Inari Briana Shares the Highs and Lows of Creative Entrepreneurship in the Media
Inari Briana’s photography journey began with taking pictures at a stroll-off for the alumni homecoming week in college. When her classmates started paying her $25 for a set of four photos, what initially seemed like a short stint in dabbling with photography was the stepping-stone that has led to working with brands like SavagexFenty and AppleTV. In hindsight, she reveals that her knack for media and creative entrepreneurship was carefully cultivated when her mom enrolled her in film classes in middle school. “I’ve been into television and films since I was 12. My mum put me in all these different classes that taught me how to use the camera and write a script, among many other skills. I did that throughout high school,” and the patience paid off.
After spending her freshman year at Savannah state, Inari finally reconciled her desire for pursuing film with being closer to her creative roots. “I decided to move back to Atlanta and complete my degree at Georgia State because it offers film classes.” Shortly after enrollment, she discovered that moving to Atlanta was the cultural reckoning that would shape her into the fearless creative she is today. “Georgia State isn’t an HBCU, but most of the demographic there consists of Black people.'' Though Atlanta is characterized as a metropolis with a booming business sector, Inari reveals that the cultural underbelly of art enthusiasts keeps the city alive. “When you come to Atlanta, you see creativity in all its glory. The city never sleeps because somebody’s always up to something. When it boils down to the perception of creatives, where the public merely sees filmmakers or artists, I see creative entrepreneurs. When you take the initiative to create something that nobody else thought of at that moment, whether you started a relief fund or driving service, you are an entrepreneur.”
In the spirit of entrepreneurship, Inari spotted a gap in her community and created a publication to respond to the lack of Black women’s involvement in the media. It wasn’t just a love letter to her community, but a self-investment that allowed her to explore her interests simultaneously. “Being creative, there are so many ways to showcase your art, and I felt like when you have a magazine, you can showcase all of that.” When Inari sought out a team, she honored her initial vision by incorporating a women-only team. Everything ranging from the hair, makeup, and BTS were run by women. Driven by the experiences of being underestimated as a Black woman photographer, Inari is adamant about each member of her team benefiting from total creative control. “Whenever we collaborate, the best part of running the magazine is witnessing our collective vision come to light.”
In today’s digital era of virality and instant gratification, Inari is vocal about the painstaking process of building a brand that doesn't always reflect on social media. “Carving out your place in the entertainment industry is a cut-throat process. It might seem like things happen overnight, when the reality is that people who go viral have been doing the work for way longer than you’d expect them to.” Sometime last year, Inari gradually made the decision to take a break from the magazine. “I took a break because of the struggle of balancing my nine-to-five with my photography. What most of my followers and clients don’t know is that behind the scenes, my days are spread out so thin because I’m trying to juggle so many of my interests.”
The reflection guided her that she invested so much time building up the magazine that she was left with little to no energy to focus on shooting. “This isn’t over; I’m just taking a much-needed break.”
Inari’s interpretation of trusting the process is looking beyond the virality of social media and reflecting on the little moments and conversations that profoundly impact the artists we are today. She hasn’t had a specific mentor, but she’s had predecessors who’ve guided her along the way in her photography journey. She was an intern at a film production company and was working on BTS photography for the roll-out of an artist’s EP. “I recall talking to the photographer on set, and I remember him being impressed by my photos. Yet, he said that I wouldn’t feel like a real photographer until I used the manual setting of my camera. It was little things like that that eventually made all the difference.”
Since taking a break from publishing, this interval from her magazine has resulted in ample time to revisit the onset of her journey and contemplate the obstacles that will affect her future. “When it comes to being a Black female photographer, we face sexism and racism that makes it that much harder to break into this industry. I know fighting barriers can get stressful, and it can take a toll on your mental health. My advice to my fellow Black women photographers is to remember what fuels your passion in the first place. As much as it's your job, it’s also your creative outlet. Photography is my release.”
Recently, Inari has been shooting a lot more than usual to revisit where she started. She recently shot the cover for Yung Baby Tate’s MEFeater Magazine cover. A grim statistic she often ruminates that she and her peers don’t know any Black women who are full-time photographers. When asked about her plans, she reveals a constellation of interests that burns brighter than the constraints society often places on Black creatives. “I just want to travel and shoot for the rest of my life. I plan on opening my studio so I can shoot all the magazines, album covers, and films that I want. I’m still interested in running a magazine. It was a learning experience because it made me realize I need to hone into myself and my craft and what I need to do for myself.” Though unsure about what uncertainties riddle her future, her early successes in her career point to a universe of achievements.
