Life on the inside at Lorton Reformatory, a federal prison in Virginia, was dark and bleak, but an innovative photography program during the 1980s offered fleeting moments of light and freedom for men who were incarcerated in prison.
Now, modern audiences can view moments captured four decades ago through “Inside Out: Dignity and the Art of Seeing,” an engaging exhibition where black and white photos, taken by men at Lorton, show the day-to-day life behind bars. Running until March 5 at the DC Commission on the Arts and Humanities — located at Eye Street Gallery, 200 I St SE, Washington, D.C. 20003 — the exhibition invites audiences to enter the environment for incarcerated men at Lorton.
“I want to thank the artists whose works fill this space,” said Aaron Myers, executive director of the DC Commission on the Arts and Humanities. “This exhibition forces us to see people, not as labels, not as systems, not as statistics, but as whole human beings.”
Started by documentary photographer and educator Karen Ruckman and funded by the DC Commission on the Arts and Humanities, the Lorton Prison photography program lasted from 1980 until 1989. The photography workshops for the incarcerated men included taking on specific photo assignments, maintaining the equipment, and building a darkroom to process photos.
“It was a very powerful experience teaching at Lorton and building a community,” said Ruckman about her role during a recent panel discussion at the Eye Street Gallery. “Plus, I gave the men tools so they could be in control of their own narrative.”
More than 45 years after its inception, the exhibition captures the intent of this unique creative outlet for men incarcerated at Lorton.
“Washington, D.C. is a city of second chances, where people come to reinvent themselves,” said Myers, “We believe deeply that access to the arts, especially for those who have been marginalized, silenced, or overlooked, is one of the most powerful ways to make those Second Chances a reality.”
Teaching Photography, Changing Lives
When she started the program in 1980, Ruckman approached teaching the 20-30 men at Lorton each week, just as she did when teaching high school or college.
“I had an assistant photographer working with me where we taught camera controls, discussed shooting with intention, then reviewed their results,” said Ruckman. “I had journalists and guest photography teachers come to the class. They actually became advocates for the program.”
In addition, participants gained hands-on experience.
“The cameras and other equipment were paid for under the grant,” she explained. “Also, Kodak donated printing paper and film.”
For many participants, the program was not only an outlet but also allowed for a connection to the outside world.
During the exhibition opening, Desi Moses El, wife of Lorton Photography Program participant Michael Moses El, excitedly showcased photos that her husband — who she is no longer with today — captured of her while he was incarcerated.
“I visited him every day,” she said lovingly, pointing to the photo of him looking at his mural display of his wife above his prison bunk.
As the program gained recognition, participants’ pieces were exhibited throughout the District, including the Martin Luther King Jr. Memorial Library and official mayoral gallery, under former Mayor Marion Barry.
Further, Effi Barry, who was then first lady of D.C., and Jim Vance, the late news anchor at NBC Washington, hosted a small exhibition of the Lorton photography program at the D.C. International Club in 1983. The program was also featured on “Good Morning America.”
While the visibility provided perks, such as allowing some incarcerated photographers to step outside the prison to be congratulated for their newfound talent, the program offered lifelong lessons overall.
“They were very respectful of the program, the equipment, and their role in being caretakers of the program,” said Ruckman.
The program inspired the men to think about a life outside of prison, vs. what brought them to Lorton.
“There was never an incident with this program,” said panelist and former Lorton Photography Program participant photographer Bernard Seaborn.
Now a filmmaker living in New York City, Seaborn has worked as an editor, director of photography, and performed stunt work. A martial artist, film credits include “The Empty Hands” (2011), “Love Sex & Kung Fu” (2015), and “Blood Mix” (2025).
His experiences with the photography program put him in a position to move around inside the prison walls, which translated to how he works in the film industry.
“In Lorton, I became a moderator because you can talk to everybody. Everybody wants their picture taken,” said Seaborn. “When I showed a guy a picture I took, then the next week, he wanted his picture taken. It’s using photos in a way that brings people to a moment of: ‘it’s OK.’”
How ‘Inside Out’ Furthers the Program Nearly 40 Years Later
While Lorton Reformatory closed in 2001 and the photography program concluded 12 years before that, the stories of Lorton Reformatory — from the eyes of former residents — continue, with “Inside Out: Dignity and the Art of Seeing.”
Although a museum stands on the portion of the original prison site in Virginia, the DC Commission on Arts and Humanities is emphasizing to District audiences the enduring power of visual storytelling.
“Art allows us to see the world from perspectives other than our own,” said Myers. “As an agency, it is also a reminder of why public investment in the arts is so critical, because when we support artists, we support truth.”
While “Inside Out” features photographs from nearly four decades ago, the exhibit offers a view of how the Lorton Reformatory resident navigated life behind bars.
“We built a community at Lorton with other people from the outside, like photographers and guest lecturers,” said Ruckman. “It was a very gratifying experience.”
For more information on “Inside Out: Dignity and the Art of Seeing,” go to dcarts.dc.gov.
The story “Inside Out”, the photography program at Lorton, was really heart warming. That is truly amazing that it took place so long ago.