Test-Sheet — Jun Park, Concert-Series Campaign
Statement
This is the first studio sheet of the Brooklyn season — a fictional concert-series campaign built around the bassist from setcard NYC-2026-Q2-005. Not a stylist's idea of a musician. A musician dressed for the room he is playing into. Mid-grey wool two-piece, plain white shirt open at the collar, no tie, oxford shoes. The bass stays a working instrument with the bridge scored from rosin and the lower bout shadow-dented from a year of bench-edges. The point of the sheet is to hold the campaign frame and the working frame in the same body without translating one into a costume.
Frame Notes
Three-frame Mittelformat sheet, all available light, all north-facing window-light from the studio's industrial multi-pane window, no flash, no fill, no reflector beyond the white plaster wall.
- Frame 1 — Hero standing. Full body three-quarter, the bass held at neck and bridge, gaze direct into the lens, closed-mouth presence. The suit cut sits clean on the long-limbed frame, the bass scale reads at human-body proportion. North-light from camera-left rakes the wool nap.
- Frame 2 — Hero seated. Plain wooden bench, body in three-quarter from camera-right, head turned with the faintest closed-mouth pull. The long-fingered left hand resting on the bridge does the work of the portrait — it is the same hand that holds attention through thirty-five minutes of a Bolaño paperback. The bench keeps the bass standing beside him at human scale, no posing-stand language.
- Frame 3 — Making-of. Behind-the-scenes documentary frame. Crouched low to the wide-plank floor with the Hasselblad 503CW at the right eye, navy chore-jacket, dark slim jeans, brown leather work-boots. Jun in soft three-quarter behind, suit and bass in the same room, the working relationship visible in the same frame as the result.
Technical
Hasselblad 503CW plus 80mm Planar for all three frames. Kodak Portra 400 colour for the campaign frames, same stock for the making-of for visual continuity. North-facing studio window provides all the light. Studio is the converted Bushwick brick-loft on the south side, wide-plank weathered hardwood floor, white plaster wall behind.
Subject-Lock Methodology
Both campaign frames used the NYC-2026-Q2-005 closeup-portrait as the visual reference anchor — the campaign Jun is the same Jun as the catalog Jun. The making-of frame used two references: my own studio-Hasselblad portrait plus Jun's setcard closeup, so the working relationship reads as the working relationship, not a stylist's idea of one. Subject-Lock is what makes a campaign frame and a candid frame and a sit-down setcard frame all hold as the same person — without it the catalog reference and the campaign reference would drift apart and the whole frame-chain becomes useless.
Why This Sheet Belongs in STUDIO Track
The sheet is the first explicit demonstration of the working chain: scout-walk on Bedford Avenue → setcard with story plus reference geometry → studio campaign frame with the same person held visually. The catalog category we are opening here — Brooklyn-jazz-revival rhythm-section, Korean-American second-generation, reader-discipline body economy — gets a working campaign-grade demonstration in the same week it gets scouted. The campaign brief is fictional, the bassist is fictional, but the workflow is real and the chain holds.
Phase Status
Phase 2 sheet — published. Phase 1 (catalog setcard plus closeup anchor plus context frames) lives at working/catalog/setcards/NYC-2026-Q2-005/ and on the catalog page. Phase 3 (rehearsal-room interior frame, full ensemble context) deferred to second NYC pass.