This describes a series of photographs and adds context by describing the underground railroad and how "photography, in the context of slavery, highlights a contest over ownership of the self played out though ownership of an image" and how back then, in the Underground Railroad, having their picture taken meant risking slave catchers to see those pictures.
Shawn Michelle Smith, “Photography, Darkness, and the Underground Railroad: Dawoud Bey’s Night Coming Tenderly, Black,” American Quarterly Vol 73 (1), 2021, 25-52.