In a world where we like to think of things as either “logical” or “emotional”, Raymond Thompson Jr.’s work serves as a reminder that logic and emotion can, and often should, coexist. In fact, Raymond’s work drew us in for exactly that reason.
An assistant professor of journalism at the University of Texas, Raymond brings a deep academic background (with degrees in photography, journalism, and American studies) to everything he creates. His projects are backed by extensive research, but they never leave him out of the picture. His personal perspective, his history, his questions, his cultural memory—these are all parts of Raymond that inform and shape his work.
As Raymond put it, “After I’ve done all this research, I think about how I feel and then try to put that back into the work as I’m looking back out at the world.” Many people believe documentary photographers should always remain neutral. But perhaps documentary photography shouldn’t be about erasing yourself; it should be about being honest about the viewpoint from which you’re looking.
This blending of intellect and feeling feels especially powerful in Raymond’s work, because the stories he tells carry real weight. His projects explore histories of labor, race, memory, and survival. He dives deep into how geography shaped, and continues to shape the Black experience in North America — especially the way the land itself holds stories.
Take, for instance, his latest book It’s hard to stop rebels that time travel. In it, Raymond weaves together contemporary portraits, landscapes, annotated archival runaway slave advertisements, extracts of Black folklore, lynching-era news articles, and historical maps. The result is a “portal” of sorts. Raymond explains, “In 1918, my grandfather was born outside New Bern, [North Carolina] and left the region during the great migration. This project represents a more personal approach to interrogating archives because it is based on a landscape I can trace to my ancestors. More and more, Black people like myself are seeking answers to questions surrounding their origin. This journey through our families’ pasts necessitates us to walk the paths of our ancestors. This project became my portal to slip between the past, present and future.”
The Power of Mixed Media
Many of Raymond’s projects integrate historical documents, written records, oral histories, archives, poetry, and other elements that go far beyond photography. It’s an impactful form of mixed media, where added elements aren’t just for aesthetic experimentation, but for historical grounding. In Raymond’s case, photography is just one part of the storytelling structure.
As photographers, I think we should take note of Raymond’s approach. If a birth certificate, a death notice, a letter from a relative, or a written statement provides context and connection, why shouldn’t we incorporate it in an otherwise photographic project? Most of us aim to create something meaningful with our photos. Sometimes that meaning lives in the archive.
Gaining Access…Even if You’re an Introvert
Perhaps Raymond’s journalism background gives him an advantage, but gaining access to subjects is something any photographer can achieve. The photos in this article are a good example. They’re from Raymond’s project “Justice Undone,” which focuses on the effects of mass incarceration on African American communities and families in a “post-racial” America. Many were taken in a prison facility. “But how does one get inside a prison?” you may be wondering. Raymond’s advice: Find a gatekeeper. For this project, the gatekeepers were nonprofit organizations that work closely with both the families of the people that are incarcerated and the system, the prisons and judges who eventually allowed him access. Find the gatekeeper, and you can find an in.
Of course, sometimes you simply need access to a person, not an entire institution or physical place. It can be tough for an introvert to approach strangers, but it’s something you can learn. Raymond says he too is an introvert, but he’s trained himself to approach people. Being in journalism definitely helped—when you have an assignment, it forces you to talk to people, and explaining why you are taking photos is simple. When he’s working on a personal project though, he often finds himself taking his time, lingering before working up the courage and preparing to approach someone in the best way possible.
After years of practice, Raymond says, “I just had to learn how to get over any fears that I had around people telling me no. People told me no, but most of the time, it wasn’t about me. It’s just the situation they’re in.” Not taking a no personally has helped him to persist, to engage with potential subjects more freely, and gain access to more intimate spaces. The benefits he’s experienced makes it worth every ongoing effort.
Taking Notes from Raymond
What I took away most from Raymond’s philosophy is this: be intentional, be personal, and be willing to gather your materials from beyond the camera. Your perspective matters. Your lived experience matters. And whether you’re talkative or quiet, highly trained or self-taught, the most important thing you can do as a storyteller is to listen — to people, to history, to yourself.
Where to Find Raymond Thompson Jr.
- Raymond’s Website
- “It’s hard to stop rebels that time travel” Raymond’s latest book
