Support System
A Photograph by Nengi Nelson
In the arch of a man’s back the photograph might be seen as having the form of a circle. And so we look at the circumference of space inhabited by young life, if by their muscular backs and dark hair one can reason the men to be in the stretch of years often described as youth. The items in the room are not in disarray, but are placed without the care afforded to things bought at a significant cost. The folding chair and standing fans, for instance. They sit with a jar of margarine between them. One holds a spoon and the other has raised his index finger while resting his elbow on the sofa in a gentle incline towards his fellow. Here is the possibility of comradeship, clear to anyone who has known a friendship so unpretentious it can be seen from the back.
Nengi Nelson: “I like my photography to feel candid and in the moment.”
The photograph was taken in Lagos Nigeria.
To take the photo, I simply asked people who were close friends for a long time to let me spend some time with them. I wanted them to be as comfortable as they normally would be and I captured that.
This photo was taken post-lockdown for my project "support system." I was exploring friendships that had existed for a while and how they had supported each other over the years towards their personal growth and during the lockdown as well. I was happy to have friends who were willing to share that story with me.
I like my photography to feel candid and in the moment. I am very intentional with the surrounding or environment of the image but I allow the subjects to express how they want to be represented, especially in documentary style photographs. I find the most candid moments when I allow them to be as they choose. I explore other kinds of photography that allow me the space to interfere directly with the outcome so I find the balance in that.
Photography helped force me out of my life as a hermit and helped me engage with my immediate environment and beyond. On a larger scale it is a universal language, as even non-professionals have a way of relating to, and making a photo. Throughout history, it has served as a point of memory and reference, created connections, and sparked a positive change where necessary. It is a beautiful tool—one I am grateful to wield.
Two other photographs by Nengi Nelson
About Nengi Nelson
Nengi Nelson is a visual artist working in photography and video. Recurring themes in her work are identity, choice, vulnerability and social acceptance. She is a member of TIWA, a group of female photographers. Find out more about her work through her website and Instagram.
Last Week — Bernard Kalu
I like to capture in my work the un-posed fragments of the daily lives of the everyday people. There is so much to learn through that kind of observation.
Photography is like a pause button to an ever-pacing world. So much is lost in that transit, but through photography, people are blessed to revisit moments lost and relive it. The gift of photography is double-edged: it impacts the creator as it impacts the consumer.
Read more: Oyinbo.
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This is the 37th edition of this publication. The newsletter can also read on web (best for viewing images), and via the Substack iOS/Android apps. Every week I feature one photograph and the photographer who took it: you’d read a short caption from me, and a statement from the photographer. My goal is to set up conversations with the work of early to mid-career African photographers. If this newsletter was shared with you, consider subscribing, and if you have already subscribed, please forward to a friend who loves photography.
The first two photographs ask the question, who can you sit barechested with? And if you are lucky enough to know the answer, it rolls into the second question - have you told them you love them?