Am I a Black Photographer?

Am I a Photographer or am I a Black Photographer? Which title is foremost in describing me?

I am aware that the use of either title comes with more or less automatic judgments and conclusions by others. What do these titles mean?

Does the phrase “black photographer” define me in terms of skin color and genealogy regardless of my actual family history (which also encompasses several white ancestors and one Native American ancestor)?

Does it say that I favor and focus mostly or entirely on capturing images of black people? Does it say that I photograph with a “black” sensibility (whatever that is supposed to mean) or greater sensitivity to race?

Does it suggest to editors, publishers and buyers that I must have special skills and interests that would encourage them to think of me first when seeking “black” images and “black” assignments?

Does it suggest that I am likely less comfortable with or have less expertise when photographing other people because I relate most strongly to black people?

Does it say to others that I have a special, strong perspective due to being a person who has directly experienced racism many times (and which is a continuing topic in my essays, poems and photographs)?

Is it assumed or expected that I am a member of or would want to join black fraternal organizations involving business, photographers and writers?

Should I communicate primarily with galleries that are known for their displaying works by black artists?

To what extent does the label or category of black photographer apply to my work?

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My choices of subject matter have never been confined to or predominantly about race or any races. Composition and lighting in my photographs is essentially disconnected from race as well. I approach white subjects and black subjects based on individual situations and not a preconceived idea philosophically or photographically.

I can’t think of a time where race has ever been an overwhelming aspect of my photography. I have photographed blacks, Hispanics and whites (e.g., Irish, Italians and Jews). I photograph people, places and objects.

My images roam from a lifelong interest in interpreting architecture, cityscapes, and nature, as well a portraits and nudes of people with every kind of background.

My photojournalism, a foundation and core part of my early work, has necessarily, due to requests, assignments and self-assignments involving protests and demonstrations, as well as youth and urban life, veered into race but also other topics.

My conceptual and altered images, and my self-portraits, defy categorization and generalization.

Especially, many of my photographs and writings deeply explore life and death, as well as love and sexuality, in addition to race.

Therefore, in terms of subject matter or even aesthetic sensibility, I am simply a photographer. I have always thought of myself and my work that way, despite the inclination of some others to think of me as black first and photographer second based on my skin color alone, or perhaps sometimes including their ideas about the places I have lived and the obvious, undeniable life I have had due to inescapable racism.

I have always been open minded and individualistic, someone who refuses to be classified and coded even though I have so very much in common with other black people and I may share several interests with other black photographers. I also have interests that differ greatly from the assumptions made about me and m work, and I have a history that diverges considerably from other black visual artists. My embrace of humanity in all its variety, and my non-acceptance of those who believe I should stay in a lane and not deviate from it, are assets to my creativity.

I enjoy viewing the images of and communicating with other photographers of all races who are capturing an enormous array of images. Despite most photographers being basically loners going after individual visions, there is a familiarity and a collegial aspect when discussing pictures with other photographers. That kind of communication is not something that I would ever limit according to race.

I see my adaptability to any subject without bias as having been a career plus. Photographing only in race-based terms of any kind would be far too limiting for me personally and professionally, despite the justified acclaim for some photographers who unhesitatingly probe only racial subjects and who reach clear success in their specialization, focus and results.

The title of black photographer applies to me no more than other titles such as Harlem photographer. I live in Harlem and have written about and photographed its people and places but it is not even remotely a sole area of visual concentration for me. Nor does New York photographer, or any other descriptor completely apply to me. Those classifications would offer to many people a partially valid element of some of what I have produced, but such categories would also be a grossly inadequate because it would be leaving out so much of my vision and work.

In the end, I view myself as a photographer who happens to be black, but not as a black photographer.

We don’t all have to do the same thing.

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