Mother and Son

A Photograph by Misper Apawu

A middle-aged woman attired in all-red regalia sits astride on a patch of weedy grass. She holds a rifle with one hand and embraces a young man with the other. The rifle is positioned vertically, so that its muzzle faces skyward—just as the toe cap of her footwear. There’s a hint of a powder flask on her lap; and, between her left shin and his right knee, what appears to be a whisk. The man lays on his side, leaning into the bosom of her hold. His eyes are shielded by a pair of sunglasses, just as his whole frame is shielded by the woman’s embrace. Behind them, stalks of grass rise like a host of guards. And in front, the soles of her sneakers are in view, yet another indication of solidity, of the ballast of a mother figure.

— moshood

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“It needn’t take a long time for one to notice a connection.”

This photo was taken in Agotime, in the Volta Region of Ghana. I was there to document their annual kente festival. As part of festivities, people dress in red or black traditional clothes, carry locally manufactured guns loaded with gunpowder, and reenact how their ancestors fought in war. In the crowd, among the men, I spotted a woman dressed in battle attire. That caught my attention, so I went and asked if I could make a portrait of her. She agreed. A young man ran into the frame moments later and said he wanted a picture taken of them both. I asked who he was and the woman answered saying he wasis her son. The young man said it had been years since they had a picture together. 

That moment felt special to me because I believe the man knows the essence of a photograph, and it’s why he wanted to be photographed with his mum. In the process of making the photo, they had a brief moment of play which I enjoyed. That moment proved to me how being close and connected to one’s parents is a blessing. Looking at the photograph now, I ask myself one question: how many people have such a bond with their children? One may ask how long I had been with them to conclude that they share a bond. But it needn’t take a long time for one to notice a connection. 

I see and think about photography as a means of connecting into people’s lives. If I don’t feel connected, I don’t make a photo of a scene or a subject. That’s how I know what not to photograph. If I raise my camera once a scene unfolds in front of me, it means I feel connected. And once you are able to derive a thing or two from a photograph, it has impacted your life one way or another. 

My approach to photography is informed by a zeal to document everyday life encounters. My photojournalist practice has also influenced me to be curious about happenings, and inspired me to be present at all times.

— Misper Apawu

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About Misper Apawu

Misper Apawu is a photojournalist and documentary photographer based in Accra, Ghana.  She is passionate about telling impactful stories on social issues, particularly those related to women, sports, and the environment. Through her work, Misper aims to showcase the similarities and differences in people's lives around the world. More of her work can be seen on her website and on Instagram.

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LAST WEEK — “Looking Back” by AbdulHakeem AbdulKareem

The image was captured using a Nikon D300 and a 50mm prime lens. The photo wasn’t pre-planned. I was lucky to capture just the right moment, when the bicycle rider looked back, blessed with a pictorial peek into the people’s daily lives. 

Read more.

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This is the 112th edition of this publication, edited by moshood, one of our editorial fellows. The newsletter also read on web (best for viewing images), and via the Substack iOS/Android apps.

TENDER PHOTO is a newsletter on African photography. Every Wednesday we feature a photograph and a short caption about it, and include 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, and INDEX. The ongoing series, AFFINITIES, will run from March 1–April 26.

Our goal is to work with African photographers by creating a platform in which they lead the cataloguing and engagement with their work.

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