Because You’re Beautiful: A Portrait Session with Gerri Koppelman at 72

Gerri Koppelman photographed by Dwayne Tucker, 2024.

Introduction: More Than a Portrait

When I first met Gerri Koppelman, it wasn’t through a camera. I work as a caddie at one of Miami’s top golf clubs, and that’s where our paths crossed. Caddying isn’t my long-term goal, but it’s help me pay for photography, survive in an expensive city, and stay close to golf, my second love.

What I love most about Gerri is that she’s a real character. She has a lively soul, unmatched energy, and she’s unfiltered in a way that’s refreshingly honest. You always know how she’s feeling because she tells you, right then and there.

That kind of honesty feels rare in the world I move through, on the golf course and in the social environments I grew up in. That’s why being around Gerri feels so good. Even with everything she’s seen and all that she has, she’s grounded, kind, and genuinely herself.

The Plan: Photographing Gerri for Her 72nd Birthday

We got closer over the summer of 2023. She often played golf with a group of women I caddied for, and we built a connection. Around late November, marking one year since her husband Charles passed away, I noticed a quiet change in her. I could feel how much she missed him.

Months later, I kept thinking about photographing her. I’ve seen what my photography can do for women; it brings joy, confidence, and sometimes healing. That’s why I started my “Because You’re Beautiful” sessions, to show women how I see them through my lens.

Gerri had always been so kind to me, and I wanted to give that kindness back through the one thing I know how to do best.

No Crew, Just Connection

We planned the shoot around her birthday in May (It’s Gerri’s birthday again today! Happy Birthday Gerri!), but it wasn’t until the summer of 2024 that we made it happen. When I arrived at her place, I packed the gear I’ve come to trust: two strobes, a reflector, a Nikon with my 50mm, 85mm, and 105mm lenses, a five-foot octabox, a beauty dish with a honeycomb grid, c-stands, and a seamless backdrop. Thank God for push carts.

We set everything up in her living room. No GoPro, no behind-the-scenes videos this time (I think she or I might have gotten a clip for IG or something I remember a video when we shared there). I usually bring an assistant, but this session needed to stay personal and grounded. Sometimes the best energy comes when it’s just the subject and I.

Styling and Confidence: Gerri in Her Element

Gerri doesn’t need a stylist. She could style your favorite stylist. I already knew her nails would be flawless. She comes from a background in the beauty industry doing nails, and it shows. She had a few looks laid out, and together we made choices that matched the energy we wanted to create.

During the shoot, she showed me old photographs of her with legends like Frank Sinatra, Kanye West before he became Ye, Whoopi Goldberg, and I think JLo was in the mix too. It was amazing to see that part of her history. If you look up Charles Koppelman and what he accomplished, it makes sense why their lives were so full of those connections.

I’ve never been big on celebrity culture. Growing up, I spent a lot of time at the Atlantis hotel, where it wasn’t unusual to see famous people at the same pool or walking through the lobby. I guess I became desensitized to the idea of fame. For me, what matters most is character. Gerri’s character is what truly stands out!

Moments That Matter: Food, Stories, and the Cigar

Midway through the shoot, Gerri prepared food and drinks, and we sat for a bit. She told me stories about Charles, their travels, and his love for desserts. It was one of those quiet, beautiful moments where the photos almost became secondary to the experience itself. Seeing her smile, hearing her laugh, and feeling the love she still holds for him reminded me why I do this work.

We used a cigar in one of the scenes as a tribute to Charles, who always had one with him. With a little editing, we made it glow like it was lit. It was subtle but meaningful, a piece of memory captured in the frame.

Closing: Your Beauty, Your Moment

This session reminded me why I do this work. Photography isn’t about perfection. It’s about truth, presence, and feeling seen.

If you’re reading this and thinking, maybe you’d like to feel that too, send me a DM on Instagram or leave a comment below. I’ll follow up with a DM / direct email. I don’t use a price sheet because every session is custom. We’ll talk about what feels right for you and build something meaningful together.

Because you’re beautiful.

Stay tune,

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.