002: Between the Covers: Book Review of Last Day in Lagos

Between the Covers: Book Review of Last Day in Lagos

If you’ve ever found yourself mesmerized by the power of a single photograph—how it can transport you, make you feel, or even spark a bit of cultural pride—then Marilyn Nance’s Last Day in Lagos is about to become your new favorite book.

Let’s talk about FESTAC ’77. Now, I’m not saying I’d survive a month-long festival in Lagos, Nigeria, back in 1977 (Atlanta summers are humid enough for me), but this was more than just a party. FESTAC ’77 brought together over 15,000 artists, thinkers, and performers from across the Black diaspora. It was like the ultimate family reunion—but with drums, poetry, dance, and fashion on a level that would make even today’s TikTok trends seem tame.

And who better to document it all than Marilyn Nance? She was out there with her camera, capturing moments that weren’t just pretty but historic. As the official photographer for the U.S. delegation, she photographed over 1,500 images, and Last Day in Lagos finally gives us a look at that treasure chest. Flipping through these pages feels like stepping into a time machine where every frame is dripping with culture, artistry, and a rawness that only film photography can deliver.

For my fellow film nerds out there, let me just say this: the texture, the tones, the shadows—it’s everything. There’s something magical about the way Nance’s lens translates not just the event but the energy of the people. This isn’t just about what happened; it’s about how it felt to be there.

The book also includes essays and interviews that give context to the festival and its significance. Shoutout to Oluremi C. Onabanjo for the thoughtful editing and Julie Mehretu for a foreword that sets the tone perfectly. These aren’t just words on a page; they’re layers of meaning that enrich the visuals.

What really struck me, though, was how much this book feels like a call to action. It’s a reminder of what’s possible when we come together as a people to celebrate our creativity, resilience, and shared history. It’s the type of inspiration I need when I’m out creating images on Atlanta’s streets, trying to document those moments that speak to the everyday beauty of Black life.

As for the cameras and film stock Marilyn Nance used to create the incredible images in Last Day in Lagos, the specifics aren't widely documented. However, her work from the 1970s and 1980s predominantly features black-and-white imagery, suggesting she likely used 35mm film cameras popular among photojournalists of that era. To gain deeper insights, reaching out to Nance through her official website may provide further details.

So, if you’re looking for something that’ll inspire you, teach you, and maybe even make you a little emotional (because yes, I had a moment… or three), grab yourself a copy of Last Day in Lagos. It’s available through the Studio Museum’s store, and trust me, this is one for the culture—literally.

While you're at it, check out my book, also available through my online shop. Trust me—there’s enough inspiration to go around.

Until next time, stay inspired and keep finding the beauty in the ordinary.

With Love,

Stan

001: lost in the process. (Capturing the Energy of Atlanta on 35mm Film)

lost in the process.

Atlanta, Ga 2024. In front of the old CNN building.

Image: Dancing on the Way to the Game
Shot on: Leica M5, Kodak Tri-X 400, 35mm Film

Some days, the streets of Atlanta just hit differently. Like when the air hums with the low bass of passing cars, and the sidewalk chatter mixes with the scent of lemon pepper extra crispy and honey hot wings from the spot around the corner. Those days remind me of why I fell in love with capturing this city. December 14th was one of those days.

I was out with my Leica M5, and a roll of Kodak Tri-X loaded up. Making images on film is a whole process — every frame matters, and there’s no second-guessing once you click that shutter. Film makes you slow down and engage with the moment in front of you. You have to trust your instincts, anticipate the moment, and commit. The texture, the grain, the way light and shadows play on Tri-X film—it all feels more alive to me. Film brings a sense of intention and authenticity that makes each frame feel special.

This moment happened right in the middle of that Saturday energy. Dude was headed to the Celebration Bowl, clearly lit, lost in his own world. The confidence, the movement, the way the people behind him fed off his energy, all set against the buzz of the crowd, the distant echo of marching bands, and the warm December sun cutting through the crisp air. I had a split second to decide. No posing, no “do that again.” Just trust your gut, frame it, and let the moment be what it is.

I love how film strips things down. The black and white draws your attention to the body language, the energy, the expressions — all the distractions of color just fall away. The grain of the Tri-X adds that texture, like the moment’s alive, gritty, and real.

This image reminds me why I do street photography. It's about catching those in-between moments, the ones most people walk past without a second glance. The ones that make you wonder who that person is, what kind of day they’re having, and what story they're writing with their life.

This was just another Saturday in Atlanta. But for me, it’s another frame that captures the soul of a city I know deeply. The rhythm of the streets, the energy of the people, it’s all part of the place that raised me. Atlanta is home. From Decatur to downtown, these streets shaped my perspective, my hustle, and my art. Every image I make here isn’t just a moment; it’s a piece of my story, my city’s story.

Check out more of my street photography from around Atlanta on Instagram.