working as a freelance photojournalist and documenting his travels from coast to coast.

“It just so happens that Richmond has been my landing base for the last two years. I really found a sense of community there,” Kennedy said. “I wish I could tell you what it is about Richmond — in my whole life, I’ve never lived in a place more than five years, but for what I enjoy doing, for my lifestyle, Richmond fits the bill. It’s a very transient town, so someone coming and going is not unheard of.”

It’s been five years since Kennedy found his love for motorcycles, and he purchased his first bike shortly after in 2015. While he’s started learning the mechanics of the bike and doing its maintenance work in the last year, the main thing he operates on a motorcycle will always be his camera.

“I am operating my motorcycle while I’m shooting photos. I’m shooting from the hip, I’ll take my arms off the bar. I’m an idiot,” Kennedy laughed. “I grew up in Indiana, I took high school film and digital classes and was big into filming skateboarding when I was 16… I still skateboard, and I’ve been skateboarding since I was five years old. I do photo and video work for Cardinal Skate Shop down in Norfolk.”

Filming skateboarding videos was Kennedy’s introduction to working with photo and video media, and he pursued it through his younger years until he came to the end of high school. When he was faced with the decision to either be kicked out of his house during school or join the military, he chose the latter — and with an interest sparked by high school photography classes and filming his friends skateboarding, he joined the Navy with a rank concentration in Mass Communications. Later, through the military, he enrolled at Syracuse University in New York.

“It’s funny how much art you actually see when you’re in the military,” Kennedy said. “For instance, all the command logos — somebody had to make and design those. And generally, they’re by someone in their command, or someone who does my job. We’re trained to do photo, video, AP Style journalism, and graphic design… The military is one of the best things that’s ever happened to me. I learned a lot about life, not just in my job, but with the people and where they come from.”

Kennedy’s professional equipment of choice is usually a Nikon D4, and he uses a Nikon D610 for personal use as well as a Nikon f100 for 35mm shooting. His name carries award-winning photojournalism with his work, which has taken him from the continental United States to many small corners of the world.

“I did an article in the Philippines in 2013 after a bad typhoon hit the area, Operation Damayan. We went there to deliver relief aid,” Kennedy said. “I’m probably more reckless with gear than I should be, but the hardest part of those situations is having to detach yourself from the reality of what’s happening. Photographing people who may not be alive anymore, or who may have just lost their house; being respectful to them while getting the story, and trying to relay that information to people who have no idea what’s happening. Photographing protests is natural. I become detached when the lens goes up to my face — like I’m just watching a movie. I’m not happy or sad, I’m just there.”

These days, it may seem like Kennedy’s passion lies in the motorcycles themselves, but in reality it’s the people who ride them that provoke his affinity for the bikes. He rides a 1999 1340cc Evo Big Twin chopper.

“Choppers are so stripped-down and basic. Choppers are teaching me patience and how to work with my hands. We’re losing craftsmen every day,” Kennedy said. “We’re losing people who know these machines and how to work on them. [In photography], I’m trying to preserve these men and women who work on the machines in some sort of fashion. I don’t want some kid to forget and think everything is automated; sometimes you’ve got to work with your hands and get dirty.”

The adventure comes with the ability of a motorcycle to turn a simple means of transportation into a wilder experience of motor freedom. When society has come as far as it has in technology, Kennedy notes, we have a tendency to forget where we’ve been, and the foundation that was laid many years ago which allows modern tech to thrive as it does today. The functionality of older and antique motorcycles — especially Harley Davidsons — is simpler, but temperamental in ways unique to each bike.

“Breaking down is part of the fun,” Kennedy said. “It’s not really fun when the vehicle does it all for you. The motorcycles — I could take them or leave them. It’s really the people I enjoy. Without the people, we wouldn’t have the bikes. We wouldn’t have this kind of folklore around it.”

Kennedy’s Harley has seen many miles of open road, not only in Virginia but in trips across North America. He’s had breakdowns that forced him to leave his bike on the side of the road in Arizona overnight, and he’s been stuck on a mountain in San Diego as it started to snow. Riding cross-country from Virginia Beach to Mexico, he teamed up with a group of friends to begin a major trip crossing national borders.

“We were in New Mexico, and my buddy lost his gas cap. We had already pulled over four or five times that day, people were breaking down and losing stuff,” Kennedy said. “We couldn’t get out of Albuquerque for whatever reason, and while we were looking for the gas cap, my buddy Ethan found a $100 bill. So we ended up buying a new gas cap. We were trying to make it back through New Mexico, and the sky split in two — pitch black on one side, and bright daylight on the other. We were about to have a very bad time in a few minutes… everything just opened up with hail, wind, and no shelter to stop at. So we just had to keep riding through it.”

As long as there are folks still out there willing to take something apart in order to learn how to put it back together, craftsmanship stays alive. It’s kept by those with the due diligence required for the impressive skills, and Kennedy is one who keeps this brand of freedom alive and well-documented — providing proof that society might not have changed as much as we think. When it comes down to these individuals, after all these years, some still prefer to hear the pull and chug of an antique chopper over the hiss of modern mechanics.

Kennedy is set to head out on another cross-country trip in June, seeing the Pacific Northwest and traveling back through an outline of the United States. 

“I just do my own thing. I go wherever the wind takes me that week.” 

Below, find a collection of Liam Kennedy’s photos from the road. More of his work is available to view on his website and Instagram.

Written By Ethan Malamud and Caley Sturgill. Photos by Liam Kennedy