Musings: August 3, 2026

Portrait of God © 2026
Shot on iPhone

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IT’S BEEN AWHILE

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Been quite some time since I’ve posted on the blog.

As I mentioned in a previous post, I want to spend most of this year working and not blogging. While I do enjoy writing posts and sharing updates, I think that we’ve become so accustomed to always sharing what we’re up to in this social media age, we often forget not sharing is an option too. Sometimes it’s better to focus on the work, life, or just being in the moment instead of stopping to make sure you have something to show/share with the world. I’m a firm believer in that your growth, the hard work you’re often doing alone in the lab isn’t always for public consumption. It shifts your focus away from growth to external validation from some perceived audience.

So where have I been the past couple of months?

May through June, I was in South Korea and Japan filming for This Is Sera and I recently got back from a trip to Paris and Italy for the most recent filming. I love traveling, but as you can imagine, the past couple of months have been quite rigirous and have required my full attention, hence the lack of blog posts. But what’s more important? Posting on the blog or focusing on the project I’m most passionate about and making sure everything goes well with it?

Obviously the project is most important and that’s where I’ll continue to put my focus for the rest of the year despite the itch to work on other things from time to time. No, this one get’s my full attention.

For now, here are some musings on a variety of topics you may find interesting.

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RECENT PHOTOGRAPHS

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Model: Ryu Sera @ryuserasera
Studio: L’Atelier & Beyond @latelierandbeyond_studio
Location: Paris, France

ALL IMAGES SHOT ON THE SONY A7RV + SONY FE 24-70 f/2.8 GM II AND SONY FE 85MM F/1.4 GM II

Sera in Paris. © 2026

Two recent images of the incomparable Ryu Sera in Paris.

Since filming began on This Is Sera last year, Sera has quickly become my muse. She is easily my favorite person to photograph and film with, full stop. It’s crazy to think I’ve only known her since our first shoot in 2024, but we’ve worked together so much in recent months it feels like we’ve known each other for much longer. She’s quickly adapted to the often odd, spontaneous way I work and I’ve adjusted to how she moves and expresses herself. It’s a fascinating dance when you develop chemistry with someone after working with them for a period of time. There are models I work with that I have this sort of synergy with but not quite at the same level. I think her years of experience being a KPop idol, understanding how production works, and just having great natural instincts help add that extra layer of sophistication to the work we do.

I’d love to work with her on many of my projects well into the future. Like Wes Anderson and Bill Murray, Martin Scorsese and Leonardo DiCaprio, or Alfred Hitchcock and Grace Kelly, if I have a project I can get her in, I’m going to pitch it to her. That would be so cool to have a career like that. Working with your friends, people you like, etc.

Photographing her for the first time back in 2024 was a surreal experience for me. This time also felt surreal, but for different reasons. Instead of Seoul, we were in Paris, working in my favorite studio, L’Atelier & Beyond. It’s a space I consider my artistic sanctuary. A place I often go when I need a creative boost or need to get out of a funk. It’s the primary studio I work out of in Paris and I credit it with being the origin point of my creative evolution over the past couple of years. It was so cool to have her there and work in such a unique space compared to our previous shoots. I think we outdid our previous work and broke new ground. I have a ton of new images from this set that I can’t wait to share. It’s some of our best work.

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GEAR TALK

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Sony Announces the FX5. It’s a pass for me.

The Sony FX5. Cool features, but not for me at the moment.

This will be one of the longer gear talks in a minute so bear with me.

As expected, last week Sony announced the FX3’s successor(?), the FX5. And the internet lost it. Though it looks like an FX3, it’s quite a departure from one of the most beloved cameras on the market.

If you thought the photography community was the most rampant, reactionary group amongst creative communities, then you should take a look at the filmmaking, or should I say content creator community. Immediately all the shill-tubers put up their videos praising all the new features and specs of the camera.

From what I could gather from all the videos, a word-by-word description of the Sony FX5 would be as follows:

• Beast

• Epic

• End Game

• Peak

• Insane

• King

• Incredible

• Pure Cinema

• Most Important Cinema Camera Ever

Followed by videos with explanatory titles such as:

• Why I’m selling the FX3 to buy the FX5

• Why I Pre-Ordered the FX5

The term “slop” has been uttered across the internet at least since 2025 and I have started to have such a disdain for such low-level, click-baitey, shill content. Slop is such an apt word.

These tired disclaimers are usually the mark that you’re about to be sold something:

• “Sony sent me the camera, but they don’t get to approve this video before it goes out.”

• “I’m using a pre-production version of the firmware, so it may change when it releases.”

• “Sony flew us out to <insert fancy country name here> for this review…”

These statements are quickly followed by an utter loss of objectivity and honest reporting on a new item that many will go out and spend their hard earned money on. Every time a new product is announced it’s just a diluge of slop from the usual suspects trying to convince you why you need to buy this new camera. And don’t forget to click the affiliate links.

My Own G.A.S. Experience

G.A.S. = Gear Acquisition Syndrome
A new product comes out and you just feel you have to have it. It’s part fomo, part new shiny object syndrome, and part insecurity.

When Fujifilm released their medium format cameras, I fell into this trap. Coming from years of shooting full-frame, there was always this thought that medium format produced a better, more lifelike image compared to smaller formats. It was the pinnacle of digital photography. Especially in the late 2000’s. The format that showed you were a serious artist. If you shoot medium format, you’ll certainly be working with famous people and shooting ad campaigns!

Fujifilm entering the medium format market in the late 2010’s finally made it approachable for the masses compared to the $15000+ Hasselblads and Phase One digital backs of the past.

GFX 100S with an assortment of big, bulky GF lenses.

In 2021, their most recent option, the GFX 100S, a smaller, more approachable version of their behemoth GFX 100, was calling my name. It was DSLR/Mirrorless size with medium format image quality. Sign me up!

So I sold my Sony A1’s at the time, bought a Fuji GFX 100S and instantly I became Richard Avedon. Yeah, that didn’t happen.

Despite the slight improvement in image quality and noise performance at higher ISO’s, there was no substantial difference to justify the system over what I had been shooting with. But I was already $12,000 invested in the system. I could have made a bunch of sunken cost fallacy excuses to keep it, but instead, I sold it all and switched back to full frame. This time I went with my tried and true Panasonic S1R’s. I loved the image quality and color they offered despite some operational shortcomings. But after shooting with the Sony A1’s(that were brilliant to work with), the S1R’s felt a bit archaic in comparison. Not wanting to switch, I gritted my teeth and stuck with them for a while.

But I still lamented losing medium format for some reason. So when Fuji announced the GFX 100 II in 2023, I sold my Panasonic gear and got one. This one promised a better EVF, phase detect autofocus, and even had impressive video specs. Surely it would be better and make me a better artist? Unfortunately, no.

Fujifilm GFX 100 II. Beautiful camera. Hated using it.
Didn’t make me a better artist.

I don’t know why I was so foolish to think that just by getting this camera, it would catapult my work into the stratosphere. It’s quite silly to think about now. Equipment doesn’t make you a better artist, you still need to practice, educate yourself, learn, try things, and make refinements. You become a better photographer/filmmaker by creating. Not simply because you bought an expensive camera. I guess I had a bit of FOMO and bought into the idea that I needed the latest and greatest to validate myself as an artist. Never again.

Plus, no matter how much I tried, I just never enjoyed shooting with Fuji’s GFX cameras. They were big and slow with an outdated UI and only decent autofocus capabilities compared to other options on the market. And I felt similarly about ALL of Fuji’s other offerings(looking at you Fujifilm X100 VI). Fuji cameras produce a beautiful image, but I hate the process of using them. They just feel clunky to me. I wanted a camera that just got out of the way like my Sony A1’s did which I foolishly sold because I had more money than sense.

And I will openly admit to you, I NEVER took a single image on the GFX cameras that I feel are better than any of the images taken on full-frame. I have so many images captured over the years on full-frame and smaller formats that are career defining or my personal favorites. It never happened on the GFX. I just didn’t click with them.

So I sold the GFX 100S II and made the decision to go crawling back to Sony. I couldn’t afford the A1’s like before so I took a look at the A7R V. And I have to say again and again, it has been photo taking bliss ever since. I love the A7R V. I have had no desire, want, or need to buy another photo camera. It does everything I want, has beautiful image quality that I still marvel at today, focuses fast and accurately, and has paid for itself 10x over in the years I’ve been using it. Its successor, the A7R VI, was announced a few months ago and though it does have some cool new features, it’s not a necessary upgrade for me. It does nothing that my current camera can’t do to create the images I want.

The detachable, titlable EVF is cool.

The all-axis, large rear screen is also cool.

Back to the FX5. It has impressive specs. Internal RAW recording, a detachable EVF, improved autofocus with all the AI stuff, 16-bit color, triple base ISO, and a bigger, multi-axis screen. You’d think based on that alone, I’d be placing a pre-order immediately.

Wrong.

For me, the decision to not purchase the FX5 comes down to a few things, but I’ll start with the major one for me. Ergonomics.

For ergonomics and usability the FX3 > FX5.

All of the shill-tubers and influencers in this space always drone on about specs, but they never spend enough time on usability. And this is generally how I can tell they have no actual experience in the field. Sure you may photograph a model or two, shoot some beautiful footage for your review video, but you’re not producing actual work. At least on a week in, week out basis. No portfolios featuring client work, self-funded, inspired projects, film festival submissions, client lists, etc. They’re mostly reviewers which is fine, but it’s frustrating that they often offer up advice that may not serve their audience or someone interested in making an informed investment into a system. They’re essentially sales people for the camera brands, there to hype up the latest offering.

Their reviews are often extensive reads of the spec sheet coupled with hyperbolic language to make the new thing seem like the most exciting thing ever. I’m sure when they receive the email from the camera brand they’re told to mention certain key features in their “review” like “Triple base ISO!”.

When you work in the field, you’re often working hours, days, even months on a project going from various types of situations. You need gear that is responsive and can keep up with the type of work you do. You also have to meet client expectations which means there’s more stakes involved. You need to be on point and your gear needs to be able to keep up with frequently changing demands.

So sure the camera has great new specs. But what is it like to use for documentary work? Sports? Can I customize it the way I need to? Does it add a cool new feature, but remove a previous one I frequently used? What’s the boot up time? Does it overheat? Lock up? Is the IBIS improved?

Also, for the professional, buying gear is often an investment not a superfluous purchase. Yet, how many videos and posts do we see with people saying, “Why I’m swtiching from <insert brand name here> to <insert other brand name here>”.

For hobbyists with disposable income, you can do whatever you want. It’s not affecting your livelihood to the same degree. But for those trying to run a profitable business, constantly switching systems costs you time and money. It’s generally not worth it unless it’s something groundbreaking or the upgrade has been years in the making like upgrading from an original Panasonic GH5 to the full-frame S1 II for example. Or maybe it’s more utility based like certain features will significantly improve your workflow/efficiency. Otherwise, if the equipment you have is serving you well, you enjoy working with it, clients love the work you do, then you don’t have to switch or upgrade. Don’t fall into the trap.

For years I used DLSR cameras, but when mirrorless matured enough and Eye autofocus got better, I switched and it has definitely made my job easier. Being able to see the exposure and white balance in real time is such an advantage over the EVF-less cameras of the past. That was a worthwhile upgrade for me and easy to justify.

I wasted thousands of dollars and countless hours switching from Panasonic to Sony to Fujifilm back to Panasonic back to Fujifilm then back to Sony. My head is spinning just reading that. Imagine all the returns or having to sell gear and taking a loss on it? It’s wasteful spending and unnecessary to my artistic growth. There was a lesson learned, but it was an expensive one.

Now for ergonomics. I like a lot of the FX5’s new features, but the removal of the rear wheel kills it for me. On the FX3 I have it set to ISO. The documentary I’m filming is often very spontaneous which is perfect for a run-and-gun sort of camera like the FX3. Being able to seamlessly rotate the wheel going from ISO 640 on the low end to 12,800 on the high-end is clutch in many of the situations I find myself in. Going from a dark interior to a midday sunny exterior is done easily by simply rotating the wheel to the ISO I need at the moment. The GFX 100 II and 100S II’s frustrated me with this lack of wheel on the back. It’s such a useful control to have, especially for video. I now require all my cameras to have it.

And mind you, on the FX3(and other Sony cameras) that wheel isn’t just for rotating. It’s also a d-pad.

On each axis of the wheel, you can program up to 4 other buttons giving you even greater control. Removing it has eliminated 4 customizable buttons! I use those buttons to turn on peaking, see my Zebras, and adjust my audio on the fly. I don’t have to dive into a menu to get to the settings. They’re a button press away.

Then since the system has switched from Sony’s colorful Alpha UI to the Cinema UI, you lose the quick function menu which I also use quite regularly to activate/deactivate several features. With the Cinema UI, the FX5 requires more menu diving to get to certain options. So I gain exciting new specs, but at the expense of usability and speed? It’s not a tradeoff I’m willing to make.

And Sony’s cinema camera UI is just bleh to me. The drab gray and yellow palette of the new menu lacks the distinctive color of the Alpha camera UI. That was very helpful in recalling what menu a particular setting is in. It also helps to see your menu when viewing in dark environments.

Other downsides:

• Having to buy the new battery. Batteries are expensive and I have plenty of NP-FZ100’s that work with all my Sony cameras. It’s great to have one set of batteries that work for all your devices.

• Some features will require you to buy CF Express Type A memory cards which are also very expensive.

• Using some features disables other features. Want to shoot in anamorphic? Goodbye autofocus and IBIS!

• The bigger screen is nice, until you realize the active area is the same size as the original. Sony just moved the UI elements off to the sides of the screen in the bezel so they’re no longer sitting on top of the image. So it’s sorta bigger but not really. And we lost the wheel because of it.

• You can’t use the EVF and audio handle simultaneously. At least natively. Actually I don’t understand why Sony made the EVF detachable in the first place. It should have been integrated like the FX2. Then you could use the audio handle with it and not have to keep up with another modular piece of equipment. I think making the camera body slightly bigger to accommodate this would have been understandable.

• They advertise that the FX5 can do 4K 240fps, but that won’t be an actual feature until sometime in 2027. If it isn’t available at launch, don’t talk about it. And what happens when it comes out and there’s some odd compromise associated with it? Like you can only shoot so many seconds before the camera overheats or something. False advertising maybe?

• Oh, you also can’t take photos with the camera. Although it’s built like a hybrid camera, it only does video. No photos whatsoever. It would have been nice to use the new 16-megapixel sensor to snap set photos for example. For someone like me that does both photo and video, it’s a hard sale for this sort of camera at $5,000 that only does video. I want more value for my dollar.

To the last point about it not being a hybrid camera that’s another issue. It’s positioned as a camera that should work alongside one of Sony’s premium cinema options like the Burano or Venice. However, it’s designed like a slightly bigger FX3. Why keep the same body style if you’re not going to take full advantage of that form factor? If not hybrid, then why hybrid shaped?! Make it boxed shape or a traditional video camera shape.

Image quality wise, you’re splitting hairs between it and the FX3. The images are very similar with maybe a color edge going to the FX5 due to it’s 16-bit color offering. Maybe some slight sharpness increase due to the 16 megapixel sensor as well.

It’s an impressive camera, but feels more like an incremental update than a great leap forward. I love the FX3 and it has served me well over the years. I love the image, all the customization options, and how versatile it is for a variety of shooting scenarios. If a new model dropped, all I really wanted was the FX3 with the multi-axis screen, then it would be perfect. Maybe the new screen plus 16-bit color. An integrated EVF would be cool too but not a deal breaker. But definitely keep the rear dial, photo modes, etc.

If you’re on the fence wondering if you should sell your car, house, child to buy one, maybe consider what need it fills. And if it fills a need that your current equipment doesn’t. If it fails to make a case for itself, don’t buy it. Or feel pressured to.

I won’t be getting an FX5. With my options open at the moment, I may go in an entirely different direction. Time will tell.

Last thing. No one outside of the photography/filmmaking community cares what you shot the thing on. Unless it’s a client who requires specific deliverables. Outside of that, if it entertains them, you could have shot it on a potato and they’d still love it. But if it’s boring and uninteresting, it doesn’t matter if you shot it on an ARRI Alexa, no one will care and most damaging, no one will want to watch. Think of all the recent Hollywood flops that are shot on top of the line equipment. If it doesn’t connect with an audience, the equipment matters not.

Driving The Point Home

The following three videos encapsulate what I was just saying. It’s good to see people give a more level-headed take on cameras. Specifically, the FX5. Don’t be eager to buy into the hype when new products are announced. They won’t inherently make you a better artist if the art matters to you. Save and use your money wisely.

You’ll notice they made many of the same points I’ve made in this post. The last one by IglooMoth is also interesting because he too, like me, couldn’t get through Danny Gervitz’s FX5 video. I love Danny’s content and have been a fan of his channel since seeing his running video years ago, but his FX5 “review” video was one of the most shill-tastic, sellout for the brand type of videos I have ever seen. I couldn’t get through the first 2 minutes of it. Just slop.

I think the title of IglooMoth’s video is also apt: “The same 10 guys sell us another camera.”

That’s exactly it. It’s always the same usual suspects that have essentially been hired by the camera brand to promote their product. They are rarely critical even when there are obvious issues (the Canon R5 overheating issue comes to mind) and make these recommendations solely to push the product for the camera company. Not even a level headed, “Hey if you love what you’re getting out of the FX3, you may not need to switch to the FX5. There are things that camera does better than this one and vice versa.”

I’m so glad we’re finally getting to a point as a society that influencers aren’t as relevant as they were at their height.

You guys just aren’t trustworthy anymore.

So What Video Camera Would I Buy Now?

As mentioned above, I am consider other camera options at the moment. We resume filming This Is Sera mid-August, so I can either continue working with the FX3, but there are some things I’ve love to improve production wise. I’d love a more detailed image, more natural color, smoother IBIS, and more professional exposure tools on the camera itself. There are times when I can’t use an external monitor, which I love for having false color and waveforms, but without it I’m limited to Zebras and the camera meter as my main exposure tools on the FX3. Those features being native on the FX5 are a welcome addition, but since I’m not getting that one, what other cameras offer it? So I’ve been doing a bit of research and I think I found a camera that will fit my needs a bit better than the FX3. The choice is utility, not because I want the latest gadget. If I make a decision I’ll share my choice, reasoning, and findings here on the blog.

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FILMMAKING IS FUN(ER)

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What started as me simply dipping my toe into filmmaking has become a bit of an obsession. Don’t get me wrong, I love taking photos, but photography has become so devalued and unappreciated in recent times it has left me feeling a bit dismayed at its long term relevance. That’s a tangent for another post, but I must say filmmaking has been a lot of fun. It’s been feeding my creative soul well over the past months.

For one, it just gives me much greater flexibility as a storyteller where I felt much more limited with photography. Of course, you have to have interesting things/people to film, but when you do, there’s nothing like it. Seeing things unfold in front of the camera in whatever random, unique way is a high that never gets old for me. Of course after long days of filming, carrying gear, moving the camera delicately to avoid camera shake or holding a position so long my arms ache, you feel like it’s the worse thing ever. But when you look at the footage and you nailed it, it’s such a satisfying loop of trial and error. Like playing a Souls-like videogame. When you win, it’s the greatest feeling.

Two, it’s making me think about the image in an entirely different way than photography. The best example I can give is the greater attention I give to focal length and its impact on the image. For filming, I love and prefer the 24mm field of view. But sometimes a different focal length is better for a particular mood or to highlight something of interest. Sometimes wider is more emotional than the closeup and vice versa. I know what the distortion of 24mm looks like 1-2 feet away from the face. I know how 50mm will look for a waist up shot of someone sitting. When Sera and I did the shoot in Paris, I was much more mindful of the focal length I was set to on my 24-70. Before I would just zoom to a width that gave me the composition I wanted. Now it’s more than just composition, it’s also the feeling I want to convey. Choice of focal length matters and filmmaking has given me such a greater appreciation for it.

My enjoyment of filmmaking has caused quite a dilemma though. Sometimes when I’m taking pictures I’m thinking, “Man this would be so cool to film!” And other times when I’m filming, I wish I could stop and capture that moment as a picture. I’m sure this will be a struggle throughout my career. You can’t have it all ya know.

But for now, I’m having a blast learning, growing, and failing.

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SONY GETS RID OF PHYSICAL MEDIA

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Get Playstation 5. Prepare for next generation of gaming. Has no games.

A bit off topic, but relevant to my disdain of shilling for corporations.

Recently, Sony announced they’ll be eliminating physical media for their Playstation platform going forward. So now all your purchases will be locked to an account in which they can abitrarily remove your game or certain features on a whim if they decided to? This just rubs me the wrong way.

One of the reasons I’m not interested in camera brand partnerships because they expect you to be a team player for the brand. They see it as “you need us” and not the other way around. You can’t call them out for obvious faults or any anti-consumer practices. I love Sony’s camera and gear, they make great stuff, but on the entertainment front, they’ve lost me as a customer.

I’ll never buy another Playstation again after this generation. Steam gang till I die. And the Playstation 5 is wack anyway. It’s been 6 years and the first-party library is pitiful. Easily the worst console generation this.

Steam Machine. I already own the Steam Deck, so it’s either this or building a gaming PC.
Console gaming is on its last legs.

The best way to get corporations to take us seriously as consumers is to not support their decisions and refuse to buy their crappy anti-consumer products/services. When Disney insulted fans of Star Wars for valid criticisms of their awful sequel trilogy, I decided then and there I’ll never support Disney Star Wars ever again. Same for Sony. No physical media, no way to have some sense of ownership of your game media? No buy for me. I hope the masses follow suit.

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THE IPHONE AS MY EVERYDAY CAMERA

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A bit late to the party, but I have found myself enjoying my iPhone as my everyday camera. Despite my best efforts I’ve yet to find a small camera that’s small enough to get out of the way yet with the performance I expect from a camera. The last camera that filled that void for me was the Lumix GX9. Small, fast, with interchangeable lenses. Was a such a fun little camera to use though with its own limitations. On this most recent trip, I didn’t want to waste money on a specialist camera for traveling and just opted to use my phone whenever I saw something of interest. It was the best choice.

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The images are beautiful, it’s quick to edit right on the phone, and it feeds into my love of snapshotting. I don’t always want to find a pristine composition. I just want to grab the camera, snap a few quick pics and be back in the moment. It’s perfect for that. I could go down the iPhone lens rabbit hole and try to get even better quality from the images, but you don’t have to turn everything into a project.

Just enjoy things as they are.

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IN CLOSING

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I’ll likely be taking another extended absence from the blog. Not due to disinterest, but I have a pretty loaded schedule over the next month. Maybe I’ll do a few short posts if there’s anything that piques’s my interest or I feel is interesting enough to report. Otherwise, I’m keeping with my goal of focusing more on creating work than talking about it. Even talking about the FX5 and gear related stuff had me feeling like I’m going backwards. It feels good when you commit wholeheartedly to a new direction. I’d advise many of my fellow artists and aspiring ones to follow suit. Don’t get bogged down in gear discussions or feeling that the tech itself is the key to make you a better artist. It may just be you need to practice/learn more. Food for thought.

Feel free to follow me on all the socials if you’d like to keep up with what I’m doing! Until next time.

Hope you enjoyed this post! Feel free to leave your thoughts and comments below!

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On Grief and Losing My Father

Rest in Peace to my father, Jack Wilson, Jr.
The greatest man I have ever known.

I have to talk about this. For my own sake. It’s helpful in allowing me to move forward. And it’ll probably explain the lack of posts these days.

In December of 2025, my Father was diagnosed with cancer. This news came while I was in Canada filming for a dream project that I’ve been working on. As I’ve often said to people, “Life happens whether you want it to or not.” There’s no convenient time to get bad news or have something happen that derails your meticulously laid plans. No, life will happen regardless. As a professional, I had to finish the job, but once I got back to New York, I took a couple of days to rest. I spent Christmas day alone, going over everything in my mind. The I went home to Mississippi the following day to see him and be with family. Talk about a sobering, sad time. My Dad had been battling Parkinson’s disease for years and now cancer? What the…?!

We met with his doctor in January of this year and she delivered further devastating news. He only had about 6-8 months to live. Given his physical condition, he would have been too weak to undergo any rigorous treatment options. Hearing my Mom’s voice crack as she pleaded with the doctor is one of the saddest moments I have ever witnessed and something I will never forget for as long as I live. It was devastating. We were all quiet after the meeting and, when conversation finally resumed, we were positive and made valiant attempts at optimism despite the finite nature of the news we received.

From that point it was all hands on deck. Everyone chipping in in their way to extend my Father’s life or at the least make his transition into passing as comfortable as we could. Things were looking great for a brief period. His appetite returned, he was eating more, complaining of pain less, and we expected he would be with us for at least the 6-8 months the doctor proposed. Sadly, it wasn’t meant to be.

My Father passed away suddenly on February 21st of this year. I was set to travel out of the country on February 24th to continue work on the aformentioned project so I was in the middle of preparations. I had spent the majority of the week planning and packing. I was excited to go, but I had this nagging feeling that if I left I would get some bad news by the time I returned.

It caught me off guard when my nephew messaged me and told me they had to rush him to the hospital. He suddenly stopped breathing and despite the hospital’s best efforts, he passed away. I was floored.

For those of you who haven’t lost a parent, I will say it’s one of the most surreal things you’ll experience in life. Parents are like unmoving, strong pillars in our lives. They seem to represent security, safety, and consistency in many ways. They’re literally there at the beginning of your life. It was odd to think I couldn’t just pick up the phone and call my Dad! Like, what?! No way…

Sensei and student.

You might gather from this post that my Dad and I were close. We definitely were. I am the youngest of three and, as a kid, I was sort of the runt of the litter. The smallest child by a wide margin. I was so small, my Dad thought I had some sort of medical condition and at one point considered taking me to a doctor for it.

Me with my brother and sister. I was tiny, but clearly the most stylish here.

Thankfully I would have a growth spurt in the 11th grade. My siblings are a year apart in age and grew up together. Since I was so much younger I was often by myself. So as a child, my Dad would take me everywhere with him. He would ride a bike around my hometown of Jackson, Mississippi and there I was, little Jamiya Wilson, on the back of the bike holding on while he took us on yet another adventure.

Pictured: my Father and I.

And that’s truly what it was like. Everyday with him was an adventure. And more importantly, and a testament to his legacy and the man he was, everyday was a lesson. I can’t recall one day that I’ve spent with my Dad that I didn’t learn something from the man. He was Mufasa and I was Simba. Every conversation, every errand to the store or a simple ride in the car would come with some little lesson, some nugget of wisdom. My Dad was amazing, in every sense of the word. Strong, smart, dedicated, innovative, resourceful, funny, cool, courageous, and badass. What a brilliant man.

Oh and was he stylish. Unless he was working, he was probably ‘suited and booted’.

After the news of his passing, I had to cancel my trip, inform all involved parties, and make arrangements to be home for his funeral. Funerals come so quickly, it’s hard to emotionally prepare for them. And one of this magnitude? I worried I would be an emotional mess. Yet despite the situation, there was a peace building within me. I just wanted to be there for my family, for my Mom especially. My beautiful, strong, courageous Mom. She needed us more than anything, so the focus was less on my own feelings and more about helping my Mom navigate such a tough time in her life(I’m sure my siblings feel similarly). They were married for 50 years! So you can imagine how devastated and lost she must have felt then(and still as I write this).

A proud father and, equally, a proud husband. He and my mom were together 50 years!

We had a private viewing ceremony before the actual funeral. I was quite nervous about it admittedly, but once I got there and saw my Dad laying there in the casket, at rest, I felt a wave of mixed emotions. Of course a lot of sadness, but there was a sense of relief. And happiness?! I was happy he could be at peace now. I know that’s a weird sentiment to have when someone passes, but I really felt for my Dad in the later years of his life. He was someone so vibrant, full of energy and vitality. He would light up a room with his charisma. He was funny, loved to talk, loved to share music, and made everyone feel welcome. We’d regularly stay up to 5 in the morning just chatting about literally any topic.

Once he was diagnosed with Parkinson’s his movement got restricted. His body was often very stiff and unable to function without assistance. Before his passing, it was also getting to the point where he couldn’t speak as clearly as he once did. Everything was becoming a struggle for him. There were moments, I’m sure, where I know his pride was hurt. He couldn’t be himself anymore and that must have been so hard.

So to see him finally at rest after all that’s been stripped away from him in his later years, I was happy for him. Hopefully in the next place, he’s grinning and chatting it up with some of his old friends and family members.

The funeral occurred a couple of days later and of course it was a rollercoaster of emotions for everyone. He was a very well respected and beloved person in our little world and in the community so there were a lot of people in attendance and a whole lot of love in the room. I’m sure he would have smiled at that. Even the sun came out that day and blessed us with beautiful warm weather and clear skies. There was something poetic and touching about his send off.

After the funeral we gathered at my parent’s home and had dinner with family. It was a fun time with lots of laughs, reminiscing on good times and taking solace in our faith and knowing everything would be okay. It was also great to see how many people showed up for my Mom. She’s given so much to her family over the years so it was nice to see that reciprocated.

I stayed home for a few days then eventually returned to New York. Feeling empty.

It all happened so fast I don’t think I had time to really process it. Understandably, I took some time off from work just to get my bearings and make sure I was in the right headspace. My clients were all very supportive and understanding during this time as well as friends when I shared the news on social media. I didn’t want to rush back because I’ve dealt with grief quite a few times in my life.

“Grief is like a weight that you carry but you never know just how heavy it will be. Some days it feels light as a feather and some days it feels like carrying a boulder up a hill in the rain. And you never know when it will hit. One minute you’re happy, the next you see or hear something that reminds you of them and you’re an emotional mess.”

What I’ve found interesting during my grieving period, is how people responded. Some were very empathetic and understanding of such a loss. Or at the very least they felt concerned for me and having to go through it. I received some very touching messages from people I didn’t expect. Others who I expected more from, acted as if it wasn’t a big deal. Maybe because of hangups with their own parents. But while I was dealing with one of the saddest moments in my life, it was surprising people I thought were close, would reach out and somehow make it about them. Or nag me about some insignificant things in the midst of a family crisis. The gal of people sometimes. I didn’t say anything, but I’ll never forget it. Sometimes things happen in life to show you who’s really with you.

If you’re dealing with grief, talk to people you can trust or those who have proven themselves to be good listeners. Sometimes you just need to talk to someone. To vent, to laugh, or just to be hear. Consider grief counseling if going to a professional feels more comfortable. Just don’t sit there struggling with all those confusing emotions if you can avoid it. It’s a heavy burden to carry at times. Having some help to cope with it is a blessing.

I spoke at the funeral and in my speech I talked about how we should honor my father and his legacy. Given how close we were I just know what he would say if he saw me sulking around the house, moping, being all sad, angry, feeling sorry for myself.

“Alright son, you’ve cried enough. Find something to do. You’re doing good. Keep on pushin’.” He would say in his authoritative voice.

So I took some time to myself, remembered the good times, the emotional ones, the regrettable ones, all of it. I spent several days in isolation. I had really good cry when I heard the song Keep on Pushin’ (one of my Dad’s favorites) by The Impressions. I let all the emotions out, dusted myself off, and got back on the horse.

During that time, a person very dear to me reached out and consoled me. She suggested coming to visit soon and it was right on time. I needed a friend, the company, and to get my mind back on track. I can’t thank her enough. God sends angels when you least expect it.

Fast forward to today and as I pen this, the rush of emotions come back like before. The death of a parent is never an easy thing to talk about or wrap one’s head around, especially when you were close. In my life, my Dad was like the Sun. Losing him feels like I’ve lost a part of myself. Like the world isn’t right anymore.

However, in that sadness I feel, there’s hope. No matter how gloomy the emotions get, there’s always this light cutting through the darkness that keeps me going. There’s determination. There’s a renewed sense of purpose. There’s security in knowing I have another angel looking over me.

If your parents are still in your life, give them a hug, tell them how much you love them. Give them their flowers while they’re here.

“To my Dad,

Thank you for all you gave. To your people, your community, your family, and to me. All the talks, all the laughs, all the history you shared, all the lessons(even when I stubbornly didn’t want to hear them) have proven invaluable on my life’s journey. You gave me everything I need.

All you sacrificed to ensure I had a good, safe, and productive upbringing won’t be for naught. I will honor your legacy by becoming the man you always knew I could be.

I love you and we’ll meet again on the other side. I’ll have a lot of great stories to tell you.”

— Your son, Jamiya

Love you Pop. Till we meet again.

I’ll be back to posting on a more regular basis from now on. Likely twice a month. More if inspiration strikes me. I have a big announcement coming in May along with some other exciting plans so I’ll be working quietly over here the next couple of weeks. It’s good to be back.

Thank you for reading.

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Musings: January 15, 2026

The Pillar of Strength © Jamiya Wilson Studio, 2025
One of my favorites images from last year with fantastic model and friend Emma Helena.
Images like this are why I now consider myself solely a portrait and fine art nude photographer.

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NEW BEGINNINGS

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Well hello 2026.

Another year begins which opens opportunities for fresh starts, new beginnings, and new relationships. 2025 was a very interesting year for me. It started with a bang, lulled a bit in the summer, then ramped up again in the fall. It was fraught with emotional moments, sad goodbyes, tear jerking happy moments, and countless surprises. I’ve taken time away from posting not only due to my work schedule but I’ve also been dealing with some personal issues I’ll detail in a future post. Still processing things at the moment, so bear with me. I’m human.

As the first musings post of the year, this one kicks us off with announcements and details about the overall direction for the year. Not only are things changing rapidly in my own life, but all over the world. How do we as artists navigate an ever changing(and ever shrinking) landscape? I hope to have more answers to that question as the year progresses, so stay tuned.

For now, enjoy the first musings of the year.

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RECENT PHOTOGRAPHS

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Model: Layana Devis @layanadevis
Studio: L’Atelier & Beyond Studio @latelierandbeyond_studio
Location: Paris, France

ALL IMAGES SHOT ON THE SONY A7RV + SONY FE 28-70MM F/2 GM

Just one photo this week. I’m still working on images from this set, but this is from my first shoot with the stunning Lana aka Layana Devis. She’s quickly becoming one of my favorite models to work with whenever I’m in Paris. Beautiful features, a friendly demeanor, and always up for shooting, she has been a pleasure to work with.

This image was captured on the Sony 28-70 f/2 GM lens. A lens which I’ve pondered selling from time to time, but I find it irreplaceable for my portrait work. I covered an event at the end of 2025 and didn’t find the focal range as pleasant when compared to the 24-70. Having the 24 on the wide end is still extremely useful so I own both. 28-70 for portrait work, 24-70 for events and video. The 28-70 is my go to for portraits since it essentially replaces a bunch of primes I’d use such as the 35mm or 50mm options. Love the output from this lens.

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GEAR TALK

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The Sony FX3 Is Still The Camera To Beat

The Sony FX3. Been around 5 years and still #1.

The Sony FX3 is still one of, if not the best, video cameras on the market.

I’m currently working on a documentary project(details coming soon) which was greenlit in July 2025. At the time, I didn’t own a dedicated video camera. Already being in the Sony ecosystem, the FX3 was the logical choice for me. However, I did compare it to other available options and honestly none of them appealed to me as much. Panasonic has their S1II’s, Canon has the R5 Mark II and the recent C50, and Nikon came out with their ZR at the end of 2025. All great options but lacking in some area for me. With Panasonic, form factor and company dependability. I shot Panasonic for years and the lack of innovation and/or haste in getting out new products(especially lenses) left me with a sour taste in my mouth. So Panasonic is a no go. Further, I’ve also have been studying the image from Panasonic’s recent cameras and I don’t find it as pleasing as I once did. It looks “waxy” to me. Canon has impressive options, but is expensive and I didn’t want to invest in a completely different system unless it offered substantial benefits over what I have. Plus the C50 doesn’t have IBIS which won’t work for my application. The Nikon ZR looks cool, but isn’t suited for this sort of work. It’s more a prosumer camera than a true workhorse like the aforementioned options. It lacks much of the customization options on the body that more pro level cameras have. Plus, I don’t like Nikon’s colors.

So after all the comparisons, the Sony Fx3 still came out on top for me. The biggest advantage it has over ALL the others, is low-light performance. Shooting doc work, you’ll often find yourself in less than ideal lighting scenarios, so it helps to have a camera that can still produce a clean image even with abnormally low lighting conditions. Add in the small form factor, the amount of buttons and dials I can customize, and I have a camera I can truly call my own. After changing most of the default settings, it actually feels like “my camera”. There are still some odd Sony design philosophy quirks that nag me, but overall I find it a pleasant system to use. It will remain my main camera for the duration of this documentary project. Once it’s completed maybe I’ll consider other options, but for now, it’s been bliss working with the FX3.

Long live this amazing little camera.

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NEW DIRECTIONS

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One of my earliest(and still favorite) beauty images. Fun and frustrating times that era was.

In 2026, I’m saying goodbye to both beauty and swimwear as genres I’m focused on. For those who wish to see that work, you can see it in the Archive menu in the site’s main navigation.

Why abandon beauty photography?

“But Jamiya, you’ve put so much work into it!” I know. However, unless it’s for a commercial client, I’m not interested in shooting beauty. It doesn’t inspire me. I could care less about makeup, hair looks, etc. None of it draws my attention anymore and it lacks the emotional depth and intrigue I can create with portrait photography.

Swimwear was really fun, but time to move on.

Why abandon swimwear photography?

There’s no money in it. It’s fun to shoot beautiful women in beautiful locations. But since the rise of social media, influencer culture, etc. there’s really not a lot of money to be earned shooting swimwear. Brands aren’t hiring photographers for it in droves like they used to. Instead they’re bringing much of it in house. Influencers/models are shooting themselves just to post quick pictures on their stories. And the photos are more than “good enough”. There are about 3-5 photographers I know of that make a decent living shooting swimwear alone. And half of them have to do other things like weddings(*shudder) alongside their swimwear work in order to earn well. So while fun, it’s not moving the needle forward for me in any significant way to warrant focusing on long-term.

Will I ever shoot those other genres again?

Sure! I certainly will if I have an idea or something inspires me. If I just want to go to Miami and shoot swimwear for fun, I’ll definitely do it. Or hit the streets of Tokyo for some street photography, I’m with it. Those genres just aren’t mainstays in my portfolio like they used to be. And I won’t market/promote myself as a photographer in those genres. I don’t want any potential clients getting confused about the style of work I generally offer. Anything outside of portraits and nudes is more of a special case and quoted accordingly.

Where is all this going?

Essentially I’m starting fresh and reinventing myself as an artist. I don’t think some of my older work still serves me, so instead of clinging on to successes of the past, it’s time to embrace the future and focus on the next chapter of my career. On the photography front, I now consider myself simply a portrait and fine art nude photographer. I’m focused on making striking, compelling portraits of people outside of the scope of just shooting with models/actors. I want writers, poets, politicians, musicians, philosophers, CEO’s, etc. This new focus allows me to hone my efforts and really refine my marketing going forward. It also frees up precious time to step more fully into filmmaking and make that a more extensive part of my repertoire.

I want my portfolio going forward to be: Portraits, Nudes, Film/Video.

Expect small changes to happen on the website over the next month as I make the transition. Archiving the old work was step one. Now it’s time to fill out my portfolio a bit with more recent work and make creative projects plans for the year.

Sigh, my job is never done.

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LESS BLOGGING, MORE WORKING

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I won’t be blogging as much this year. Instead my focus will be on working more, improving my style, and growing my business. Blogging isn’t a huge part of my business strategy. It’s more of a place for me to share announcements, thoughts on things, but with minimal engagement it’s not worth wasting useful hours writing posts. 15 years ago, blogging was all the rage. People would actually read, engage in comments sections, etc. But now? Across the web, you’ll see many photography blogs are ghost towns. Comment sections use to be full of insightful discussions, now there are only a handful of comments. The web has shifted more to social media and YouTube and even on those platforms, unless the focus is on gear, engagement isn’t what it once was. Such is the times ya know?

If you’re sensing a theme, I’ll spell it out: I‘m focusing my time on things that excite me and yield greater results for my business. If it takes up too much time, offers little return, and/or I don’t enjoy it, it’s out.

So I’ll still blog occasionally if you’re into that, just not as frequently. 1-2 per month seems sufficient. Maybe I’ll share more from my travels as well. We’ll see!

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IN CLOSING

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I feel it’s important for artists to take greater control over their careers. If you don’t want to do a certain type of work, don’t. Figure out another way. Don’t allow yourself to be pigeon-holed into a miserable existence working on stuff that doesn’t stir your soul. Life is far too short to be wasted on things that demotivate us. Seek out clients/customers who love what you do. Sure it may be more niche, perhaps come with less fanfare, but at least you’re being authentic to yourself. For years I’ve pondered stepping away from beauty in a more official capacity and now I’ve made it so. It feels a bit odd letting go of something you worked on for years, but I’m not one to linger on past successes. I’m seeking deeper, more enriching challenges that make me excited to photograph. In time it will make sense, for now I feel liberated.

Here’s to the new year! May it bring more happy and exciting moments for us all!

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Musings: October 31, 2025

Unattractive actress Sydney Sweeney at Variety’s Power of Women Event

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INTRO

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Happy Halloween! Can you believe Fall is already here? 2025 has gone by so quickly! It seems like yesterday I was just celebrating my birthday and now it’s Halloween! Crazy.

My apologies for the lack of posts these past months. I needed to shift focus for a bit as I prepare for a project. Sometimes it’s good to step away, focus on something in order to improve, then come back to something else. In this case, the blog. Don’t get me wrong, I love posting here. However, this is more of a therapeutic, creative outlet for me where I share my thoughts, plans, and other things I’m interested in. Money isn’t the motivator, so I write and post at my leisure. I also don’t want money to be the main incentive for writing on the blog as I don’t want to get roped into doing reviews and shilling camera products.

No, the blog will remain a platform for my thoughts and ideas. Sort of a look into my mind so maybe you’ll understand me better as an artist and to an extent, a person. I value authenticity and going against the grain. Let the others shill gear for camera companies, be overly PC, or not share they’re true feelings about a topic, we do things different over here.

On to this week’s musings!

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IN THE DEFENSE OF BOMBSHELLS:
SYDNEY SWEENEY EDITION

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Ugh, hideous.

Sydney Sweeney is one of the most brilliant actresses of this generation. Beautiful and talented. Ever the provocateur, from her American Eagle ad that stirred “controversy” earlier this year and now this silver sheer dress reminiscent of the draped fabrics used in the famous sculptures of Michelangelo. She knows how to turn heads and stay in the headlines in both a simultaneously subtle yet in your face way. It’s racy without overdoing it, sexy and unapologetic so. I particularly like how she makes a certain contingent of people seethe for committing the crime of being attractive and existing. For not listening to the haters or those jealous of her figure, refusing to shut herself away and act ashamed of who she is. For refusing to engage in politics and feed into the oh so tiring political discourse in modern day America.

For leaning into her sex appeal. And for understanding that men find her attractive and not being appalled at the thought. A refreshing sight in the west, where anything catered to men is seen as(what some odd looking liberal arts grad in New York may tell me), “Patriachy” “Misogyny”, “Sexist” or some other dismissive criticism lobbied at what they deem as the “male gaze”.

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It’s an odd, contradictory time of supposedly sexually liberated and opened minded people who screech in disapproval when someone attractive is getting praise and attention. Especially when it’s a woman(in this particular case, a white woman - which they especially hate) eliciting attention from men. Because as we know, men aren’t allowed to like attractive women(and in turn women aren’t allowed to like men) anymore or have preferences. And yet, that seems to be the lifeblood of modern social media. Attractive women in grand locations, fancy restaurants, showcasing often form-fitting clothing sent by corporate sponsors, etc. What a contradiction to clamor for this sort of content but respond like a prudish nun whenever certain women garner attention from men.

When it comes to Sydney Sweeney, what are you so afraid of? Does she bring out your insecurities? Given how so many people act as evangelists regarding therapy, maybe you should see a therapist. That’s some pretty heavy baggage you’re dealing with there.

Sweeney is no different than other bombshells of the past from Marilyn Monroe, Sophia Loren, Jayne Mansfield, Angelina Jolie, Pam Grier, Farrah Fawcett, Pamela Anderson, Halle Berry, Vivica Fox, Kate Upton, Monica Belluci, Salma Hayek, Lea Seydoux, Eva Green, Scarlett Johansson, Sharon Stone, Denise Richards, Carmen Electra, Kim Kardashian, and the lists goes on. Women who embrace their looks and sexuality, flaunt it in a tongue and cheek sort of way, and have fun doing it. I like bombshells, sue me.

Her existence and this dress wouldn’t have been a problem in the 90s:

Rose McGowan’s dress at the 1998 MTV Video Music Awards

Or in the 2000s:

Jennifer Lopez’s dress at the 2000 Grammy Awards.

Or in the 2010s:

Rihanna’s dress at the 2014 CFDA Fashion Awards.

But today she’s basically representative of the third reich according to some unhinged types.

Oh no! It’s Nazi propaganda!

It’s lame. Stop hating. You look and sound jealous.

The girl’s hot. The dress is cool and she looks beautiful in it, like it was made for her.

She’s likely this generation’s Marilyn Monroe and I’d love to shoot with her someday.

I also think she should reach out to comic artist, J. Scott Campbell and talk to him about producing a Danger Girl live-action film. You know, one of those campy but sexy spy thrillers like Charlie’s Angels. She’d be perfect. And Hollywood could use a win.

Sydney Sweeney as Abbey Chase in Danger Girl?! I should work in casting.

Sydney have your people contact my people. Cool dress by the way!

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RECENT PHOTOGRAPHS

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Model: Emma Helena @riel.life
Studio: Studio Stadtwald @studiostadtwald
Location: Düsseldorf, Germany

ALL IMAGES SHOT ON THE SONY A7RV + SONY FE 28-70MM F/2 GM

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A couple of new images featuring model Emma Helena. I took these in Düsseldorf months ago and they’re probably my favorite set all year. There are so many great options to choose from, it’s overwhelming. The more I learn about myself as an artist, the more I realize what visual elements I like to consistently see in my work. Balanced framing, pleasing composition, sharp lines, and emotive expressions. I feel I’m improving with each shoot, but now it’s more about defining “my work”. Who is Jamiya as an artist? After years of shooting beauty photography, then pivoting to portrait and nude work, I’ve really started to find myself.

Though I’ve enjoyed this exploratory journey, I also feel like it’s time to reach a destination. So my focus has been refining my style, testing different looks, all in hopes of getting to a place of contentment. I guess that’s folly as art is often a lifelong pursuit with constant learning and refinement, but I want to feel like, “This style is me.” if you get what I mean.

Hope you like these!

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GEAR TALK

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The New Sony FE 100mm f/2.8 Macro GM Lens

The Sony FE 100mm f/2.8 Macro GM Lens. Can’t wait for this lens to arrive.

Not much to report on the gear front. I’ve been using the same lenses for most of the year and have been more than happy with their performance. I squeal with glee every time I see shots from the 85mm f/1.4 GM II lens or how I rarely remove my 50-150 f/2 GM Lens(it does 95% of my work these days). The lenses are so good for what I do, I’m just free to focus on what I’m creating. But there’s one missing.

About a month ago, Sony unveiled the upcoming Sony FE 100mm f/2.8 Macro GM Lens. I used to favor the Sigma 105 f/2.8 DG DN Macro Art Lens(a great lens), but have since gone with a mostly all first-party lineup and sold all my third-party glass except one, the Tamron 20-40 f/2.8, which I use for vlogging. I do miss the Sigma macro lens, but now that Sony’s announced this, my kit can be complete. I finally have all the things! This lens will mainly be used for video, but will see occassional use on photoshoots.

It’s great to whip out a specialty lens from time to time to get something unique. The 100mm focal length is also a change as Sony’s premium Macro lens in the past has mainly been 90mm. I prefer 100mm+ for a general purpose macro lens. Or something longer like 150mm when shooting macro beauty images for example.

I’ll also be using this lens on my upcoming project. Which leads me to…

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I’M MAKING A MOVIE

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Hence the lack of updates on the blog over the past few months.

Begin November 22nd I’ll begin work on a documentary film I’ve been planning for about 4 months now. Since it will be my first project of this scale, it has required extensive planning, research, testing of various equipment, and there’s still loads to do ahead of the first day of filming. Unlike photoshoots, film productions have so many more layers to them. It’s vitally important to be as organized as possible as it’s easy to overlook a small detail that can make all the difference in the final product. So I’ve been giving the film my undivided attention.

I’ll share details when I’m able to speak more publicly about it, but for now I’m excited and can’t wait to begin filming. More things to come!

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I NEED YOUR PHOTOGRAPHY QUESTIONS

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As I’ve mentioned branching out into YouTube and having my own workshop eventually, I’m looking for questions from photographers regarding portrait photography. What are some of the things you would like to learn or know more about? Leave a comment below or shoot me a message on Instagram. I want to compile a fairly comprehensive list as I build the curriculum for the workshop and come up with topics for tutorial posts. Your contributions will be much appreciated!

Hope you enjoyed this post! Feel free to leave your thoughts and comments below!

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The 1X NEO Home Robot

I have a lot of thoughts on the rise of A.I., robotics, etc. but for now I’ll simply say that over the next 10 years(barring some sort of global catastrophe - knock on wood), we will see some of the most dramatic and disruptive advances in technology. We’re already seeing it with software through leveraging A.I., next we’ll see it through robotics which will combine both advanced, A.I.-driven software with robust, articulate hardware.

The 1X NEO is the first of its kind for the consumer market. It’s a little silly looking but it could serve a crucial purpose in the homes of many. Think of elderly people who need a home attendant? Or someone who just needs a robot to keep their place tidy while they focus on taking care of their newborn child. Once this space becomes competitive with big companies launching their own versions with even more advanced tech and better software ecosystems, they’ll get better and better and better. In 10 years. Ten.

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They will work for companies, deliver packages, provide security, and do jobs too dangerous for most people.

And yes, there will be companions. Or “sex bots” as they will be derisively described. Which will cause all sorts of backlash. A.I. companions are coming within a year, mark my word. Only a matter of time before people will want them in the physical form.

The film Subservience starring Megan Fox delves into this arena.

Once the robots look like Megan Fox, it will be a big problem.

It all reminds me of the videogame, Detroit: Become Human. The social backlash and divide around the use of robots(or androids) and their implementation in modern society will be one of the tensest topics in the years to come.

The 2018 videogame Detroit: Become Human captures may of the fears and excitement around androids and their place in society. Amazing story and the visual are still impressive today.

The future is here and it doesn’t care if you like it or not. You can’t stop it.

Depending on your perspective, it’s either a scary time or an exciting one. I’m somewhere in the middle. I love the promise of it, yet dread how destructive it will be for social norms, job markets, etc. But I’m aware it’s nothing we can do to stop the progress of technology and more broadly, time. The people that road horses lamented the transition to cars. People who depending on the Yellow Pages dreaded the rise of the internet and having to have a website. Yet time and technology pushed forward. This will be no different. I think people are afraid as they sense deep down, this could actually replace them in a variety of ways.

Who wants to get excited about potentially being replaced?

I’ll monitor NEO’s progress with interest and see how the market responds, but I wouldn’t consider purchasing one until about 5 years in when the tech has matured.

What do you think? Will you be getting one someday?

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