The Return of Billy Batz

Brady's entry into cannabis photography was almost accidental. Regulars at his wife's bar, Dukes, introduced him to the editors of High Times. "Frank Max looked me dead in the eye and said, 'Anything you bring me, I'll buy,'" Brady recalls. Wanting to protect his professional reputation, he adopted the pseudonym Billy Batz — a nickname from his film production days.

Working during a time when cannabis was illegal presented unique challenges. "Plausible deniability was the magazine's unspoken policy," he explains. His first shoots were straightforward — macro lens shots of buds on clean backgrounds, meticulously lit to highlight every crystalline detail. But Brady wasn't content with mere documentation. He began experimenting, adding layers and narrative to his backgrounds, transforming simple weed shots into art.

The transition from analog to digital photography marked a significant shift in Brady's approach. "Shooting digitally has made it almost foolproof," he says. The fundamentals remained the same — a macro lens, tripod, good composition, and lighting — but digital technology offered unprecedented precision and creativity.

His signature style stood out in High Times. Unlike many contributors who had access to grow rooms, Brady brought professional photographic skills. "The funky backgrounds I started playing with? Those were the real fun," he remembers. Images like the Purple Haze shot with a Hendrix album cover backdrop weren't just photographs; they were artistic tributes.

The 1990s cannabis scene was a world of secrecy and risk. Brady always worked in the studio, keeping a low profile. "Back then, weed carried a heavy stigma," he reflects. Buying cannabis meant navigating sketchy situations — paging dealers, meeting in cars, always looking over your shoulder.

By 1999, Brady retired his Billy Batz persona. He transitioned to food photography, becoming one of New York's top commercial shooters. The secret life of his cannabis photography remained hidden, a thrilling chapter locked away.

Today, with cannabis legalization, Brady is returning to his roots. "Now that weed's legal, I don't see any reason to worry about my reputation," he says. Diving into his old film archives reignited his passion. He's now exploring cannabis photography with the sophistication of a seasoned commercial photographer.

Modern cannabis cultivation impresses him. "I look at what we used to call high-end and can't help but laugh," Brady chuckles. The industry has transformed from an underground market to a sophisticated, scientific business.

Brady's approach to cannabis photography has always been about storytelling. "Artistically, cannabis is a stunning subject — textures, colors, shapes," he explains. He's currently developing a new series, pushing creative boundaries and exploring the visual potential of cannabis.

His advice for aspiring cannabis photographers is simple yet profound: "Learn how light works. Use a macro lens, a tripod, great lighting, and have fun. Finding your voice requires trial and error."

Brady is excited about merging his food and beverage photography skills with cannabis content. He's working on commercial projects and dreaming of gallery shows featuring large-scale art — including a series combining his love for candy art with cannabis edibles.

"Looking back on my time with High Times feels like stepping into a different world," Brady reflects. "It wasn't just about taking pictures of weed — it was about capturing a culture, a moment, a rebellion."

Today, he continues to push the boundaries of cannabis imagery through his role as Head of Visual Storytelling at Case Study Labs. The journey of Billy Batz continues — and it promises to be one hell of a ride.