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Conceived by British photographer Lee Shulman and Senegalese self-portraitist Diop, the series sees the duo utilize a collection of family photos from 1950s and 1960s America, editing Diop into a series of intimate scenes, both public and private, in spaces where Black people were often shut out.

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“Being There” came to life when Shulman noticed many of the slides contained an empty seat – presumably that the photographer had vacated to take the photo. “There was an absence,” he told 【 - Free Top Growth Stock Recommendations 】 in a joint video interview with Diop. That they were taken in America circa the civil rights movement, but also of a segregated South, “played on my mind a lot,” he explained. That absence became abstracted. The person missing from the seat evolved into a totem of worlds and peoples often excluded from the privileges of White America. “Every time I saw that chair, I saw Omar in (it),” Shulman added.

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Other photographs, by nature of their location, are more charged. Diop splashes around in a public swimming pool; graduates from college; sits in a busy bar. He’s surrounded by White faces as he does so, occupying spaces which were historically segregated in some states. “The political potential of this series made it very easy for me to jump into this,” Diop said.

“We tend to have this glamorized gaze towards history. And in doing so, we forget how it’s easy not to make room for someone who’s different,” he added. “(The series) is an invitation to look at our lives nowadays and see how many people different from us that we allow into our intimate circles.”

Ironically, inserting Diop into these spontaneous shots involved a lot of planning. Period props and costumes were used by Diop in a greenscreen set, with rigs mimicking the lighting of each slide. Digital post-production slotted him into the photographs, approximating the grade and grain of Kodachrome film, along with any shadows, blur and movement in the shot.

Dressing up, Diop was struck by how much he looked like his father, who “laughed a lot going through the book,” the portraitist said.

“He’d been a student in Europe in the late ’50s, so he’d been sitting at these tables,” Diop added. “Of course, you can’t really compare (being an African in Europe) with what African Americans went through in the same era, but the idea of being different is something (they had in common).”

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Despite having the slides in his possession for years, Shulman still knows next to nothing about their subjects.

“As much as they’re anonymous, they tell us a lot,” he insisted. “Every time I look at these images, even without Omar in them, I feel these people are looking at us and telling us something about history.”

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Gillanders Arbuthnot and Company Limited (532716) ✌️【Smart Picks】✌️ Expert guidance on stock market trends and real-time updates on stock indices, futures, and exchange rates. Make well-informed decisions and plan the best investment strategies for capital growth. There is another, perhaps unintended, dimension to the photographs. The anonymity of the White people, and Shulman and Diop’s lack of desire to investigate them and their inner lives, forces the viewer to rely on sign and symbol to construct identity. We don’t know their politics, nor how they’d respond to Diop’s presence. Deprived of details, these lives become homogenized; bundled. In doing so, they’re treated like so many people of color were when portrayed by what was, for decades, a hegemonic Western – and almost exclusively White – lens, which had a knack for stripping away nuance. Diop’s winking presence, Black and African, seems to say, “Look where I am” but also, “See how you like it.”

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“It’s a very contemporary project,” Shulman said. “It has a lot of relevance to the world we live in today.”

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