Welcome to this edition of [book spotlight]. Today, we uncover the layers of 'Black Diamonds,' by Rich-Joseph Facun . We'd love to read your comments below about these insights and ideas behind the artist's work.

In the heart of Appalachia, where the echoes of coal mining towns resonate with stories untold, "Black Diamonds" emerges as a profound visual exploration by Rich-Joseph Facun. This book is not just a collection of photographs; it is a journey into the soul of a region, viewed through the lens of a photographer who seeks to transcend the stereotypes and capture the essence of a community often misunderstood. Facun's work delves into the fabric of Appalachian life, presenting a narrative that is both personal and universal. His unique perspective as a person of color and his background of Indigenous Mexican and Filipino descent bring a fresh, insightful gaze to the Appalachian foothills he now calls home. The images in "Black Diamonds" weave a story of place, community, and cultural identity, challenging the viewer to look beyond the surface and appreciate the rich tapestry of life in these former coal mining towns.

As Facun immerses himself in his new environment, his photography becomes a bridge between the viewer and the subjects, offering a glimpse into the daily lives, struggles, and joys of the people he encounters. His approach to storytelling is both gentle and compelling, inviting us to question our own perceptions and understandings of Appalachia. The book teases out themes of survival, hospitality, and resilience, portraying a community where the simple needs of day-to-day life loom larger than the abstract issues of politics. "Black Diamonds" is a testament to the power of visual storytelling, inviting readers on a captivating journey that promises to alter perceptions and inspire a deeper connection with the human stories that shape our world.

Start with Photography: How did your journey into photography begin, and what led you to document the Appalachian region through your lens?

As far back as I can remember, I’ve always been a fan of people watching, so, my journey into photography probably started before I was aware of it. To me, when you break things down, the act of making images is not much different than sitting in a public space and observing folks. I assume that this curiosity of human behavior, to some degree, eventually allowed me to excel at photography.

I remember at the age of 12 when I started skateboarding, the crew I rolled with took a lot of photographs of one another when we were out riding. Eventually, for no apparent reason, I became the photographer of the group. At some point I even put out a little Xerox skate zine.

However, I had my first child at 17, putting skateboarding, photography, and all extracurricular activities on the backburner. Fast forward approximately ten years later; I needed a fine art credit before I transferred to a four-year university. I originally signed up for a sculpture class, but it was cancelled. By default, I ended up in an intro to photography class. At the end of the course, I submitted a series of street portraits into a juried exhibition and ended up winning first place. My relationship with photography was rekindled. I changed majors and ended up studying visual communications.

Nine years ago, my family and I relocated from the South to the foothills of Appalachia in southeast Ohio. We bought a small homestead with some acreage in the sparsely populated township of Millfield, population 300.

At that time, I was going through professional and personal changes, this led me to take a welcomed yearlong break from image making. When I woke from my slumber, I started work on my first monograph Black Diamonds. The series was made in my community and the surrounding counties of my new home in Appalachia.

Inspiration Behind 'Black Diamonds': What personal experiences or observations inspired you to initiate the "Black Diamonds" project, and how did your own cultural background influence your approach?

When I initially began making images for Black Diamonds, I didn’t have any specific goal or plan. As I mentioned, I had not made any personal work for over a year, I was on hiatus from all things photo related. But I started seeing images again, one after the other. Initially I tried to ignore the urge to pick up my camera but decided not to fight it. Shortly after I bought a new camera and encouraged myself to start carrying it around with me.

The first day I took it out I met a young man who had “Damaged,” tattooed across his forehead. I hesitated to approach him, but after an internal battle I asked if I could make his portrait. Once I processed the work, I immediately knew I was back. This singular moment catapulted me back into the streets.

I didn’t place any barriers or intent on myself or the work. The goal was simply to begin visually exploring my new home. Without question or hesitation, I photographed anything that resonated with me.

As the work progressed a loosely structured narrative began to form, taking me for a liberating ride through the foothills of Appalachia. In this experience I found home in both myself and my work. I discovered a new voice within my photography.

As far as my cultural background influencing my approach, I think that is a given regardless of who you are as an image maker. For me, being Otomi and Pinoy during a time when the US was in a heightened political state of division that focused on one’s skin color brought me concern. I was working in a predominately white rural area that historically has been portrayed by the media as racist. It was only natural to be hyper aware of my safety while working alone in sometimes very isolated areas.

Community and Identity: In "Black Diamonds," you explore themes of community and cultural identity. How did you approach these sensitive subjects with the people you photographed in the Appalachian coal mining towns?

Initially I photographed what inspired me. As the work progressed, I became more aware of how Appalachian communities had been portrayed in the media, in contemporary culture, and elsewhere. I began reading literature written by Appalachian voices and I also took a deeper dive into visual work that had already been made about Appalachia. In doing so, I made conscious efforts to not document scenes ranging from content such as extreme poverty to the opioid crisis. I felt those stories had already been told and I wanted to offer a new facet to the story of Appalachia. I strived to be honest in my personal interpretation of the area but attempted to balance it, with what I hoped to be, an alternative experience of Appalachia. Of course, there are images in Black Diamonds that communicate degrees of economic strife, but that was never my intended highlight of the region. With this approach I focused on activities that celebrated the heritage and culture of the community. Those points can be seen in images ranging from parades that celebrate the heritage of the region to the relationships between the land and those who inhabit it. I also attempted to accurately represent the diversity and inclusion I witnessed.

Challenging Stereotypes: How do you hope your work in "Black Diamonds" challenges the common stereotypes and mischaracterizations associated with the Appalachian region?

Honestly, I have heard from a minority of folks who read Black Diamonds and expressed that my work, in fact, did exactly the opposite of challenging stereotypes. These criticisms typically came from people who did not live in the area or lived here for a brief period and felt justified in their assessment. Gratefully, the larger echo I received from folks throughout Appalachia was admiration and gratitude for the images and narrative presented in Black Diamonds. However, I still take the criticism personally and try to receive it with an open mind – I may have missed something or perhaps the selected images in the sequence misspoke and conveyed something I overlooked. I’m willing to learn from both positive and negative feedback.

Black Diamonds, amid other points, was a personal endeavor. The book allowed a person of the BIPOC community to look at his new home located in a traditionally white rural enclave, portrayed as historically “racist,” during a time when the nation was heavily divided politically, and ask if he were safe in Appalachia, was his family safe - here in their new home?

Through the gaze of not only the photographer but also those being photographed, I feel it illustrates this exploration and experience of acceptance and understanding. I hope that when folks view the book, they understand that from my time exploring this community, the common stereotypes and mischaracterizations associated with the Appalachian region are not necessarily true. Did I see and experience some of the negativities of racism, prejudice, poverty, etcetera? Sure, but not to the degree that I felt they should drive the narrative of the series. Working in my new home, I felt compassion, acceptance and understanding. Our differences were not a hinderance but a curiosity that drove us closer, even if but for a few moments while I made photographs of what was unknown to me.

Visual Techniques and Storytelling: Can you discuss your visual and narrative approach when capturing the essence of life and history in these former coal mining towns?

I began making images for Black Diamonds after leaving full time work as a photographer who earned his living as a photojournalist. When I picked up the camera again, I didn’t want to stay within the constraints of the techniques that I had in the past. I decided to compose the work within a square format as opposed to a traditional 35 mm space. Additionally, I opted to not use light in the same manner. These elements forced me to compose each photograph with an unfamiliar approach.

From here, I left behind the intent to work on a series with a specific message or story. I allowed myself to explore the landscape – people, places, and things. As my momentum grew so did the stockpile of images I had to reference from days of driving the backroads. Eventually I paused my efforts and decided to begin organizing the collection by themes, similarities, and content. In doing so, I could see a narrative and various threads organically beginning to formulate.

I took what I learned, laid a foundation, and built on those visual consistencies. However, I also continued to let the experience and intuition guide me as opposed to allowing my logic to navigate the story. This approach liberated me from past working rituals and habits and gave me independence.

Insights and Revelations: Throughout your time working on "Black Diamonds," were there any moments or revelations that significantly impacted you or changed your perspective on the region?

I feel that while working on Black Diamonds, it was more the culmination of thoughts, experiences, explorations, and discovery that impacted not only how I perceive the region but also myself. This outcome or conclusion didn’t reveal itself in a big bang, it was more of a slow burn that I believe continues to grow within me. It has led me to find solace in my community during a political, economic, and socially divisive time in our nation. My relationship to both the physical and human geography of Appalachia has given me insight into this region and my personal identity. These changes have extended into my most recent monograph Little Cities and maintains a presence in two additional bodies of work currently in progress.

Future Projects: Following "Black Diamonds" and "Little Cities," are there new themes or regions you are planning to explore in your upcoming projects? How do you envision your photographic style and focus evolving?

I’m in the process of completing a maquette for my latest series 1804 and hope to begin shopping the book around to publishers within the next few months. All the images were made in the city of Athens, Ohio. Athens is a small college town that is located on the periphery of the former coal mining boomtowns I photographed in Black Diamonds and Little Cities. The work considers the ways in which cultural heritage, socioeconomics, and youth culture are shaped by the dominant institution within an Appalachian town. I consider how the presence of a university in this rural area not only creates a liberal bubble in a politically conservative region but also functions as a modern iteration of a company town.

In addition to 1804 I have been casually working on another project currently entitled Mount Nebo. I won’t say much about this work as I have not decided if I will ever share it publicly, it is a project that I’m currently making for me, my wife and our children and it takes place on our homestead in Millfield, Ohio. In this work, I shift from color to black and white photography, mostly shot on a smartphone. The approach is more less treating my phone as today’s version of the Polaroid camera.

Once 1804 is out in the world, I plan on taking another interval from photography, not so much dropping out completely, but I do plan to seize any efforts when it comes to the act of physically making pictures or pursuing the development of large bodies of work. I’d like to use my free time to reflect and decide how I would like to evolve as a photographer and as a bookmaker. I’m intrigued by handmade books and feel that might be a better format for some of my forthcoming ideas and changing philosophy about the book as an art object.

To discover more about this intriguing body of work and how you can acquire your own copy, you can find and purchase the book here.

Rich-Joseph Facun (Website, Instagram), a photographer of Indigenous Mexican and Filipino descent, has carved a niche in documenting the nuanced stories of communities and identities on the fringe. With a Bachelor of Science in Visual Communication from Ohio University, his career spans over 15 years as a global photojournalist before settling in the Appalachian foothills of Southeast Ohio. Facun's work, celebrated in outlets like NPR, The Atlantic, and The New York Times, challenges stereotypes and explores cultural identities through a lens of empathy and authenticity. "Black Diamonds," his personal project, offers a vivid look into the Appalachian region, transcending common misrepresentations to showcase the rich tapestry of life in former coal mining towns. His photography is not just a record but a dialogue with the world, seeking to uncover the deeper stories that connect us.

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