Nightbound Chronicles
Nightbound Chronicles
A Photograph by Soufian Chemcham
The immediate field of vision is illuminated by the light of a flash. We see the cats from below, acknowledging that the vantage of our looking is informed by our heights relative to theirs. We see them unlike they see us. This is clear mainly from the glare on their eyes; or maybe it is more accurate to speak of the camera as our interlocutor in looking at them. By any measure, the night is ours as much as theirs—given the numerable fact that only one human is seen against a lengthy wall.
— Emmanuel Iduma
“Even when I was dancing, I was approaching it like a photographer, focusing on postures and framing in my mind.”
This photograph was taken on a late night in my neighborhood, from a daily routine when staying up late becomes a necessity, not just a choice. It's part of an ongoing project which I started working on at the beginning of this year whenI turned 29. This provoked the question of whether multigenerational living is a supportive arrangement or a potential constraint. Like me, the majority of young men still live in our families’ houses. I'm not entirely sure if this is due to economic reasons, cultural factors, or a combination of both. Under these circumstances we use late night street gatherings to seek some privacy.
My approach to photography is deeply rooted in my personal journey, which began with dance specifically as a B-boy. Starting out as a street photographer, I was naturally drawn to the energy, spontaneity, and raw emotion of urban life. Over time, my work evolved into long-term storytelling projects that explore subjects that resonate with me personally.
Photography for me is more than just capturing moments; it's a powerful tool of reflection. It pushes me to ask deeper questions, to look closer at the things I live with, and to understand them more profoundly. Many people often wonder why I chose photography over video, especially given my background in dance. It might seem natural for someone like me to gravitate toward movement-based art forms. But over time, I realized that even when I was dancing, I was approaching it like a photographer, focusing on postures and framing in my mind, almost like I was posing for a camera. Dance for me wasn't just about fluid movement, it was about creating still images through my body. So, in a sense, even when I was dancing, I was always a photo-maker.
— Soufian Chemcham
About Soufian Chemcham
Soufian Chemcham is a visual storyteller Based in Algeria. He is a member of Collective 220, a group of seven Algerian photographers in Algeria. His work was shown in different festivals and fairs in Algeria, Morocco, Spain, France,Turkey and USA. See more of his work on Instagram and the Collective 220 website.
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This particular image was made the night Bridget, my mother, just returned from church and was trying to call her older sister after receiving news of her brother's death as a result of a long-term illness. He lived in Warri, Delta State, and his wife had refused his family members from seeing him for a long time. She handled his calls and access to the house. Bridget also lost one of her patients (also a friend) the previous day due to a misunderstanding that forced her to stop treatments.
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Through my practice, I wish to convey a provocation and a dialogue where the viewer does not expect it to be and to break invisible boundaries and preconceptions our societies often hold onto. I try to introduce nuances and complexities to each subject matter with an urge to bring to the fore each person’s individuality and singularity.
This is the 139th 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 collaborative digital archive and publishing platform of contemporary African photography, edited by Emmanuel Iduma. Our aim is to use photography to engage with life on the African continent. 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. Last year, we 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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