AT ITS WORST, photojournalism can feel extractive. Consider the standard trope: an image of someone suffering. The person depicted is anonymous, afflicted, and mute, with no say in their representation.
Fid Thompson, a photographer (as well as a writer, researcher, and filmmaker) worked for 12 years in West Africa, and knows this set of issues intimately.
“You go and photograph someone suffering or in a marginalized situation,” Thompson says, “[but] would you be OK [if] photographed in that situation?”
What, Thompson’s practice seems to ask, is the opposite of extraction? The answer: consent. Full-bodied, enthusiastic consent. The kind of consent that feels collaborative and transformative for all involved: a celebration.
This language and practice, ordinarily applied to sex, can also be applied to portraiture—vulnerability, intimacy, and a desire for shared…
