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

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 when I 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

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.