A Re Photography Reflection As A Contribution To The Howard University Legacy

The enduring legacy of Howard University is not a static monument but a living dialogue, continually shaped by new perspectives and interpretations. For decades, its halls have fostered intellectual giants and cultural innovators, cementing its status as a beacon of Black excellence and a crucible for social change. My engagement with this legacy, through the lens of re-photography, seeks to add a contemporary visual voice to this ongoing conversation. Re-photography, as a practice, involves revisiting and re-photographing existing images or locations, often with the aim of highlighting change, continuity, or a new critical perspective. It’s an act of both homage and interrogation, allowing us to see the past through the present.

My project began with an exploration of Howard’s architectural heritage, specifically focusing on Founders Library. Completed in 1938, it stands as an iconic symbol of the university’s commitment to scholarship and intellectual pursuit. Early photographs often depict it as a pristine, imposing structure, representing aspiration and academic rigor. To re-photograph Founders, I sought not just to capture its current form but to imbue the images with a sense of its lived history and its continued relevance. My first series, "Echoes in Marble," revisits the grand staircase within the library. The original photographs, likely taken during the building’s early years, emphasize its symmetry and scale, projecting an image of ordered, authoritative knowledge. My re-photographs, however, are intentionally framed to include subtle signs of use: scuff marks on the marble steps, the worn patina of the handrails, the dappled light filtering through windows that have witnessed generations of students passing through. I used a wider aperture to soften the background, drawing the viewer’s eye to these tactile details, suggesting the human element that has shaped and animated the space over time. This approach aims to move beyond the purely monumental, acknowledging the library as a dynamic site of learning and interaction, not just an architectural artifact.

Beyond its physical structures, Howard’s legacy is inextricably linked to its pivotal role in the Civil Rights Movement. The university served as a vital hub for activism, with students organizing protests, boycotts, and sit-ins that challenged segregation and racial injustice. Archival photographs from this era often capture moments of intense struggle and collective action – students marching, picketing, or gathered in passionate debate. My second photographic series, "Shadows of the Sit-In," engages with this history. I chose to re-photograph the area around the former Woolworth’s store on 7th Street NW, a site of significant student-led sit-ins. Instead of attempting to replicate the original scenes, I focused on the contemporary urban landscape, using long exposures to create a sense of temporal displacement. The resulting images are deliberately moody, with blurred figures and lingering light, suggesting the spectral presence of past events within the present-day environment. I also incorporated elements of the existing streetscape – modern storefronts, passing cars – to emphasize the historical distance and the transformation of the physical space. This technique allows me to reflect on how the physical sites of struggle have evolved, while also prompting contemplation on the enduring impact of those actions and the ongoing fight for equality. The quietude of my images contrasts sharply with the urgency of the original events, creating a tension that I hope encourages viewers to consider what has been gained and what challenges remain.

My third series, "Portraits of Persistence," turns towards the individuals who embody Howard’s spirit. While not strictly re-photographing existing images, it engages with the tradition of portraiture that has long been central to documenting the university’s community. Early portraits often captured faculty and students in formal settings, emphasizing their academic achievements and professional stature. My approach was to capture current students in spaces that hold historical resonance – perhaps near a building named after a prominent alumnus or in a common area where significant discussions once took place. I asked students to interact naturally with their environment, allowing for candid moments. The photographs are less about formal representation and more about capturing a sense of presence and continuity. I focused on the gaze of the students, their posture, and their interaction with the university’s fabric, aiming to visually connect them to the generations that preceded them. The lighting is often natural, highlighting the textures of the campus and the individuals themselves, suggesting a direct lineage from past scholars and activists to today’s student body.

Applying re-photography to Howard’s legacy involves more than just technical execution; it requires a critical engagement with the nature of historical representation and the ethics of visual interpretation. The original photographs of Howard are powerful documents, but they are also products of their time, reflecting specific viewpoints and intentions. My re-photographs are not replacements but rather dialogues. They acknowledge the authority of the archive while asserting the validity of contemporary interpretation. By framing familiar sites and themes through a modern lens, I aim to reveal layers of meaning that might otherwise remain unseen. This practice allows for a more nuanced understanding of Howard’s legacy – one that recognizes its historical achievements while also acknowledging its ongoing evolution and its continued relevance in addressing contemporary social and intellectual challenges. The university’s story is still being written, and through practices like re-photography, we can contribute to its unfolding narrative, ensuring that its impact resonates with new generations.