Affirmation of the Now
A Photograph by Aymen Mohamed
There’s an almost fortuitous symmetry to the placement of the television set—close to the edge of the table but perfectly angled to keep from falling in the event of a mistaken touch. The table, serving as a base both for the screen and the figures reflected on it, is occupied but not cluttered. There are dirt marks, hard hats, trussed wood, and other oddments. There are, also, long, open shelves behind. But it is clear where attention is required, at the frame within a frame. Two opaque figures, one sitting and the other standing, the latter likely looking into the viewfinder of a camera, bending a little to fit within the square glass. Small, lively gestures like these.
— Emmanuel Iduma
“Photography serves as a way to observe myself and how I perceive others.”
I captured this photograph during a break at a studio workshop where I was working as a photographer. Lost in thought, I found myself reflecting on where I stood in life, drifting so deeply into my mind that reality seemed distant. When I finally returned to the present, my gaze settled on a television, its screen holding a faint reflection of me. The moment felt mystic, almost transcendental, as though my very existence was in quiet conversation with time itself. I felt instantly that this was worth preserving for memory, and with my camera in hand, I immediately took the photo.
I chose this photograph because it speaks deeply to my soul. It feels like a tangible response to an ongoing conversation I’ve been having with myself, a reflection of my inner thoughts and emotions. Its presence in my life feels profound, as if it bridges the gap between my internal world and the reality around me.
My approach to photography takes many forms, but at its core, it serves as a way to observe myself and how I perceive others. It evolves into a continuous process of self-discovery and exploration. I find immense joy in walking the streets with my camera, using it to explore and understand the spaces around me and my place within them. With my camera in hand, I feel more at ease around people I've just met. It allows me to introduce myself through an observant lens, helping to ease my social anxieties and ground me in the present moment, where I can create something meaningful.
— Aymen Mohamed
About Aymen Mohamed
Aymen Mohamed is a Sudanese contemporary photographer and visual artist whose work explores the intersections of memory, light, and existence. Having lived in South Africa, Kenya, and Denmark, his work captures moments that transcend coincidence and explores the nature of movement and time seeking to uncover hidden narratives and connections in everyday life. See more of his work on his website and on Instagram.
RELATED — “Theresa” by Nneka Iwunna Ezemezue
I was in Ebonyi State, Nigeria, working on my project Left Behind. It was difficult getting access to widows who were willing to share their stories. Somehow I met Theresa in a Catholic church. I had gone there to pray. She was willing to share her story. She took me to her house and we talked. She told me her story of widowhood and the photo she’s holding was something she treasured.
LAST WEEK — “Okè” by Apah Benson
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.
Welcome to 2025! Thank you for following this project over the last 3 years, and we look forward to sharing the work of more photographers and visual storytellers with you.
This is the 147th 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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