Photographer Jamel Shabazz has released a new book, Prospect Park: Photographs of a Brooklyn Oasis, 1980 to 2025, showcasing his extensive visual record of Brooklyn's Prospect Park. The collection spans four decades, capturing the park's natural beauty and the diverse lives of its visitors. Shabazz describes the park as "one of my best teachers" and "a giver of life," highlighting its deep personal significance to his artistic journey.
Key Takeaways
- Jamel Shabazz's new book features photographs of Prospect Park from 1980 to the present.
- The book includes images previously exhibited and many new selections.
- Shabazz views Prospect Park as a source of inspiration, peace, and a therapeutic space.
- His work emphasizes collaboration with subjects and documenting the human experience.
- The photographs offer a visual timeline of the park and its community over 40 years.
A Long-Term Artistic Project
Jamel Shabazz began photographing Prospect Park in the 1980s. He continued this work consistently over many years. The new book compiles these images, offering a comprehensive look at the park through his lens.
During the COVID-19 lockdown, Shabazz reviewed his extensive archives. This period allowed him to organize his work into thematic collections. He attributes this structured approach to a lesson learned from his father, who was also a professional photographer.
The collection of Prospect Park negatives led to a public exhibition in 2021. This exhibition was organized by Photoville and the Prospect Park Alliance. It drew the attention of Prestel Publishing, which then decided to publish the book.
Fact: Prospect Park's Design
Some landscape architects believe that Prospect Park was the refined version of Central Park. Frederick Law Olmsted and Calvert Vaux designed both parks. Prospect Park, located in Brooklyn, is 300 acres smaller than Central Park. It has a more secluded feel due to its old-growth forest and 175 tree species.
Shabazz's Unique Photographic Approach
Shabazz is known for his tender approach to photographing Black and brown New Yorkers. He has documented various aspects of city life since 1980. His subjects often appear impeccably dressed and ready for the camera. Shabazz ensures that people in his photographs are active participants in the image-making process.
Noelle Flores Théard, a photo editor for The New Yorker, contributed an essay to the book. She notes that Shabazz's process in the park was "more organic than his purpose-minded portraits on the street." This suggests a greater sense of ease and naturalness in his park photographs.
Shabazz recalls his first visit to Prospect Park at age seven or eight. He describes it as a "beautiful summer day" with fresh air. He felt "exhilarated" by the freedom of the new space. This early experience deeply influenced his connection to the park.
"It was a beautiful summer day. The air smelled fresh. We had pizza and took the bus to the park, and I’ll never forget the exhilarated feeling of being free in this new space."
— Jamel Shabazz
Nature, Childhood, and Personal Growth
Shabazz's childhood visits to Prospect Park fostered an early appreciation for nature. He and his cousins would catch butterflies and bees, bringing mayonnaise jars from their homes in Red Hook. This activity was a "joy" for him, offering a sense of serenity.
As a child, Shabazz read extensively about animals in magazines like Life and National Geographic. This helped him develop empathy for both humans and non-human creatures. He specifically remembers an early affinity for the work of primatologist Jane Goodall. The park allowed him to observe wildlife up close, an experience he says "transformed" him.
The park's natural setting provides a rich backdrop for his images. One photograph shows a girl blowing a dandelion, with petals whirling around her. Another captures a father reading to his son while sitting in a tree. Shabazz found the tree itself to be an "ideal backdrop" due to its artistic beauty.
Background: Frederick Law Olmsted and Calvert Vaux
Frederick Law Olmsted and Calvert Vaux were prominent landscape architects in the 19th century. They are famous for designing many urban parks, including Central Park in Manhattan and Prospect Park in Brooklyn. Their designs often aimed to create natural-looking environments within bustling cities, offering residents green spaces for recreation and relaxation.
Photography as a Purpose
In 1977, Shabazz enlisted in the military. He was stationed in Germany's Black Forest. The scent of rain on soil and the greenery there reminded him of Prospect Park, evoking a sense of nostalgia for home.
Upon his return to New York City in 1980, Shabazz observed a city in turmoil. He noted that "a lot of young men were at odds with each other, and lives were being taken." This environment inspired him to begin making portraits with his Canon AE-1 camera. He was also influenced by his parents' creativity, with his father encouraging him to "look deeper" into his subjects.
Prospect Park became a sacred space for Shabazz during this period. He would often walk to Lookout Point, nearly 180 feet above sea level, to write. He described this spot as his "sacred spot," a place to separate himself from city noise after his military service.
Fact: Rikers Island Service
Jamel Shabazz spent 20 years with the New York Corrections Department. Six of those years were spent at Rikers Island. He found the conditions there disheartening. The park served as a therapeutic escape from the difficulties he experienced at work.
Therapy and Connection
Shabazz also joined the New York Corrections Department, where he worked for two decades. The park served as a therapeutic escape from the challenging conditions he faced, particularly during his six years at Rikers Island. He found solace in the park's tranquility.
He began sharing his growing portfolio with co-workers from the academy. Eventually, he started mentoring inmates, using his photographs to initiate conversations about life and atonement. He believed a photograph of Prospect Park could transport someone back to a happier time in their childhood.
In the park, Shabazz found it easier to approach people and ask for permission to photograph them. He observed that parkgoers shared a common goal: seeking comfort. The pace was slower, and people's heart rates were lower. This contrasted with his usual street photography, which often featured "brick walls and gates." In the park, he had "sunrises and sunsets."
- The photographs often show the changing seasons.
- Fall scenes feature red, stained-glass light.
- Summer dawns bring glowing gold light.
- One image shows a couple embracing on a snow-covered bridge in winter.
- Another captures a couple embracing on a tree stump in spring.
He has a talent for finding visual parallels in his work. Mirror-image poses, captured decades apart, appear throughout his collection. For example, a man paints an autumnal soccer game outdoors. A woman and two girls feed ducks. At Drummer's Grove, a gathering place, revelers dance and play instruments. Richard E Green, a Vietnam veteran and activist, met Shabazz there and contributed an essay to the book.
"Visual Medicine" and Lasting Impact
Shabazz often refers to his photographs as "visual medicine." He aims to capture and reflect love through his images. He believes that by doing so, he gives love back to his subjects and the viewers.
One black-and-white photograph from 1982, featured in the book, shows four smiling women on a bench. When Shabazz posted this image on Instagram, a young man contacted him. The man thanked Shabazz, explaining that the women were his sisters, three of whom had since passed away. This story highlights the lasting impact and emotional resonance of Shabazz's work.
Today, Shabazz visits Prospect Park less frequently. He finds new peaceful spaces at Jones Beach during fall and winter. When he does return to Prospect Park, it feels like a reunion. He often goes to Drummer's Grove, where he reconnects with people he photographed years ago, bringing his portfolios to share.
"My objective is to make sure that the history is preserved, to secure my legacy and, importantly, that of all the people who’ve stepped in front of my lens."
— Jamel Shabazz
Shabazz describes his camera as a compass that guides him to the people he needs to meet. His primary goal is to preserve history and secure the legacy of both himself and his subjects. His book, Prospect Park: Photographs of a Brooklyn Oasis, 1980 to 2025, is available now, offering a profound visual narrative of this iconic Brooklyn landmark.