Lainey Floeck — Editorial by Ric Berryman

Black & White Study

Lainey Floeck

Stripped down to light and shadow. No color to hide behind, just sharp lines, soft edges, and Lainey’s face carrying the whole story.

Black and white has a way of telling the truth — or at least a version of it that feels less polite. Take away the color and what’s left is structure: bone, light, expression, the exact way someone looks at the camera when they stop overthinking it.

With Lainey Floeck, this series turned into a study in restraint. Every frame is about shape and gaze: the curve of a jawline, the arc of a hand, the thin line where light lets go and shadow takes over. There’s nothing to distract from her, which is kind of the whole point.

Grayscale Gravity

In black and white, time gets weird. The images could be from last week or thirty years ago. Lainey wears that ambiguity well — there’s something classic about her presence, but the attitude is firmly right now.

Portrait of Lainey Floeck in black and white

Lainey Floeck in a graphic black and white composition

Nothing Extra

No color, no elaborate set, no visual noise. Just Lainey, a slice of light, and the quiet tension between the two. The more we stripped away, the more the frames started to feel honest.

Lainey Floeck in a minimalist black and white setting

This series is less about perfection and more about presence. Small shifts in expression, tiny asymmetries, the way Lainey breathes between frames — all of it sits right on the surface in black and white. Nothing to soften it, nothing to cover it up. Just the image, and whatever you bring to it.