Visual Goods is a New Feature on MusiQology where we will explore the relationship between photography and live music through the lenses of various photojournalists and artists. We hope to bring readers into live music venues, rehearsal and performance spaces, and other soundscapes to celebrate and explore the compelling nature of multimedia art.

Our first featured photojournalist is Brandi Pettijon. Brandi Pettijohn is a documentary photographer based in Atlanta, Georgia. Her work captures the richness of everyday moments while also exploring modes of performance across time and space in a brilliant ongoing series titled “Black and Adorned.” More of her work can be found here.

Even though I know I was bound to have some technical challenges, I actually like shooting in low light situations and draw inspiration from Roy DeCarava’s images of musicians.  I believe these images are intimate and give you a feeling of being there that crisp and bright images do not.   Don’t get me wrong, I crave to find a way to get both (without spending 10gs on equipment) but for now, I must look for beauty in other ways.  Opportunity + preparation = success.  All my years of shooting has taught me that all you need is one.  Most of the time I feel like I get my one, even though it might just be beautiful to me.  Sometimes I feel like I’m getting inspiration for the future, or for a painter or something.  Like, “this would be really cool for a painting”, or “next time I will be sure to stand there” (or in front of the person who has the camera phone) or “I will slow down more and take my time”.   Many things go through my head, but the best time is where I can slow down, and be a witness to the little things that are happening on stage.  Photography is a small way I can be present, but I need to see.

I’m not an ethnomusicologist, so you will have to get one of them to review their work and their importance.  What I did notice was how connected the crowd was to anything that had to do with Orisha (I’m probably saying that wrong) and anything that sounding like spiritual chanting – they were with it.  I also noticed some weeping during “Mama Says” and even my heart ached a little when they sang “Yanira” (for their eldest sister who passed in 2013).  All of the songs had a haunting quality, and their voices stacked in a way where it just sounded like more than two people were on the stage.  Well indeed they had a vocal and engaged audience on their side.  I enjoyed seeing women evoking, controlling and moving the energy in the space and among the people.  The use of spirituality, hip-hop, and soul music is not new – effectively Ibeyi is continuing an important tradition.

worked my ass off to get a shot of both of their faces at the same time.  #stageleftlife