“The future may look daunting given the current political landscape, but we are all in community with each other and we have to support each other, the artists, and the truth tellers.”

Can you begin by telling us a little about yourself?

My name is Yolanda Hoskey, and I am a multidisciplinary artist based in Brooklyn, New York. My background prior to photography was theater. I majored in theater and communications, worked as a stage manager and set designer for a few years, and moved through the independent theater circuit. I did that for about four or five years and then transitioned to the film industry, working as a creative producer and a production designer.

While I enjoyed storytelling, none of those things felt like “my thing.” Then, about four years ago, I transitioned to photography. It’s been a whirlwind of an experience, and it solidified that this is what I am supposed to be doing. I’ve been a practicing photographer for the last four years, and I consider myself a story-based photographer.

You wear many hats in the creative industry– from photography, directing, to producing, what inspired your work for The Family Project?

It’s a bit sentimental. Once I started photography, one of my personal missions became documenting the Black experience, specifically Black families. I grew up in a loving household. I was adopted by my great aunt and raised in the projects of East New York. My adoptive mom was my best friend, but she passed away when I was 19. At the time, I hadn’t found photography yet.

After she passed, I realized I only had six photos of her. This person, who was so significant to who I am and how I love, wasn’t well-documented. I contribute so much of my spirit, ambition, and generosity to her, but I didn’t have evidence of her existence. My family didn’t grow up with cameras in the house or had the habit of taking pictures; we weren’t even thinking of that stuff. But when she passed away, I wondered how many people were going through life in the same situation I grew up in. When I finally picked up a camera, one of my personal missions was to pay it forward by giving people a catalog of their own experience. My idea for The Family Project solidified during my fellowship with the Magnum Foundation. Through their Counter Histories grant program, which explores the study of archives of various kinds, I realized that Black history often isn’t preserved—especially not by us. This inspired me to ensure people have personal archives of their families and lives to pass down. 

Can you walk us through your creative process for The Family Project?

It’s funny, the first initial people who I photographed for were all friends who were having babies. And then the last person I photographed for this was my sister who was pregnant.

I prefer photographing people in organic environments, like family gatherings or their homes, rather than formal studios. I rather the intimacy of being in a personal space because the photos just feel a little bit more authentic and that way.

Eventually, I’d love to curate these environments to feel more editorial, while keeping the setting of the family’s homes. My goal is to track the families I photograph over time, documenting their progression. It’s a long-term vision, but seeing the collection evolve will be beautiful. Recently, a woman expecting her first child reached out to me and we did her session in a studio, and I was still able to capture the dichotomy of the Black family unit.

I like to capture the idea of nuclear families in my work, but I also don’t want to limit it to heteronormative ideas of family. I’m committed to representing diverse family units—queer couples with children, elder generations and their children, and more. I want it to be an intergenerational project. I never limit the work I do to a specific group of people; even while my personal work is focused on people of color and Black families. 

Do you have a particular family session that stands out?

My sister’s session is a standout. She’s the first person that comes to mind because I actually shot her in the apartment that I grew up in. It was sentimental because the environment looks lived-in, a little rugged, and worn down. Also my sister’s eccentric presentation—a platinum blonde wig and elaborate nails—added another layer I loved. I was like, ‘Let’s do the wig, let’s do the nails, let’s do all the things.’ Because I also grew up in these environments and I know girls like this; I am a girl like this! And so I thought it was just very beautiful because that’s the only session I shot in black and white, all the other portraits I’ve shot in color. 

This session was especially meaningful because it documented my own family legacy. My sister didn’t have similar photos from her first pregnancy, and this time both of my nephews were in the pictures. It’s deeply personal. Now that her baby is here, I’m looking forward to creating the next iteration of these photos and capturing the evolution of her family.

What advice would you give to creatives looking to document their work or community?

I think we as creators and artists tend to get in our own way and psych ourselves out before we even try. My advice to people is to always be willing to try. Be your biggest advocate and champion for your ideas. When I started, I was self-teaching photography, which meant constant doubt: ‘Am I good enough? Are my ideas valuable?’ But I’ve learned that no photographer feels perfect, and you’re always learning. The first brand that gave me an opportunity only after one year of being a photographer was Fujifilm; that was the first camera I bought too. And then a year later I worked with the brand– and then a year after that I launched a camera with the brand.

But when I had absolutely no resources, and not enough work to show that I’m capable of doing these things, it was my network of people around me who were like, ‘No, I think this idea is dope, and I’m going to support you.’  

That’s how I met the hairstylist that I work with now, who I actually shot for The Family Project. Her name is Christina. That’s how I met the makeup artist that I continue to work with. That’s how I met the stylist that I continue to work with. I’ve met them all through networking across, and us having a synergy of working together.  

We understand that we all, in our respective lanes, are building our own careers, but we get there faster when we work together. Because we understand that we are independent artists, we are the minority in the context of the industry, and so we have to support each other.  

I don’t believe in that whole "crabs in a barrel" mentality of, "You know, I have to be the only one to get it," because there’s enough opportunity for everyone around. And I like to pay it forward that way.   

The future may look daunting given the current political landscape, but we are all in community with each other and we have to support each other, the artists, and the truth tellers. We will prevail in these daunting times. So I want everybody to keep their head up and keep creating. Now more than ever, we have to keep creating. 

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If you're looking to document your family's legacy and contribute to this meaningful project, contact yolanda.hoskey@gmail.com to book your session. Whether it's a milestone event or a simple gathering, these portraits will serve as a cherished keepsake, capturing the essence of your family's unique story.