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Photographs of Sound: Scene Seen

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Nestled within the pulsating heart of Baltimore, a city woven with stories and strumming with creativity, photographer Micah Wood and graphic designer Christopher Chester embark on a vibrant journey—a celebration of the musicians who breathe life into this ever-evolving landscape.

Their latest work, Scene Seen, weaves together 85 bands, over 200 portraits, and 300 pages into a tribute to Baltimore’s creative resilience, documenting the essence of the music scene from 2016 to 2024. 

Micah’s lens has turned toward a captivating roster of artists, including A4lenia, Abdu Ali, Bartees Strange, JPEGMAFIA, and Snail Mail, each embodying unique narratives that reflect the spirit of the city.

“Photographs are perhaps the most important of all the products of the modern world,” writes Susan Sontag, and this sentiment resonates throughout Micah’s work. Each click of the shutter invites viewers to see Baltimore through his eyes—a place where culture and grit intertwine. Christopher, with his keen design sensibility, ensures that these images resonate, elevating the visual narrative without overshadowing the art within.

Scene Seen serves as an archive of Baltimore’s midtown neighborhoods, capturing the city’s creativity with stunning portraits and interviews full of color, depth, and motion. The spirit of Baltimore—a blend of authenticity and a DIY ethos—whispers in every frame.

Musicians like Ami Dang, whose ethereal sounds blend cultures, and Dan Deacon, known for his electrifying performances, reflect the city’s eclecticism. Each artist, whether it’s the distinctive voice of Glorian or the introspective melodies of Snail Mail, finds their story bound within these pages, revealing a community of creators thriving amid life’s challenges.

As John Berger articulates in Ways of Seeing, the goal is to “see more, not less.” This ethos permeates their work, allowing the viewer to experience not just the musicians but also the vibrant tapestry of Baltimore itself—a city that’s often misunderstood but brimming with creativity.

In this collaborative dance, Micah and Christopher create a space where art merges with education, illuminating the richness of this city. This book is not just a collection; it’s a symphony of resilience, drawing readers into the world of Baltimore’s artists—a world that needs to be seen, felt, and celebrated. Through their lens, the beauty of Baltimore and its music scene unfolds, offering an invitation to discover the hidden gems that define this extraordinary city.

Micah and Chris by Grace Campbell
This book is not just a collection; it’s a symphony of resilience, drawing readers into the world of Baltimore’s artists—a world that needs to be seen, felt, and celebrated.
Jaddie Fang

Jaddie: How did the idea for this photo book come about, and what inspired you to create it together?

Micah: In 2016, I created a book showcasing my band portraits from 2012 onward. Recently, I reflected on it and realized it lacked some elements I would incorporate today. Since the pandemic, I’ve observed significant changes in the Baltimore music scene and live music landscape.

Many bands and individuals featured in my previous book have either changed or disbanded. Partnering with Chris, my best friend and primary collaborator, has been essential. I consider him an archivist, which aligns perfectly with our vision.

Chris: I resonate with the term “archivist.” My passion lies in capturing and documenting moments. In my design work, I focus on the various elements that contribute to the final piece. It’s amusing to remember that my involvement with Micah’s first book marked the early stages of our friendship, as I had just started my journey as a graphic designer. I created a flyer for the book release show, and now, years later, we have the opportunity to collaborate on this new project, creating a sense of closure.

Micah: The first book lacked focus; it was mainly a collection of Baltimore band photos without a cohesive narrative. This time, I intend to feature exclusively Baltimore bands and include metadata and storytelling to enhance its impact and long-term value as an archive. I realized I needed Chris’s expertise not just in design but also in gathering these stories for a richer context.

Chris: Additionally, we want to capture a changing landscape—reflecting the opening and closing of venues and the emergence of a new generation of artists collaborating with seasoned musicians. Our goal is to create an archive that contrasts the old and new dynamics within Baltimore’s music scene. We also aim to introduce an editorial voice that brings Baltimore to life, making it more accessible and enjoyable beyond the city.

Ed Schrader Music Beat

What do you think has led to the significant changes in the Baltimore music scene?

Micah: Numerous factors have influenced the changes in the music scene, with the pandemic being a major one, as it led to the shutdown of venues. Additionally, shifts in the ownership of gathering spaces have impacted the landscape.

Before 2020, venues like The Crown served as vibrant hubs where diverse genres—from hip-hop to indie rock and pop—mingled. Baltimore’s uniqueness lies in this eclectic mix, where attending a show could feature everything from hardcore bands to pop artists and rappers. While that diversity still exists, I’ve noticed a shift in which pop music is carving out its own space, while hardcore is experiencing a resurgence. This divergence is exciting and promotes mutual respect between genres. As we work to rebuild those spaces for crossover, the essence and energy of Baltimore’s music scene remain intact, though certain historical moments have faded.

Our hope with this book is to capture this dynamic landscape, allowing people to see themselves and their peers within it. We aim to establish connections between current and past bands, recognizing that while we can’t include everyone, there are always ways to trace influences and relationships.

We are witnessing a resurgence in pop culture, with artists like Olivia Rodrigo and Billie Eilish blending genres in ways that evoke Baltimore’s long-standing tradition. They are incorporating elements, such as the Baltimore Club beat, into mainstream pop, which highlights the city’s historical innovation. We value these evolving moments and seek to document them in print.

What has it been like capturing bands in various settings, such as on stage, backstage, or in candid moments?

Micah: My photography approach is fundamentally collaborative. A guiding principle for me has been to photograph people as they wish to be seen. This process can be challenging, particularly for musicians who may feel uncomfortable in front of the camera. I understand this struggle personally, having encountered similar situations with photographers.

Many musicians, especially those who have been historically misrepresented, have faced inauthentic portrayals in the past, often being placed in awkward or silly poses for photos. My aim is to foster a more genuine atmosphere. I always seek input and ideas from the bands, and when I propose my own, I ensure they feel comfortable with the direction.

The book captures moments that reflect this trust. For instance, I once asked a band member to stand next to a clear outdoor dining barrier, even though he was unsure about how it would turn out. I reassured him that if he didn’t like the result, no one would ever see the photo—it would be our secret. Ultimately, that image became one of his favorites.

I prioritize open communication; if a band feels that a photo doesn’t truly represent them, I fully support dropping the idea. My goal is to create authentic images that resonate with their identity and comfort level.

Natural Velvet

Were there specific visual elements, color schemes, or films that inspired the artist’s style or music in your photography?

Micah: Absolutely. This book features over 85 bands and more than 85 photoshoots, many of which are centered around specific albums. For example, the photos for Ed Schrader’s Music Beat were created in conjunction with their album, “Nightclub Daydreaming,” for which we built an entire set inspired by the album’s themes.

There are also shoots like RoVo Monty, who had a distinct vision and showcased multiple looks, including a wig in some shots. A significant part of my process involves collaboration; the bands often choose the neighborhoods and provide inspiration, which allows us to experiment together and create organic, beautiful moments shaped by trust and comfort.

The energy of the subjects is crucial—when they feel comfortable, it reflects in the photos. You’ll find a wide range of styles in the book, from simple black-and-white portraits, such as those of Moon Tide Gallery, to glamorous, theatrical shots of RoVo Monty. There’s even a dramatic image of Glorian that captures vibrant energy. I rarely dictate how someone should be photographed; instead, I’m inspired by their feelings and music.

A notable example is the cover photo for Ami Dang, which aligns beautifully with her pink-toned album cover. It features a reflective surface that encapsulates her art and presence, with direct eye contact creating a strong connection that embodies the essence of the book. This reflective element, along with the play on words with her name, creates a compelling visual narrative.

Do you find it challenging when artists pitch their ideas to you?

Micah: Absolutely. It can be quite daunting as an artist when someone pitches an idea that makes you feel uncertain. Even if I see potential in the idea, I often struggle with my insecurities, questioning whether I can deliver what they envision or if I’m the right fit for their concept. At times, when an artist suggests something outside of my comfort zone, I lean on the trust we’ve established to push our creative boundaries together.

Chris: Corynne from Natural Velvet is a perfect example. As an art director, she frequently collaborates with us, and her guidance comes from a collaborative spirit. We discuss our ideas and develop a shared language to clarify the intent behind our creative projects. Building relationships and connections is essential; the best work often emerges from understanding the challenge and breaking it down into manageable parts.

Micah: We also need to practice giving and receiving grace throughout this process. All the photos included in the book are ones I love, generally vetted through the bands. Knowing these images would be featured allowed me to approach the work with a sense of purpose. About 95% of the bands hired me for their shoots, enabling the photos to be presented in a new context while still rooted in their vision and comfort.

As Chris noted, trust plays a critical role in exploring unconventional ideas. Interestingly, a significant portion of the book features concepts I initially dismissed as bad ideas. Our instinctive reactions often lead us to envision clichéd outcomes when confronted with new suggestions. In those moments, it’s perfectly acceptable to step back if something genuinely doesn’t resonate—I can always recommend other artists who excel in those styles. The beauty of art is that not everything is meant for everyone.

Ami Dang
Musicians can cultivate success while staying connected to their roots, and I hope that those who leave will return and share their resources, further uplifting Baltimore's music scene. The more people recognize and credit Baltimore's contributions to music, the more its influence will grow. I want to see that recognition become more widespread.
Micah Wood

How do you balance portraying the artists’ creative personalities while maintaining your artistic vision in photography?

Micah: I believe it’s nearly impossible for me to completely set aside my artistic voice in these projects. There’s a rich history in photography that discusses the ethical implications of documenting moments, and I can’t capture those moments without my own biases, perceptions, and vision influencing the work. It ultimately comes down to open conversations and building trust.

The better I know the artists, the more I feel comfortable experimenting creatively, as I want to ensure the final result resonates with both of us. I strive to deliver work I’m proud of, and at this stage in my career, it’s rare for me to create something I don’t believe in. If something isn’t working, I communicate that to the artists.

When they propose ideas I can’t visualize or think might be unachievable, I ask them to share inspiration. This often leads us to a collaborative space where we can compromise and refine ideas into something that feels stronger and more fulfilling for both parties. The goal is to arrive at a solution that excites us both.

How did you approach designing the layout to complement the photographer’s work?

Chris: In designing the layout for the book, I focused on the importance of process in visual design, whether it pertains to a physical object like this book or my full-time job. My approach began with clear goals, emphasizing that photography would always take precedence over visual aesthetics.

Throughout the design process, I aimed to ensure that no design elements overshadowed the photography, as the images are the primary subject of the book. I also prioritized the sequence of images, recognizing its significance in storytelling and the reader’s journey through the 300 pages. I wanted each page to feel inviting and enjoyable while maintaining a clean and cohesive look. 

Additionally, I aimed to establish an editorial voice that accurately represents Baltimore’s midtown music scene, allowing both local and outside audiences to connect with the city’s creative spirit. To achieve this, we implemented a grid system specifically designed for Micah’s medium format photography, minimizing cropping and ensuring flexibility in image sequencing. We also included written contributions from about 35 artists, offering insights into their creative processes and experiences in Baltimore, which adds depth and intimacy to the artistic narrative.

Nourished by Time
RoVo Monty

What’s one thing about Baltimore’s music scene that you think outsiders might not know but would learn from this book?

Chris: Many outsiders hold biases about Baltimore, often associating it with crime and safety issues, and sometimes describing it as a “shanty town.” When I mentioned I’m from Baltimore while in Amsterdam, the conversation only turned positive when I referenced “The Wire.” This book offers inspiration for people in smaller, mid-sized cities.

Whenever I visit new places, I reflect on the local culture, particularly within the working-class and artist communities, and how people create and thrive despite challenges. Many artists express that in Baltimore, they can pursue their craft without significant pushback or constraints, whether financial or otherwise.

I hope readers gain insight not only from the experiences shared in the book but also from witnessing Baltimore’s beauty through its locations and neighborhoods. While we don’t delve deeply into history, we aim to spark curiosity that encourages exploration and a desire to learn more about the city.

Micah: This book highlights the collaborative nature of Baltimore’s music scene and how artists inspire one another, even in the absence of resources. Friends often rediscover influences through the past bands featured in the book, reinforcing a sense of community that tends to be overlooked. There’s a tendency for bands to erase their history after breaking up, believing that if they weren’t successful on a major label, their music lacks impact. Additionally, the book serves as inspiration for artists in other mid-sized cities, illustrating the freedom to create and thrive in Baltimore without significant constraints. We hope readers come to appreciate the city’s artistic spirit and beauty, encouraging them to explore it further.

Moon Tide Gallery
Natural Velvet

How do you two communicate and align your creative visions throughout this project?

Micah: Our communication involves a lot of texting—I tend to send Chris numerous messages! He usually responds thoughtfully with one comprehensive reply. Early in our collaboration and friendship, I realized that I text Chris differently than I do with others. I once explained that I have a lot of information to share about our projects and wanted to ensure he was comfortable with the frequent messages, clarifying that I wasn’t inundating him just to chat. We’ve established a mutual understanding that allows for this dynamic communication.

Chris: Communicating with Micah is an art form in itself. I’ve been texting him for nearly a decade, so I’ve learned how to navigate his marathon texting style. Some people might find multiple texts overwhelming, but I simply let him know that I’ll read everything and respond when I can.

How do you tone the color in the photographs?

Chris: Our collaborative process thrives on mutual respect for our disciplines—Micah as the photographer and I as the designer. While I might suggest moving an image in the sequence if it doesn’t look right, I never edit his work directly. If I need to reformat something for printing, I always check with him first.

Micah: Color correction is crucial to me, both aesthetically and ethically, especially when it comes to accurately representing skin tones. Many people overlook the significance of this detail, but I’ve dedicated my career to ensuring correct color representation. There’s a strong level of trust in our professional relationship; I have a Dropbox folder with all my photos, and Chris has access to it. He can use my images for client projects without needing my permission because I trust his aesthetic judgment.

We both studied graphic design, so we understand each other’s disciplines enough to provide valuable criticism. For instance, Chris might suggest design changes that influence photo pairings, while I can offer feedback on the design based on my understanding of photography. This collaboration typically involves multiple iterations of the book, integrating both of our visual arts until we arrive at a cohesive final version.

How many versions did you create for the whole book?

Chris: We created about six versions of the book. At one point, we had a new version each month from April to November, testing different ideas in separate files. I prefer working in small increments, focusing on representing a cohesive body of work. This project isn’t about showcasing my design skills; it’s about accurately reflecting Micah’s artistry and ensuring that readers appreciate the information presented.

Micah: The goal is to make the design appealing, accessible, non-distracting, yet engaging, and I think Chris achieved that effectively.

Baltimore has a reputation for fostering creativity, DIY, and individuality in music—how does this come across in the photos and design of the book? How has the local community supported or inspired this project?

Chris: I’ve been consistently inspired by the visual identities of Baltimore’s artists and musicians. There’s a vibrant culture where individuals aren’t afraid to evolve their style or perception, with plenty of cross-collaboration. Over the past eight years, I’ve created show posters for many of these musicians, many of which are featured in this book.

This DIY ethos shapes how I represent them and celebrate their contributions. The intimate access to Micah’s work through a shared Dropbox also enhances our project, as many flyers are photo manipulations of his images.

Micah: Almost all the photos in the book were taken in Baltimore or its surrounding areas, with the city’s landscape heavily influencing the visuals. We have discussed creating a photo map as a long-term project, as many locations have changed or no longer exist. The bands often choose these settings, or we create a studio tailored to their vision. Capturing images during the golden hour reveals the city’s beauty, highlighting aspects often overlooked in daily commutes. This book invites readers to discover these hidden vignettes of Baltimore, sparking curiosity about the locations depicted.

Chris: I resonate with that sentiment deeply. My great-grandfather, a bricklayer in Baltimore, used to drive me around to show where he had worked, which helped me learn the geography of the city. Growing up in both West and East Baltimore, I’ve witnessed the changes over the years. This project allows us to celebrate the familiar spaces we pass every day, illuminating their beauty and uniqueness in a new light.

Scene Seen Book

Did the city itself—its architecture, culture, or energy—influence the aesthetic or design choices in the book?

Micah: Micah: Absolutely. Chris is very intentional about every detail, including the font choices that connect with the photos and their subject matter.

Chris: The vibrancy of Baltimore’s neighborhoods and the enduring architecture significantly influence our aesthetic decisions. It’s disheartening to see beautiful Victorian row homes in disrepair, but many neighborhoods fully embrace their unique identities and histories.

You can turn down any side street and still feel the essence of Baltimore. I remember discovering a cottage in a forest that surprisingly felt like the city. My first apartment in Bolton Hill had striking 14-foot ceilings and original plaster details, which reflect the city’s character.

Many friends are now fixing up their homes, celebrating their historical charm.

Locations like Mount Vernon and Cylburn Arboretum hold deep personal significance for me and my mother. Baltimore has countless hidden gems—little aspects of the city that can unexpectedly capture your attention and contribute to the book’s aesthetic.

What role do you think Baltimore plays in shaping the identity of the musicians featured in the book? What are some unique challenges or opportunities when documenting musicians in a city like Baltimore?

Micah: Micah: Baltimore’s affordability and the freedom to fail play crucial roles in shaping musicians’ identities. Many emerging artists, including students, often feel pressured to achieve perfection, but embracing failure is vital for growth. The city provides a supportive environment where musicians can practice and refine their craft, preparing them for larger opportunities.

For example, Future Islands spent years performing in Baltimore before achieving their breakout moment, demonstrating the value of persistence in a nurturing atmosphere. The chance encounters in the local music scene often lead to new collaborations and friendships, enriching the creative process. 

Community is essential; it fosters creativity and motivates musicians to improve. In Baltimore, there’s a unique blend of expectations—sometimes high, sometimes low—that allows artists to experiment without excessive pressure. The city’s culture allows even well-known figures like John Waters or Beach House to live relatively unobtrusive lives.

Musicians can cultivate success while staying connected to their roots, and I hope that those who leave will return and share their resources, further uplifting Baltimore’s music scene. The more people recognize and credit Baltimore’s contributions to music, the more its influence will grow. I want to see that recognition become more widespread.

 

 

Scene Seen Events this week:

Scene Seen: Baltimore Band Portraits 2016-2024
Tuesday, January 14 :: 6-7:30pm
@ Greedy Reads Remington

Q&A with SCENE SEEN authors Micah Wood and Christopher Chester
Sunday, January 26 :: 7-9pm
@ Bird in Hand

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