Wisdom Warner, an Atlanta-based photographer and creative director, is a storyteller when it comes to art. From photography, to cinematography, as well as some mixed media, his portfolio is wide and unlimited, is always consistent. Through an intentional use of color, subject matter, and narrative, he has created a distinct and recognizable look and is a prominent star on the rise.

Looking back, what sparked your initial interest in creating art, specifically photography?
Looking back at the beginning of my interest in photography, it started in my sophomore year in high school. I wanted to be a commercial model. Back then I was a few inches shorter, so having people take me seriously was an extreme challenge. It also didn’t help that I dressed like the mannequins at my local mall. I did some digging for opportunities and found this modeling and acting school. Albeit expensive, my mom wanted me to be involved in whatever I could, so she sacrificed a lot to get me through the program. My father later got on board, seeing the potential I possessed as I moved further along. What the program offered in summation was exposure to how the industry works from a production standpoint, rather than a talent standpoint. That might have created a creative bias in my mind to create, rather than to be the creation. I took it upon myself to then create my own images once I left the program. I found myself in my bedroom, setting up my iPhone and creating deep contrast, black and white commercial selfies, posing with different Polo duffle bags I acquired from Macy’s cologne sets, or blazers I found from Goodwill, and H&M. I gained notoriety for my self-portraits at school, and later turned my bedroom into my own photo studio. This included my make-shift ring light, made with Christmas rope lights, a wreath frame, and my mom’s old telescope to hold it all in place. I love creativity and finding solutions to technical problems. In all honesty, setting up and taking portraits felt like I’d never be forgotten. It feels like my calling in the world versus what was predestined; the bow-legged, shy, Southern kid, who’s breaking into the industry.

Who are your biggest inspirations or role models when it comes to creating?
Whenever I get the opportunity to talk about my inspirations, I cannot mention anyone before my grandfather, Alexander Billy Andrews, AKA “Fall Guy.” He wasn’t an industry-driven photographer, but he was the foundation of me learning how to find myself in the world. His famous saying to me was, “I got a motor in hand and a transmission in the other. You hook 'em up, and you got one hell of a combination.” Though his pronunciation made me laugh, since he sounded like another redneck from the South, that phrase taught me that life is about relationships. When you find the right person, path, or sentiment, you’ll always find happiness and success. Better yet, you have “one hell of a combination.” Unfortunately, he’s no longer with us, but from our relationship and conversations, he’d always highlight my stoicism from a young age. This is where my name Wisdom comes from. His recognition turned into a tribute to our relationship. A reminder to always remember what he meant to me, and what I could mean to someone else, especially what I love; photography and the people that appreciate it.

Being raised in DeKalb county, and now working out of Atlanta, how has your view of the city changed as you’ve grown as an artist?
DeKalb county was my home for 18 years. I rarely left the county or my neighborhood. That’s what shaped my view of life and the friends with whom I interacted and the dangerous situations I encountered. I had a surreal and programmed view of what the world would be like. So much so that I desperately wanted to find my way out and I used stoicism and my wardrobe to be a billboard to grant me my exit ticket into a better world. It’s a hard reflection, but when I moved closer to Atlanta, my mind, eyes and spirit were illuminated. Atlanta became my home. I took the MARTA to work sometimes, I rode the electric scooters to every point I could and I met so many colorful people. I think the spirit of the people made me feel more at home, than my home itself. That’s why I’m always here. My actual home was just a bed, but the city, that’s my kitchen, living room, and backyard.

ALI the charathaat I interacted with, from friends and lighthearted moments, to dangerous situations and sometimes lots of heartache. I had a surreal and programmed view of what the entire world would be like. So much so that I desperately wanted to find my way out, and used stoicism and wardrobe to be the billboard to grant me my exit ticket into a better world. It's a hard reflection, but when I moved closer to Atlanta, my mind, eyes, and spirit were illuminated. Atlanta became my home. I took the MARTA to work sometimes, I rode the electric scooters like an NPC to every point I could, and met so many colorful people. I think the spirit of the people that exist here have made me feel more at home, than my home itself. That's why I'm always here. My actual home is just a bed, but the city, that's my kitchen, living room, and backyard.

How has Atlanta itself impacted, and inspired your art?
I sometimes feel like the work I produce emotionally connects to the Atlanta underdog. Eclectic, provocative, romanticized, and dramatic imagery, reflecting the everyday person’s overlooked details, and ideas. Sometimes, even a reflection of their own life. I see the everyday person, and connect them to characters I’m more familiar with, such as my father, mother, or sister. Almost like a personality parallel to understand them and what they may need, alongside myself creatively. This shapes the angle of how I often execute, but never my creative process. For me, creativity is excellent when you are creating for yourself first. The ultimate love you have for creation, bleeds over for the audience to interpret if they appreciate it or not.

While your portfolio is widely photography and creative direction, you also have experience with advertising. How has your advertising background impacted your approach to art?
Being in the world of advertising and having a strong passion for photography is like having two sides of a coin that you absolutely have to use. One side is muddy, one side is clean. This is where we can deep dive more into reflecting what the world wants, versus what you want for yourself. Oftentimes, the people who are new to my life will sing my praises for having both industries in my pocket. However, it is a difficult intersection I have to cross everytime I pick up a camera. Everytime I present ideas I have to be aware that the beautiful images I might be emotionally connected to have a 50/50 chance of going into file-13. This decision isn’t just made by colleagues and clients, but by myself. It’s a constant tip-toe dance, but in all honesty, I wouldn’t have wanted it any other way. I love having what I consider to be two personalities when it comes to creating for the advertising-world and for the photo-world. Sometimes they work really well together, like my grandfather’s motor and transmission. One would not be valuable enough to me if I didn't have the other.

From ideation to execution, what does your creative process typically look like?
This might sound funny, but my creative process usually starts with a “no.” A no from an opportunity, or a no from low engagement. It’s that rejected energy that charges me to create more effectively. Learning from my mistakes is the foundation, after I explored so many ineffective ideas. From those points are where I develop tunnel vision. I’m looking for the strongest way to grab the viewer's attention and emotionally trigger them in intentional ways I didn’t before. I’ll start by reaching out to models I’ve worked with, or take the risk and reach out to people that have never heard a hello from me. Just like my grandfather did to get the many contractor jobs he acquired. From there I act as my own producer, and scouting agent. I’ll put together a team, and they, including the model, trust me to execute and direct. Technically, I’m proficient, so I enjoy playing the role of a host, like my mom did for dinner everytime me and my family would eat at the table. I curate the energy, and experience to authentically achieve strong candid moments. This is the process that ensures the photos always feel as if me and the subject(s) have a great relationship. Finally I deliver, but usually more than what’s expected. I look for more ways to present my photos. It’s not enough to just deliver, I want to deliver as if this is also another moment to curate the energy and environment. That’s why my work is placed in different mediums like CD’s, books, and billboards. It shows the person and the world how impactful my work looks in a heightened reality. It also helps that my grandma sees this as me being a superstar.

In your experience, how have your roles working as a photographer, compared to those as a creative director?
I think being a photographer makes being a creative director much more fun. I already know how to speak the language of the crew, so It makes for more impactful executions during production. Also, it helps that I can play multiple roles on set, and taking a step back, multiple roles in the planning phase as well. I won’t lie though, sometimes it feels like there’s no line between being the creative director and or the photographer, because 9/10 I’m playing both roles. But when I’m only working as one, or the other, usually being the photographer means I will need to wear loose and light clothing, because it’s going to be a P90X workout. On the other side, being the creative director means that I can just focus on working with the crew to ensure what we create visually hits hard on the story. It’s a dance between both roles, but I love it.

From your portfolio, do any projects or shoots stick out as favorites? Are any particularly meaningful?
There are a few, but one project I can notably mention is the shot called “Holy Water.” It’s a reflected moment of when me and friends from my neighborhood would fight over who gets to drink from the water hose after we almost destroyed the neighbors backyard playing football, or created more dents than the moon on the roof of someone’s car from the basketball ricocheting off the goals. I casted my closest cousin from Antigua, Devon Davis and Andrell Ilevbare. Devon and I hadn’t seen each other prior to me photographing him in over a decade, so having one of our first reconnections be in front of my camera was a cherished moment for me. The image also features the logo, which is a quoted halo, also known as a crown. It’s a visual tribute to my grandfather who told me to always include my philosophy and wisdom in the work I do. This is an added cherry to what the photo means to me.

Finally, what’s next for Wisdom? How do you see your work evolving in the future?
I don’t want the universe to send its cosmic creditors after me, but I want to leave my fingerprint on other emerging artists with a similar story to mine and also in the commercial and advertising space. I see myself incorporating my work with other creatives such as Kendrick Lamar, Dave Free, Campbell Addy, Tyler Mitchell, JID, Asap Rocky, and many other artists involved in similar spaces. I don’t want to just create, I want to add to the design of the world with my halo. This way my work will live on, alongside my grandfather in every creative space, honoring his legacy and further creating a tribute to strong family relationships. I truly hope that a younger kid picks up on the beauty of maintaining that special relationship they have with their favorite family member, because that love will live on like no other.

Website: wisdomwarner.com
Instagram: @wisdom.tiff

Interview by Ethan Engh, Contributor, PhotoBook Magazine
Tearsheets by Daniel López, Art Director, PhotoBook Magazine

Atlanta-Based Photographer: Wisdom Warner