Reclaiming the Gaze: A New Volume Documents Indigenous America’s Photographic Legacy

A monumental new volume entitled In Light and Shadow: A Photographic History from Indigenous America offers a meticulously curated collection of over 250 images captured by Indigenous photographers, spanning the era of the 1800s to the present day. This groundbreaking project evolved from an earlier research initiative conceived by photographer Brian Adams (Iñupiaq) and author Sarah Stacke.

From Digital Archive to Definitive History

The genesis of the book lies in the 400 Years Project, a digital library created around the 400th anniversary of the Mayflower's arrival, which sought to compile the work of Indigenous photographers across multiple generations. When a publisher encountered this extensive digital research, the concept for a comprehensive book quickly took shape.

Stacke noted a crucial refinement in the project’s scope during its transition to print. She told Native News Online that the essential difference was "adding writing that connects each photo to the person who made it," underscoring that the relationship between image and maker is fundamentally "the heart of the project."

The finalized photographic selection achieves a broad sweep across both time and genre, encompassing diverse subjects such as studio portraits from the early 1900s, intimate family snapshots, scenes depicting trapping in Alaska, and contemporary fine-art photography. Although the publisher initially sought a historical leaning, the project team swiftly discovered that "historic" did not equate to scarce material. Stacke confessed, "We worried we wouldn’t find enough early Indigenous photographers. But we found so many that choosing was the hard part." Their ultimate selection criteria concentrated on ensuring balanced representation across geography, genre, and generation, aiming for the widest possible coverage of regions and photographic styles.

Unearthing Lost Stories and Building Community

The dedicated research uncovered fascinating, often overlooked histories, such as that of John Meek Jr., a Native Hawaiian who operated a professional photography studio as early as 1867. Although his valuable glass plates were auctioned off and have since been lost, their confirmed existence suggests a much deeper photographic history that likely awaits discovery in family archives, basements, and institutions.

For the contemporary selections, Adams drew heavily upon his years of work in community-building, particularly through Indigenous Photograph, the database he helped create. Growing up in Alaska, Adams highlighted the critical lack of role models he faced, noting, "I loved photography, but I didn’t see anyone like me doing it." His motivation is to provide what he lacked, stating, "I want younger Native photographers to have something I didn’t, to see that this work has always been happening."

Stacke dedicated years to the meticulous work of connecting with archives, relatives, and descendants to ensure every single photograph was accurately contextualized. She acknowledged the vast amount of communication required, explaining that "representation has to be done carefully."

The project is already moving beyond the printed page, with the team actively sharing their work through scheduled talks and upcoming exhibitions. These include a forthcoming presentation at the Anchorage Museum, a 2026 exhibition slated for the Obscura Gallery in Santa Fe, and a promotional event scheduled for New York next spring. The creators have expressed openness to securing additional opportunities as the book gains readership. Adams summarized the work as a "celebration of the photographers who were here before us and the ones working today," firmly asserting the enduring presence:

"We’ve always been here."