In Progress

Short Journeys.

nehad khader shoot

For the last few weeks, I've been working on a few projects with my partners Taj and Rashid, under the auspices of our collective creative agency, WJS Creative. One of our ongoing projects is a photo/interview-based profile series we’re calling Short Journeys.

With Short Journeys, we interview really dope and interesting people about their life and experiences through the lens of travel. It’s been a really fun adventure so far, hitting the ground guerrilla style and getting up close and personal with some awesome individuals, figuring out workarounds for the different locations we’re working in, and having a great time along the way. It’s put me in the position to be shooting pretty regularly, and I’ve tried to make the most of it - I’m primarily shooting medium format film, and I’ve shot every negative size I have in my possession, 6x4.5, 6x6, and 6x7.

(Maybe this year I’ll get my hands on a big old 4x5 and really get crazy. That would be epic.)

This project has really tested my abilities as a film photographer. As of the writing of this post, all of the cameras I’ve been shooting with are big, clunky, manually focusing cameras, only one of them with an actually TTL meter that works - shooting run-and-gun is a substantial task. It’s also a task I brought upon myself, of course - but for the most part I’m enjoying the challenge. I’m hoping that I ultimately get comfortable in these situations; it can only make me a better photographer.

I’m really excited to see this project hit the airwaves; we’ve been producing some pretty fantastic content, and I think it highlights the team's abilities as storytellers, which is what we’re trying to perfect with every move we make. We want that to be our claim to fame, our distinction, our excellence.

Be sure to check out our first Short Journeys post on the awesome photo story platform, Exposure. We’ll be updating pretty regularly - drop us a line to let us know what you think.

*behind the scenes photo by Taj Reid.

On New Work/Pentax 67 First Impressions.


Over the past few months, much of my focus has been devoted to trying new things, shooting things that are actually of interest to me, and through those experiments, building a portfolio worth showing to potential clients. As much as I love photography and working with images before, during and after the actual shoot, I’m still very new to the idea of actually being a photographer in the proper sense, and so there’s a lot of guesswork at play in finding out my voice, shooting style, preferences, etc. I’m a gear head for sure, but a large portion of the reality behind my constant GAS (gear acquisition syndrome) is that I’m looking for the right pieces that compliment my nature the best, and help me to produce the images I want to produce. Every step is like a small but integral piece to a very large, unending puzzle.

Most recently, I’ve been spending time organizing shoots with models. This is very new for me and I’m not completely in a comfort-zone with the ask, so it’s been a slow-go, but this part of the process is a skill set I have to get in my pocket.

Along those lines, I took the new Pentax 67  (along with my EOS3 and 7D) out to Penn’s Landing last weekend and had a quick shoot with Rebecca, a model I made contact with on Model Mayhem.



The Pentax, in my opinion, handles great. It is definitely heavy+huge, definitely old school, but it’s a great camera with its own charm and quirks - and the negatives it produces are just beautiful. The copy I own came with a non-metered prism, so I had to use a separate meter (a Sekonic L-318B cine light meter that works in shutter priority mode only) and pray. Most of the shots came out beautifully. These are low-res scans and even at the low-res, you can see how sharp the 90mm 2.8 lens is. I also love the small depth of field; I didn’t shoot wider than ƒ5.6 (it was extremely sunny, I typically shot at ƒ8 and above).

I’m going to commit to this camera for most of my personal work going forward, and keep the 7D and EOS3 handy as backups.

I enjoyed shooting the black & white, especially Ilford's awesome Delta 100, but now I'm really excited to see how the lens reproduces color, so I got my hands on a pro pack of Kodak Portra 400 that I'm going to try to blaze through.

'Til then!