This is the 164th edition of Tender Photo, a digital platform of African photography.
His head is wrapped in white cloth. The taut fabric carves out subtle, photo-negative impressions of the features underneath—nose, lips, and eye sockets. Twisted into rope-like folds, the cloth encircles his neck, tightening the restraint. Two muscular, vein-lined arms are crossed over the chest, though most of the left arm is unexposed. The hands rest over one another, their fingers converging just below the chin. His torso is covered in dark drapery, wrapped diagonally across the chest and knotted just in front of the left shoulder. This arrangement leaves only a small portion of the right shoulder and bicep exposed—bridging concealment and revelation.
—‘wùnmíbáyọ̀
“Photography has the ability to freeze time.”
This photograph was taken in Ivory Coast, precisely in a village on the Ivory Coast-Ghana border. It reflects the state of mind of humankind.
We seek God, whether through churches, mosques, or in nature, to honor our traditions. God occupies a central place in our existence. Ultimately, no one knows what God looks like.
Photography has immense power. By capturing a precise moment in reality, it can reveal profound truths and provoke emotions. A photo can be a testament to an era; photography has this unique ability to freeze time.
The photographer becomes a witness to his or her time.
— Aurelie Tiffy
About Aurélie Jocelyne Tiffy
Aurélie Jocelyne Tiffy is a contemporary Ivorian photographer known for her striking black-and-white portraits. Born in Aboisso, she pursued her passion for photography after studying accounting, later earning a Higher Technician Certificate in Visual Communication from ESMA in 2017 and a Graphic Design certificate in 2019. Her first exhibition was in 2018 during the OFF of the 13th DAK’ART Biennale. She further trained under Aïda Muluneh through the Donwahi Foundation. Through powerful compositions, Aurélie captures courage, vulnerability, and dignity—portraying the emotional depth of her subjects with authenticity and defiance, while challenging conformist visual narratives with a deeply human gaze. More of her work on Instagram.
RELATED — ”Isolation” by Mpumelelo Buthelezi
The image was taken in my grandmother's house dining room. The image of myself pictured inside my grandmother's dining room was a reenactment of iconic paintings of the biblical 12 disciples during the Last Supper, since the body of work touches on spirituality. I then began to ask questions around my own personal spiritual purpose in relation to religious belief systems, since I grew up in a predominantly Seventh-Day Adventist family.
LAST WEEK — “Seeds of Change” by Adefolarin Adegboye
The photographs were taken in Ibadan, Oyo state, Nigeria during an art residency program where I revisited the concept of Rust and Gold in Ibadan from an agricultural perspective. My project highlights the decline of agriculture in Oyo state, with a major challenge being the lack of youth interest. Many young people are shifting away from farming in favour of white-collar jobs, contributing to the sector’s gradual decline.
TENDER PHOTO is a digital platform of African photography, founded by Emmanuel Iduma. This edition is edited by Adéwùnmí Adébáyọ̀, one of our editorial fellows. Our newsletter aims to engage with life on the African continent through photography. We publish narratives about the people, places, and events pictured in photographs, contributing to nuanced and layered perceptions. The newsletter also read on web (best for viewing images), and via the Substack iOS/Android apps.
Every Wednesday we feature a photograph, a short caption about it, and a statement from the photographer. In the past, we have 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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Amazing how so much emotion is conveyed without properly seeing the face
Un grand merci à l’équipe de tender.photo , à l’historien et écrivain nigérian wunmibayo