How we photographed the final funeral service for Rev. Jesse Jackson

This week’s top photo comes from Visual Journalist Candace Dane Chambers.

What makes this photo important?

I shot four homegoing events for the Rev. Jesse Jackson, two public viewings of him lying in repose and two formal services. Many evocative images came out of those two weeks. The public outpouring was in the thousands, and many people shared personal interactions they had with Rev. Jackson, which was a testament to his decades of community work.

The bereaved Jackson children held space for others’ grief while managing their own — much of it on a national scale. Elected officials and public figures spoke passionately about Rev. Jackson’s impact on the social and political fabric of our nation. Many of their remarks were charged with indictments of the present and hopes for the future, which they ascribed to Rev. Jackson.

The final homegoing service March 7 at the Rainbow PUSH Coalition headquarters was the most intimate remembrance. Rev. Jackson had purchased the building, previously used as a synagogue, in 1971. Since then, it’s been the site of many organizing meetings and community programs and or spiritual fellowship.

How did you get this photo?

This service was the end of a marathon of coverage. The day before, I’d spent 10 hours shooting and editing the public remembrance at House of Hope. I was at Rainbow PUSH early to capture what I thought would just be the procession in and out of the building, as we were under the impression we would not be allowed to photograph inside. To my surprise, there was a change in plans and the press was allowed in the sanctuary. This was the first time I’d been in the space during the day, and I was moved by its beauty. The room was held up by ornate pillars and outfitted with stained glass windows bathing a warm yellow glow across the pews. I spent most of the service focused on the stage, shooting many speakers and performers, including the legendary Stevie Wonder. But as the service drew on, I zoomed out and focused on the environment. I moved stage right and focused on the windows, cranking my exposure down so that the packed house became a sea of silhouettes. The sharp contrast between the window light and the shadowy room created a dynamic image that encapsulated the gravity of the moment.

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