A Conversation With Inari Briana: On Blackness, intention, and the power of seeing yourself in your work.

To experience Inari Briana’s work is to witness reverence. Her lens not only frames her subjects but it elevates them in various ways. The Atlanta-born photographer has carved out a visual language rooted in identity, collaboration, and presence.

In this conversation, she reflects on the power of seeing yourself in your work, creating emotionally safe sets, letting Blackness lead the way, and honoring her own evolution, both creatively and personally.

Interviewed by Mecca Mallory

Image Photographed by Anthony Nava

1. What’s a memory from your early creative life that still lives in your work today?

Something that still lives creatively in my mind is my experience as an intern at a production company. I remember my mentor at the time saying to me, “Pay attention to everything—even if it has nothing to do with you, because you never know what you're going to need to know or learn.”

That really stuck with me. I still carry that mindset in my creative life now. If you don’t pay attention to what’s happening around you, you might miss something important—something that could be essential later on. So I’m always observing and taking mental notes. That advice still guides the way I move today.

2. Which part of yourself feels most reflected in the work you create?

Honestly, I think it’s all of me. When I’m creating, I’m very intentional. Even when I don’t know exactly what the project will look like in the end, I still put all of myself into it. So whenever you see something of mine, more often than not, you’ll probably be able to tell it’s from me because of the energy and intention behind it.

There are certain ways I like to shoot—some things I gravitate toward—and those elements often show up across my work. Whether it’s commercial, editorial, or something personal, there’s always a signature. I think every artist who really puts effort into their work leaves a piece of themselves in it. For me, it’s not just one part of me, it’s the whole.

3. What role does Blackness play in your creative lens, and how does that shape both your evolution and the kind of impact you hope to make?

I'm a dark-skinned Black woman from Atlanta, Georgia. I like to see myself in other people, so one of my favorite people to shoot are dark-skinned people. Growing up, there was always this idea that dark skin was “bad,” and I’ve always hated that. I don’t think I’m a bad person just because of my skin color. I think Black skin is beautiful—absolutely the best thing to ever hit the world.

I want to see people who look like me shown in a beautiful light, where you can see how our skin bounces off color, how rich it is, how deep it is. Me being Black and wanting to reflect that beauty in the world will forever be important to me. I've been called names, talked about, and judged because of my skin color—even at this stage in my life. But I'm not going to let that stop me from showing how amazing Blackness is—how amazing I am, how amazing our people are.

Our uniqueness, our variety, our culture—that’s what heavily influences everything I do. So at the end of the day: I’m Black, and I’m going to shoot Black. All day, every day.

4. What does a creatively “safe” space look like for you and how do you create that on set?

For me, a safe space is collaborative. Even though I might be leading the shoot, I want everyone involved to feel like they have a voice. Sometimes someone else’s perspective can take the vision further than I imagined. I’m also really intentional about making sure my subjects, especially models, feel comfortable enough to be vulnerable. I’ll tether during studio shoots and show them the shots as we go, helping guide them in a way that brings out their best.

I even kick people off set sometimes if it’s too crowded. That can be intimidating for a subject, especially if they’re new to it. I want the energy to be relaxed and focused. Music helps again here, too. I’ll play something that helps them flow, and once they’re in that groove, I don’t even need to direct much. It just happens naturally. Judgment-free energy is key.

5. Do you have any small rituals or go-to habits that preserve your creativity, especially when the work feels heavy or client-driven?

Music. I always have to dance before I shoot, it helps me get into the right headspace. I don’t mean a full eight-count routine, but just a little two-step to loosen up and set the vibe. Music brings out the best in me.

Once it starts to feel like work, I lose interest. So I make it fun, for me and for the people I’m shooting. I’ll play music on set to help everyone feel good, especially clients who might not be super comfortable in front of the camera.

That vibe shift can make all the difference. Music is universal, it loosens people up, helps them feel seen. I have different playlists depending on the tone of the shoot, whether it’s moody, upbeat, or editorial. Leon Thomas, Olivia Dean, 70s classics, Hall & Oates... I listen to what makes me feel something and gets me in the zone.

6. What non-photography things do you turn to for inspiration when you feel stuck?

Movies, for sure. Film was actually my first love before photography, so I’m always drawing from cinematic visuals. Music videos, books, Pinterest, lighting inspiration—all of that helps me reset when I’m stuck. Even just going outside can spark ideas. I remember being on a flight once, listening to Donna Summer, and looking out the window. It gave me the idea to do a dreamy cloud shoot. I made clouds out of polyfill and created this whole vibe just from that one moment. 

I don’t want photography to be my only identity. I need other experiences to feed my art. Side quests, life moments, anything that opens my mind and helps me see things differently—that’s where the magic comes from.

7. You’ve worked with brands like Meta, Nikon, and Jordan… How do you protect your creative voice when collaborating on projects shaped by someone else’s vision or a larger team?

You’ve got to pick and choose your battles. There are times when you won’t have much say, and you just have to give the client what they want because at the end of the day, photography is a service, depending on the kind of work you do. That said, when I can insert my creative voice, I do it through my signature. At this point, people hire me for a reason. They’re looking for my style, they believe it can fit what they need. So I give it my all. But again, even when clients ask for my style, some brands don’t always have the clearest direction. So regardless of how I may feel about it, I do my best to meet the brief and deliver.

8. What’s the next chapter of your story — visually, emotionally, or otherwise?

I really want to do more speaking engagements, more workshops, more teaching. Lately, I’ve been big on paying it forward. I might not have received all the opportunities I wanted yet, but I’ve had some great ones. And I want to give those same kinds of opportunities to younger creatives who are coming up. I want them to know there’s more out there than what they see in their everyday surroundings.

So many people don’t realize what’s possible until they see someone else do it. And I’ve seen that firsthand in my career—people see me accomplish something and say, “Wow, I didn’t even know that was a thing.” I want to introduce those possibilities to others. Whether that’s through mentorship, speaking, or just showing up. Right now though, I just want to get through the holidays, to be honest. I want to make sure I’m okay, so I can be good for other people.

View Inari's Work Here:

Instagram: @inaribriana

Website: https://www.inaribriana.com/

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