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House of Hearts — A Corielle Photo-Story
Photography & Production by Dwayne Tucker | TuckerTookThat

Meeting Cori: Our First Collaboration Begins

Cori, the founder and creative mind behind Corielle, had flown in the night before. This was our first time meeting in person, and within moments, I saw the energy she brings to her craft. She’s deeply intentional. Every piece of her collection tells a story, and I wanted the photography to honor that.

Why Pre-Production Matters in High-End Photography

In the days leading up to the shoot, I kept my promise to her. I sketched out concepts, mapped the light, imagined the frames before they existed. Pre-production isn’t glamorous, but it’s where the creative heartbeat begins. We had a clear vision, and now we were about to bring it to life.

The Value of Full-Scale Production
Productions like these — real productions — can get expensive fast. The kind of photography that moves people and elevates a brand, takes more than just a camera and a good idea. It takes gear, people, time, and most of all, intention. That morning, I had packed enough equipment to build out any concept we might dream up. I wanted Cori to see what my team and I could bring to the table — not just technically, but creatively.

Of course, I have a portfolio. Years of work that showcase the kind of visual quality and direction my team can produce. But even the strongest portfolio can’t replicate the energy of a live set: real-time collaboration, adjustments in the moment, and the way the mood shifts when the light hits just right. This was her brand, her story. This shoot was my way of showing how we could tell it.

The weather was perfect. Palm Beach gave us perfect photo-light and skies without a single complaint. The kind of weather that lets you focus on the work — fully, joyfully — without worrying about backup plans.

But this story didn’t begin here in Palm Beach. It started a few months earlier with a Google search.

Enter Reina: The Connector

I had typed something like “PR publicist Palm Beach” into Google, just exploring. Miami had been my home base for years, but I felt a pull to expand north. There’s something about Palm Beach — the light, the energy, the elegance — that makes it ideal for portraits. I was looking to connect with someone who understood that creative nuance and could help me tap into the right circles.

That’s how I found Reina.

Her energy had a spark. Slightly chaotic in a way that felt productive — like she was always moving and probably talked with her hands. I reached out. We exchanged a few messages, and not long after, I invited her to a shoot.

At the time, I had a commercial photography assignment for a jeweler showcasing her line at the Winter Equestrian Festival in Wellington. After wrapping that shoot, I still had my gear in the car and a suite at The Ben with beautiful hallways. I texted Reina: come through. Let me take a few portraits of you.

It was one of those spontaneous moments where you don’t overthink. Just create. Maybe one day when someone writes the story of my photography career, they’ll find that little chapter — the shoot at The Ben that quietly led to something more.

When she arrived, I noticed her necklace right away. It was striking. She told me. “It’s from Corielle.”

I mentioned that I was looking to do more jewelry campaign work, and without hesitation, she said “I have someone I need to connect you with. You’ll love her.”

That someone was Cori.

The Build: From Miami to Palm Beach

We left Miami at 5 a.m. The sky was still dark, the air was cool, and the city felt peaceful. It was the kind of morning that makes you feel like you’re ahead of the world. To make room for all the gear, I had to take out my golf clubs from the SUV, which wasn’t easy for me. As we drove into Palm Beach and passed the Par 3 course, I saw the maintenance team mowing the greens. If I wasn’t shooting that day, I’d probably be teeing off right then. But this shoot was the priority.

My assistant Johnny and I were fueled by a pair of Celsius energy drinks I had picked up before we left the house. We were going to need them to get through the commute, the full shoot day, and the drive back to the studio that night. On the road, we listened to music. Johnny’s a musician too, so we shared some of our past projects and I even played him a track I had done with a good friend (SUBPAT) for his first project. Creative energy all around.

(Made it this far? Follow me on IG – @DwayneTucker – to stay plugged into everything—including the making of SUBPAT’s Subterranean cover.)

In the car, I had my sketchbook with my gear checklist and a printed version of the creative brief. I like to have everything mapped out — something physical to stay aligned with the vision.

As we entered the neighborhood, I was struck by how beautiful it was. The homes had that wealthy old money island feel, like something out of Harbor Island in the Bahamas. Manicured landscapes. Clean design. Quiet elegance.

When we arrived, we met Cori, did a quick walkthrough of the property, and immediately began unpacking. Johnny and I started building the production setup — C-stands, sandbags, 8×8 and 6×4 scrims, modifiers, and reflectors. We hadn’t had the chance to scout the location beforehand, which is rare for me. Usually I like to know every angle and walk the space ahead of time. But sometimes, you have to think on your feet and still deliver the same quality.

We built the first and second scenes out front in the driveway. We wanted clean, studio-feeling portraits using natural light — a refined, editorial look. The second scene was titled “The Arrival,” featuring Montana, our model playing Lauren, returning to the house with that calm, graceful energy that set the tone.

The final scene was shot in the backyard by the pool. The light was soft. The mood was intimate and timeless.

Telling the Story: House of Hearts

This campaign wasn’t just about jewelry. It was about telling a story. “House of Hearts” centers on two sisters — Lauren and Blake — returning to their family’s Palm Beach home for their annual visit. It’s about connection, legacy, and quiet luxury. Bubblies poured, letters aged with time, moments quietly exchanged by the poolside. The jewelry—woven into the sentiment, an heirloom of memory itself.

Cori’s sister, Stephanie, was on set. One of the necklaces is named after her middle name too — The Blake. A bracelet is named after her daughter, Waverly. Having both sisters there added meaning. The energy turned the story into something real.

Montana channeled Lauren beautifully. She wasn’t just modeling. She was living in the character. Reina brought her signature energy. Stephanie brought warmth and mastermind for set design. Johnny kept things moving with gear and setup. Cori led with vision and trust.

And me — I photographed, directed, and shaped the light to bring it all together.

Final Thoughts

Every TuckerTookThat shoot is different—except for one thing: my perpetually sweaty shirts. I always bring two, just in case. Some shoots take weeks of prep and location scouts. Some unfold on the fly. But what stays constant for me is the level of care I bring to each one. From leaving Miami in the dark, sketchbook and Celsius in hand, to building a full set from scratch in a Palm Beach driveway — this is the kind of work that fuels me.

We didn’t just photograph jewelry. We told a story of women, of memory, of emotion. And I’m proud of the world we created together.

Stay tuned,