The Careful Photograph

Photographer and Strange Fire Collective founder Rafael Soldi joined us for the final episode of this season. In this episode we talk about the making of a particular image (pictured) in Soldi's series, "Imagined Futures". Through talking about the making of this image, we get into the history of photo booths, Soldi's experience as an immigrant, and the materiality of "Imagined Futures". You can view the image in question at thecarefulphotograph.com/Rafael-Soldi and view images of the entire series at http://www.rafaelsoldi.com/.

Tommy Kha is a New York and Memphis-based photographer who joined us to talk about the making of his photo “Mine IX” from "Mi Chien, Mi Loup”. We talk about Kha’s family history, his process of making photos of and with his mother, and the erasure of AAPI folks in the photographic archive. You can view more of Kha’s work at tommykha.com and see the image in fullscreen at thecarefulphotograph.com/tommy-kha .

Nydia Blas joins us to talk about an untitled photograph from her upcoming book "Revival" -- available for preorder at https://www.krisgravesprojects.com/book/revival. In this episode, we talk about creating intimate photographs with strangers, bell hooks' essay "The Oppositional Gaze," and working through a Black feminist lens. You can see more of Blas' work at https://nydiablas.com/ and view the untitled photograph at thecarefulphotograph.com/nydiablas.

Zora J Murff is a photographer and educator based in Fayetteville, Arkansas. Murff joined us to talk about a photograph called "American Father" from his upcoming series "American Mother, American Father" Zora's work grows out of his conviction that "we need to acknowledge each other, because largely, the world does not acknowledge us." We end up talking about family portraiture, systemic diversity, and "making work in the absence of light," in the words of Theaster Gates. You can see the photograph at thecarefulphotograph.com/zora-j-murff and see more of Zora's work at http://www.zora-murff.com/.

Photographer and educator Lorena Molina joins us to talk about her recent work, "Making Lemons out of Oranges" from the in-progress series, "Something that it's not nothing" We discuss working intuitively, "making a home in the unwelcoming," and the evolution of Molina's process. You can see the photograph at thecarefulphotograph.com/lorena-molina, and you can see the rest of Molina's work at https://www.lorenamolina.com/

You can view "As Far As I Can Get in 10 Seconds in the Alley Where Cops Chase Brown People Thinking They Are Cholos after John Divola" at TheCarefulPhotograph.com/William-Camargo. For more information about William and his practice, see http://www.williamcamargo.com/.“The Careful Photograph” features the voices of photographers of color who are challenging, subverting, and highlighting some of the problems and paradoxes of the photographic medium in our current moment. In each episode we focus our conversation on a single photograph by the artist. From there, I try to let the artist shape the conversation, and what has emerged are nine episodes (so far) that can be used as a teaching tool, or a course in itself about how to look at photographs and look “with care.” Each episode ends with a praxis assignment, visual exercise, or creative prompt for students or listeners. I am looking forward to sharing them with you. “The Careful Photograph” is made possible by the MCSI at Pitzer College. As Director of the Monroe Center for Social inquiry this public podcast will serve as a companion to my MCSI course offering, “Photography and the Racialized Body,” a course which stems from my own long engagement with questions of identity, the body, and the history of photography and race in America.

In this episode, we discuss the image "Water Bearer" from her series entitled Carry Over. The image is displayed on the episode poster, but is also available in full screen at TheCarefulPhotograph.com/Sama-Alshaibi. Sama's work can be found at samalashaibi.com.“The Careful Photograph” features the voices of photographers of color who are challenging, subverting, and highlighting some of the problems and paradoxes of the photographic medium in our current moment. In each episode we focus our conversation on a single photograph by the artist. From there, I try to let the artist shape the conversation, and what has emerged are nine episodes (so far) that can be used as a teaching tool, or a course in itself about how to look at photographs and look “with care.” Each episode ends with a praxis assignment, visual exercise, or creative prompt for students or listeners. I am looking forward to sharing them with you. “The Careful Photograph” is made possible by the MCSI at Pitzer College. As Director of the Monroe Center for Social inquiry this public podcast will serve as a companion to my MCSI course offering, “Photography and the Racialized Body,” a course which stems from my own long engagement with questions of identity, the body, and the history of photography and race in America.

“The Careful Photograph” features the voices of photographers of color who are challenging, subverting, and highlighting some of the problems and paradoxes of the photographic medium in our current moment. In each episode we focus our conversation on a single photograph by the artist. From there, I try to let the artist shape the conversation, and what has emerged are nine episodes (so far) that can be used as a teaching tool, or a course in itself about how to look at photographs and look “with care.” Each episode ends with a praxis assignment, visual exercise, or creative prompt for students or listeners. I am looking forward to sharing them with you. “The Careful Photograph” is made possible by the MCSI at Pitzer College. As Director of the Monroe Center for Social inquiry this public podcast will serve as a companion to my MCSI course offering, “Photography and the Racialized Body,” a course which stems from my own long engagement with questions of identity, the body, and the history of photography and race in America.

“The Careful Photograph” features the voices of photographers of color who are challenging, subverting, and highlighting some of the problems and paradoxes of the photographic medium in our current moment. In each episode we focus our conversation on a single photograph by the artist. From there, I try to let the artist shape the conversation, and what has emerged are nine episodes (so far) that can be used as a teaching tool, or a course in itself about how to look at photographs and look “with care.” Each episode ends with a praxis assignment, visual exercise, or creative prompt for students or listeners. I am looking forward to sharing them with you. “The Careful Photograph” is made possible by the MCSI at Pitzer College. As Director of the Monroe Center for Social inquiry this public podcast will serve as a companion to my MCSI course offering, “Photography and the Racialized Body,” a course which stems from my own long engagement with questions of identity, the body, and the history of photography and race in America.

The image discussed in this episode can be viewed at http://bit.ly/TheCarefulPhotograph_Mercedes and you can view Mercedes website here: https://www.mercedesdorame.com/“The Careful Photograph” features the voices of photographers of color who are challenging, subverting, and highlighting some of the problems and paradoxes of the photographic medium in our current moment. In each episode we focus our conversation on a single photograph by the artist. From there, I try to let the artist shape the conversation, and what has emerged are nine episodes (so far) that can be used as a teaching tool, or a course in itself about how to look at photographs and look “with care.” Each episode ends with a praxis assignment, visual exercise, or creative prompt for students or listeners. I am looking forward to sharing them with you.“The Careful Photograph” is made possible by the MCSI at Pitzer College. As Director of the Monroe Center for Social inquiry this public podcast will serve as a companion to my MCSI course offering, “Photography and the Racialized Body,” a course which stems from my own long engagement with questions of identity, the body, and the history of photography and race in America.