Love, Loss, and Longing
A Photograph by Hadeer Mahmoud
The scarved woman reaches past both the cup and its reflection towards the other end of a dining table. A well-carved chair, made of shiny wood, is also doubled, one part phantom. That shadow, in a miracle of illusion, occupies a close-to-exact place as a solid object would, even a human. Seen from the side, the woman’s glance and fingers are united in appraisal: she casts attention at a gleaming glass and plates of medium-sized food. The absence of a companion makes the scene as lonely as the unsettled curve of her fingers.
— Emmanuel Iduma
“The simpler and more genuine photography is, the more impactful and enduring it becomes.”
I chose this photo from my project “Love, Loss, and Longing” which sheds light on the struggles of the wives of political detainees in Egypt following the January 2011 revolution.
My motivation for working on this project was to document the pain these women endure.
They face a different kind of imprisonment—trapped outside the prison walls. They bear the burden of loss and deprivation, constantly searching for a lifeline. Silent warriors, they shoulder the responsibility of their families, acting as wives, mothers, and breadwinners, while also supporting their detained husbands.
I was honored to meet Sara Mourad, one of the main figures in this project. I spoke with her extensively to understand the feelings of loss she experiences. Sara shared that her simplest wish was to sit with her husband and share a meal, as cooking and eating together were moments of warmth and joy for them.
I captured this moment to reflect Sara’s longing for the smallest details of life—sharing a meal with her loved one. However, the political reality of her country prevents her from realizing this simple dream.
For me, photography is an honest tool for storytelling and documentation, a way to delve into the contradictions of society and explore both ourselves and others. Its strength lies in its simplicity and sincerity; the simpler and more genuine it is, the more impactful and enduring it becomes. Photography serves as a permanent witness to who we are.
— Hadeer Mahmoud
About Hadeer Mahmoud
Hadeer Mahmoud is a photojournalist and documentary photographer, who works with Reuters. Her work has been published in The New York Times, Vice Arabic, Unido and Svenska Dagbladet. She was listed by the New York Times as one of the “Emerging Photographers You Should Know.” See more of her work on her website and on Instagram.
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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.
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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.
This is the 148th 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, 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.
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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LOVE, LOSS, AND LONGING
In my head, this pictures every grieving woman, who has to show up all day with smiles, but goes back home, at the end of the day, to loneliness and the fresh pain of loss.