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Posts published in “Photography”

HBCU Young Alumni Seek to Break Stereotypes as 'Young, Gifted and Black' Photo Goes Viral

By goodblacknews on December 9, 2015
Courtesy: Magdeldin Hamid
Photo Courtesy of MAGDELDIN HAMID
Nyerere Davidson never imagined that a gathering with friends from around the country would produce an iconic photo representing the future of historically black colleges and universities, but the 2008 Florida A&M University graduate couldn’t be happier about it.
“I just thought it would be a nice illustration to counteract the stereotypes about young black people,” says Davidson, a Milwaukee native and recent transplant to Washington D.C. who organized the shoot as a commemorative moment for his birthday celebration last month in the District.
“This is a range of different people from different parts of the country, different shades, different looks and different styles representing what black excellence looks like. And all of us are from HBCUs.”
Davidson is a marketing executive with the YMCA’s national headquarters, and promotes the organization’s Healthy Living/Healthy Communities initiative. A former volunteer with the YMCA’s community-based Black Achievers program in Milwaukee, he says that imagery is a powerful part of connecting with black youth and showing real possibilities in education and professional life.
“With everything going on at Mizzou, and in cities throughout the country, I think this shows young black people in a totally different way,” he said. “We’re all professionals – doctors, fashion designers, corporate executives – but we’re young and we embrace our responsibility to our communities and what our image means to the outside world.”
“Today we live in a world where there is so much attention devoted to the distorted portrayals of African Americans specifically black males,” says Jacob Waites, a 2010 Cheyney University graduate who was among the attendees featured in the photo. “A society where one image can have a huge impact on perception. This is why it’s imperative that images such as the one from Nye’s 30th birthday brunch is so essential. It’s time to dispel the exaggerated views of African Americans and give the world a real-world experience.”
Friends with alumni ties to FAMU, Claflin, Howard, Morgan State, Alcorn State, Tennessee State, Morehouse and Cheyney are represented in the image.  Many say they are proud of their HBCU experience and aware of the role that scenes like this play in promoting similar experiences for future HBCU students.
“Being a part of this photo was iconic for me– when we came together, W.E.B. Dubois ‘Talented Tenth’ essay came to mind,” says Kimberly Guy, a 2002 Tennessee State alumna.  “He asserted, ‘The Talented Tenth of African Americans must be made leaders of thought and missionaries of culture among their people….Negro Colleges must train men [and women] for it.'”
“In an era of social media with its sometimes derogatory and stereotypical portrayals of African Americans, I feel this photo captures the essence of the Talented Tenth. As a proud HBCU alum, this pic represents collectively all professional black in society that are proudly commited to carrying on the legacy established by our forebears while exceeding society expectations for our race. We are leaders, we are pillars of the community, and we are ‘regular folk’. But most importantly we are young, gifted, and Black.”
article via hbcudigest.com

 

Viola Davis Covers InStyle Magazine for January; Here are 5 New Reasons To Love Her

By goodblacknews on December 5, 2015

Viola Davis on InStyle
Viola Davis is having the best year ever. The Emmy Award-winning actress will bring in the New Year as the cover model for the January 2016 issue of InStyle Magazine.
We love Viola’s transparency during her interview. She says that she’s nothing like her cutthroat character Annalise Keating on How To Get Away With Murder. Instead she enjoys going to Target, wearing her natural hair and “going to space” with her gorgeous 5 year old daughter Genesis.
Here are five new things we didn’t know about Viola:
1. Off screen her wardrobe isn’t glamorous:  “If I were to compare my style to Annalise Keating, I would say that I have absolutely no style,” she says with a laugh “Annalise Keating is an Alexander McQueen kinda Max Mara girl. That’s not me. I have a five year old!”
2. She’s about to get married for the third time! When she first wed fellow and actor-producer Julius Tennon 13 years ago, Viola wore a simple skirt from Express. A few years later they exchanged vows again, and she wore a more traditional dress. For their latest upcoming vow renewal, Davis is wearing a custom dress by Carmen Marc Valvo. 

3. She and her daughter are actually astronauts:  “We go into space. We explore different planets,” Davis says of the game Genesis is most currently fond of. “This ship is in danger. We almost died at one point. We lost oxygen.”
4. She knows how to turn down and relax:  “I am addicted to spas,” she says. “If we go to a hotel, we’ll be the only people in that spa for hours. We’ll start at 5 in the morning sometimes.”
5. She’s empowered by her natural beauty: “What’s released me most from the fear of aging is self-awareness,” she says. “I’ve never determined my value based on my looks or anything physical. I’ve been through a lot in life, and what has gotten me through is strength of character and faith.”
article by Zon D’Amour via hellobeautiful.com

Mario Macilau, a Former "Street Child" in Mozambique, Becomes Top Photographer Through Exhibitions on Isolated Groups

By goodblacknews on September 9, 2015

As a boy, I dreamed of becoming a journalist. But then I got caught up with day-to-day troubles. When your life is full of worry it is like the future does not exist.
When I was about seven, my father left our home in a township near Maputo and travelled to South Africa to look for work. I was older than my sisters and had to help bring in some money. So I started to take my mother’s biscuits into town to sell in the market.
I got into doing odd jobs in the market – washing people’s cars and helping to carry their bags. Instead of going home, I often slept overnight in the market with my friends.

Showering by Mario Macilau
A boy washes himself with soap before a meeting with charity workers (Image copyright: Mario Macilau)

It wasn’t very safe. We had nowhere to keep anything, so we stole from one another. I got into some bad habits – minor criminality, but it was a question of survival. Dog eat dog.
My mother tried several times to send me to school but she just couldn’t afford the fees. But all this time I was learning – I read books, and through volunteering with NGOs I learned English.
When I was about 14, I borrowed a friend’s camera. I started to take photographs of my surroundings, documenting people from the townships as they travelled to the city to sell their things. They were black-and-white photos, which I developed in a darkroom I made in my mother’s house. I was teaching myself how to do things, practising whenever I could, but it was difficult for me to pay for the film and the chemicals.

Dreaming of Sunset by Mario Macilau
Street children live as nomads, moving from one point to the next with nothing but a little water and hand towels to wash cars. Macilau says they mostly sleep during the day because they are scared of night-time attacks by policemen, many of whom used to be street boys. (Image copyright: Mario Macilau)White line 10 pixels

My favourite photograph was taken near the township where I grew up early one morning. It was of a woman walking into town to sell cassava. She had her back to the camera and it was raining.

Black Victorian Photos Exhibit "Black Chronicles II" at Harvard University's Cooper Gallery Through December

By goodblacknews on September 6, 2015
BlackJonas-and-Xiniwe-Photo-Hi_6053
“We are not what we seem.” When the iconic novelist Richard Wright wrote those words, in 1940, he was describing the African-American experience. As a stunning new exhibit at Harvard University’s Ethelbert Cooper Gallery shows, the complexity of seeing and identity took its own twists on the other side of the Atlantic when the relatively new art of photography began producing images of people of color in Victorian England.
In more than 100 photographs, including a striking set that has been lost for more than 120 years, “Black Chronicles II” reveals a mash-up of racist imagery and cultural tropes that in many ways will be familiar to American viewers — and still often reveals the timeless humanity of the subjects.
Current issues of cultural identity and self-determination are at the fore of the exhibit, says gallery executive director Vera Grant, although the works themselves were largely made from 1862 to 1899. Curated by Renée Mussai and Mark Sealy of the London-based arts agency Autograph ABP, “Black Chronicles II” was produced through original research in private collections in the United Kingdom in collaboration with the Hulton Archive, London, a division of Getty Images. Part of a larger ongoing project called “The Missing Chapter,” it is the second in a series of exhibitions dedicated to excavating archives that began in 2011 with a small showcase done in collaboration with Magnum Photos in London.
570-Black_Peter Jackson Photo Hi
Despite the anonymity of many of its subjects (research is ongoing), “Black Chronicles II” reveals the complicated nature of life for people of color in Victorian England. Ndugu M’Hali, for example, came to the public’s attention as Kalulu, the boy servant of the explorer Sir Henry Morton Stanley. In this show, he is depicted several times, in both African and Western dress, a child between cultures.
A more formal series of small portraits — largely cartes de visites, or calling cards — opens the exhibit. These include images of Sarah Forbes Bonetta, a native of West Africa who was “given” to Queen Victoria as a slave and raised as her goddaughter. In two portraits from 1862, one with her husband, she appears the essence of a calm, well-dressed Victorian lady, despite her tragic history.

Photographer Michelle Marshall Explores Beautiful Diversity of Redheads Of Color

By goodblacknews on August 25, 2015
(Photos by MICHELLE MARSHALL)
Red hair is usually the result of a mutation in a gene called MC1R, also known as a melanocortin 1 receptor. Normally, when activated by a certain hormone, MC1R sparks a series of signals that leads to the production of brown or black pigment. Yet, in cases when both parents are carriers of the recessive MC1R gene and said receptor is mutated or antagonized, it fails to turn hair darker, resulting instead in a beautifully fiery buildup of red pigment.
As previously estimated by BBC News, between one and two percent of the world’s population — or 70 to 140 million people — are redheads. In Scotland and Ireland, around 35 percent of the population carry the recessive gene that yields crimson locks, and the redhead count is around 10 percent. As such, the word ginger often calls to mind visions of Celtic-Germanic attributes — namely, pale, white skin.
White skin and red hair may constitute the stereotypical image of a redhead, but it’s by no means a comprehensive one. French-born, London-based photographer Michelle Marshall is documenting the stunningly diverse manifestations of the MC1R gene, particularly in people of color.

“I am currently interested in documenting the incidents of the MC1R gene variant responsible for red hair and freckles, particularly amongst black and mixed raced individuals of all ages,” Marshall wrote in an email to The Huffington Post.
“I want to stir the perception that most of us have of a ‘ginger’ as a white caucasian individual, potentially of Celtic descent … As we struggle with issues of immigration, discrimination and racial prejudice, Mother Nature, meanwhile, follows its own course, embracing society’s plurality and, in the process, shaking up our perceptions about origins, ethnicity and identity.”
Marshall originally devised the project, which she referred to as a “visual census,” to document different manifestations of freckles. Eventually, she refined the project, embarking on a mission to document as many Afro-Caribbean redheads as possible. All of Marshall’s subjects thus far have been complete strangers who she has discovered through social media, word of mouth or running into each other on the streets.
The close-up portraits document every freckle and stray hair, with every image, expanding the dominant, narrow understanding of what redheads can and should look like.

(Photo by MICHELLE MARSHALL)

The photographs and their subjects are undeniably stunning. However, the enchanting appeal of the images has its drawbacks. “A beautiful picture doesn’t always relate what it’s like to be different,” Marshall said in an interview with Vice. “There’s a flipside to being different: it’s not always accepted. Beautiful photography serves one purpose, but in the context of daily life people may not have that reaction.”
Model Natasha Culzac, who covered Marshall’s project in Vice and posed for the photograph above, shared her personal experience growing up with red hair and dark skin.

“For me, growing up tall, mixed-raced, with thick, frizzy ginger hair, in a predominantly white, working-class seaside town was not the ticket. At 13 years old I was buying skin whitening cream from Boots to pulverize the freckles and at 14, during my Slipknot phase at the turn of the millennium, was violently straightening my newly-dyed black hair. Now, though, I couldn’t care less and relish being unique.”

Categorizations fall short. Stereotypes disappoint. Difference is beautiful. There is a lot to learn from Marshall’s striking portraits, if we could only stop staring at them:

(Photo by Michelle Marhsall)

 

(Photo by Michelle Marshall)

 

(Photo by Michelle Marshall)

Mom Chauncia Rogers Teaches 5 Year-Old Daughter Ava About Women in Black History Through Innovative Dress-Up Photo Project

By goodblacknews on May 12, 2015
Ava as Attorney General Loretta Lynch

According to the U.S. Department of Education, we learn most rapidly during the early years of childhood. More importantly, a child’s first five years are most critical to the development of security and self-confidence. To the black community, this simply suggests that we began teaching our children to take pride in who they are, our culture and our history at an early age.

It can be quite a challenge to find creative and effective methods when teaching young children about their ancestry. However, in February freelance journalist and copy editor Chauncia Boyd Rogers came up with a unique idea. She decided it was time to teach her 5-year-old daughter, Ava Noelle Rogers, about eminent woman in black history.

To ensure Ava retained the information, Chauncia decided to create a photo project implementing what Ava likes best…playing dress up. Chauncia dressed her daughter as several prominent black women and took pictures so that Ava would never forget the experience and she put them on Facebook.

NBCBLK contributor Alicia Hadley recently spoke with Chauncia and Ava about the details of their creative project.

AH: How did you come up with the idea?

Chauncia: I had a Timehop photo and it showed me and Ava in 2011 at our church’s Black History program. During that program, every week in February, one of the teens at church dressed as an historical [black] figure and did some sort of presentation as that figure. So I just wanted to borrow from that.

Ava as Josephine Baker
Ava as Josephine Baker

And Ava, she just really likes to repurpose things around the house. So I said, “I’m just going to use Ava’s simplicity-take things around the house and make them work for the pictures. And it will be a way for her to enjoy it.”

I wanted Ava to learn about black history. She didn’t participate in my church’s celebration in February 2011 because she had just turned one. But she turned five in December 2014 and I felt that at this age, she would be more receptive to the information.

Ava as poet Phillis Wheatley
Ava as poet Phillis Wheatley

I’m also from St. Louis. We just moved to Orlando about a year ago and Michael Brown was my niece’s cousin. He’s on her dad’s side of the family and so the entire situation is very close to home. My cousin and my aunt live on the street he was killed on. I grew up in Ferguson. I lived in Ferguson from age three to nine. I see what’s going on in St. Louis and right now a part of me is glad that I’m away in Orlando because it’s just traumatic and dramatic. But then a part of me wants to be out there doing what I can to help. I guess the situation in my hometown is another thing that inspired me. I just want Ava to know that she can be better, and that she can do better.

AH: There have been so many significant black women who have helped shape our society. How did you decide which women made the cut?

Baltimore Photographer Devin Allen Captures Uprising In Touching TIME Cover Photo

By goodblacknews on May 1, 2015

An amateur photographer from Baltimore is being celebrated for his photos taken during the recent demonstrations in the name of Freddie Gray. His images are so touching, in fact, that the 26-year-old’s work is featured on the latest cover of TIME Magazine.
Screen Shot 2015-05-01 at 7.46.24 PM
Devin Allen’s photos were first spotted on Instagram and spread from celebrities’ profiles (like Rihanna) to international organizations. The father of one, who has explored photography for three years, says he’s heartened by how his photos are being embraced online. After being circulated earlier this week, his image of a protester running from a huge amount of police was chosen as the cover of TIME.

“For me, who’s from Baltimore city, to be on the cover of TIME Magazine, I don’t even know what to say. I’m speechless,” says Allen. “It’s amazing. It’s life changing for me. It’s inspiring me to go further. It gives me hope and it gives a lot of people around me hope. After my daughter, who’s my pride and joy, this is the best thing that’s happened to me.”

Baltimore-based photographer Devin Allen
Baltimore-based photographer Devin Allen

On why he began to take part in the protests, Allen says he’s witnessed injustices in his hometown long before Freddie Gray died at the hands of police officers earlier this month.

“[It’s] not been a surprise,” says Allen. “I know my city. With all the frustration with the city, the mayor, the economy, the pot has been boiling.” But that has not changed Allen’s resolve to show exactly what’s been happening in his streets. “I went in thinking I would show the good, the bad and the ugly,” he says. “Of course, since I’m a black man, I understand the frustration, but at the same time, I’m a photographer. I’m not going to lie to you. I’m going to tell you exactly what happened. That was the goal.”

Many more of Allen’s images have captured national attention, including somber moments between protesters and cops, children marching, and others. You can check them out here.
article by Desire Thompson via newsone.com

Serena Williams 1st Black Female Athlete to Solo on Cover of Vogue

By goodblacknews on March 24, 2015
Serena Williams, Vogue
International Tennis Champion Serena Williams (VOGUE/Annie Leibovitz)

Game, set, Vogue!
Serena Williams is the first black female athlete to land a solo cover of Vogue, and the tennis pro looks absolutely breathtaking (she last fronted the magazine for the June 2012 issue alongside Ryan Lochte and Hope Solo). Serena sports long natural curls and a slim-fitting blue sheath dress on the cover, finishing her look with minimal makeup and a simple tennis bracelet (natch). Famed photographer Annie Leibovitz shot the stunning spread, which also features tennis star (not to mention Serena’s best friend and top competitor) Caroline Wozniacki.
The tennis maven joins Lupita Nyong’o, Beyoncé, Rihanna and Michelle Obama as high-powered black women to front Vogue in recent years. (One other black athlete has graced the magazine’s cover: LeBron James shared the April 2008 Shape issue with Gisele Bündchen for what became a much-debated spread.)

Serena Williams, Vogue
(VOGUE/Annie Leibovitz)

In the editorial, Serena lets her enviable figure do the talking in a second skin wine-red gown that hugs her body in all the right places. Beyond looking beautiful in couture, the star athlete opens up about the pressure of being top-ranked on the courts. (It’s no surprise that Anna Wintour tapped her for the annual Shape issue—the Vogue editrix is a self-proclaimed tennis enthusiast).
“It’s hard and lonely at the top,” Williams admits in the interview. “That’s why it’s so fun to have Caroline and my sister, too. You’re a target when you’re number one. Everyone wants to beat you. Everyone talks behind your back, and you get a lot more criticism. God forbid I lose. It’s like ‘Why?’ Well, I am human.”

Serena Williams, Vogue, Instagram
(Photo: Instagram)

Williams announced her Vogue cover in a sexy bikini snapshot on Instagram (why not?), which shows the star athlete kicking back with a copy of the issue. (Really, though, that body!)
Vogue‘s April issue hits newsstands on March 25.
article by Nicole Adlman via eonline.com

"Staying Power": Photographs of Black British Experience on Exhibit in England Through May

By goodblacknews on February 9, 2015

Untitled, circa 1960s, from the portfolio Black Beauty Pageants
Untitled, circa 1960s, from the portfolio Black Beauty Pageants (Photograph: Raphael Albert/Victoria and Albert Museum)

“Staying Power: Photographs of Black British Experience 1950s-1990s” is the culmination of a seven-year collaboration between the Victoria & Albert Museum and Brixton’s Black Cultural Archive to increase the number of black British photographers and images of black Britain in the V&A collection. It aims to raise awareness of the contribution of black Britons to British culture and society, as well as to the art of photography.
Over the last seven years the V&A has been working with Black Cultural Archives to acquire photographs either by black photographers or which document the lives of black people in Britain. Funded by the Heritage Lottery Fund (HLF), the Museum has been able to collect 118 works by 17 artists. To complement the photographs, Black Cultural Archives have collected oral histories from a range of subjects including the photographers themselves, their relatives, and the people depicted in the images.
Staying Power: Photographs of Black British Experience 1950s-1990s is at the Black Cultural Archive (bcaheritage.org.uk) until June 30th and at the Victoria & Albert Museum from February 16th to May 24th (vam.ac.uk).  Some of the images on display follow below:
HD-1469 (Pineapple), 1969
HD-1469 (Pineapple), 1969 (Photograph: The Estate of J. D. ‘Okhai Ojeikere/Victoria and Albert Museum)

Miss Black & Beautiful, circa 1970s
Miss Black & Beautiful, circa 1970s (Photograph: Raphael Albert/Victoria and Albert Museum)

She Rockers (London Rap/Dance Crew), Shepherd’s Bush Green, London, 1988
She Rockers (London Rap/Dance Crew), Shepherd’s Bush Green, London, 1988 (Photograph: Normski/Victoria and Albert Museum)

4 Aces Club, Count Shelley Sound System, Hackney, London, 1974
4 Aces Club, Count Shelley Sound System, Hackney, London, 1974 (Photograph: Dennis Morris/Victoria and Albert Museum)

article via guardian.com; additions by Lori Lakin Hutcherson (follow@lakinhutcherson)
 

A New Image of Black Fatherhood [PHOTOS]

By goodblacknews on November 20, 2014
Giovanni and 9-month-old Ethan chill on their Bedford-Stuyvesant, Brooklyn stoop.  (Photo by Marcus Franklin) 
By Marcus Franklin
This photo essay is part of Life Cycles of Inequity: A Colorlines Series on Black Men. In this installment, we explore and challenge the notion that black families face a crisis of fatherhood. The installment includes a dispatch from Baltimore, in which four dads challenge the easy assumption that all children of unwed mothers have absent fathers. 
In June of 2013 I started photographing black men and their children and created The Fatherhood Project, the online home for photos that capture them in ordinary moments. A single dad helping his daughter with math homework during a break at work. A dad teaching his daughter how to walk as they wait to see a doctor. A father and son chilling on a stoop.
Why photograph black men and their children? What’s extraordinary about these subjects?
For starters, black men taking care of our children is, on some level, revolutionary—and a form of resistance to the legacies of laws and other tools used to hinder our ability to parent. During the trans-Atlantic slave trade, for example, fathers were routinely separated from their children as family members were sold. And currently, disproportionately and consistently high incarceration and unemployment rates for black men have made it difficult, if not impossible for many to parent. There’s also the disproportionately high rate of homicide among black men, whether by people in their own communities or at the hands of the state. My own father was murdered by a cop a couple of weeks before my 15th birthday.
As New York Times writer Brent Staples asked in a tweet this past Fathers’ Day: “Imagine yourself jailed on a low-level Rockefeller-era drug charge. Now a felon: denied a job, housing and the vote. How would you ‘Father’”?