The photograph shows a person sitting on the stairway in front of a faded yellow building, wearing a mask with an elongated oval shape, adorned with what appears to be cowrie shells and raffia materials at the top. With hands clasped together between their lap, they are dressed in a layer of colourful clothes—a jacket with a vibrant checkered design, a black shirt with white details underneath, and a bright blue trouser with circular patterns and white sneakers.

This photograph was taken in Garowe in April 2023. It was a spur of the moment shot – I had been driving around with my cousin on one of the roads in Garowe where this market is located. This scene came upon us; these people standing near this market that’s closed, illuminated by its light and the streetlight, the dead tree. There’s a man I didn’t see at first sitting on the ground on the phone, oblivious to the road and its happenings.

These two men, appearing to take a break from the busy market section of the festival, sat across one another with a box of goods between them. They looked as though suspended in their own world, the warm light of the afternoon sun setting shadows that provided them with brief respite from the chaos around us. You can see in the background a motorbike; many travel from nearby towns on motorbikes to attend the festival and the roads are filled with the sound of their engines and the smoke. This image stood out to me in the symbols it contains …

I took the photo in a rural area in southern Madagascar. I was talking with another young mother when I saw her. There was something striking about the way she stood, looking out toward the horizon. It felt like a moment I couldn’t miss. I raised my camera and captured it instinctively—no setup, no pose. Just a raw, honest moment that said everything without words.

This photo was taken at the port of Boulbinet after a crossing from Kassa Island. I conducted interviews and took some photos with my friend Djiba. During these crossings, an experienced adult steers the boat, while a younger person at the front assists with docking. This young man impressed me with his confidence: shirtless, muscular, standing tall at the edge of the boat, unafraid.

This photograph was taken in Ivory Coast, precisely in a village on the Ivory Coast-Ghana border. It reflects the state of mind of humankind. We seek God, whether through churches, mosques, or in nature, to honor our traditions. God occupies a central place in our existence. Ultimately, no one knows what God looks like.

The photographs were taken in Ibadan, Oyo state, Nigeria during an art residency program where I revisited the concept of Rust and Gold in Ibadan from an agricultural perspective. My project highlights the decline of agriculture in Oyo state, with a major challenge being the lack of youth interest. Many young people are shifting away from farming in favour of white-collar jobs, contributing to the sector’s gradual decline.

The photo was taken at Entebbe-Lake Victoria. I was having lunch with friends, enjoying some of the best potatoes I've ever had. The beach had this uniquely beautiful vibe—Marabou storks by the shore were scaring some people while others remained in awe. I grew up by the Indian Ocean, and the birdlife there hardly compares in size. I thought the mix of everything going on was beautiful, and I see my photos as a dialogue with my future self. I didn't have time to compose a shot with my DSLR, so I just used my phone. It's a lovely surprise …

This photo was taken in Praia do Soba, in Namibe, Angola’s southernmost province. There wasn’t much of a process, just awe. I happened to be in awe at finally seeing a place I had only ever heard about, never properly pictured, and realising no photo could truly do it justice.

As I look back and attempt to measure my impulse, I might say I was compelled by the relative ease of turning my lens towards that view. It seemed unlikely anyone could see me or hear the click of the shutter, and I liked the monologue. Since I rarely pictured people I felt no guilt. The painted wall on the right suggests this as the backyard of a nursery or primary school, and on a number of occasions there was a mass assembling of cars, perhaps for a parents and teachers meeting.

In my work, I've always had this fascination with what Roland Barthes described as “that has been”—the thing in front of the camera that was, once upon a time, real. Before that experience, I had an intimate interest in the Acacia species and their depiction on the pyramids in the Nile Valley civilization, but also their presence in the city and their integral part of being of that place, so the photograph is a vessel of that interest to some extent.

Webb left New York City for Lomé, Togo on April 11th by way of Paris. Outfitted with three cameras and charged with imaging industrial progress, he amassed approximately 2000 photographs over five months. Webb’s 35mm Kodacolor and Agfa negatives from this trip present early color images of eight countries at the interstices of colonialism and independence.

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.

Today I pose the questions, where is our dear Sudan? Our bright ambitions? And that unfathomable peaceful revolution?

In 2023, I met Omar, a Cairo-based artist known as WeirDo. I initiated a documentary project about his life, The Elephant in the Room, which explores disability rights and the representation of minorities in Egyptian society. The project blends documentary photography—capturing candid moments of WeirDo’s daily life—with metaphorical portraiture inspired by our conversations.

This photograph was made in my coastal hometown of Kilifi on a hot Sunday afternoon. The moment unfolded quite naturally. I had been wandering along the creek, camera in hand when I saw them – four boys, lost in their own world of play and laughter. As I got closer, one moved from inside the water and lay on the wet sand just a couple of feet away from me like he was surrendering to the tide.

The photograph was taken in Aboh Mbaise, Imo State in 2023. It was during the annual August meeting which is popular in the South Eastern part of Nigeria when women in the community gather to discuss and take part in the community's growth. It's a platform to promote unity, empowerment

The photograph was taken on a bright, sunny day in Lisbon at the Padrão dos Descobrimentos. I organized a photo shoot with friends and family, incorporating meaningful objects such as my grandfather's luggage and Angolan masks. These objects served as metaphors for a timeless journey, connecting personal and collective histories. 

The photograph was taken at 17:39 on November 19, 2024, in Ketu, Lagos. It was a beautiful evening with a soft golden sun shining overhead. A photographer friend who was visiting and I decided to take an unplanned photo walk around my neighborhood. Not long after, we came across a group of boys playing football

This photograph comes from a family album passed down by my grandmother, portraying my late mother, who passed away when I was just three months old. Instead of taking a new photo, I reinterpreted this one by scanning and digitally blurring it. This blurring symbolizes the duality of her physical

This photograph was taken in a migrant detention center in Tajoura, 20km east of Tripoli, Libya. A group of sub-Saharan migrants was intercepted by Libyan coast guards at sea and were sent to the Tajoura detention center. The background is interesting, we can see a map of Africa, with Liby

I chose this photo from my project “Love, Loss, and Longing” which sheds light on the struggles of the wives of political detainees in Egypt following the January 2011 revolution.   My motivation for working on this project was to document the pain these women endure.  They face a different kind of imprisonment

I captured this photograph during a break at a studio workshop where I was working as a photographer. Lost in thought, I found myself reflecting on where I stood in life, drifting so deeply into my mind that reality seemed distant. When I finally returned to the present, my gaze

The photograph was taken in my backyard in Delta State, Nigeria, as part of my ongoing project titled Through My Eyes. This project focuses on capturing individuals in their most comfortable and authentic selves, using a simple backdrop to emphasize their identity and personality Okè, the subject of this photograph