New York City has always been a hotbed for documentary photography. In the final episode of this podcast, we hear from four members of the illustrious Kamoigne Workshop–Ming Smith, Adger Cowans, Shawn Walker, and Anthony Barboza–speaking about their more than six decades of experience. Marilyn Nance also talks about her time working in the city as well as a trip to Lagos, Nigeria in 1972 to cover FESTAC, a world festival of Black and African arts and culture.

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Ming Smith (b. 1947, Detroit, MI), America Seen Through Stars and Stripes, New York City, NY (detail), ca. 1973, gelatin silver print, 8 5/8 × 12 1/2 in. (21.6 × 31.8 cm), Carnegie Museum of Art, Margaret M. Vance Fund, 2017.19.5

John H. Johnson and his wife Eunice printed the first issue of EBONY magazine, one of the most influential Black publications in history, in November 1945. This episode features stories about the Johnson Publishing Company as told by their daughter, Linda Johnson Rice. We also hear from two artists, David Hartt and Theaster Gates, about the influence of the magazine on their work and the ways in which its archive continues to resonate.

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unidentified photographer; “Ebony Fashion Fair, American Airlines stewardess, Jacquelyn Neely, models youthfully shaped horizontal-striped dress in shades of blue wool designed by Jean-Marie Armand.” (detail), 1972, gelatin silver print, 10 x 8 in. (25.4 x 20.3 cm); Documentary Arts, Inc.; © Alan Govenar; photo: Courtesy Documentary Arts and The Texas African American Photography Archive

This episode covers a broad swath of the American South ranging from the work of Ernest Withers in Memphis, Tennessee as discussed by his daughter Rosalind Withers, to Dallas and Fort Worth, Texas where Bob Ray Sanders and Norma Adams Wade talk about their extensive experiences working in the newspaper business.

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Image Credit: Ernest C. Withers (b. 1922, Memphis, TN; d. 2007, Memphis, TN), Dr. Martin Luther King Jr. and Rev. Ralph David Abernathy ride on one of the first desegregated buses, Montgomery, AL, 1956, printed 1994, gelatin silver print, 16 × 20 in. (40.6 × 50.8 cm), Carnegie Museum of Art, The Henry L. Hillman Fund, 2025.7.9