This photograph was taken with an Olympus OM-20 from the window of a house in Lekki, Lagos. On several occasions over the course of a five-year period, I took multiple photographs of this view, aiming, sometimes unsatisfactorily, to capture the unrehearsed assortment of outdoor things. Most of those photographs had a lone human presence. Often, there were parked cars and plastic chairs.

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.

My ignorance could have been assuaged if I ventured within. But in Lagos, I scarcely attempted to use my camera to close the gap between self and landscape. I cared very little about getting up close. Instead, I favoured the camera as a tool for looking outwards from within—for seeing home from afar—and for seeking out the order of a built, cacophonous world.

— Emmanuel Iduma

We have allowed a different format to today’s newsletter to point to what’s ahead: from next week until August 20, our editorial fellows will take charge of the publication. We are thrilled by the work they are developing, and look forward to sharing with you.

Emmanuel Iduma is the founder of Tender Photo. His books include the travelogue A Stranger’s Pose and the memoir I Am Still With You. More of his work can be found on his website and on Instagram.