There is a stark contrast in the approach to work and subjects between now and when I first started taking photographs in the 1940s. During my time, there was little room for experimentation or playfulness. I had to capture portraits that people would want to purchase in order to make a living. Unlike contemporary artists, I didn’t have the luxury of trying new things or taking creative risks.
However, times are constantly changing, and with each new generation, fresh ideas emerge. I always encourage young photographers to explore their own unique ideas and push the boundaries of their craft. This generation has so much to contribute to the field.
Leonce Raphael Agbodjeloub’s work, the Egungun series from 2011-12, printed in 2023, showcases the diverse ways Africans portray their culture and art. In West Africa, particularly in countries like Congo and Benin, people wear these clothes to express happiness and celebrate special occasions. They even design shoes to match their dresses and wear masks that reveal different emotions. Witnessing this cultural representation fills me with pride.
The role of a photographer is to record and document. Unfortunately, we have very limited documentation on our ways of life and worship. If we had more artists like Agbodjeloub capturing these moments, we would have a diverse range of documentation on various religious practices.
Ruth Ginika Ossai’s photograph from 2018 features student nurses Alfrah, Adabesi, Odah, Uzoma, Abor, and Aniagolum in Onitsha, Anambra state, Nigeria. Taking photographs of groups requires a unique skill and artistry. The aim is to ensure that each individual’s face is captured effectively, encouraging them to purchase copies. When photographing a group of 100 people, the goal is to have a 90% or higher purchasing rate. However, people always take pride in showcasing their uniforms. These photographs become stories that they can share with others, preserving memories for future generations.
In my entire archive, I only have one group of nurses under training. There was another photographer in Accra who specialized in capturing nursing training college moments, but I managed to convince a few friends from the college, including my sister who was a nurse, to come to my studio for a photoshoot. It brought me immense joy to see them take a taxi and make the effort to come to my studio.
Sabelo Mlangeni’s photograph from 2009, titled “Talent and his Girlfriends,” explores the theme of love and joy, particularly in the context of a baby. This image captures everyone’s delight. Personally, I am drawn to photographing babies and large groups. Sometimes, capturing a baby’s photograph can be challenging, especially if they start crying. However, patience is key. During my early days, I used roll film and a miniature camera to capture images of babies because it allowed for faster shooting and a greater quantity of pictures. That’s how I captured the image of the baby on all fours. Seeing babies like this brings back memories of those photoshoot sessions.
Edson Chagas’ “Tipo Passe” series from 2014 features photographs that evoke dreams. The clothing represents our shared humanity, while the masks convey a multitude of emotions—sadness, happiness, laughter, and even curiosity. Each mask becomes a character, revealing a different aspect of the African experience. African masks hold great significance as powerful objects connected to a living tradition.
Mário Macilau’s photograph from 2015, titled “Breaking News,” captures the reality of life in Maputo, Mozambique. In Ghana, where waste management is even worse than depicted in this photograph, people collect discarded machine parts and recycle them. They skillfully extract useful components from these discarded items and make a living out of it. Some even transform these parts into artwork. I appreciate Macilau’s composition, with the smoke, television, and rubbish in the foreground. Despite the litter, it’s as if people are still engaged in watching the television.
Atong Atem’s photograph from 2015, titled “Zack and Adella,” showcases the style of photography that I have always enjoyed—arranging relatives or friends in a relaxed, homely environment. In 1949, I had a studio in Accra, where people would come after weddings or buying new clothes. As my studio was open day and night, individuals would visit after going out to have their portraits taken. Atem has used her friends, who are second-generation African immigrants living in Australia, as models for this image.
Some photographers prefer to decorate their studios, much like Atem has done. Many well-known Francophone studios use props as a way to attract clients. In my studio, I only had one or two props, such as a tie that I could lend to clients. I preferred to keep the focus on the individual and their fashion—their source of pride—before they came to the studio. The emphasis was on showcasing their true selves.
Kudzanai Chiurai’s “We Live in Silence IV” from 2017, printed in 2023, represents a style that was beyond what I could achieve during my time. I didn’t have the luxury of dressing models in expensive clothes or creating elaborate stages. Everything I did was with the bare minimum. Chiurai’s work showcases the ability to incorporate high-end fashion, varied styles, and intricate backgrounds. It’s an opportunity to show the world that Africans can also embrace and wear these styles.
The exhibition “A World in Common: Contemporary African Photography” is currently at Tate Modern in London and will be on display until January 14, 2024. Stay updated on our latest stories by following @FTMag on Twitter.
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