PhotoWork with Sasha Wolf – Episode 78

Guest: Rahim Fortune
Date: June 6, 2024
Location: Live recording at Picture House, The Small, Dark Room
Host: Sasha Wolf

Episode Overview

This episode features a rich and intimate conversation between host Sasha Wolf and acclaimed photographer Rahim Fortune, conducted live at Picture House. The discussion delves into Fortune’s new book, his photographic process, the ethics of collaboration, community, archiving, and the emotional resonance of photography—touching on everything from sequence building to the impact of social media on photographic practice. The episode also offers practical advice for artists and insight into Fortune’s evolving creative journey.

Key Discussion Points and Insights

1. The Art and Ethics of Sequencing a Photographic Book

Timestamps: 08:20–17:23

• Opening the Book: Sasha and Rahim discuss how the sequence of images in Fortune’s new book is pivotal for the viewer’s experience. Fortune explains the importance of intentionality, comparing the opening of his book to setting an emotional and thematic trajectory.

  • Quote (Rahim, 11:01):
    "...that beginning sequence, even starting with the first image that appears before the title page, it's just an image of a house that has been left vacant for some time. ... I just thought about this kind of lost home as metaphor for something that I think is so imperative of human condition that we're constantly migrating."

• Emotional Journey: The sequence—beginning with metaphoric loss, moving through moments of ecstatic praise, then shifting into images signifying loss and reclamation—conveys a nuanced emotional journey, intentionally crafted to reflect the complex realities of the communities he photographs.

  • Quote (Sasha, 15:18):
    "...the intensity of those three images ... you start out ... with something ... euphoric almost and obviously majestic ... Praise Dancers is such a powerful image. ... the next picture of the school that's been closed is upsetting. And then the following picture ... brings you back into a space ... emotionally."

2. Collaboration as Creative and Ethical Practice

Timestamps: 17:23–20:55

• Extrinsic and Intrinsic Collaborators: Fortune considers both the people pictured and his editorial collaborators, especially Sarah Chaplin Espidon at Loose Joints, as essential partners in meaning-making.

  • Quote (Rahim, 17:23):
    "That was always something that I was very clear on, wanting to make sure that we got right, you know, that it wasn't something that was reactionary or overly sensationalized, and to treat the subject matter with a level of respect and almost a semi academic approach..."

• Editing with Empathy: Fortune highlights the ethical responsibility of pairing images intentionally and ensuring subjects are not presented in a manner that is disconnected or decontextualized.

3. The Subjectivity of Reading One’s Own Photographs

Timestamps: 20:55–25:13

• Evolving Relationship to Images: Time, context, memory, and grief all influence how artists see their own work. Fortune discusses how photographs made over eight years change meaning as his life changes, and how outside editors can see value in images the artist may overlook.

  • Notable Quote (Rahim, 21:48):
    "When you first make a photograph, there's this kind of like glee ... did I get the exposure right?... Then as time passes ... your relationships to particular photographs change."

• Importance of Distance: Both Fortune and Wolf agree that distance—time away from the work, input from trusted collaborators, and detachment from emotional attachment—is critical for objective editing.

4. Artistic Growth and Creative Tension

Timestamps: 25:13–32:52

• Resisting Self-Satisfaction: Wolf warns against being "too in love" with one's own work, as it can cloud judgment. Fortune relates that joy in making images is important but can impede critical objectivity.

  • Quote (Sasha, 25:13):
    "...the reason I'm suspicious of artists who are too in love with their own work is because to me, that usually has to do with the idea, being in love with the idea."

• Visual Restlessness: Fortune describes his ongoing desire to try new techniques—the creative “itch” to keep advancing his visual language while remaining rooted in personal and community experience.

5. The Role and Symbolism of Flash Photography

Timestamps: 32:52–36:40

• Technical Fascination: Fortune describes a deep interest in older camera technology, and sees flash photography—especially in black and white—as transformative and expressive. He references photographic predecessors like Milton Rogovin and Charles "Teenie" Harris as inspirations.

  • Quote (Rahim, 33:06):
    "...black and white with flash is this kind of jarring way of interacting with the world. It's not a way in which we naturally see things. And so something about that in particular was spectacular..."

• Historical Dialogue: His use of flash is also a conscious nod to the legacy and vernacular traditions within Black American communities, using the camera both as a historical conversation and modern narrative device.

6. Navigating the Contemporary Photography Ecosystem

Timestamps: 36:40–40:50

• Social Media Caution: Fortune purposefully withholds much work from social media, preferring not to “breadcrumb” projects in progress. He values the cohesive experience of the book or series, likening it to the deliberate tracklisting of an album.

  • Quote (Rahim, 37:48):
    "...not being reactionary with how I share the images or how they come out into the world. Many of these photographs weren't shared on social media prior to the book coming out. That really allows you to make something that's your own creation versus something that is of a certain moment."

• Strategic Sharing: While acknowledging that young artists might need exposure, he stresses the importance of patience and intentionality in releasing work.

7. Documentary Practice vs. Artistic Expression

Timestamps: 40:50–48:52

• Not an Archivist: Fortune differentiates his work from formal archival practice, emphasizing that his books are artistic expressions filtered through his personal lens.

  • Quote (Rahim, 44:21):
    "...try to make overt metaphor with people in using their likeness, I try to avoid a bit. ... to hopefully have that metaphor and symbolism appear more naturally in the images."

• Responsibility Toward Subjects: He balances objectivity and artistry by striving to let subjects present themselves authentically and maintaining ethical boundaries in sequencing and presentation.

  • Community Engagement: Fortune recounts returning images to subjects and interacting with them across years, building genuine relationships that sometimes enter the images themselves.

8. Community, Memory, and the Power of Photographic Lineage

Timestamps: 48:52–End

• Continuity and Gift: Wolf and Fortune touch on the generational resonance of having family photographs persist in community spaces—recalling the work of Milton Rogovin and anticipating that his own photos might someday become visible artifacts in others’ homes.

• Mutual Gratitude: The event closes with mutual thanks to the audience, Picture House, and Michael Chovendalton for producing the show, underscoring the collaborative and communal spirit that pervades all aspects of Fortune’s practice.

Notable Quotes & Moments

• On Image Sequence as Emotional Structure:
  • Rahim (11:01): "I just thought about this kind of lost home as metaphor for something that I think is so imperative of human condition that we're constantly migrating."
• On Interpretation through Time:
  • Rahim (21:48): "...as memories change I think your relationships to particular photographs change. … They have different lives that they take on."
• On Self-Criticism:
  • Sasha (25:13): "The reason I'm suspicious of artists who are too in love with their own work is because ... it's very, very difficult to separate how you felt the day you were making a picture ... from the actual end result."
• On New Projects and Consistency:
  • Rahim (29:27): "I've kind of come to really think of photographs in the sense of projects. And so I think sometimes it requires experimenting ... or sketching different ideas to maybe find what that new project is."
• On Collaborating with Subjects:
  • Rahim (44:21): "...I try to photograph people as they chose to present themselves to the camera. ... I consider a lot of the people who I photograph to be friends. ... I love to share photographs with people and then when they like them, I mean that I always make the. Tell the funny story ... why'd you cut my baby's head off?... why isn't my horse in the photo?"

Important Segment Timestamps

• Intro & Set-up: 00:00–08:20
• Image Sequence and Book Opening: 08:20–15:18
• Editorial Decisions & Collaboration: 15:18–20:55
• Reading One's Own Work: 20:55–25:13
• Advice on Artistic Detachment: 25:13–29:27
• Visual Restlessness and Project Building: 29:27–32:52
• On Flash and Photographic History: 32:52–36:40
• Social Media and Art Practice: 36:40–40:50
• Archival Responsibility vs. Artistic Expression: 40:50–48:52
• Community Bonds and Closing Remarks: 48:52–End

Conclusion

This episode is a deep dive into Rahim Fortune’s philosophy and practice, wrapped in dialogue that’s as practical as it is poetic. Listeners will hear strategies for editing, sequencing, and the importance of both rigor and play, as well as the ethical complexities of community-centered work. The conversation is candid and generous, offering both fellowship and inspiration for photographers, artists, and those passionate about documenting life with care.

For more discussions and resources, visit:
www.photowork.foundation
Instagram: @photowork.foundation