Fleeting Play
A Photograph by Francis Ogunyemi
This is the 151st edition of Tender Photo, a digital platform for African photography.
It is the farthest person in view whose face is shown, and it is also he who is most readied for action. There are three others who seem most likely to be his companions, including the shirtless, gloved individual who stands with one hand on his waist. His angled body covers most of the frame, perhaps since his gesture is most indicative of a momentary stall in the street-wide game. The other men, one who stands beside a motorcyle and the other who points towards the sequence of houses, are as consequential in the picture as the ball held underfoot. Little tokens of transience.
— Emmanuel Iduma
“I’ve trained my eyes to see the usual in an unusual way.”
The photograph was taken at 17:39 on November 19, 2024, in Ketu, Lagos. It was a beautiful evening with a soft golden sun shining overhead. A photographer friend who was visiting and I decided to take an unplanned photo walk around my neighborhood. Not long after, we came across a group of boys playing football, and we struck up a conversation while watching them. Initially, I had not planned to take any pictures; I just wanted to observe and enjoy the moment. But in the blink of an eye, the perfect composition presented itself. It felt like a blessing, and I knew it would be a mistake to let that fleeting moment slip by. I captured it, and just like that, it vanished.
I chose this photograph because it represents my first love in professional photography. As someone who cherishes the everyday, often overlooked moments, this image resonates deeply with me. It’s unposed, uncalculated, and unexpected. For me, it represents where my preparedness meets opportunity. I’ve trained my eyes to see the usual in an unusual way. Many may see shirtless boys playing, but few would find a way to capture the full scope of that scene, including the man bargaining with an okada rider nearby, within a single frame. To me, that’s what photography is all about.
My approach to photography is rooted in the belief that still images of everyday moments reveal much about ourselves and our environment. I believe our stories are best told by ourselves. For me, photography is a superpower; its accessibility and universality make it a powerful tool to bring portions of the past into the present, serving as both a reminder and a catalyst for the future. I believe the true impact of photography lies in its ability to correct narratives and ignite critical conversations that lead to change.
— Francis Ogunyemi
About Francis Ogunyemi
Francis Ogunyemi is a visual artist based in Lagos, Nigeria. His work has been exhibited (and featured) at the ICP Museum in New York, COP26 at Glasgow, TED Countdown Summit in Edinburgh, Lagos Photo Festival '20, NO! Wahala Magazine, EXPOSED! Conference, and 24HourProject Finland Exhibitions, among others. He also has been trained in institutions like Reuters, Nlele Institute and Echeta Workshop. More of his work on his website, Instagram, and this feature on Tell That Story.
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This photograph comes from a family album passed down by my grandmother, portraying my late mother, who passed away when I was just three months old. Instead of taking a new photo, I reinterpreted this one by scanning and digitally blurring it. This blurring symbolizes the duality of her physical absence and her enduring emotional presence in my heart.
The second edition of the Tender Photo Editorial Fellowship is now open for applications (until February 7) to writers based in an African country. Spread the word or apply!
TENDER PHOTO is a digital platform of African photography, founded by Emmanuel Iduma. Our aim is 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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