MPB Meets: Portrait & Family Photographer Cornell Watson

MPB had the chance to interview portrait and family photographer Cornell Watson, who has worked for The New York Times, The Washington Post and Adidas. Let’s hear about his work and background, and the importance of family, representation and photography in the Black community.

MPB: Can you tell us about your background in photography?

CW: I’ve been a photographer for almost three years. My interest in photography started right before our daughter was born, to document our experience of being parents. I have so many photos from my childhood that my parents took, and looking back through them as an adult is such an experience. I wanted to do the same for her, so I purchased a used camera and immediately became addicted to photography. My partner would get off from a long day at work and I’d be like, “You ready to go to the park and take some photos?” Yes, she thought I was crazy, but she begrudgingly came along. It wasn’t just her, though, my camera went everywhere and no one was exempt from impromptu photos.

Things started escalating pretty quickly. It went from a hobby to running a photography business, focused on family photography, in a matter of months. I did photography as a side hustle until June 2020, when I was laid off from my full-time job. After picking up work as a freelancer for Durham Magazine, I decided to do photography full time. A lot of my recent work has been editorial and commercial. Most recently, I’ve freelanced for national publications like The New York Times and The Washington Post. I’ve also done commercial photography for companies like T-Mobile, Adidas and Bombas. I’ve also been working on personal projects such as my Behind the Mask series, which explores the mask that Black people wear. It's been a really exciting journey!

MPB: Family seems to be a big part of your photography—aside from your daughter, of course, what else prompted you to start family photography?

CW: I grew up with a large family, and we’re all really close. If something goes down, I have a thousand aunties and cousins that are gonna show up ready for action. Okay, I’m exaggerating on the numbers—but you get the picture. My personal experience with family is a large part of the reason I’m so passionate about family.

As a Black person in America, family is essential for survival. When you grow up where the colour of your skin affects your education, housing, employment, air quality, income, shopping experience, the food you eat, interactions with police, and every aspect of your life, it's important to have people that can help you through these systems of oppression. My family, both the ones I was born with and the ones I’ve chosen, have helped me survive being Black in America. In addition to this, it is worth mentioning that we also need more visual representation of Black families and the many ways they exist, because representation matters.

MPB: A lot of your work is both in colour and black-and-white. How do you decide which one works best for an image?

CW: A lot of the editorial and commercial work I do is in colour, but I really love black-and-white images. There’s something about them that feels special and timeless. I edit all images in colour first and then convert them to black-and-white.

If I want the image to be more focused on the moment and emotions of a photo, then I’ll usually consider it in black-and-white. The main factor in deciding is asking how the image makes you feel.

MPB: What does a day of shooting photos usually look like for you?

CW: We are our best selves when we are able to be our most authentic selves. So, for me, one of the most important things is creating an inclusive environment where everyone feels comfortable doing that. Music is another thing that I incorporate into my days. It’s food for my creative soul, so a day of shooting for sure involves good music. Time flies by on shoot days, but reminding myself to slow down and be in the moment is what helps me see the little things that are often the most impactful.

MPB: What do you shoot with? And what are your plans for the future?

CW: I shoot with a Fujifilm X-T3. I primarily use prime lenses, since I find myself to be in a lot of low-light situations. I also use Godox for lighting on editorial and commercial work.

Whether it’s working on new personal projects, publications, or commercial work with new brands, I want to continue doing meaningful work that makes us free and happy.

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