When the Camera Became a Mirror

A Ghetto Cliché Photographed by De’marrea Frazier Model Antonio Austin Stylist Bryan George Calloway Photo Assist Jasmien Esquejo

De’marrea Frazier did not set out to make deeply personal work. It became personal as life demanded more from him, reshaping both his practice and his understanding of what photography could carry. Over time, the camera shifted from something reactive to something deliberate, a place where experience, responsibility, and reflection began to meet.“My work used to be more about fun,” Frazier reflects, “but over time, it became about intention.” Photography became less about what could be seen immediately and more about what needed to be understood.

At the center of Frazier’s work is a commitment to Black representation that feels personal rather than performative. His images prioritize Black subjects not as symbols, but as individuals rooted in real environments and lived histories. “I want to capture Black people because that’s what I know,” he says. “That’s my lived experience.” Each photograph becomes an act of care, honoring stories that have often been overlooked or misrepresented. This intention is powerfully realized in B.A.P.S. (Black American Princesses), an empowering photo series celebrating Black women from inner cities. Rooted in Frazier’s childhood, the project reflects the environments and women who shaped his early understanding of beauty, resilience, and strength, reframing everyday Black women as cultural pillars whose stories deserve space and recognition.

A major turning point in Frazier’s practice came with his transition from digital photography to film. Shooting analog introduced a slower rhythm that demanded patience and trust. Black and white film, in particular, became a language of its own. “Film forced me to slow down,” he explains. “It made me more present with the people I was photographing.” Without the immediacy of a screen, each frame carried intention, allowing emotion and energy to take precedence over perfection. Movement remains a quiet but essential element throughout his work. Whether captured through a subject in motion or the subtle activity of their surroundings, Frazier resists isolating people from their environments, allowing life to unfold naturally within the frame. “I like when there’s movement in my photos,” he says. “It makes them feel alive.”

That emotional depth was tested during one of the most challenging periods of his life. Becoming a full time caregiver for his father marked a chapter defined by isolation and exhaustion. Despite having family nearby, the support he needed often did not arrive. “Sometimes, when you need family the most, they don’t show up,” he shares. During this time, the camera became more than a creative outlet. It became a means of survival. Out of that experience emerged A Ghetto Cliché, a deeply personal body of work shot on TMAXX 100 black and white film. “When I felt like the world was collapsing around me, I didn’t crash or spin out,” Frazier says. “I overcame.” The project confronts grief, resilience, and acceptance. “Acceptance, especially in the face of grief, can be incredibly challenging,” he explains. “I’ve experienced this struggle for a few years now, but I realized the only thing I truly have control over is myself.” That realization did not come easily, but it brought clarity. “It’s a difficult journey,” he adds, “but recognizing that has given me a sense of peace.”

Influenced by photographers such as Gordon Parks, Nadine Ijewere, and Mike Gray, Frazier remains committed to studying the medium through photobooks and archives. These references ground his practice, reminding him of photography’s power to document, challenge, and preserve. Looking ahead, Frazier hopes his work leaves behind more than images. “I want people to see themselves in my photographs,” he says. “I want them to feel seen.” Especially for younger generations, his work offers a reminder of possibility and worth. In embracing impermanence, he understands that growth is unavoidable. What remains is intention, honesty, and the belief that photography can act as both witness and healer.

Stay Connected with De’marrea Frazier