Afro-Unite
A Photograph by Oyewole Lawal
This is the 157th edition of Tender Photo, a digital platform of African photography.
There’s a neat division between how a group of two assemble in the foreground and how another group gather in the background. In both assemblings, things are being lifted. In particular, the triumvirate cluster on the right is notable for their near-symphony: the rise of hands and the balance in the basket they hoist. This world of order is sharper in focus than one on the lower end of the frame—in which tables and benches are tumbled, items distinguished by their disarray and loss of function.
— Emmanuel Iduma
“Every shutter I press carries a piece of my soul.”
The photograph was taken at Ajah Bus Stop, under the bridge, during an operation by the Lagos Taskforce, who were chasing people trading in what they deemed illegal spots. On that particular day, I was documenting the interaction between the government and its citizens. My role was to observe without picking sides or expressing emotions—I was meant to be an impartial observer. However, I found it difficult to remain detached when I saw a woman in tears, and noticed the destruction of people's sources of livelihood. Although the vendors were technically in illegal spaces, it’s important for us to empathise with their situations.
Before taking the shot, I carefully observed the scene, as I believe that photographers often see things more quickly than others. I also aimed to capture the moment while keeping the faces of the individuals hidden.
This photograph embodies a deep story and philosophy. It made me realize what it truly means to be African—how the Western definition of civilization has shaped and continues to shape our people. How our government still follows the Machiavellian theory of man, using power to manipulate rather than to serve. And how this has made the state unfair to its citizens, people who just want to survive.
I can attempt to define everything in the frame, from the fence that separates our society from what it should be. Chaos fills our reality, yet within this chaos are humans who genuinely want real change—not just HOPE that was sold during the election.
Photography, to me, goes beyond composition or just pressing the shutter. Photography is spiritual—it is honesty. I draw deep inspiration from Fela Kuti’s words:“To be spiritual is not by praying and going to church. Spiritualism is the understanding of the universe so that it can be a better place to live in.”
I also study older scholars because man can be an embodiment of all knowledge. As photographers, we carry a responsibility—to educate, to visualize what must be seen for the growth of society or the downfall of a villain.
Photography has always been impactful. A strong example is during the Industrial Era in the U.S. when child labor was rampant. It took a photographer, Lewis Hine, to trigger lawmakers into action, leading to regulations that protected children. This deeply shaped my ideology as both a sociologist and a photographer—to see photography beyond composition and colors. Every shutter I press carries a piece of my soul.
My truth sits in my heart. Photography is my medium of resistance, my way of telling stories that demand to be heard.
— Oyewole Lawal
About Oyewole Lawal
Oyewole Lawal (b. 1998, Lagos, Nigeria) is a sociologist-turned-photographer and visual artist focused on social and environmental issues in Lagos and Accra. His projects, including The Mourning Tide, Ìtán Odo-Eda and Guardians of Gaia, explore waste and sustainability. He was awarded the 2023 W. Eugene Smith Memorial Fund Student Grant. More of his work can be seen on his website, and on Instagram.
RELATED — “This War Has Found A Home” by Nelly Ating
In 2017, I was invited by a colleague at the American University of Nigeria, Yola, to visit a small community of internally displaced persons in Yokossala, near the border of Cameroon. These IDPs had formed a society based on their shared interest as herders and farmers while resisting living in camps. Within a short time, I developed a friendship and bond with the community members. Upon seeing their living condition, especially the lack of potable water, I decided to go beyond just documenting their lives but crowdfunding online to support the community with potable water…The night I captured this image, the women prayed for all the virtual strangers who donated to their cause.
LAST WEEK — “Family, the Framed Conscious” by Saad Eltinay
I find myself learning to share and write about this photograph. It shows the dear ones who explained to me what it means to be dear: Uncle, Auntie, Father. Today I pose the questions, where is our dear Sudan? Our bright ambitions? And that unfathomable peaceful revolution?
TENDER PHOTO is a digital platform of African photography, founded by Emmanuel Iduma. Our newsletter aims 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.
Thank you for reading. If this newsletter was shared with you, consider subscribing, or forward to a friend. Please whitelist the newsletter to ensure you never miss it.