By looking even closer, you notice how parts of her face are out of focus. The sharpest areas are visible in her slight, almost compliant turn. That effort to be agreeable is pronounced on neat folds of skin that traipse her neck. If her mood seems implacable, it could be because of an austere colour scheme in the photograph, a bright skin on a deep black enfoldment. Since we can only speculate on the feelings that accompany her pose, we are reminded of what’s basically true: how she tenders to the photographer a fraction of a quiet moment.
— Emmanuel Iduma
“Photography allows us to present a symbolic representation of truth.”
The photograph was taken in my backyard in Delta State, Nigeria, as part of my ongoing project titled Through My Eyes. This project focuses on capturing individuals in their most comfortable and authentic selves, using a simple backdrop to emphasize their identity and personality.
Okè, the subject of this photograph, has been a member of my church for some time, so initiating a conversation about doing a shoot felt natural. Since she had never been in front of a camera before, I explained my simple approach and reassured her that she could relax and be herself. I emphasized that she didn’t need to worry about her smile, her skin, or anything else—just her presence.
After fixing a date for the shoot, I worked to create an environment where she felt comfortable enough to engage with the camera. We explored different simple poses, ensuring she could maintain her ease and individuality. The result was a series of images that beautifully captured her unique personality, highlighting her grace and resilience.
I chose this photograph because it represents a personal challenge within my ongoing collection, Through My Eyes. The series focuses on capturing people—who are not necessarily models—in the simplest way, often against a background in my backyard. The goal is to celebrate the identities of diverse individuals, allowing them to be comfortable and transparent in front of the camera.
When I met Oke, I was deeply inspired to tell her story in a way that was both simple and impactful. Her presence and unique beauty provided an opportunity to highlight not just her individuality but also the broader issues of discrimination that society still shows towards individuals with albinism. This photograph became a way to connect with her, to capture her truth, and to spark a dialogue about inclusivity and acceptance.
My approach to photography is both simple and experimental. I strive to embrace the aesthetic and storytelling components of photography, through what is readily available to me. I believe the artistic pinnacle of photography is being able to harmoniously represent a scene, idea, time, or subject with equal attention to compelling aesthetics and storytelling. I have over the years learnt to incorporate this philosophy in my work through images that evoke a sense of beauty and, at the same time, hold some story behind it. There are times when one element is more pronounced than the other; in either case, a subtle presence of each should be there.
As a poet who has transitioned to photography, I can humbly appreciate and recognize the remarkable power and consequence of a singular image. I can also appreciate how its impact has transcended just capturing and documenting the reality and currency of time. Photography allows us to present a symbolic representation of truth, and at the same time, it provides a lens through which we can tamper with reality, offering new perspectives and insights. Through careful composition, the use of light and shadow, and an understanding of color and contrast, photography becomes a medium to tell stories, provoke thought, and challenge perceptions.
— Apah Benson
About Apah Benson
Apah Benson is a visual artist and photographer from Delta State, Nigeria. He was nominated for the Fresh Eyes Award and has showcased his work at Art Basel and the African Foto Fair. Follow his work on Instagram and X.
RELATED — “Lady with Hair” by Nana Kwadwo Agyei Addo
This image was taken in Accra. It was for Kuukua Eshun, a very brilliant Ghana film director, who gave me the creative freedom to capture African hair and beauty in a very colourful way.
LAST WEEK — “Men with a Masquerade” by Richard Hay Jnr
I really like the composition of this photograph, how it fills the entire frame and has several different layers. The people in it project intensity and a seriousness of purpose.
This is the 146th edition of this publication. The newsletter also read on web (best for viewing images), and via the Substack iOS/Android apps.
TENDER PHOTO is a digital platform of African photography, edited by Emmanuel Iduma. Our aim is to use photography to engage with life on the African continent. We publish narratives about the people, places, and events pictured in photographs, contributing to nuanced and layered perceptions.
Every Wednesday we feature a photograph, a short caption about it, and a statement from the photographer. Last year, we published commentaries or photo-essays in response to photographs previously featured on the newsletter, including CORRESPONDENCES, CONCORDANCE, KINDRED, INDEX, and AFFINITIES.
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The 2 photos of the women are very different but equally striking. Thanks.