Veld
A rippled spread of water covers most of the foreground, contrasting the uneven scattering of shrubbery and trees behind. The elephant, poised at the threshold between river and bank, is habitual in its need for water. Yet something of its lonesome presence changes how casual this place might otherwise seem. With its tight, monochromatic framing, the bankside is revealed in compressed fashion, so that the elephant appears to have strayed. What could it mean, also, for a camera to stray—to picture what has no concept of itself being pictured?
— Emmanuel Iduma
“Photography compels us to ask questions that we don’t necessarily need answers for.”
This photograph was taken during a river safari on Chobe River in Botswana. The swamp-like river eventually flows into the grand Zambezi River. I made this work made during a road trip through Namibia, Botswana and Zimbabwe.
This photograph is part of an ongoing project titled Veld, which documents the tropical grasslands and desert landscapes of Southern Africa. My connection to this region is deeply personal; my family hails from Zimbabwe, and my wife is from Namibia. Although I was born and raised in London, I visited Zimbabwe every few years during my childhood, but those trips ceased as I entered my teenage years. Recently, I've been returning to this area more frequently, and with the distant memories of my youth, I now view the landscape through a new lens.
My approach to photography involves seeking out juxtapositions in the world. I strive to create work that can appear beautiful and optimistic to some, while also conveying sadness and pessimism to others. This duality perfectly reflects my personality. I believe photography is a powerful medium for storytelling, whether the narrative is fiction or nonfiction. It compels us to ask questions that we don’t necessarily need answers for.
— Tendayi Dabengwa
About Tendayi Dabengwa
Tendayi Dabengwa (b.1991) is a British photographer now residing in Berlin. He has an art and design background and gained a Bachelor’s degree in Product Design, from the University of Northampton. When he is not working on photographic projects, he is a photo retoucher offering high-end postproduction services for photography & CGI in Berlin. Find out more about his work on his website and Instagram.
RELATED — “Two Brothers at Usuma Lake” by Victor Adewale
I saw the two men fishing from afar and had to walk closer to them to take this image because of the constraint of my phone lens. I had a conversation with them after as I always like to do.
LAST WEEK — “Bollo” by Yama Ndiaye
In the shade of the mango tree outside the house, I suddenly noticed my young cousin Bollo, stepping out alone, wearing a gorgeous long blue satin dress. Time seemed to stand still. Too impatient to wait for the elders to wake up, she had already changed, eager to proudly show me her outfit.
This is the 136th 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. Our recent Friday series was dedicated to the 5 photographers featured in Process Projected, Amsterdam.
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