305: Rashad Heagle
Rashad Heagle
305 is Fixer Magazine’s dedicated space for honoring the unique photographic perspectives that shape Greater Miami. Here, we recognize those whose work builds a lasting visual legacy, documenting the rhythms, textures, and layered narratives that define the city. These photographers capture the nuances of Miami’s everyday life—the culture, history, and character that lend it a singular identity.
We invite you to explore this curated selection, a testament to the individuals who, through their lenses, chronicle Miami’s distinct place in the world.
nov 2024 ©rashad heagle
- What first drew you to photography, and what keeps you motivated to pick up the camera today?
As a child, I loved the feeling I got looking through my family’s photo albums and my sister’s dance studio’s photo catalogs. I loved that you could frequently return to the images. No matter how much I looked at them, I could trust that they would evoke the same feeling in me or even offer a new perspective on a distant memory. Today, life keeps me motivated to pick up the camera. The simple fact that I am still living and can still pick up a camera is enough motivation for me to continue. To be able to still have the gift of vision and sight and to be able to play with light is a blessing, and I want to continue to share my light and vision with others as long as I am able to. I use the camera as a tool to engage my life with other lives.
-Do you have a recurring theme or story that you find yourself returning to in your work?
Silhouettes and shadows are recurring themes in my work. Even when all or most of the physical details of the photographed person are obscured, the person still maintains a strong identity. Also, in my silhouette photos, you can often find a shimmer of light caught on a piece of jewelry or a slice of light on the body in a sea of shadow. This is a reflection of my outlook on life: there will be darkness, but at all times, we have the ability to find light and be light.
-Do you trust instinct or patience more when anticipating a shot?
I trust my instinct more when anticipating a shot, but photography makes me practice patience in many ways. I think photography is a balance between instinct and preparation.
nov 2024 ©rashad heagle
-What’s one thing people would be surprised to learn about how you work or approach a shoot?
I am not a fan of using equipment other than my camera. I like to push the limitations of my camera and the available light as much as possible. Besides global edits (such as exposure, contrast, white balance, cropping, and saturation), I don’t heavily edit my photos.
-What’s the photo you’ve never shared, and why is it still hidden?
There are many photos that I haven’t shared from various shoots and encounters, but I especially hold on to my self-portraits. My self-portraits are more vulnerable, and I tend to be more self-critical. I’d rather share most of my self-portraits in a complete body of work than share them as standalone images.
the m train ©rashad heagle
- Would you rather take a technically perfect photo with no soul or an imperfect one that feels true?
I would rather take an imperfect photo that feels true. That’s what makes it perfect for me. I always look forward to being surprised by the pictures I take, and it’s usually the imperfect photos that pick my interest the most.
-Every photographer has a “defining moment” behind the lens, a shot or experience that marked a turning point. What’s yours?
From when I was an adolescent up until I was sixteen years old, I took photographs for fun and for memories. However, when I was sixteen years old, I planned a shoot with a friend of mine. After editing and sharing those photos, there was a specific picture from that shoot that multiple people told me they could imagine in a magazine or on an album cover. After that, I realized I could say more with photographs than I previously thought that I had an artistic voice.
-When it comes to photography, do you think time is a constraint or an ally?
Time is a constraint when it comes to photography, because you only have such a small amount of time to get a shot before the moment is gone. With that being said, photography forces you to surrender to time, which is also an important lesson of life.
-What’s the longest you’ve ever waited or worked for one single shot?
I’m usually working with other people and I try to be respectful of other people’s time. So I rely more on my instincts and the connection with the other person to allow the shoot to flow on its own time. However, when I’m working on self-portraits, I often stay awake taking photos across two to three days. The first time I did this was when I was twenty-one years old. During that shoot, as an ode to my MMA background, I spent about six hours out of the 48-hour session trying to get a nicely-timed motion shot of me punching.
-What’s the hardest part of developing a long-term project: finding the subject, staying committed, or knowing when it’s finished?
The hardest part of developing a long-term project for me is staying committed. To see a long-term project through failure, life’s responsibilities, expenses, limited resources, etc. is difficult. To continue though it all is a test of patience, adaptability, tenacity, resourcefulness, and creativity. Despite the difficulty, it’s definitely a rewarding process.
-Do you see yourself more as a creator of single, powerful images, or as someone building stories across a body of work?
I admire artists who build stories and series across a body of work, but I see myself more as a creator of single, powerful images. Those single images can still tell a story all on their own. And when you have a confident answer to “why” you make art, those single images come together over time to tell a larger story about how you see the world and/or how your inner world looks.
Moses ©rashad heagle
- What advice would you give to photographers struggling to turn loose images into a cohesive body of work?
The advice I would give to photographers struggling to turn loose images into a cohesive body of work is to find out what they want to say as a person first, before trying to find out what they want to say solely as an artist. And when they do that, it’d be easier to select (and continue to take) images that align with their principles and values. Additionally, I would advise them to find bodies of work by other artists that speak to them and investigate why they’re drawn to those specific bodies of work. This will help develop their taste.
MIAMI TALENT
sydney merrit-brown
rashad heagle Born and raised in Miami, Florida, my journey into photography began with a deep curiosity about the world around me, as well as my inner world. As a child, I found darkness to be a realm of fear and uncertainty. As I grew older and turned to photography and art for comfort in dark times, I realized that the absence of light is not just a void but an opportunity for creation, for uncovering beauty and color in the obscure. My photography is an exploration of light’s embrace and shadow’s mystery. Influenced by my background in dance and my deep appreciation of music, my work is infused with a sense of vitality, grace, and lyricism. My aim goes beyond showcasing my skills and talent. I use my gift of vision as a conduit for empathy, a way to connect with others on a deeper level without words, to truly see and be seen.”
