African Photo Magazine Issue #4
The first of our 2016 issues and the 4th to date! We keep it growing and this issue we have the greats of Africa!!! Our photographer fore-fathers paving the way for us today...to them we pay homage!
The first of our 2016 issues and the 4th to date! We keep it growing and this issue we have the greats of Africa!!! Our photographer fore-fathers paving the way for us today...to them we pay homage!
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Walk through History<br />
Celebrating Africa’s Wins<br />
+<br />
<strong>Photo</strong>graphy Tips<br />
Resources & Info<br />
MAY 2016<br />
ISSUE <strong>#4</strong><br />
Local Perspectives. <strong>African</strong> Insights.<br />
Celebrating<br />
the Greats:<br />
Our Hall of Framers<br />
AMIN<br />
OBERHOLZER<br />
SIDIBE<br />
In their<br />
footsteps<br />
The next generation<br />
Choumali | Godfrey | Mwangi | Esiebo<br />
Canon Corner
WATCH VIDEO ON LATEST PRODUCTS<br />
LEARN ABOUT UPCOMING CANON<br />
WORKSHOPS IN NAIROBI<br />
CANON<br />
WORKSHOPS + GEAR<br />
6
<strong>Photo</strong> Festivals<br />
Around the Continent<br />
Mark down the dates<br />
to submit your work<br />
4and participate!<br />
VIDEO<br />
TUTORIALS<br />
5<br />
<strong>Photo</strong>grapher’s<br />
HOW<br />
Amin<br />
Oberholzer<br />
Sidibe<br />
S S E<br />
CA<br />
Choumali<br />
Godfrey<br />
Mwangi<br />
Esiebo<br />
32 Pages<br />
10<br />
Celebrating the greats<br />
from the past and the<br />
new crop of talent<br />
5<br />
OF DRONES<br />
& CURRENT<br />
LEGISLATION<br />
UPDATE OF 2 ND<br />
KENYA CIVIL AVIATION<br />
AUTHORITY (KCAA)<br />
STAKEHOLDERS<br />
FORUM MEETING<br />
8<br />
Africa’s<br />
photography<br />
history<br />
FINAL<br />
INSTALLMENT
Letter<br />
from the<br />
Editor<br />
It was with a sense of sadness that I approached<br />
this 4th issue as I realized that this issue would<br />
be the one to house the last segment of Our walk<br />
through Africa’s <strong>Photo</strong>graphy history.<br />
As we say goodbye to the missionary and<br />
colonial period that birthed the particular<br />
genre of <strong>African</strong> photography we witnessed<br />
at the turn of the 20th century and indeed up<br />
to current times, we say a big ‘hello!’ to the pre<br />
and post independent period that birthed our<br />
<strong>African</strong> photographers. Far too many young<br />
photographers today, indeed many young<br />
practitioners in various fields, have a poor grasp<br />
of the rich history behind their chosen fields<br />
and the blood, sweat and tears their fore-fathers<br />
shed to allow them to craft the present. These<br />
<strong>African</strong> greats stood up at the dawning of a new<br />
Africa; as independence movements gathered<br />
steam in the 1950s and 1960s, a new breed of<br />
photographer was about to take the stage.<br />
This publication has the very great honor of<br />
featuring some of our greats in this edition,<br />
such as Malick Sidibe of Mali, Mohamed Amin of<br />
Kenya (now deceased) and Obie Oberholzer of<br />
South Africa. We have created a “Hall of Framers”<br />
to showcase the amazing work and talent of<br />
these greats and will endeavor to feature at least<br />
one great in every issue we publish ~ they must<br />
not be forgotten!<br />
As we look back, we look forward too, to the new greats<br />
crafting a place for themselves in history, taking the<br />
baton from the greats of old and rising above commercial<br />
indulgence, fame and fortune, to be an agent of social<br />
change one image at a time. We have the immense pleasure<br />
of featuring Joana Choumali of Côte d’Ivoire, Boniface<br />
Mwangi of Kenya, Andrew Esiebo of Nigeria and Ilan Godfrey<br />
of South Africa. We wish them well, and we will be watching<br />
them!<br />
Additionally, in this issue, we feature Canon sponsored<br />
workshops called Project Miraisha. Since December 2014,<br />
Canon has facilitated three workshops in Kenya, led by world<br />
renowned photojournalist and Canon Master Gary Knight.<br />
With the support of local partners, Canon is using its core<br />
imaging skills to help local people develop livelihoods in<br />
professional photography or print. The next workshops are<br />
slated for Saturday 14th - Friday 20th May, 2016 and will be<br />
co-hosted with House of Fotography, a local outfit based in<br />
Nairobi, Kenya.<br />
Lastly, we tip off our hats to our <strong>African</strong> photographers that<br />
came out tops in the recently concluded SONY and Hamdan<br />
bin Mohammed bin Rashid Al Maktoum International<br />
<strong>Photo</strong>graphy Award (HIPA) competitions. These are the<br />
largest photography competitions in the world and Africa<br />
took its place amongst the very best. Kudos to our winners!<br />
It is an absolute pleasure to bring this magazine to you and I<br />
trust you will enjoy it as much as I do!<br />
The Editor,<br />
AFRICANPHOTOMAGAZINE 2
53<br />
COMPETITIONS<br />
ELIGIBILITY REQUIREMENTS<br />
SUBMISSION DEADLINES<br />
Win $3000 and international recognition in the<br />
prestigious Monochrome Awards<br />
Participate in a contest hosted by<br />
ViewBug and have your work judged by<br />
world-renowned photographers<br />
Vie for the chance to claim a two-week solo<br />
exhibition on both floors of Blank Wall<br />
Gallery<br />
Submit work for possible inclusion in the<br />
“Nollywood” themed exhibition presented by<br />
Lagos<strong>Photo</strong><br />
The Sony World <strong>Photo</strong>graphy<br />
Awards will open for entries on 1st June<br />
AWARD<br />
WINNERS<br />
45<br />
Publishers:<br />
House of Fotography<br />
Editor:<br />
Sharon Mitchener<br />
Layout Designer:<br />
Christina N. Mugambi | nkirotemugambi.com<br />
Editorial Offices:<br />
House of Fotography<br />
P.O. Box 25190-00603 Nairobi, Kenya<br />
Tel: (+254) 702.680.797 | 714.745.924<br />
hello@fotohouse.co.ke<br />
A SPECIAL THANKS<br />
TO THE FOLLOWING:<br />
To all the photographers and/or their<br />
representatives who contributed towards this<br />
4th issue; the kindness and graciousness in their<br />
taking part makes this a very unique edition<br />
To Boniface Mwangi of PAWA 254<br />
for always being such a strong supporter of this<br />
publication’s efforts and for his role in fostering<br />
the growth of the photography industry<br />
To our video partners, Jemedari Media<br />
for their invaluable contribution to the<br />
production of educational videos<br />
To Katie Simmonds (Canon Europe)<br />
for believing in us<br />
And<br />
Ultimately, to our Almighty God<br />
to Him be the Glory!<br />
The views expressed in this magazine should only<br />
be ascribed to the authors concerned and do not<br />
necessarily reflect the views of the publishers.<br />
The printing of an advertisement in this<br />
magazine does not necessarily mean that the<br />
publishers endorse the companies or<br />
organizations, product or service.<br />
All rights reserved. No part of this magazine<br />
may be reproduced by any means without<br />
permission in writing from the publishers.<br />
Local Perspectives. <strong>African</strong> Insights.<br />
© 2016
Marrakech Biennale Festival<br />
February 24 - May 8, 2016<br />
Marrakech, Morroco<br />
In 2004 with the rise of global tensions, Vanessa Branson and Abel Damoussi envisioned a<br />
cultural festival that would address social issues through the arts, using them as a vehicle<br />
for debate and discussion and to build bridges between diverse ideologies. The Marrakech<br />
festival held its first edition in 2005. In 2009 in order to realize its full potential in the eyes of the<br />
International art world Branson raised the festivals ambition and embraced the term biennale. It<br />
has become a celebration of creativity in a city that has for centuries been the focus of artistic<br />
exploration but historically had only limited emphasis on contemporary art. Beginning as a<br />
gathering of arts enthusiasts who organised literary events and exhibitions, the Biennale has<br />
grown to become an internationally recognised event with a thriving visual art and literature<br />
programme. The Biennale enjoys widespread coverage by the national and international press<br />
and is now ranked among the top 20 biennales in the world.<br />
www.marrakechbiennale.org<br />
Lagos <strong>Photo</strong> Festival<br />
October - November, 2016<br />
Lagos, Nigeria<br />
INHERENT RISK: RITUALS AND PERFORMANCE, Now Open for Submissions<br />
Lagos<strong>Photo</strong> 2016 explores the role of acts of repetition that shape gender, image, identity,<br />
social agency, power and social constructs in contemporary society. The repetitive acts<br />
imbued with belief become coercive and normative. It shapes our general idea of what is true<br />
in determining an <strong>African</strong> image, gender, religion, beauty, social class and so forth. Michel<br />
Foucault’s (1980) conception on the transmissions and representations of power not just in<br />
its ability to contain and control but in its ability to enable individuals to function within cultural<br />
roles and allows for alternative self-definitions and self-presentations. Contemporary visual<br />
representations directly affect the cultural meanings associated with image construction and<br />
interpretation.<br />
www.lagosphotofestival.com/news/article/lagosphoto-2016-inherent-risk-rituals-andperformance-now-open-for-submissions<br />
Addis Foto Fest<br />
December, 2016<br />
Addis Ababa, Ethiopia<br />
Established in 2010, the Addis Foto Fest bi-annual is a photography festival that is directed<br />
by award winning photographer Aida Muluneh. Produced by Desta for Africa (DFA), the<br />
week-long international festival is held in Addis Ababa, Ethiopia and features exhibitions,<br />
portfolio review, conferences, projections and film screenings. Through the participation of<br />
the continental and as well the international photography community the main objective is to<br />
support the development, dissemination and promotion of images from Africa. The deadline for<br />
submissions for consideration was December 29, 2015, however all are invited to the festival.<br />
www.addisfotofest.com<br />
AFRICANPHOTOMAGAZINE 4
UPDATE no. 2<br />
On 2 July 2015, The Kenya Civil Aviation Authority (KCAA) held a consultative stakeholders<br />
meeting to frame a policy regarding the operations of drones and the necessary licensing<br />
requirements. Below is an update of what transpired following a second stakeholders forum<br />
held in February 2016.<br />
OF DRONES<br />
& CURRENT LEGISLATION<br />
A draft policy has now been framed, The Civil Aviation<br />
Regulations, 2016 (Remotely Piloted Aircraft Systems RPAS)<br />
and this publication would like to highlight the following key<br />
provisions:<br />
1. An operator or owner of a RPAS shall register with<br />
the Authority<br />
2. The RPAS operator shall obtain an RPAS Operating<br />
Certificate issued by the Authority<br />
3. An Authorization request, which shall include the following:<br />
(a) name and contact information of the operator;<br />
(b) RPAS characteristics (type of aircraft, maximum<br />
certificated take-off mass, number of engines,<br />
wing span);<br />
(c) copy of certificate of registration;<br />
(d) aircraft identification to be used in radiotelephony,<br />
if applicable;<br />
(e) copy of the certificate of airworthiness;<br />
(f) copy of the RPAS operator certificate;<br />
(g) copy of the remote pilot(s) licence;<br />
(h) copy of the aircraft radio station licence, if applicable;<br />
(i) description of the intended operation (to include type<br />
of operation or purpose);<br />
(j) take-off and landing requirements;<br />
(k) RPAS performance characteristics;<br />
(l) communications, navigation and surveillance capabilities;<br />
(m) detect and avoid capabilities;<br />
(n) emergency procedures;<br />
4. RPAS operators shall be authorised in<br />
accordance with the category of use<br />
(a) RPAS used for Recreation and Sports,<br />
authorisation shall be through registered clubs<br />
(b) RPAS for Commercial Use, authorisation<br />
shall be granted to the operator directly by<br />
the Authority<br />
(c) RPAS for Private Use, authorisation shall be<br />
granted to the operator directly by the Authority<br />
5. A person shall not operate a RPAS under Private<br />
and Recreational or Sports category above 400<br />
feet Above Ground Level<br />
6. The operator of RPAS shall be responsible<br />
for the safety and security of RPAS operations<br />
including associated facilities, personnel<br />
and equipment<br />
7. A person shall not operate a RPAS in Kenya<br />
without authorisation from the Authority.<br />
8. Any RPAS operated prior to February, 2016<br />
must be registered no later than May 31, 2016.<br />
9. An RPAS operator who fails to comply with<br />
any of the obligations provided for by these<br />
Regulations shall be liable upon conviction, to<br />
a fine not exceeding five hundred thousand or<br />
imprisonment or both.<br />
For more information, see http://www.kcaa.or.ke/<br />
VIDEO<br />
Tutorials<br />
THESE ARE TUTORIALS WE OCCASIONALLY<br />
PRODUCE TO EDUCATE & ENGAGE WITH<br />
OUR AUDIENCE.<br />
FOOD PHOTOGRAPHY IN STUDIO<br />
Local Perspectives. <strong>African</strong> Insights.
Workshops<br />
Gear<br />
Miraisha Programme<br />
Next Workshop<br />
Saturday 14 th May - Friday 20 th May 2016<br />
House of Fotography Studios, Nairobi<br />
In Emerging Markets, Canon is helping local people to<br />
establish careers in photography, video and print. Since<br />
December 2014, Canon has facilitated four workshops in<br />
Kenya, led by world renowned photojournalist and Canon<br />
Master Gary Knight.<br />
Each free week-long workshop was attended by ten<br />
photographers from across East Africa. Through classroom<br />
learning, one-to-one training by Gary, hands-on application<br />
and evening lectures by established Kenya-based<br />
photographers, the workshops inspired and developed the<br />
students’ ability to tell powerful stories that matter to<br />
them through their cameras.<br />
With the support of local partners, Canon is using its core<br />
imaging skills to help local people develop livelihoods in<br />
professional photography, video or print. Already some<br />
of the workshop students have had their work published<br />
locally and abroad.<br />
What does Miraisha mean? Miraisha is the combination of<br />
the Japanese word ‘mirai’ meaning ‘future’ and the Swahili<br />
word ‘maisha’ meaning ‘livelihood or life’.<br />
Speakers:<br />
Canon Master Gary Knight<br />
Gary is a photojournalist and teacher at TUFFS<br />
University, USA and he will be leading the<br />
workshop and giving insight into storytelling and<br />
the business from which he has over 30 years of<br />
experience in.<br />
Teddy Mitchener<br />
Teddy is a Commercial <strong>Photo</strong>grapher with House<br />
of Fotography & the co-Founder of <strong>African</strong> <strong>Photo</strong><br />
<strong>Magazine</strong>. Teddy will be sharing aspects of<br />
starting a commercial photography enterprise<br />
from the ground-up, the hidden pitfalls and<br />
what makes one a successful professional<br />
photographer in Kenya.<br />
Salim Rollins<br />
Salim is a Director/Producer of cinematography<br />
and Creative Director of NairobiStyle. Salim<br />
has produced numerous TV shows and<br />
documentaries, including a short film called<br />
Besouro Preto which received the Best<br />
Documentary award at the San Francisco Film<br />
Festival in 2003. Salim will be sharing about his<br />
transition from the US to Kenya and about the<br />
industry similarities & differences between the<br />
two countries, the business acumen required,<br />
and share any knowledge/ experiences he has<br />
encountered along the way.<br />
AFRICANPHOTOMAGAZINE 6
Canon has<br />
launched the<br />
EOS-1D X Mark II<br />
The new flagship pro DSLR<br />
and successor to the<br />
hugely successful<br />
EOS-1D X<br />
CHECK IT<br />
OUT HERE!<br />
video clip courtesy of<br />
our partners at Canon<br />
Full Frame<br />
CMOS Sensor<br />
With AF / AE Tracking<br />
Movie Capture<br />
14 fps<br />
4K 60p<br />
20.2 MP<br />
Setting a new performance standard with an incredible 14fps<br />
continuous drive and increasing to 16fps in Live View mode, the<br />
EOS-1D X Mark II features a brand new high latitude Canon 20.2MP<br />
CMOS sensor with Dual Pixel CMOS AF plus faster autofocus and<br />
precise tracking along with an expanded AF point coverage area.<br />
Furthermore, the EOS-1D X Mark II now has 61 individually selectable<br />
AF points with 21 cross-type at f/8 offering stunning focus accuracy<br />
even when using long lenses and extenders.<br />
With a host of new features such as DCI 4K Movies up to 60p<br />
frame rate, Full HD up to 120p for creative slow motion effects,<br />
built-in GPS that can tag your images around the world as well as<br />
automatically update the camera’s clock, a crop and send function<br />
from a high definition LCD as well as faster WiFi connectivity with the<br />
new optional WFT-E8 transmitter, the EOS-1D X Mark II brings new<br />
standards of performance before, during and after capture allowing<br />
professionals to seamlessly deliver the moment the image its taken.<br />
Resolution,<br />
sensitivity and<br />
latitude<br />
At the heart of EOS-1D X Mark II is<br />
a Canon developed CMOS sensor<br />
that marks the next generation of<br />
professional image quality in the<br />
EOS line-up. With enhanced light<br />
collecting performance and the<br />
ability to convert this light into<br />
digital signal, this sensor delivers<br />
a high-sensitivity performance<br />
reducing noise in both high and low<br />
ISO speeds, along with high latitude<br />
to pull details in dark areas.<br />
Local Perspectives. <strong>African</strong> Insights.
Our walk<br />
through<br />
Africa’s<br />
photography<br />
history<br />
Part 4<br />
Continuation from <strong>Issue</strong> #3<br />
and last installment.<br />
Top: Ivory Caravan<br />
Left: <strong>Photo</strong>grapher Herzekiah;<br />
Depicted persons Gerald Izëdro<br />
Marie Samuel (1858 - 1913)<br />
Right: “Type <strong>Photo</strong>graph”:<br />
An <strong>African</strong> in a typical rigid<br />
frontal pose<br />
In the late nineteenth and early twentieth<br />
centuries, missionary photography was a<br />
powerful tool in creating images of Africa in<br />
Europe. At the time, they were often accepted<br />
as literal representations of reality, rather than<br />
a particular interpretation of a specific context.<br />
Increasingly, as we come to value missionary<br />
photography in Africa as an important<br />
historical source, we need also to become<br />
aware of the fact that it tells us as much about<br />
the ideas of the photographer as it does about<br />
the subjects being photographed [sic].<br />
From today’s vantage point, these popular<br />
images celebrating what was perceived as<br />
“colonial achievement” reveal subtexts and<br />
meanings other than those intended by<br />
photographers and publishers or seen by<br />
viewers at the time. At the turn of the 20th<br />
century, pictures of ivory caravans and rubber<br />
production symbolized economic success;<br />
they now imply exploitation and harsh labor<br />
practices. An image of chained prisoners, then<br />
a metaphor for colonial control over defiant<br />
populations, now shows <strong>African</strong> resistance to<br />
often abusive practices and heavy punishment<br />
for minor infractions. Similarly, photographs of<br />
road and railroad construction have become<br />
testimony to forced labor rather than visual<br />
examples of what was seen as “progress.”<br />
<strong>Photo</strong>graphy, the same medium that<br />
constructed a modern and alluring portrayal<br />
of Africa under colonial domination, actually<br />
played a pivotal role in bringing down colonial<br />
rule, a prime example being King Léopold’s<br />
regime in the Congo Free State. In 1885,<br />
Léopold II, King of the Belgians, claimed<br />
extensive territories in central Africa as his<br />
private holdings and established the Congo<br />
Free State. In 1908, after worldwide protests<br />
castigating labor abuses and atrocities<br />
committed against the <strong>African</strong> population,<br />
the Belgian government annexed the King’s<br />
private holdings, which then became the<br />
Belgian Congo. To the north of the Congo Free<br />
State, France established French Equatorial<br />
Africa (A.E.F.). To the East, Germany took over<br />
the kingdoms of Rwanda and Burundi, but lost<br />
them to Belgium as a result of the First World<br />
War. In the South, Portugal occupied Angola.<br />
AFRICANPHOTOMAGAZINE 8
In the late 19th century, photography, considered to be<br />
a truthful witness, had developed into a means of social<br />
documentation. Various humanitarian campaigns for social<br />
improvement recognized the visual image’s potential to<br />
influence public opinion; photography became a tool used<br />
by activists to harness public support and improve working<br />
conditions. As the international protests against abuses in<br />
the Congo Free State grew, opponents successfully advanced<br />
their cause by distributing photographs of prisoners, harsh<br />
labor practices and mutilations that were punishment for<br />
<strong>African</strong> resistance to colonial rule.<br />
In most parts of Africa, the colonial period lasted from 1885<br />
to 1960. Throughout this period photography was used to<br />
describe and classify peoples under colonial domination<br />
and to record information about <strong>African</strong> architecture and<br />
art, dress and adornment, body decoration, ceremonies and<br />
rituals. Today, many of these photographs--even considering<br />
the circumstances under which they were taken--have<br />
become valuable historical documents of <strong>African</strong> ways of life.<br />
However, they are equally important as primary evidence of<br />
commonly held Western beliefs about <strong>African</strong>s.<br />
<strong>Photo</strong>graphers tended to focus on themes that often<br />
reinforced erroneous notions of an “exotic” or “savage” Africa,<br />
visually evoking stereotypes about <strong>African</strong>s. Some of these<br />
stereotypes--which could be traced to the earliest Western<br />
encounters with <strong>African</strong>s along the coast in the 16th century-<br />
-were celebratory; others were derogatory, racist and deeply<br />
painful. Seen from our contemporary perspective, many of<br />
the perceptions conveyed by the imagery were viciously<br />
wrong and permanently damaging.<br />
Besides documenting <strong>African</strong>s and <strong>African</strong> life, much of the<br />
photographic activity in Africa served to popularize the<br />
colonial venture. The building of the colonial infrastructure<br />
and successful economic exploitation of ivory, rubber and<br />
later minerals were common themes. <strong>African</strong>s, whom the<br />
colonials saw as culturally inferior, were to be Christianized<br />
and educated in what has become known as the “civilizing<br />
mission.” Missionary activities and educational efforts<br />
are portrayed in the imagery, which celebrated colonial<br />
achievement.<br />
Many late 19th- and early 20th-century images depicted<br />
<strong>African</strong>s in rigid frontal and profile poses. These were called<br />
“type” photographs and were used as scientific evidence for<br />
the race theories of the time period. Scholars linked physical-<br />
-in particular facial--features and the shape of the skull to a<br />
person’s intellect and personality. According to influential<br />
British scientist Charles Darwin (1809-1882), human physical<br />
characteristics and cultural forms were the end<br />
products of a long chain of evolution. In this<br />
scheme, which has since been proven spurious,<br />
many <strong>African</strong>s occupied a lower level on the<br />
evolutionary ladder, while Caucasians were<br />
placed at the top.<br />
When photography spread along the <strong>African</strong><br />
coasts in the second half of the 19th century,<br />
enthusiasm for being photographed grew in elite<br />
<strong>African</strong> circles, especially among residents of<br />
larger cities. They frequented the photographic<br />
studios operated by photographers from Africa,<br />
Europe and elsewhere to record their modern<br />
ways of life. They assumed distinct poses; most<br />
often they looked directly at the camera. Some<br />
of their portraits appeared as postcards, then<br />
a medium that--much like newspapers today--<br />
documented many aspects of everyday life.<br />
<strong>African</strong>s also took up photography themselves,<br />
acquired equipment and established studios--<br />
first in the coastal regions and decades later in<br />
inland towns. Nigerian-born Herzekiah Andrew<br />
Shanu (1858-1905) was among the pioneers. He<br />
came to the Congo Free State’s capital Boma as<br />
a clerk and translator in 1884 and later became<br />
a successful businessman. His photographs--<br />
depictions of <strong>African</strong>s in and around Boma--<br />
were published in a Belgian colonial magazine.<br />
Other early <strong>African</strong> photographers still remain<br />
anonymous, but future research may reveal more<br />
information about their lives and work.<br />
As we wrap up documenting Africa’s<br />
photography history, <strong>African</strong> <strong>Photo</strong> <strong>Magazine</strong><br />
will transition to establishing a “Hall of Framers”<br />
for the greats that started to take over behind<br />
the lens; the <strong>African</strong> photographers that started<br />
to tell our stories through our own eyes. Each<br />
issue will feature one of the greats of the colonial<br />
and pre-independence era, believing that the<br />
link from yesteryear that bore the photographers<br />
of today must remain unbroken – they, and our<br />
rich history, must not be forgotten!<br />
References<br />
Smithsonian National Museum of <strong>African</strong> Art<br />
Dr. T. Jack Thompson Images of Africa: <strong>Photo</strong>graphy<br />
in the Nineteenth Century<br />
Local Perspectives. <strong>African</strong> Insights.
<strong>Photo</strong>grapher’s<br />
SHOW<br />
CA S E<br />
Hall of Framers<br />
+<br />
Making Their Mark<br />
AFRICANPHOTOMAGAZINE 10
HALL OF FRAMERS<br />
The roll call for our <strong>African</strong> <strong>Photo</strong>grapher “Hall of Framers” is long… Santu Mofokeng,<br />
Peter Magubane, Alf Kumalo, Bob Gosani, Ernest Cole, Joseph Makula, Seydou Keïta,<br />
Salla Casset, Meissa Gay, Cornelius Yao Azaglo Augustt, Malick Sidibe, Mohamed Amin,<br />
J. D. ‘Okhai Ojeikere, Philip Kwame Apagya… We could fill this page with them.<br />
These <strong>African</strong> greats stood up at the dawning of a new Africa…as independence<br />
movements gathered steam in the 1950s and 1960s, a new breed of photographer<br />
was about to take the stage. <strong>Photo</strong>graphy of Africa and the <strong>African</strong> was previously the<br />
preserve of the Christian missionary and soon after, the colonialists, westerners.<br />
The new <strong>African</strong> photographer offered a space where people were afforded agency over<br />
their image, rather than being subject to a western lens that projected an exoticism or<br />
poverty upon them. The resulting pictures were “<strong>African</strong>s for <strong>African</strong>s.”<br />
This publication will endeavor to feature The Hall of Framers, believing that it is<br />
our sacred honor and duty to remember and revere those that went before us,<br />
blazing a trail that allows us today to stand tall and proud, and own our image!<br />
Mohamed<br />
AMIN<br />
Obie<br />
OBERHOLZER<br />
Malick<br />
SIDIBE<br />
Local Perspectives. <strong>African</strong> Insights.
AMIN<br />
Mohamed<br />
amputation of his left arm, yet almost always he got his<br />
film out. Mo and his company, CameraPix, immediately<br />
gained recognition as Mo began covering some of the<br />
most important events and controversial issues in a<br />
politically changing Africa and his work began appearing<br />
in international newspapers such as the BBC, Reuters<br />
and Visnews, among others - eventually Mo became the<br />
most sought after cameraman on the <strong>African</strong> continent<br />
and ultimately the most decorated news cameraman of<br />
all time.<br />
In 1966, at the tender age of 23 years, Mo was the first<br />
person to take pictures of John Gideon Okello leading<br />
a bloody mutiny in Zanzibar (John Gideon Okello was<br />
the leader of the Zanzibar Revolution in 1964 which<br />
overthrew Sultan Jamshid bin Abdullah and led to the<br />
proclamation of Zanzibar as a Republic). The very first<br />
images showing Russian troops training the rebels in<br />
Zanzibar were captured by Mo and the capture of this<br />
seditious footage resulted in him being kicked out of<br />
Tanzania after spending 28 days in prison.<br />
Born in Nairobi, Kenya in 1943, as the second son of<br />
eight children to a poor railway engineer of Punjabi<br />
descent, Mohamed Amin (Mo) was obsessed with<br />
photography right from the start. At the age of nine<br />
years, he began saving for a camera which he bought<br />
two years later for 40 shillings and at thirteen he was<br />
shooting for his school newspaper and The Tanganyika<br />
Standard, covering what became the East <strong>African</strong> Safari<br />
Rally (The family had been relocated to Tanzania,<br />
following a posting there by the East <strong>African</strong> Railways).<br />
During his teenage years, Mo’s uncanny talent for<br />
capturing the faces and spirit of the times led him to<br />
quit school and in 1962 set up shop as a professional<br />
photographer and establishing his company, Camerapix,<br />
in Dar-es-Salaam, Tanzania.<br />
In that same year, 1962, Mo received a tip that two<br />
prominent South <strong>African</strong>s in the anti-Apartheid<br />
movement had escaped prison and had flown to Dares-Salaam,<br />
Tanganyika (Tanzania) where the new<br />
President Julius Nyerere offered them sanctuary. It<br />
was the first of many scoops. Mo’s luck was legendary.<br />
Good fortune, tip-offs, planning and taking calculated<br />
risks all meant he was where the action was, sometimes<br />
under gunfire, sometimes enduring weeks of torture,<br />
automatic arms fire, explosives and, ultimately, the<br />
Making Kenya his new base allowed Mo to do more<br />
than just capture pictures of Nairobi’s life. The world had<br />
started seeing Nairobi as the entry-point into East Africa<br />
so Mo easily landed jobs with international media. Over<br />
time Mo became obsessed with the story - “We are in<br />
the most powerful profession in the industry; our work<br />
reaches millions; we can change the world and it can<br />
change Africa, which desperately needs it.” - This was his<br />
mantra. His work constantly put him in risky situations<br />
as he successfully captured ethnic tensions, political<br />
upheavals, and regime changes and the dawning of a new<br />
Africa. There was a deep, yet humorous quote by Mo on<br />
whether any war story was worth his life, “I’m not afraid<br />
of the bullet with my name on it, but I don’t want the<br />
bullet that says ‘To whom it may concern.’”<br />
Mo however, is best remembered for helping bring<br />
attention to the famine in Ethiopia in 1984 with BBC<br />
TV reporter Michael Buerk, a long-time colleague.<br />
Filming starved refugees, Mo presented the horrors of<br />
the situation yet preserved the dignity of the very proud<br />
people. The seven minute clip was shown on BBC’s Six<br />
o’clock news on 24 October 1984. The pictures were stark<br />
and shocking but the reaction was unprecedented and<br />
the project “We Are the World” was born. This project<br />
lead to the Live Aid concert in 13 July 1985, which was<br />
broadcast worldwide using large-scale satellite link-ups<br />
- an estimated global audience of 1.9 billion across 150<br />
nations watched the live broadcast resulting in the largest<br />
funds drive the world has ever held, to date!<br />
AFRICANPHOTOMAGAZINE 12
During a lifetime of chasing big stories up and<br />
down Africa, in the end, the story came to Mo on<br />
23 November 1996. Mo was aboard an Ethiopian<br />
Airways flight #961 which was hijacked soon after<br />
leaving Addis Ababa for Nairobi. When the captain<br />
warned frightened passengers that he was running<br />
out of fuel, Mo stood up and tried to talk sense into<br />
the hijackers. He was still on his feet 15 minutes<br />
later when the plane crashed into the sea just off the<br />
Comoro Islands in the Indian Ocean, killing Mo<br />
and his longtime friend and colleague, Brian Tetley<br />
and 125 of the 175 passengers and crew on board.<br />
Mo was the man who helped shape our world,<br />
one image at a time. We remember him fondly,<br />
with the 20th anniversary of his passing on being<br />
commemorated later this year. His legacy lives on in<br />
his son, Salim Amin.<br />
References<br />
Interview with Salim Mohamed, Camerapix/A24 Media<br />
The Baron<br />
Africa On The Blog<br />
Polis, Journalism and Society at the LSE<br />
World Press <strong>Photo</strong><br />
Self-declared Emperor Bokassa on his solid gold throne,<br />
Central <strong>African</strong> Republic (left)<br />
Revolutionaries, Idi Amin of Uganda and Muammar Ghaddafi<br />
of Libya (right)<br />
Robert Mugabe (Patriotic Front) leading the war in Rhodesia,<br />
at OAU 1977 (above)<br />
Images: Courtesy of Camerapix and A24 Media<br />
Local Perspectives. <strong>African</strong> Insights.
AFRICANPHOTOMAGAZINE 14
(Opposite Page)<br />
Jomo Kenyatta being sworn-in, looking on are<br />
Mama Ngina & James Gichuru (top)<br />
President Mobutu Sese Seko in war-torn<br />
Shaba province, Zaire, 1977 (left)<br />
Presidents Sadat (Egypt), Ghaddafi (Libya) &<br />
Nimeiry (Sudan) (right)<br />
---------------------------------<br />
(This Page)<br />
President Samora Machel (Mozambique) &<br />
President Julius Nyerere (Tanzania) (top left)<br />
Tom Mboya assasinated, 5 July 1969 (top right)<br />
Biafran Leader, Lieut. Colonel Odumegwu Ojukwu<br />
in Addis Ababa, 1968 (above)<br />
Presidents Idi Amin (Uganda) & Mobutu SeseSeko<br />
(Zaire) riding in Kampala (left)<br />
Images: Courtesy of Camerapix and A24 Media<br />
Local Perspectives. <strong>African</strong> Insights.
AFRICANPHOTOMAGAZINE 16
(Opposite Page)<br />
White settlers pledging allegiance to President Idi Amin<br />
of Uganda, 1971 (top)<br />
Biafran forces of Odumegwu Ojuku killing Federal<br />
troops, 1960s (middle left)<br />
Robert Mugabe (Patriotic Front), George Silundika<br />
ANC & Joshua Nkomo ZAPU (middle right)<br />
Kisumu massacre (1969) by Security personnel of<br />
President Kenyatta (bottom left)<br />
Presidents Idi Amin (Uganda), Julius Nyerere<br />
(Tanzania), Jomo Kenyatta (Kenya) (bottom right)<br />
---------------------------------<br />
(This Page)<br />
Dr Robert Ouko (Kenya) President Kenneth Kaunda<br />
(Zambia) at Commonwealth meeting (top left)<br />
Mubarak (Eqypt), V.P. Kibaki (Kenya) & Agriculture<br />
Minister Odongo Omamo, 1978 (top right)<br />
Kenya coastal strip conference, London, 1962. Mboya,<br />
Kenyatta & Mwanyuba (middle left)<br />
Emperors Jean-Bedel Bokassa (Central Africa Republic)<br />
& Haile Selassie (Ethiopia) at OAU (above)<br />
Mo and Buerk in Korem relief camp, Ethiopia,<br />
covering the famine (left)<br />
Images: Courtesy of Camerapix and A24 Media<br />
Local Perspectives. <strong>African</strong> Insights.
Obie<br />
OBER<br />
HOL<br />
ZER<br />
IN HIS OWN WORDS:<br />
Born on a farm in South Africa, on the 26th of August<br />
1947 to be exact, I spent most of my first eight years<br />
running around barefoot like a wild little madman. Later,<br />
I went to an English High School and started wearing<br />
shoes and managed to scrape through final exams but<br />
really excelled at sports and girls. I was drafted into the<br />
South <strong>African</strong> Air Force, but did a lot more athletics than<br />
aerial combat and later attended Stellenbosch University,<br />
again excelling in recklessness and exuberance. My<br />
majors were graphic design, drinking, dancing, rugby<br />
and athletics. While at Stellenbosch, I was made aware<br />
that cameras can produce images, I fell in love with<br />
photography and Lynn. Soon after, I bought a Hasselblad<br />
and got married to Lynn.<br />
In 1970, I looked around and became aware of the bad<br />
political situation in South Africa, said goodbye to all the<br />
friends and parents and went off to study photography in<br />
München, Germany. Quickly, I learnt that fun and hard<br />
work didn’t mix in Germany, so I learnt to excel in image<br />
taking and received top marks in the final exams.<br />
In 1973 working as camera assistant at a German Film<br />
Company, I started to long for the wide-open plains<br />
of Africa and returned to South Africa to find that<br />
Apartheid was really at its worst. I found work in Pretoria<br />
and fell around from job to job and from bar to bar.<br />
In 1975, I started lecturing at The Natal Technikon in<br />
Durban and approached teaching with enthusiasm.<br />
In 1979, I took a sabbatical and returned to<br />
München to complete a Masters Diploma at the<br />
Bavarian State Institute of <strong>Photo</strong>graphy and in 1980<br />
I was promoted to Senior lecturer at the Institute<br />
but caused some kind of shit and was demoted the<br />
next day. In 1984, I returned to South Africa and<br />
applied for Head of the <strong>Photo</strong>graphy Section at<br />
Rhodes University in Grahamstown. In 1991, I was<br />
promoted to Associate Professor, didn’t cause any<br />
shit so remained in that position till my retirement<br />
from academia in 2002.<br />
Moving to Nature’s Valley on the cape coast of<br />
South Africa, I started a freelance photographic<br />
business and I have never lost my enthusiasm for<br />
photography.<br />
From 1975 to the present day, I have produced<br />
10 coffee table books. (‘Momento Mori’ was a<br />
collaboration with historians). During this time, I<br />
have had 34 solo exhibitions in South Africa and<br />
10 International one-man exhibitions in Europe<br />
and continue to photograph for many international<br />
publications around the world.<br />
My wife of 40 years, Lynn, who retired from teaching<br />
when we moved to Nature’s Valley, is now assisting<br />
me, and my wild and wonderful sons, Nikki and<br />
Jesse, are at present living in Qatar and Australia.<br />
AFRICANPHOTOMAGAZINE 18
IN THE WORDS OF OTHERS:<br />
“Obie Oberholzer, a renegade photographer,<br />
seasoned berserker, lifelong moustachewearer<br />
and a total asshole.”<br />
– Sunday Times<br />
“Few SA artists can productively be<br />
called raconteurs, as in a skillful teller of<br />
anecdotes. Most are simply too glum –<br />
solemn, too – when spinning yarns<br />
around their work. If only more artists,<br />
in particular photographers, could be<br />
like Obie Oberholzer.”<br />
– Sean O’Toole, Financial Mail<br />
“Capturing scenes of travel that are<br />
distinctive and unique as he is, Obie<br />
Oberholzer’s images resonate with a<br />
dynamic energy that brings the scene to life<br />
and, when we look at them, it’s as if we are<br />
transported to the spot. One of Oberholzer’s<br />
gifts is that he knows how to represent in<br />
two dimensions what the human eye so<br />
easily takes in. His way of seeing things<br />
comes from years of travel photography<br />
that have taught him how to look at the<br />
world in a certain way – seeing angles<br />
and light where the rest of us just see<br />
“really awesome mountains.”<br />
- Duncan Fleming and Mahreen Chenia<br />
Sand dunes, Naukluft National Park, Namibia (top)<br />
Cape Columbine, near Parernoster west coast, South Africa (bottom)<br />
Images: This is my donation to your project. Good Luck. Obie Oberholzer.<br />
Local Perspectives. <strong>African</strong> Insights.
Rooiberge red mountians along Orange River, South Africa (top left)<br />
Road to Kunene River near Otjinhungwa, northern<br />
Kaokoland, Namibia (above)<br />
Rock pool, Aniston, South Africa (middle)<br />
Coastal route, Capetown (bottom)<br />
AFRICANPHOTOMAGAZINE 20
Stranded jellyfish, Luderitz Bay, Namibia (top left)<br />
Scrub, Klein Aus Camp, Namibia (top right)<br />
Aba Haub River campsite, Damaraland Namibia (above)<br />
Ponta Dom Carlos island of Bazaruto, Mozambique (left)<br />
Images: This is my donation to your project. Good Luck. Obie Oberholzer.<br />
Local Perspectives. <strong>African</strong> Insights.
Capetown, South Africa (top left)<br />
Tree boulder near Groot Marico,<br />
South Africa (top right)<br />
Weavers nest, Klein Aus Camp,<br />
Namibia (right)<br />
7 hour exposure of the southern<br />
cross in Richtersveld, South Africa<br />
(bottom left)<br />
Guedit Stelae Field, Axum, Eqypt<br />
(bottom right)<br />
AFRICANPHOTOMAGAZINE 22
Moon over beach at low tide,<br />
Tanzania (top left)<br />
Peaceful in South Africa (top right)<br />
The Cape (left)<br />
Desert road, terrace bay skeleton<br />
coast, Namibia (bottom left)<br />
Tankwa Karoo in South Africa (below)<br />
Images: This is my donation to your project. Good Luck. Obie Oberholzer.<br />
Local Perspectives. <strong>African</strong> Insights.
SIDIBE<br />
Malick<br />
Mr. Sidibé, born in 1936 in Bamako Mali, earned a diploma in<br />
jewelry making and then worked in a photography studio of a<br />
French colonial. In 1956, he bought his first camera, a Brownie<br />
Flash, and in 1957 became a full-time photographer under<br />
apprentice with leading society photographer Gérard Guillat ,<br />
learning his trade at colonial balls and banquets, finally opening<br />
Studio Malick in 1962. In a video interview, Mr. Sidibé, who<br />
still lives in Bamako, Mali, describes how people came to his<br />
studio partly because it had electricity, which was a luxury there<br />
at that time. What Mr. Sidibé is really known for, however, is<br />
his candid photographs of young people taken at parties from<br />
the 1960s to the early 1970s. Mali gained independence from<br />
France in 1960, and there was a flowering of music and culture.<br />
(Bamako has remained an international music center, although<br />
recent conflicts have upset that somewhat.) Taking advantage<br />
of the lighter 35-millimeter camera, Mr. Sidibé photographed<br />
people, attending surprise parties, celebrations for new babies or<br />
graduation parties at social clubs called “grins.”<br />
What Sidibé offered, and his peers at the time, such as Seydou<br />
Keita also of Mali, Mama Casset of Senegal and Joseph<br />
Moise Agbodjelou of Benin, was a space where people were<br />
afforded agency over their image, rather than being subject<br />
to a western lens that projected an exoticism or poverty upon<br />
them. The resulting pictures were “<strong>African</strong>s for <strong>African</strong>s.”<br />
These photographs are ripostes to the anthropological images<br />
of ‘‘natives’’ made by Europeans in the late 19th and early 20th<br />
centuries. Those photographs, in which the subjects had no say<br />
in how they were seen, did much to shape the Western world’s<br />
idea of <strong>African</strong>s. Something changed when <strong>African</strong>s began to<br />
take photographs of one another: You can see it in the way they<br />
look at the camera, in the poses, the attitude. The difference<br />
between the images taken by colonialists or<br />
white adventurers and those made for the<br />
sitter’s personal use is especially striking in<br />
photographs of women. In the former, women<br />
are being looked at against their will, captive<br />
to a controlling gaze. In the latter, they look at<br />
themselves as in a mirror, an activity that always<br />
involves seriousness, levity and an element of<br />
wonder.<br />
Malick’s photographs offered a glimpse into the<br />
dynamic youth culture that emerged in Bamako<br />
during Mali’s post-Independence era. Though<br />
trained as a studio photographer, Malick was<br />
lured into the city’s streets and dance clubs,<br />
where his clients wanted to be seen participating<br />
in Bamako’s thriving nightlife. There, Malian<br />
youths forged a uniquely diasporic aesthetic,<br />
finding inspiration in American Black Power<br />
icons and musicians, including James Brown<br />
and Angela Davis. “I was lucky enough at that<br />
time to be the intellectual young photographer<br />
with a small camera who could move around.<br />
The early photographers like Seydou Keïta<br />
worked with plate cameras and were not able<br />
to get out and use a flash. So I was much in<br />
demand by the local youth. Everywhere… in<br />
town, everywhere! Whenever there was a dance,<br />
I was invited… At night, from midnight to four<br />
A.M. or six A.M., I went from one party to<br />
another.”<br />
From the work of Malick reportage photographs<br />
were first known, taken in surprise parties<br />
organized by young people fond of music<br />
and freedom as the country prepared for<br />
independence. These series begin around 1957<br />
and will continue until early 1970. Thereafter,<br />
it was studio portraiture which constituted the<br />
bulk of Malick’s work. From 1994, the work<br />
of Malick Sidibé’s started getting noticed and<br />
promptly, major exhibitions were held - the first<br />
took place at the Fondation Cartier in Paris, and<br />
thereafter in galleries and museums in Europe,<br />
the USA and Japan. In 2003 Malick won the<br />
Hasselblad <strong>Photo</strong>graphy Award becoming the<br />
first indigenous <strong>African</strong> promoted to the rank of<br />
“the greatest photographers of our time.”<br />
His photos have been prized on the<br />
international art market for years and adorn<br />
the walls of leading photo galleries across the<br />
world, but 76-year-old Malick Sidibe still resides<br />
in a one-room home in Mali, attended to by<br />
his wives and children. A national hero, his<br />
contribution to his country’s historical record<br />
has, for many, crafted the image of Mali, and<br />
Africa at large.<br />
AFRICANPHOTOMAGAZINE 24
References<br />
Olivia Singer, Another <strong>Magazine</strong><br />
Martha Schwendener, Ny Times <strong>Magazine</strong><br />
Teju Cole, Ny Times <strong>Magazine</strong><br />
Horloger dans son Atelier (Watchmaker in his shop) (top)<br />
Ma Femme Manlio regardant à sa fenêtre<br />
(My Wife Manlio looking at her window) (above)<br />
Les Faux Agents (Fake Agents) (left)<br />
Allison Young, Artforum<br />
Jehad Nga, Time Lightbox<br />
Dan Piepenbring, The Paris Review<br />
Images: Courtesy of the Jack Shainman Gallery, New York.<br />
Local Perspectives. <strong>African</strong> Insights.
AFRICANPHOTOMAGAZINE 26
(Opposite Page)<br />
Les deux amis au cours d’une soirée populaire<br />
(Two friends during a popular evening) (top left)<br />
Le Faux Musicien Derriere sa Voiture<br />
(Fake musician behind his car) (top right)<br />
Le Motocyclistes (the Motorcyclist) (middle)<br />
Les apprentis mécanitiens du garage de Dramané (Mechanic<br />
apprentices at Dramane garage) (bottom)<br />
---------------------------------<br />
(This Page)<br />
Un Petit Bain de Soleil a la Plage<br />
(A small bath at Soleil beach) (top left)<br />
Mr. Cissé le pharmacien (the pharmacist) (top right)<br />
Soirée familiale (Family Night) (middle left)<br />
Au Studio Sani Mopti (StudioSani Mopti) (above)<br />
Portrait au Studio (Studio Portrait) (left)<br />
Images: Courtesy of the Jack Shainman Gallery, New York.<br />
Local Perspectives. <strong>African</strong> Insights.
AFRICANPHOTOMAGAZINE 28
(Opposite Page)<br />
Vues de dos (Back Views) questioning established<br />
conventions of portraiture, leaving the viewer wondering<br />
about the sitter’s identity (top left)<br />
Avec mon nouveau sac, ma bague et mon bracelet<br />
(With my new bag, my ring and my bracelet) (top right)<br />
Amoureux des Disques (Lovers of records) (bottom left)<br />
Couple de danseurs de Beatles - Club Bagadadji<br />
(Couple of dancers Beatles - Club Bagadadji) (bottom right)<br />
---------------------------------<br />
(This Page)<br />
Des chaussures pour aller danser<br />
(Shoes to go dancing) (top left)<br />
Zoro tire le premier (Zoro fire first) (top right)<br />
Tresse Kassonké (Kassonke Braids) (above)<br />
Taximan Avec Voiture (Taximan with his car) (left)<br />
Images: Courtesy of the Jack Shainman Gallery, New York.<br />
Local Perspectives. <strong>African</strong> Insights.
MAKING THEIR MARK<br />
How does one make their mark on the world? A famously humble man once said,<br />
“Making your mark on the world is hard. If it were easy, everybody would do it. But<br />
it’s not. It takes patience, it takes commitment, and it comes with plenty of failure<br />
along the way. The real test is not whether you avoid this failure, because you won’t.<br />
It’s whether you let it harden or shame you into inaction, or whether you learn from<br />
it; whether you choose to persevere.” – Barack Obama<br />
The photographers we are featuring in this showcase are doing just that – Making<br />
Their Mark. They have individually decided that they will use their photography<br />
to cause us, as we view their work, to pause and ask ourselves “Am I doing the very<br />
best I can, with what I have today? Am I being my brother’s keeper? Am I being the<br />
change I want to see? Do I just follow the crowd or am I making my own mark?<br />
CHOUMALI<br />
GODFREY<br />
MWANGI<br />
ESIEBO<br />
AFRICANPHOTOMAGAZINE 30
JOANACHOUMALI<br />
Born in 1974, Joana is a fine art photographer based in Abidjan, Côte d’Ivoire.<br />
Joana studied Graphic Arts in Casablanca (Morocco) and worked as an Art<br />
Director in an advertising agency before embarking on her photography career.<br />
Joana works primarily on conceptual portraiture, mixed media and documentary<br />
and uses her photography to explore her own identity. Much of Joana’s work focuses<br />
on Africa, and what she, as an <strong>African</strong>, is learning about the myriad cultures<br />
around her. Joana’s work allows her to explore assumptions she has and nourishes<br />
her as she expands her conceptions of the world.<br />
joana-choumali.squarespace.com<br />
instagram.com/joana_choumali<br />
AWOULABA<br />
DE L’OMBRE A LA LUMIERE (top)<br />
THESE INVISIBLES (bottom)<br />
AWOULABA<br />
The latest project explores the complex, contradictory<br />
notion of femininity, beauty and body image in<br />
contemporary Africa and, by extension, possibly,<br />
in every contemporary feminine world. There is a<br />
sudden world-wide obsession with enhanced bottoms,<br />
and previously breasts. I have been documenting<br />
local manufacturers in Cote d’Ivoire who are<br />
producing mannequins customized for the idealized<br />
pulchritudinous <strong>African</strong> taste and shapes. A recent<br />
phenomenon, local manufacturers modify or create<br />
mannequins, with exaggerated body dimensionsn:<br />
wide hips, well-filled breasts, full arms. This type of<br />
mannequin is called “Awoulaba”, which stands for<br />
“beauty queen” in Baule language from Côte d’ Ivoire.<br />
In Ivorian popular culture, Awoulabas are beautiful<br />
women with impressive measurements: a significant<br />
face, large breasts, a remarkable drop in the kidneys<br />
and, above all, hypertrophy of the buttocks.<br />
DE L’OMBRE A LA LUMIERE<br />
This project is the result of work done for 2 years. All from a modest social<br />
background, newly blind young people are subject to discrimination, rejection<br />
of their surroundings, often forced to stop their studies when they become<br />
blind. They find themselves socially isolated and without financial support<br />
from their families. The work was a great lesson in life. I have witnessed<br />
moments of emotion, sharing, support, joys and sorrows, disappointments<br />
and progress, but one thing is constant: the desire to fight against prejudices<br />
and learn to get by. Moving from darkness to light they change their fate.<br />
THESE INVISIBLES<br />
This project is a series of inhabitants of shantytowns and slums of Abidjan.<br />
They are housekeepers, drivers, cooks, gardeners but live in hidden slums<br />
between Abidjan’s sumptuous villas. Most of them are immigrants from West<br />
<strong>African</strong> countries such as Burkina Faso, Mali or Guinea. The project was<br />
shot in 2009, just before the destruction of many slums of Abidjan and the<br />
displacement of thousands. Many families were forcefully returned back to<br />
their countries, and others became homeless. I am a witness to the family life<br />
of these men, women and their children and their hope for a better life.<br />
Local Perspectives. <strong>African</strong> Insights.
EMOTIONS A NU<br />
“Being naked - this is nothing to hide. There are no words needed because the body speaks for itself.” - Victor Lévy.<br />
Beaulieu “Emotions à nu” is a series of female portraits without a face. A “naked truth,” human, beautiful,<br />
unadorned, without makeup. Women are plural, fragile and strong. This work is an intimate journey, one<br />
emotional state to another, a quiet quest towards physical self-acceptance and serenity.
HÂÂBRÉ<br />
This is the same word for “writing / scarification” in Kô language from Burkina faso. Scarification is the practice of<br />
performing a superficial incision in the human skin. This practice is disappearing due to the pressure of religious<br />
and state authorities, urban practices and the introduction of clothing in tribes. This fact leads us to question the<br />
link between past and present, and self-image depending on a given environment. Opinions (sometimes conflicting)<br />
of our witnesses illustrate the complexity of <strong>African</strong> identity today in a contemporary Africa torn between its past<br />
and its future. This “last generation” of people bearing the imprint of the past on their faces, went from being the<br />
norm and having a high social value to being somewhat “excluded.” They are slowly becoming the last generation of<br />
scarified <strong>African</strong> people, living in Abidjan. They are the last witnesses of an Africa of a bygone era.
ILANGODFREY<br />
Born in Johannesburg South Africa in 1980, Ilan Godfrey moved to England at age<br />
nineteen to pursue his photographic profession. During this time he gained a BA<br />
(Hons) degree in <strong>Photo</strong>graphy from the University of Westminster in London and<br />
was awarded the David Faddy Scholarship to continue his studies, receiving an MA<br />
degree in <strong>Photo</strong>journalism. Ilan spent eleven years working between Johannesburg<br />
and London before returning to settle permanently in South Africa in 2011 to focus<br />
on several long-term projects, one of which would evolve over two and a half years<br />
into the Legacy of the Mine. This resulted in Ilan receiving the prestigious Ernest<br />
Cole Award in 2012 to support the completion of this in-depth body of work.<br />
Legacy of the Mine was published as his first book in 2013 and was launched in<br />
conjunction with solo exhibitions across South Africa.<br />
Ilan Godfrey’s current and ongoing personal photographic practice focuses<br />
on extensive issues that reflect South Africa’s constantly changing landscape,<br />
documenting the country with an in-depth, intimate and personal conscience.<br />
By conveying through long-term projects a process of exploratory narration with<br />
photography, he reveals varied aspects of societal change across the country.<br />
ilangodfrey.com<br />
instagram.com/ilangodfrey<br />
SANCTUARY OF EXILE<br />
Desperate people fleeing war-ravaged countries, violence<br />
and economic hardship across Africa has resulted in<br />
people finding refuge in South Africa. Estimates put the<br />
number of illegal immigrants in the country between<br />
two and eight million. The Central Methodist Church in<br />
Johannesburg has become a sanctuary for Zimbabwean<br />
Refugees. The Church has opened its doors allowing<br />
hundreds to settle in its halls, corridors and stairwells<br />
and the body of work reflects the ongoing struggle of a<br />
people standing together to create their own community<br />
of survival and strength despite the circumstances.<br />
LIVING WITH CRIME<br />
This series reflects on the 1980s, one of the most violent<br />
decades in South <strong>African</strong> history. This period was<br />
characterized by the extensive use of force by the South<br />
<strong>African</strong> state and those opposing it. By the 1990s, the term<br />
‘culture of violence’ was frequently used to describe the<br />
conflict engulfing South <strong>African</strong> society. The nature of this<br />
violence bled into all aspects of public life, undermining<br />
the ethical and social fabric of society.<br />
AFRICANPHOTOMAGAZINE 34
LEGACY OF THE MINE<br />
A visual narrative of untold stories, exploring the consequences of mining on South Africa’s land and people. The objective was to reveal<br />
through the lens the forgotten communities that the mining industry has left behind. Godfrey’s subjects become symbols of the struggle<br />
for environmental and social justice in the country. Through a series of hauntingly beautiful photographs, Godfrey gives voice to his<br />
silent subjects, telling their story.<br />
Local Perspectives. <strong>African</strong> Insights.
PANARAMA PLACE<br />
It was once called the New York of Africa. Under the<br />
apartheid regime Johannesburg’s Hillbrow was a ‘bustling,<br />
cosmopolitan neighbourhood of artists and intellectuals<br />
where cafes and bookshops stayed open late and where,<br />
even under the tight rule of apartheid, interracial mixing<br />
was common. But with the end of the regime in the<br />
1990’s, that all changed. Today Hillbrow has become one<br />
of the most dangerous parts of the city of Johannesburg<br />
where crimes, mainly driven by xenophobia, are on the<br />
rise. However, strangely, people living within Hillbrow<br />
see it as a respectable place to live, a place of opportunity,<br />
a place of hope. The series explores the historical and<br />
current facets of Hillbrow.<br />
LOUIS BOTHA AVENUE<br />
Louis Botha Avenue connects Alexandra Township to<br />
Hillbrow leading into the Johannesburg CBD. Through its<br />
10 kilometers, it winds through some of Johannesburgs<br />
oldest suburbs, from Berea to Orange Grove. The history<br />
of this road is an avenue into Johannesburg’s history. The<br />
series explores the urban decay engulfing on Louis Botha<br />
Avenue and showcases Johannesburg as a city of extremes.<br />
PANARAMA PLACE (top)<br />
LOUIS BOTHA AVENUE (bottom)<br />
AFRICANPHOTOMAGAZINE 36
BONIFACEMWANGI<br />
Boniface Mwangi is an award winning Kenyan photographer. For four years he<br />
held a staff photographer position at The Standard, the second largest Kenyan<br />
newspaper, taking on various assignments of increasing responsibility in a number<br />
of countries. Boniface became the eye of Kenyans during the 2007 post-election<br />
violence and in 2009, the then Secretary of State of the United States, Hillary<br />
Clinton, wrote a letter commending him for his work. His images have appeared<br />
in many of the world’s most important newspapers along with other international<br />
publications. Boniface Mwangi studied human rights and documentary<br />
photography at New York University, USA, and has been recognized as a Magnum<br />
<strong>Photo</strong>graphy Fellow and twice as the CNN Multichoice Africa <strong>Photo</strong>journalist of<br />
the Year.<br />
Boniface began organising political resistance under the banner Kenya ni Kwetu<br />
(Kenya is our Home) in the face of what he saw as “irresponsible leadership and<br />
a culture of impunity.” He also runs PAWA254, a collaborative hub for creatives<br />
in Kenya where journalists, artists and activists meet to find innovative ways of<br />
achieving social change. Additionally, Boniface is also the founder of Picha Mtaani,<br />
a youth-led peace initiative that primarily seeks to create space for young people to<br />
reconcile and become agents of reconciliation in their respective communities.<br />
instagram.com/bonifacemwangi<br />
facebook.com/BonifaceMwangiBM<br />
BALLOT REVOLUTION – A Protest<br />
A macabre procession through central Nairobi was staged, with wailing and singing as 221 coffins made of plywood and tarred in black<br />
paint, representing Kenyan lawmakers, were hoisted through the streets and burnt at the gates of parliament buildings. The protest was<br />
a symbolic burial, signifying the hoped-for death of corruption, lawlessness and utter disregard for the citizenry by the ruling elite.<br />
Local Perspectives. <strong>African</strong> Insights.
2007-2008 POST ELECTION VIOLENCE<br />
2007-2008 KENYAN POST-ELECTION VIOLENCE –<br />
EYE OF KENYA<br />
Boniface Mwangi, the activist is born! A photographer with the<br />
Standard newspaper in Nairobi, Mwangi rose to international fame<br />
during the 2007-2008 Kenyan post-election violence (PEV) for his upclose<br />
and personal photos of the crisis. His images were noteworthy<br />
for their graphic portrayals of bloodshed and politically-motivated<br />
ethnic violence. Numerous exhibitions have been held showcasing his<br />
body of work. A free e-book on his PEV coverage, The Price of Tribal<br />
Politics, is available online.<br />
MPIGS – A Protest<br />
Many Kenyans see MPs as lazy and greedy in a country where<br />
hundreds of thousands live in slums. Boniface organized a protest,<br />
releasing a pig and about a dozen piglets drenched in blood (obtained<br />
from a local abattoir) outside parliament to show anger at newly<br />
elected MPs demanding higher salaries. The protest was intended to<br />
portray the MPs as greedy and bleeding the nation dry.<br />
MAVULTURE – A Project<br />
A campaign to stir the pot of political apathy in Kenya.<br />
By working with local graffiti artists, Boniface created<br />
street murals decrying violent tribalism and governmental<br />
negligence. Working under the cover of darkness, the murals<br />
would satirize Kenyan politicians and prominently feature<br />
words like greedy, selfish, ineffective and power-hungry.<br />
DIAPER MENTALITY - A Protest<br />
The artists had spent weeks on the babies. There were fifty of<br />
them, carved from blocks of polystyrene and papier mâché<br />
for skin. These babies were carried down towards “Freedom<br />
Corner,” at Nairobi’s Uhuru Park. Railing against corruption,<br />
impunity, and poor governance, Mwangi feels that Kenyans<br />
need to grow up; he dubbed the demonstration “Diaper<br />
Mentality.” The babies were a symbol of Kenyans’ immaturity,<br />
treated as children by the ruling class, whom they failed to<br />
stand up to.<br />
AFRICANPHOTOMAGAZINE 38
MPIGS (top right)<br />
MAVULTURE (middle)<br />
DIAPER MENTALITY (bottom)<br />
Local Perspectives. <strong>African</strong> Insights.
ANDREWESIEBO<br />
A native of Nigeria, Andrew Esiebo started out in photography by chronicling<br />
the rapid development of urban Nigeria as well as the country’s rich culture and<br />
heritage. As his work began to gain international recognition, Andrew started<br />
to explore new creative territories, integrating multimedia practice with the<br />
investigation of themes such as sexuality, gender politics, football, popular culture,<br />
migration, religion and spirituality.<br />
His attention to social issues has seen him working for several local and<br />
international institutions including The Kings College London, University of<br />
Padova, Italy, The <strong>Photo</strong>graphers Gallery, London, ActionAid, WHO, UNICEF,<br />
Women for Women, MSH Nigeria and several others.<br />
andrewesiebo.com<br />
instagram.com/andrewesiebo<br />
GOD IS ALIVE<br />
NIGERIA ON MY MIND<br />
GOD IS ALIVE<br />
God is at the heart of life in Nigeria. Religious spaces<br />
are found in every nook and cranny in the country.<br />
The current wave is the Pentecostal and Charismatic<br />
movements that arose in 1970s from Nigeria’s tertiary<br />
colleges and universities. The movements were lead<br />
by mobile and educated youths and kept expanding<br />
to other places. God is Alive is a visual exploration of<br />
the movements’ dynamism, secular codes, emotions,<br />
and the excessiveness being used to express faith at<br />
various Pentecostal gatherings.<br />
NIGERIA ON MY MIND<br />
Comprised of photographs on my travels around<br />
Nigeria. Over several years, working on both personal<br />
projects and commissioned work for travel guides<br />
and NGOs, I have photographed the rich cultural<br />
heritage, ethnic diversity and geographic beauty of<br />
Nigeria extensively.<br />
GAME OF HOPE<br />
An aging Nigerian man who has never left his village recounts, in<br />
startling detail, his knowledge of the English Premiership League. A<br />
blind man smiles as he holds a crackling transistor radio to his ear,<br />
the commentary of a live football game blaring into the room. A local<br />
driver, a retired construction worker, a desperate breadwinner – these<br />
are just some of the characters that can be found in the Oje Pool<br />
House in Ibadan. Football betting pools, a cultural import from 1920s<br />
Britain, are popular in Nigeria among the elderly, retired workers<br />
and the unemployed. Gamblers risk their money on their (in)ability<br />
to forecast the results of 49 league matches played across all divisions<br />
of the English Football League. Pool is a business of luck and most<br />
betting men walk away empty handed and console themselves in the<br />
company of friends who gather at the pool houses to play card games,<br />
draughts and Ayo (a Yoruba board game).<br />
MUTATION<br />
Is an on-going project exploring architecture and urban elements in<br />
reflecting the transformation and history of the Lagos City.
GAME OF HOPE (top)<br />
MUTATION (bottom)
LOVE OF IT<br />
Love of it is a part of my soccer worlds project investigating<br />
the various manifestations of soccer in our daily life.In<br />
Nigeria, the beautiful game isn’t confined to the stadium:<br />
from farmland to city roads, from beaches to markets,<br />
soccer belongs everywhere. “For the Love of It” is an<br />
on-going series looking at the appropriation of soccer<br />
in unconventional environments. This series also has<br />
underlying questions of urban spaces planning in Africa.<br />
Why are our cities fast becoming a concrete “jungle”?<br />
AFRICANPHOTOMAGAZINE 42
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AFRICAN PHOTO MAGAZIINE<br />
TODAY
2015<br />
Award<br />
Winners<br />
The World <strong>Photo</strong>graphy Organisation is a home where<br />
photography is celebrated and the art of the photographer is<br />
recognised. Working with professional, enthusiast and student<br />
photographers alike, the World <strong>Photo</strong>graphy Organisation<br />
provides a global platform across the photographic industry to<br />
not only raise the level of conversation around the subject, but to<br />
increase awareness and appreciation of this art-form. The World<br />
<strong>Photo</strong>graphy Organisation hosts a year-round portfolio of industry<br />
and public events including: the Sony World <strong>Photo</strong>graphy Awards,<br />
the world’s largest photography competition and accompanying<br />
global exhibition.<br />
<strong>Photo</strong>graphers of all abilities are invited to submit work to any<br />
of the awards’ five categories: National Awards, Open, Youth,<br />
Professional and Student Focus and winners of the National<br />
Awards were announced in March 2016.<br />
Since launching in 2012, the National Awards programme has<br />
grown from eight participating countries to sixty, making it unique<br />
in its scope and reach, and results for 2015-2016 had two<br />
participating <strong>African</strong> countries, Kenya and Eqypt.<br />
Kenya: Otieno Nyadimo (overall winner), Allan Gichigi (2nd place)<br />
and Abdallah Hassan Agil (3rd place).<br />
The Hamdan bin Mohammed bin Rashid Al<br />
Maktoum International <strong>Photo</strong>graphy Award<br />
(HIPA) is an independent award established<br />
in Dubai, the United Arab Emirates, in order<br />
to encourage and spread the culture of<br />
photography across the world.<br />
HIPA is now in its fifth year and the 2015-<br />
2016 competition’s grand prize was $120,000!<br />
Five prizes are awarded in each competition<br />
category, and this year’s Competition total prize<br />
fund was worth $400,000! The Competition<br />
is open to all individuals over the age of 18,<br />
worldwide and this year’s competition saw<br />
entries from 173 nationalities, with 32,712<br />
participants and 80,420 photos entered.<br />
Results for the 2015-2016 competition were<br />
announced in March 2016 and Africa had two<br />
winning entries in the Overall Prize Category,<br />
Brent Stirton from South Africa (2nd prize<br />
winner) and Manar Gad Timounna from Egypt<br />
(5th prize winner)<br />
Egypt: Hady Genady (overall winner), Nader Saadallah<br />
(2nd place) and Nader el Assy (3rd place)<br />
The Sony World <strong>Photo</strong>graphy Awards is free to enter for all.<br />
The 2017 edition - the 10th anniversary of the competition -<br />
will open on 1st June 2017.<br />
AFRICANPHOTOMAGAZINE 44
National Awards (Kenya) Overall Winner:<br />
Smile at the Heavens<br />
Otieno Nyadimo<br />
“<strong>Photo</strong>graphy is a passion. I do it because I love it; getting paid for it is<br />
simply a bonus. I’m often asked what kind of photography I dedicate<br />
myself to, but I find it difficult to confine myself to a label such as a<br />
portraits photographer, product photographer, etc. My philosophy mirrors<br />
that of the famed fashion photographer Dani Diamond, “that an artist is<br />
always growing and there is no reason to put limits on the artist’s skills.”<br />
The piece is a heart-warming image of a man smiling at the sky taken at<br />
a photography workshop in Hells Gate National Park, Naivasha Kenya.<br />
otienonyadimo.com<br />
behance.net/otienonyadimo<br />
Local Perspectives. <strong>African</strong> Insights.
National Awards (Kenya) 2nd place Winner:<br />
Heart of Chalbi<br />
Allan Gichigi<br />
A guy with a camera, with a curious eye for storytelling about everyday<br />
human interaction, and capturing the beauty of humanity and nature<br />
around us. An independent filmmaker and photographer based in<br />
Nairobi, Kenya, Allan holds a masters degree in Film production, from the<br />
University of Canterbury Christ Church, UK.<br />
The Heart of Chalbi was special to Allan because it spoke volumes that<br />
despite our hardships we can take a moment to breathe and enjoy life.<br />
(Chalbi is a desert in Northern Kenya)<br />
allangichigi.com<br />
instagram.com/gichigi/<br />
AFRICANPHOTOMAGAZINE 46
National Awards (Kenya) 3rd place Winner:<br />
Lost Soul<br />
Abdallah Hassan Agil<br />
A 23 year old from Mombasa Kenya, Abdallah has learned to appreciate all the<br />
small things that make up the beautiful world we live in through photography.<br />
Through his lens he endeavors to capture special moments steeped in true<br />
emotion and translate them into art… moments to be treasured forever.<br />
Depression is real and it affects the young more deeply than older people<br />
because the young always don’t think before they act, leading to higher rates of<br />
suicide. Lost Souls is about people who go through depression alone and how it<br />
affects them. The picture depicts the lonely terrifying darkness of depression.<br />
instagram.com/elphotographia<br />
elphotographia69.wordpress.com<br />
Local Perspectives. <strong>African</strong> Insights.
National Awards (Eqypt) Overall Winner:<br />
Breakthrough<br />
Hady Genady<br />
A 19 year old photographer, who currently studies Business Administration,<br />
Hady started photography at 12 years of age. To deepen his photography<br />
knowledge, he interns under the tutelage of commercial photographers and<br />
fine art artisans in Egypt.<br />
Through this specific picture, Hady wanted to make viewers feel the depth,<br />
hope and ambiguity presented by the desert, its geometric shapes and warm<br />
colours. The picture has a deeper meaning for Hady, signifying the struggle in<br />
his photographic journey thus far and the depth and hope that lies ahead.<br />
behance.net/hadygeneidi<br />
facebook.com/HadyGenady<br />
AFRICANPHOTOMAGAZINE 48
National Awards (Eqypt) 2nd place Winner:<br />
Traditions of the Naxi, Yi and Bai people in Lijiang China<br />
Nadar Saadallah<br />
A native of Alexandria, Egypt and a graduate of Theatre Arts from the Alexandria<br />
University, Nader is currently working as a professional commercial photographer.<br />
An active member of the International Federation of <strong>Photo</strong>graphic Art “FIAP”<br />
Nader has won international recognition, having amassed 57 worldwide awards<br />
for his work.<br />
The shot is the impression of the Lijiang show, a cultural show that describes<br />
the lifestyle and several interesting traditions of the Naxi, Yi and Bai people in a<br />
colorful and flamboyant outdoor production in Lijiang, China<br />
behance.net/nadersaadaff37<br />
facebook.com/nader.saadallah<br />
Local Perspectives. <strong>African</strong> Insights.
National Awards (Egypt) 3rd place Winner:<br />
Beauty in Ibn Tulun<br />
Nader El Assy<br />
Holds a Mechanical Engineering degree and works in the oilfield industry. Nader is<br />
however also a passionate landscape and architectural photographer and for him<br />
photography is about finding beauty within and around us. Says Nader, I always believe<br />
in what the legendary photographer Trey Ratcliff said “A life worth living, is a life worth<br />
recording.” Also, photography is his escape from life’s maddening complexities.<br />
The winning photo was taken of Ahmed Ibn Tulun Mosque, a 1100 year old edifice in<br />
Old Cairo. The mosque boasts an ancient architectural art form and the sunlight travels<br />
all day long through wooden windows of the Mosque’s outer walls filling it with light,<br />
from the floor, through to the rafters and the heavens above.<br />
naderelassyphotography.com<br />
instagram.com/nader_elassy<br />
AFRICANPHOTOMAGAZINE 50
2nd prize winner, Overall Prize category:<br />
A late-afternoon family outing in Papua New Guinea<br />
sees boys jumping from trees into Lake Murray.<br />
Time for one more turn before the sun sets.<br />
Brent Stirton<br />
Born in 1969, Durban, South Africa, Brent is a senior photographer for<br />
Getty Images, based in New York. His award-winning work has been<br />
widely recognized for its powerful depiction of issues related to conflict,<br />
health and environmental issues. Brent currently spends most of his<br />
time working on long-term investigative projects for National Geographic<br />
<strong>Magazine</strong> and Global NGO’s. He remains committed to issues relating to<br />
Global health, diminishing cultures, sustainability and the environment.<br />
brentstirton.com<br />
reportagebygettyimages.com/brent-stirton<br />
Local Perspectives. <strong>African</strong> Insights.
5th prize winner, Overall Prize category:<br />
On the Dahab Island near Cairo, a scene of simple happiness<br />
for Sarah and Rania, who play together on a sunny day.<br />
Manar Gad Timounna<br />
Freelance photographer based in Cairo, Egypt and<br />
specializes in wedding and event photography.<br />
instagram.com/manargadtimounna/<br />
behance.net/manar_gad_ca42<br />
AFRICANPHOTOMAGAZINE 52
2016<br />
Competition<br />
Information<br />
Win $3000 and international recognition in the prestigious<br />
Monochrome Awards honouring Black & White <strong>Photo</strong>graphy.<br />
Monochrome <strong>Photo</strong>graphy Awards conducts an annual<br />
competition for Professional and Amateur photographers.<br />
Our mission is to celebrate monochrome visions and discover<br />
the most amazing photographers from around the world.<br />
http://monoawards.com<br />
Blank Wall Gallery organizes an annual international<br />
portfolio contest in order to discover and promote one<br />
photographer. The award of the best photographer will be<br />
a two-week solo exhibition on both floors of Blank Wall<br />
Gallery. The gallery will produce and finance the prints<br />
for the exhibition, and the artist will gain international<br />
recognition and promotion from our web page (A prize<br />
worth over €2,000).<br />
http://www.blankwallgallery.com/best-portfolio<br />
Lagos<strong>Photo</strong> will be curating an exhibition in the<br />
2016 Annual Les Recontres De La <strong>Photo</strong>graphie<br />
International <strong>Photo</strong> Exhibition.<br />
The goal of this year’s exhibition is to showcase<br />
archival, documentaries, conceptual and photojournals<br />
photography. The program will produce an<br />
exhibition showing photographs that will be exhibited<br />
at the Lagos<strong>Photo</strong> in Arles, France in July 2016.<br />
Theme: “NOLLYWOOD”<br />
<strong>Photo</strong>graphers are invited to submit work for possible<br />
inclusion in the exhibition. All subject matter, artist<br />
interpretation and photographic processes around the<br />
chosen theme are welcome.<br />
http://www.lagosphotofestival.com/news/article/<br />
lagosphoto-in-arles-2016<br />
The Sony World <strong>Photo</strong>graphy Awards is the world’s biggest<br />
photography competition and its aim is simple: to recognise<br />
and reward the best contemporary photography in the<br />
world. <strong>Photo</strong>graphers of all abilities are invited to submit<br />
work to any of the awards’ five Competitions: Professional;<br />
Open;Youth; National Awards and Student Focus.<br />
The 2017 Sony World <strong>Photo</strong>graphy Awards will open for<br />
entries on 1st June.<br />
http://www.worldphoto.org/about-the-sony-worldphotography-awards<br />
Host to the world’s best photo contests, judged by<br />
world-renowned photographers, and powered by<br />
great brands. ViewBug is a place to be creative,<br />
be inspired, and receive recognition. Share your<br />
best photo showing creative use of angles and<br />
composition and Win a Canon 5D Mark III .<br />
http://www.viewbug.com/contests/clever-anglesphoto-contest<br />
Local Perspectives. <strong>African</strong> Insights.
Scaling new heights in photography<br />
Aerial <strong>Photo</strong>graphy<br />
Commercial & Industrial<br />
Portraiture<br />
Weddings<br />
fotohouse.co.ke