African Photo Magazine Issue #8

[ 

Local Perspectives, African Insights 

+ Photographer 

showcase 

+ Actual 

Life of 

Winnie 

Mandela 

+ 

dear 

#MeToo 

Movement 

Mfon / 

Omar Diop / 

Samuel Fosso / 

[ 

Hassan Hajjaj / 

By Bridget Boakye ISSUE 8 

Teddy Mitchener / By Charlene Smith Face2Face Africa Dec 2018

[ 

contents 

6 Photographer Showcase 

07 24 44 

A Showcase of Conceptual Photography 

and five of the finest on the continent 

tell their story using pictures 

30 Historical Showcase 

Charlene Smith, award-winning writer 

and Nelson Mandela’s authorized 

biographer, writes the real story of 

our beloved late Winnie Madikizela 

Mandela 

36 Photo Tips 

15 Photography project ideas to 

spark your creativity 

42 Gear 

New Google Photo Apps offer a 

peek into the future of smartphone 

photography 

44 Instagrammer of the Year 

Gareth Pon, voted Africa’s best 

instagrammer, shows the world his 

Africa 

[ 

[ 

48 Featured Article 

dear #MeToo, Africa is waiting 

54 Photoshop Tutorial 

South Africa’s IMAGE magazine with 

tips to better photography 

48 

58 The Culture Trip 

We explore ten galleries that foster 

the contemporary art scene in Africa. 

be the one to house the last segment of Our walk 

through Africa’s Photography history. 

As we say goodbye to the missionary and 

colonial period that birthed the particular 

genre of African photography we witnessed 

at the turn of the 20th century and indeed up 

to current times, we say a big ‘hello!’ to the pre 

and post independent period that birthed our 

African photographers. Far too many young 

photographers today, indeed many young 

practitioners in various fields, have a poor grasp 

of the rich history behind their chosen fields 

and the blood, sweat and tears their fore-fathers 

shed to allow them to craft the present. These 

African greats stood up at the dawning of a new 

Africa; as independence movements gathered 

steam in the 1950s and 1960s, a new breed of 

photographer was about to take the stage. 

This publication has the very great honor of 

featuring some of our greats in this edition, 

such as Malick Sidibe of Mali, Mohamed Amin of 

Kenya (now deceased) and Obie Oberholzer of 

South Africa. We have created a “Hall of Framers” 

to showcase the amazing work and talent of 

these greats and will endeavor to feature at least 

one great in every issue we publish ~ they must 

not be forgotten! 

baton from the greats of old and rising above commercial 

indulgence, fame and fortune, to be an agent of social 

change one image at a time. We have the immense pleasure 

of featuring Joana Choumali of Côte d’Ivoire, Boniface 

Mwangi of Kenya, Andrew Esiebo of Nigeria and Ilan Godfrey 

of South Africa. We wish them well, and we will be watching 

them! 

Additionally, in this issue, we feature Canon sponsored 

workshops called Project Miraisha. Since December 2014, 

Canon has facilitated three workshops in Kenya, led by world 

Welcome again to another issue 

of the African Photo Magazine. 

We are particularly delighted to 

publish, in this issue, photographers 

showcasing studio photography 

talent that echoes the work of one 

of Africa’s greats, Malick Sidibé 

(1936–2016). Photographers 

Hassan Hajjaj, Omar Diop and 

Samuel Fosso have stayed true 

to the photographic style that 

made Mr Sidibé’s work legendary. 

The portraitures are uniquely 

stylish and follow signature 

themes that clearly identify each 

photographers artistic bent. The 

work of this trio speaks to the 

heart of this publication, the 

genesis of which was to not only 

celebrate contemporary African 

photography but to reach back 

and illuminate the artistry and 

creativity of our forefathers and 

those that came before us, and to 

never forget that we stand on the 

shoulders of giants. 

We also dip our hat to the creative 

talent of the publisher of this 

Vie for the chance to claim a two-week solo 

exhibition on both floors of Blank Wall 

Gallery 

submit work for possible inclusion in the 

Letter from “nollywood” themed exhibition Editor 

presented by 

LagosPhoto 

The Sony World Photography 

magazine, and lead photographer 

Awards 

showcasing 

will open for entries 

Laetitia 

on 1st 

Ky 

June 

from the 

renowned photojournalist and Canon Master Gary Knight. 

With the support of local partners, Canon of is House using its core of Fotography, Teddy Ivory Coast and what we consider 

imaging skills to help local people develop Mitchener. livelihoods Teddy’s in love of crafting the best #MeToo statements we 

professional photography or print. The next a narrative workshops with are his imagery has have seen thus far. 

slated for Saturday 14th - Friday 20th May, seen 2016 him and will birth be a creative concept award 

co-hosted with House of Fotography, a local called outfit Alice based in in Africa. This is his take We have also taken a peak at 

Nairobi, Kenya. 

winners 

of an iconic tale, as seen through Instagram to see 

45 

what we find 

the eyes of one in Africa. 

may be of interest, and bring 

Lastly, we tip off our hats to our African photographers that 

you Gareth Pon, voted Africa’s 

came out tops in the recently concluded SONY and Hamdan 

bin Mohammed bin Rashid Al Maktoum 

In 

International 

the showcase, we also celebrate best instagrammer at the African 

Photography Award (HIPA) competitions. the These late are the Mmekutmfon ‘Mfon’ Blogger Awards. Do yourself a 

largest photography competitions in the Essien, world and a Africa Nigerian photographer favor and visit @garethpon for 

took its place amongst the very best. Kudos whose to our stark winners! self-portraitures are some amazing photography! 

The Editor, 

It is an absolute pleasure to bring this magazine a testament to you and to I the inner strength 

trust you Sharon will enjoy it Mitchener 

as much as I do! we often times never know we Additionally we also have 

possess and a proud banner for the photoshop tutorial techniques 

The Editor, 

#MeToo movement. Mmekutmfon we know our readers will find 

provided the name used by most instructive and beneficial, 

Laylah Amatullah Barrayn and and what we consider interesting 

Delphine Fawundu’s publication developments in terms of some 

MFON: Women Photographers apps one can use to improve their 

in the African Diaspora, which 

celebrates a younger generation 

of black women photographers. 

MFON follows in the steps of 

photographer Jeanne Moutoussamy-Ashe 

1986 publication 

Viewfinders: Black Women 

Photographers, a collection of 

images and biographies spanning 

the mid-1800s to the 1980s, one of 

whom lives in Kenya and who this 

publication spotlighted in issue#7. 

AFRICANPHOTOMAGAZINE 2 Local Perspectives. African Insights. 

The center-piece of this issue is a 

celebration of the life of our mother, 

Winnie Madikizela Mandela whose 

death in April 2018 capped a life of 

sacrifice to the cause of freedom 

on the African Continent, and 

specifically to the struggle against 

apartheid in South Africa. Winnie 

Mandela epitomized #MeToo long 

before it became a cause célèbre 

in late 2017, standing up for justice 

and freedom from oppression 

from those wielding power and 

authority, most often illegitimately. 

We therefore celebrate Winnie, 

and the latent #MeToo movement, 

photography skills, including some 

useful blogging and photo tips. 

Lastly, we share galleries around 

our beautiful Continent that you 

must find the time and visit and 

take in African photography and 

art! 

As always, we tremendously 

enjoy compiling each issue of 

this publication because of the 

wealth of amazing works we get to 

discover that is being created in all 

corners of our beautiful Africa, and 

it is our absolute joy and pride to 

share some of these with you. 

Our next issue will come out in 

early 2019 but in the meantime 

stay connected via our website, 

http://www.africanphotomag. 

co.ke/ and social media pages. 

Asante Sana, and enjoy! 

r 

4th 

t 

fo 

pu 

Th 

be 

2 africanphotomagazine ISSUE 8 December 2018 3


photo 

grapher 

show 

case 

MFON \ Diop \ Fosso \ Hajjaj \ Mitchener 

Mmekutmfon ‘Mfon’ Essien 


Mmekutmfon ‘Mfon’ Essien, 

a Nigerian-born American photographer, 

MFON was born in the village of Ikot 

Ekpene in Nigeria, and came with her 

family to the United States settling in 

Baltimore when she was 2. Mfon studied 

literature and art at Morgan State 

University in Baltimore, and then moved 

to New York, where she started to work 

as a fashion photographer. 

Mfon was a trail-blazing, visionary 

photographer who first exhibited with 

New York gallery, Rush Arts in Chelsea 

in 1996. She exhibited at the Senegalese 

Biennale in Dakar, Senegal and received 

an honorable mention in the American 

Photo magazine annual survey of the 

nation’s best photographers. 

Her last work, produced after she 

underwent a radical mastectomy, was 

a series of nude self-portraits titled 

“The Amazon’s New Clothes,” - when 

she knew that she was dying - two of 

which were in the seminal exhibition 

“Committed to the Image: Contemporary 

Black Photographers,” at the Brooklyn 

Museum of Art in 2001. 

Mmekutmfon ‘Mfon’ Essien passed away 

Feb. 13, 2001 of triple negative breast 

cancer in New York four days before the 

opening of the exhibition. She was 34. 

She is survived by her mother, Adiaha 

Essien, and two brothers, Ebakuwa and 

Sema Essien, all of Baltimore. 



“I want to 

reinvent the 

heritage of 

African studio 

photography” 

by CHANTEL TATTOLI, 

https://www.cntraveler.com/ 

contributors/chantel-tattoli 

Omar Victor Diop was born in 

Dakar in 1980. Since his early days, 

Omar Victor Diop developed an interest 

for Photography and Design, essentially 

as a means to capture the diversity of 

modern African societies and lifestyles. 

The quick success of his first conceptual 

project fashion 2112 “Le futur du beau”, 

which was featured at the Pan African 

Exhibition of the African Biennale 

of Photography of 2011 in Bamako 

(Rencontres de Bamako), encouraged 

him to end his career in Corporate 

Communications to dedicate himself to 

photography in 2012. 

Omar Victor lives in Dakar, and his body 

of work includes Fine Arts and Fashion 

Photography as well as Advertising 

Photography. He enjoys mixing his 

photography with other forms of art, 

such as costume design, styling and 

creative writing. This is particularly 

visible in his series “Studio des Vanité” 

(2013), in which he follows his research 

between photography and design, 

with a strong influence of the historical 

African portraitists. 

His series entitled “Diaspora” (2014) is 

a time travel. A journey that takes its 

starting point in the present with the 

issue of immigration of Africans in Europe 

and their place in European society. Diop 

forces us to reconsider our perception of 


history by highlighting notable Africans 

living in Europe between the fifteenth 

and nineteenth century. The integration 

of elements of football, weaves the links 

between past and present and question 

the position of Africans today. 

His latest series “Liberty” (2017) recalls, 

interprets and juxtaposes moments of 

this Black protest differentiated by time, 

geography or size, placing them in the 

same chronology, that of a frantic quest 

for freedom. 

“The narratives about the African 

continent are so lazy,” Diop says, joking 

that he sometimes feels like he works in 

public relations, showing off his “urban 

African reality.” However, he says, “if you 

talk about Africa and you don’t show 

zebras, people have the feeling that 

you’ve not been to ‘the real’ Africa. I’m 

not trying to deny different depictions. 

I’m just trying to balance them.” 

See more on IG: @omar_viktor 


Samuel Fosso (born 17 July 

1962) is a Cameroonian-born Nigerian 

photographer who has worked for 

most of his career in the Central African 

Republic. His work includes self-portraits 

adopting a series of personas, often 

commenting on the history of Africa. 

Fosso lived in Nigeria as a child, but 

the conflict caused by the attempted 

secession of Biafra in the late 1960s 

forced his family to flee to Bangui, 

Central African Republic, where he 

ultimately settled. He discovered 

photography in his early teens while 

working as a shoemaker, and by 1975, 

after a brief apprenticeship with a 

local photographer, he opened his 

own studio. He lived and worked at 

the studio, creating portraits of the 

local residents by using studio lights 

fashioned from pots and backgrounds 

made from traditional African fabrics 

or hand painted by friends. At the day’s 

end he would often step in front of the 

camera to finish a roll of film. While Fosso 

used these images to communicate 

his well-being to his grandmother in 

Nigeria, the staged self-portraits also 

became agents of transformation and 

expression for the young artist, who was 

acutely aware of shifting cultural and 

political climates. In many of his early 

images, Fosso borrowed elements from 

popular culture that he admired, even 

having local tailors replicate outfits worn 

by celebrities. 


Over the following decades, Fosso created a body 

of work that became increasingly provocative and 

experimental. After winning an award at African 

Photography Encounters, Africa’s most important 

photography festival, in 1994, Fosso gained international 

recognition; today, he is widely considered one of Africa’s 

most important contemporary artists. 

In 2013, amid catastrophic violence in the Central African 

Republic, Fosso’s studio was ransacked and much of his 

archive destroyed. Despite this, the Walther Collection in 

New York managed to stage a solo exhibition of Fosso’s 

work. His series “African Spirits” and “The Emperor of 

Africa,” on view for the first time in the U.S, include 

well-known self-portraits of Fosso impersonating 

civil-rights and African-independence leaders. Also on 

view were recent color works and Fosso’s early studio 

portraits, suggestive of the work of Seydou Keïta and 

Malick Sidibé, which have never before been shown. 

By Siobhán Bohnacker, 

senior photo editor at The New Yorker 

https://www.newyorker.com/contributors/siobhanbohnacker 


Meet 

Hassan Hajjaj, 

the ‘Warhol of 

Marrakech’ 

Who Shot 

Hip-Hop Star 

Cardi B. for 

New York Mag 

By Jazia Hammoudi, 

news.artnet.com, 

November 24, 2017 

Born in Larache, Morocco, in 1961, 

Hassan Hajjaj left Morocco 

for London at an early age. Heavily 

influenced by the club, hip-hop, and 

reggae scenes of London as well as 

by his North African heritage, Hajjaj is 

a self-taught and thoroughly versatile 

artist whose work includes portraiture, 

installation, performance, fashion, 

and interior design, including furniture 

made from recycled utilitarian objects 

from North Africa, such as upturned 

Coca-Cola crates as stools and 

aluminum cans turned into lamps. 

Turning to photography in the late 1980s, 

Hajjaj is a master portraitist, taking 

studio portraits of friends, musicians, 

and artists, as well as strangers from 

the streets of Marrakech, often wearing 

clothes designed by the artist. These 

colorful and engaging portraits combine 

the visual vocabulary of contemporary 

fashion photography and pop art, as well 

as the studio photography of African 

artist Malick Sidibe, in an intelligent 

commentary on the influences of 

tradition in the interpretations of high 

and low branding and the effects of 

global capitalism. 

Hajjaj never studied the medium, it all 

came from a love of photography. He 

bought a camera from a friend in 1989 

and just started taking pictures. He had 

two photographer friends who taught 

him the basics, and that was it really. 


Hajjaj also looked at images from Cartier-Bresson to 

Robert Capra to David LaChapelle and Nick Night and 

Malick Sidibe in magazines. 

Hajjaj early work was all about Arab products, and when 

he started doing photography, he decided to bring that 

element into it. “These borders repeat and mimic the 

mosaic patterns of Morocco, and on top of that, it’s the 

strength of the brands—it’s easy for people to “read” 

so to speak, even though it’s from another culture. It’s 

an entry for people into a foreign culture. The graphic 

nature of these products and their recognizability makes 

them accessible for people not familiar with North Africa. 

Growing up I was really influenced by graffiti artists and 

graphic designers, so this was a way to bring something 

of my culture into my work that looks cool. They really 

capture people’s attention, and from there you can look 

more deeply and find other things in the work.” 

There is also definitely an element of collaboration. Most 

of my subjects are people I’ve known for a long time, 

and friends of friends. So that’s also how things started 

for me. I realized that I was surrounded by all these 

incredible, creative people who influenced me and 

supported me, so it’s also about trust and showcasing 

these “underdogs” that do something from the heat and 

have talent. It’s also about documenting these people 

from all over the world, trying to make images that 

document the present but could also be the future— 

there’s an aspect of storytelling. 

See more on IG: @hassanhajjaj_larache 


Teddy Mitchener is the 

head photographer at House of 

Fotography, based in Nairobi Kenya. 

A Washington DC native, Teddy is 

a self-taught photographer, having 

picked up his first camera in 1992 

under the tutelage of his father, Willie 

Brown. A fully fledged professional 

photographer, Teddy earns his living 

in Kenya primarily as a commercial 

photographer in the advertising 

industry and on private commissions. 

For Teddy, photography is simply 

one of the many mediums he uses 

to express his creativity. A graduate 

of The Duke Ellington School of the 

Arts, Teddy credits the institution with 

broadening the limits of his creativity 

and instilling in him the love of other 

art forms such as plaster and stone 

sculpting, wood work, pencil drawing 

and painting. The merging of these 

mediums is what now informs Teddy’s 

personal projects and inspires his 

creative photography concepts. 

“I picked up photography initially as a 

means to an end, to capture imagery 

that I wanted to sculpt, draw or paint, 

then along the way I found that my 

love for photography was deepening. 

It was however not until I relocated 

to Nairobi in 2009 that I became a 

fully-fledged photographer. Today, 

Teddy specializes in Commercial 

and Corporate photography and is a 

certified CANON trainer for the Africa 

region. 

Teddy’s desire to elevate his craft and 

that of fellow photographers within 

the region has seen him found and 

publish, in April 2015, a one-of-a-kind 

magazine called African Photo 

Magazine. This magazine seeks to 

showcase the ideological difference 

between photography produced in 

Africa and photography produced 

in the rest of the world, which has 

resulted in photography being 

produced that does not represent 

the authenticity of the African, the 

aspirations of the African, the hope 

of the African, the soul of the African, 

in all its beautiful black, brown and 

white shades. This magazine seeks to 

elevate the African photographer, the 

African voice and the African Image. 

Alice in Africa is Teddy Mitchener’s 

creative take of the iconic fable Alice 

in Wonderland. “I always wondered 

what it would look like told from an 

African perspective. Africans need to 

be able to see themselves with eyes 

of wonder and not through the eyes 

of other cultures that relegate them 

to poverty, war and disease. There is 

a lot of wonder, and beauty all around 

us but we just need to be willing to see 

it.” In crafting the series, Teddy also 

wanted to be able to stitch together 

a narrative that would tell the story 

from start to finish, without the need 

for words. This concept was done in 

partnership with classical fashion 

designer Galina Tatarinova and the 

Fairmont Mt Kenya Safari Club. 

Model Credits: Ethane Kiernan, 

Valerie Awuor, Lucianah Nyawira, 

Evelyne Apondi, the Mitchener boys, 

and Galina’s little girl. 

https://www.teddymitchener.com 

Alice in Africa 



Teddy Mitchener 




Teddy Mitchener 



the Actual 

Life of 

I am so appalled by some know-nothing 

comments about Winnie Madikizela 

Mandela, that I need to weigh in… 

writes award-winning writer, and 

Nelson Mandela’s authorised biographer, 

Charlene Smith. 

W i n n i e 

Madikizela 

Mandela 

by Charlene Smith 

I 

f Madiba could forgive and honour 

her, and then not punish white South 

Africans for what we put her and 

others like her through, how DARE 

you judge her? 

Winnie Mandela, when I first met her in 

1976, was the most beautiful woman I’d 

ever seen – tall, imperious, with a gorgeous 

deep voice and a low sexy laugh. I 

interviewed her after she had to stop work 

for a cobbler, because security police 

harassment was so intense, business to 

the store fell off. 

It had been this way for 13 years, ever 

since the jailing of her husband, Nelson 

Mandela in 1963. Now that she has died 

the clichés about her life are rolling in thick 

and fast. How eager we are to forget, and 

in refusing to remember we perpetuate 

the harm she experienced in life. 

The Truth and Reconciliation Commission 

(TRC) hearings in 1998 found she played 

a role in the murders of Stompie Seipei 

(13), evidence suggested she stabbed him 

twice in the throat, and the deaths of Lolo 

Sono, and others. In 1992, she was charged 

with ordering the death of Dr. Abu-Baker 

Asvat. A decade later she was charged 

and convicted on multiple counts of fraud 

and theft, but never served jail time. 

And yet, she deserves our empathy and I 

will tell you why. 


In the 70s she was a source of inspiration to 

many young people, some of whom flocked 

to her home after the 1976 uprising. Some 

went into exile, others remained and coached 

by her, became leaders of the United 

Democratic Front. 

Winnie was banished to a dusty village, 

Brandfort, hundreds of miles from her Soweto 

home, and that, and an incident in 1969 broke 

her. In 1969, security branch came to her 

Soweto home at 3am. She was alone with her 

daughters, aged 10 and nine. Winnie asked 

to fetch her sister one street up so the girls 

would not be alone. The police refused, she 

was taken and her children left alone. 

She spent 18 months in solitary confinement, 

naked, not allowed to wash, and not allowed 

out for exercises. She did not know what had 

become of her girls. When she would speak 

of this with me, her whole countenance 

would change. She was not allowed sanitary 

towels when she had periods, nor water or 

cloths to clean, and so the blood caked on 

her. She made friends with cockroaches. I’ve 

been in the cell at the Old Fort that she was 

held in. It is narrow with high, thick walls, it is 

oppressively dark when the door is closed, as 

it was for 18 months. 

I believe she experienced profound Post 

Traumatic Stress. It was never treated; 

instead, she was expelled to Brandfort. She 

had a classic four-room house with a biggish 

yard. Money from mostly American donors 

saw her build a large bedroom with a quilt on 

it made by American sympathisers. She used 

to wait at the Brandfort post office at around 

11am each day for phone calls, or would make 

phone calls out. People who visited her were 

arrested and charged. 

Winnie was isolated and lonely, it was here 

that the drinking and drug taking began, 

and affairs with younger men, including a 

dreadlocked filmmaker. The conservative 

black folk of Brandfort township grew to 

loathe her. 

Winnie Mandela in front of the house she was banished to 

with her daughters in 1977during her exile in Brandfort 

Winnie on Right waits for a glimpse of Nelson Mandela 

outside the Palace of Justice in Pretoria on June 1964 after 

his conviction of sabotage and sentence to life in prison 

Winnie was detained without trial for 18 months over 1969 

and 1970 

Nelson Mandela and Winnie after his release from Victor 

Verster prison in Western Cape in this February 11, 1990 

Mandela United Football Club, it became an 

instrument of torture and murder of young 

men wrongly accused of being spies. At 

the TRC hearings where its activities were 

recounted, Archbishop Desmond Tutu, who 

knew her long put his head on the table and 

cried. 

Mandela wrote, “I have often wondered 

whether any kind of commitment can ever be 

sufficient excuse for abandoning a young and 

inexperienced woman in a pitiless desert.” 

And so, when he came out of jail in 1990 it 

was with his hand in hers, even though a few 

Sundays before his release her explicit love 

letters to a young lawyer were released. On 

the night of his return to Soweto, she left the 

house in the early hours of the morning with 

the lawyer in full view of the world’s media 

camped outside. 

Zwelakhe Sisulu who accompanied them to 

the U.S.A. not long after said she would yell at 

Madiba in hotel rooms. The entourage were 

not sure how to cope with these outbursts. 

Archbishop Tutu revealed, “Mandela said to 

me that he was never so unhappy as in the 

period after he was released until he decided 

to leave Soweto.” 

Winnie was unrepentant, she ran up huge bills 

on Mandela’s tab, was convicted on multiple 

counts of theft and fraud, and became an 

embarrassment. 

Lots of false pieties will be said about her 

now. The truth is that once there was a 

beautiful, proud woman who studied social 

work with an older woman, Albertinah Sisulu. 

Through her she met a handsome, brilliant 

lawyer called Nelson Mandela. They fell in 

love. He divorced his first wife to marry her. 

They had two children. Their marriage was 

passionate. He adored her, I don’t believe he 

ever loved anyone as much. However, their 

life was never normal because of his political 

activities, which she embraced. 

She would get visiting international 

dignitaries like Senator Edward Kennedy with 

his large entourage in 1985, but it deepened 

resentment of her. 

When she came back to Johannesburg, 

in defiance of her banning order, Madiba 

was already in secret communications with 

the apartheid government. She formed the 

Mosiuoa Lekota, Winnie and Desmond Tutu in the front line 

during a Free Mandela demonstration in Cape Town 1990 

Nelson Mandela and Winnie on the day of their wedding 

in 1958 

When Mandela went to jail he was 

comparatively safe compared to the perilous 

life she experienced. The apartheid state 

punished her because of him, and too 

because of her; she was an effective conduit 

for sending young people into exile for 

military training. 


She was a devoted and exceptionally loving 

mother, grandmother and great-grandmother. 

I’m not sure how Zindzi, especially will 

cope now. 

Winnie Mandela, with daughters Dlamini, left, and Zindzi, 

right, arrives at captetown in 1985 on their way to visit 

Nelson Mandela in prison on Robben Island 

Because of the poison that is racism she was 

tortured beyond anything anyone should 

endure, and because she was so venerated 

none loved her enough to give the help she 

needed. 

Winnie is the Conscience of a Nation that has 

already forgotten the tragedy of apartheid 

history; even in her death, people do not 

realize how she suffered, how damaged she 

became and how it hurt her and those who 

cared for her most. 

South Africa today has one of the worst crime 

rates in the world, it has millions of damaged 

people – they are apartheid’s legacy. It is 

in remembering and healing a wounded 

people that we honour the legacy of Winnie 

Madikizela Mandela. 

Sleep with the angels Nomzamo 

A 1986 file photo shows Winnie Mandela and Coretta Scott 

King, widow of American civil rights leader Dr Martin Luther 

King Jr, in Soweto 

CHARLENE SMITH is a South African journalist 

and author of 14 published books about South 

Africa. She is Nelson Mandela’s authorised 

biographer and presently lives and works in 

Boston, USA. 

Visit Charlene’s website here: 

www.charlenesmithwriter.com 


#1 

365 Project 

15 

No matter what you call it, the 365 Project or Photo a Day 

project, the result is the same – a photo for every day of 

the year. These kinds of long-term projects give you an 

opportunity not only to explore and learn photography, but 

also develop creative seeing and improve your post-production 

skills. 365 Projects have changed the lives of a lot 

of photographers, and who knows, maybe you’re next? 

Project Ideas to 

By Olli Henze 

2 

100 Strangers 

Spark 

Your Creativity 

By: Nancy Young 

Twitter: @Photodoto | https://www.pinterest.com/photodoto/ 

By Louisa Billeter 

#3 

The 100 Strangers project enables you to interact with 100 

strangers and take a photo of each of them. It can be quite 

scary to start shooting people in the street, or local cafe, if 

you’re an introvert. But being a photographer is not as easy 

as it may seem at first. Photography is all about overcoming 

your fears. This project will help you do that. 

52 Weeks 

The 52 Weeks project is similar to 365, but this time you’re 

supposed to come up with a new photo each week, not 

each day. The difference between these two projects is 

that you can choose a theme for every week. For instance, 

you may shoot particular subjects, places, or even do 

some photowalks. A photowalk is an awesome way to find 

inspiration, discover new locations, and come up with really 

valuable, interesting ideas in the end. 

P 

hotography has never been as popular as it is 

today. People of all ages learn photography in 

various schools and online universities, and lots 

of talented photographers have a wonderful 

opportunity to reveal themselves not only as 

artists, but also as teachers. 

Like all creatives, photographers can sometimes experience 

creative block or a lack of interesting ideas, no matter what 

side of the school desk they are sitting on. One way for 

photography mentors and teachers to fight this problem is 

through the use of creative assignments. 

In this article I’ve put together 15 creative project ideas to use 

in your photography class (if you are a teacher) or for yourself. 

When completed properly, a student assignment is a great 

teaching tool. If it’s well-designed and structured, it enables 

students to develop their technical skills and artistic 

vision, as well as improve their general thinking 

abilities and subject knowledge. So whether you’re a 

photography teacher looking for effective assignment 

ideas or a self-taught photography student focused 

on training your eye and critical vision, this roundup 

will surely come in handy. 

By shutterbugamar 

#4 

Social Awareness Project 

Capturing dramatic moments that will influence the minds 

of their viewers is a mission that many iconic photographers 

are dedicated to. Spend a weekend shooting the faces on 

your local streets, or collaborating with a non-profit can 

help you develop your skills as a documentarist and photojournalist. 

Such photo projects are definitely not easy to 

work on, both emotionally and technically, but the reward 

of being an activist is obvious – every time you click the 

shutter button you create a photo that could change the 

world. 

World of Coal by Ouie Sanchez on 500px 


#5 

Self-Portrait 

Of course, you may have taken a self-portrait many times 

with your smartphone. Instagram has turned self-portraits 

into something usual and mundane. 

However, self-portraits can be quite helpful in opening 

up, and exploring parts of photography in which you don’t 

normally find yourself involved. Mix it up and stay creative 

with your surroundings and emotions. For example, look at 

the work of Kyle Thompson, who has really succeeded in 

self-photography. 

9 

Food 

In today’s world of foodie-Instagram, everyone could be a 

food photographer. Especially if you’re fond of cooking, then 

food photography is right for you. It’s a myth that you need 

a super-wow camera to capture food. Food photography is 

all about styling and beautiful background. No matter what 

kind of photographer you call yourself, it’s advantageous to 

have some food photography skills under your belt. 

By Özgün ERDEM 

By Nuwandalice 

6 

#7 

New Lens Type 

You may pick one lens and use it exclusively during this 

project. A 50mm is a good starting point, as it forces you to 

move around and stay selective. A fisheye lens could also 

make an interesting theme. 

Moreover, you may experiment with freelensing which is 

an inexpensive way to get a similar photo effect as from 

an expensive tilt-shift lens. The idea behind a tilt-shift lens 

is tilting the lens at an angle to the sensor to change the 

orientation of the plane of focus (PoF). The technique of 

freelensing, not only gives you the ability to change the 

PoF, but it also gives you some pretty cool light leaks from 

not having the lens actually attached to the camera. 

Monochrome 

Try to shoot all your photos in monochrome, or convert 

them to black and white in post-processing. The beauty 

of black and white photography is that it focuses more 

on visual elements such as tone, texture and shapes. By 

starting this project for yourself, you’ll see the objects in a 

different light, and rather than just color, your eyes will be 

better trained to recognize various forms and shapes. 

By Liz West 

Paradise Pier Sunset by William McIntosh on 500px 

10 

11 

Sunset and Sunrise 

As dawn breaks and the sun comes up, you get to see 

the creeping rays of sunlight bathe everything in their 

shining glow. Such scenes are the perfect environment for 

memorable photos that you can’t pass up. Sunrises and 

sunsets happen every day. It may sound quite obvious and 

ordinary, but these times of the day are a golden opportunity 

to capture breathtaking images. 

single Theme 

Pick an object and try to get a collection of snapshots 

representing it. For example, try to shoot only circular 

objects everywhere you go. Or pick a color, for instance 

blue, and try to go all day long photographing only blue 

things. The aim of this assignment is to learn to see the 

ordinary object in a different way. 

A Fistful of Kits by Peter Greig on 500px 

#8 

Panoramas 

La bicicleta by Adrian Hernandez Binz on 500px 

#12 

camera Phone 

Panoramas are one more way to develop your creative 

vision. Panoramas usually give the viewer a much wider 

viewing angle than normal. You can create some small 

panoramas by merging three photos in one, or go full 360. 

It’s all up to you! 

The main advantage of your camera phone is that it’s with 

you everywhere you go. Moreover, these days’ smartphones’ 

camera quality is much better than years ago and you may 

come up with images that look almost as good as if they 

were taken with an expensive DSLR. Using your phone 

allows you to put exposure on the back burner, and lets 

you focus more on composition instead. You may also use 

various photo-editing apps to add various photo effects. 

Promised Land by Beno Saradzic on 500px 

By Takeshi Garcia 


13 Urban Exploration 

Urban exploration photography is the art of finding 

abandoned places, houses, locations; explore them and 

shoot in a unique way. It’s potentially dangerous, exciting, 

and a lot of fun. In order not to get scared, you should 

take your friends with you. Even if they’re not interested 

in photography, exploring abandoned places is really 

breathtaking. 

By Michal Janek 

Editor’s note: always follow the laws when doing urban 

exploration. Do not enter where prohibited and always stay 

safe. Abandoned buildings can be dangerous or illegal to 

enter. Be careful. 

14 Perspectives 

Shoot a whole set of images from one perspective, such as 

from a child’s the point of view. Or try to capture all photos 

from up high. We are used to seeing the majority of shots 

at eye level, why not to try something different? It’s a great 

way to learn how to deviate from the normal. 

By Ken Owen 

15 Film Photography 

Film photography is something every photographer should 

practice for a few reasons. 

First of all, unlike digital photography, you don’t get to see 

the image you took for a while. It may seem annoying, but 

you’ll get used to it. 

By Gioia De Antoniis 

Second of all, you will begin to think more carefully 

before pressing the shutter button. While shooting digital 

photography, you may take 10 photos of the same thing to 

choose the best shot in the end, but with film photography 

you will not have that chance. 

Bonus Assignment 

Once you accomplish your creative assignment, create 

a dedicated photography portfolio (Defrozo and Koken 

provide website building tools for free) or write a guest post 

for some photography blog to describe your journey and 

share your experience with fellow enthusiasts. Developing 

your marketing and blogging skills increases the likelihood 

of building a prospering and successful photography 

business. 


[ 

[ 

[ 

GEAR 

[ 

GEAR 

Google 

new photo apps 

@heatherkelly CNN TECH 

Selfissimo 

Storyboard 

Scrubbies 

Available on Android only, the Storyboard app will scan a video and pick out the best stills. It then 

arranges them into a comic-book-like storyboard layout and adds one of six filters. Pull down to reload 

over and over. Google says there are 1.6 trillion possible layouts. 

Google released a trio of free photo 

apps created as experiments. The simple 

mobile apps include a photo booth with 

pose-detecting powers, a way to remix 

videos like a DJ, and a tool for turning any 

mundane adventure into a comic book panel. 

Google is calling the free downloads 

Appsperiments, a clunky portmanteau of 

“apps” and “experiments.” The tools offer 

a peek into the future of smartphone 

photography, which will increasingly rely on 

effects created by software. 

An early example is the Google Pixel 2 portrait 

mode, which uses software to fake a shallow 

depth-of-field effect. “The next generation of 

cameras ... will have the capability to blend 

hardware and computer vision algorithms,” 

said Alex Kauffmann, an interaction researcher 

at Google Research. 

Google ‘s new photo apps have similarities to 

some products by other developers that are 

already available, but the existing apps don’t 

do the exact same tricks the same way. 

Google’s Selfissimo! is like a photo booth -- but instead of taking 

a picture every few seconds, it is polite enough to wait until you 

pose. The Android and iOS app detects when you’ve stopped 

moving to capture each new pose, from sultry duck lips to goofy 

crinkle nose. 

The photos are all black and white, just like a classic photo booth. 

Since you’re probably going to end up with way too many shots, 

deleting is super easy and only needs one tap instead of the 

usual two. 

The final app, called Scrubbies, is a playful way to speed up and slow down your videos. 

After you shoot a video clip, you can use two fingers to make unique loops that go fast and slow -- or 

forward and back in time. Available on iOS only, the app is great for Instagram or Snap stories. 


Colour in Johannesburg, 

South Afica 

Image of the future taken in Braamfontein, 

South Africa 

As social media usage grows on the Continent, 

Gareth Pon, 

voted Africa’s best instagrammer 

at the African Blogger Awards, 

Taken on the set of UK pop 

artist Ozonna music video 

shows the world his Africa in 9 perfect Instagram shots. 

https://www.instagram.com/garethpon/ 


In Soweto South Africa, capturing an 

image of really stoked kids 

Visiting Obesa nursery in 

Graaff-Reinet South Africa, Pon snaps 

his friend Zuko among the cacti 

In Jeppestown South Africa, Pon 

catches an anonymous artist 

finishing his wall art 

Pon captures a piece of Art by Keri 

Muller called Afrca Re-invented in 

Maboneng, South Africa 

This is Nelson Makamo one of South 

Africas amazing artists 

Sunset taken at Mabalingwe 

Game Reserve, South Africa 


DEAR 

#MeToo 

MOVEMENT 

is 

is 

WAIT- 

ING 

BY 

BRIDGET 

BOAKYE 

FACE2FACE 

AFRICA 

“T 

he absence of justice in the area of sexual assault in Africa would lead one to make 

a false conclusion about the reality of sexual assault on the continent, where the 

issue is highly contentious amid cultural and religious norms and expectations keep 

victims from sharing their stories and outing names. 

The U.S. has been at the forefront of the global conversation on sexual assault from 

the start of 2017. The U.S. President, Donald Trump, who has been accused of sexual misconduct by 19 

women, may appear immune to consequence, but three of his accusers have recently demanded an 

investigation, and other public officials are calling for his resignation. 

The stories coming out of Africa regarding sexual assault must not just be for a media frenzy but must 

have real implications. It is clear that Africa has a long way to go in this realm – in making the space 

for survivors to speak as open and candidly as those in the U.S., and to have those revelations mean 

something, Africa must act on this issue…. 

48 africanphotomagazine

y Monica Mark BuzzFeed News Reporter 

H 

air opportunities are endless for 21-year-old Laetitia Ky from the Ivory Coast, 

who began braiding her own hair at the age of 5. After subsequently discovering 

YouTube and the beauty blog universe in her adolescence, Ky took her defined 

plaits and started sculpting her hair into dizzying multimedia art pieces. From 

waist-skimming, tribal fabric-woven dreadlocks to manipulating her kinky texture 

into a towering multi-strand ponytail and adorning it with fresh-cut flowers to denote her own “tree 

of life,” each style is more mesmerizing than the next. “It’s important to express my African heritage 

through my hairstyles,” she explains. “I use myself as a canvas to symbolize self-assurance and 

self-love.” Ky also seeks to influence the political discourse with her work, from a pistol-shaped 

ponytail in protest of gun violence to a floating male stick figure grabbing a female figure’s skirt 

above her head to represent the #MeToo movement. And to accompany these charged creations, 

she often shares a firsthand story penned by a follower in the caption to powerful effect. “From my 

feminism to other causes I support, I use my work to address what I believe in,” she says. “This form 

of expression lets me be heard.” Making vigorous strides toward social change with aspirational 

natural styles, she’s in good company. 


Ky has been following the #MeToo 

movement’s resurgence as 

more women come forward to 

talk about their harassment and 

abuse, and recently decided to 

weigh in herself. She posted the 

sculpture, which shows a man 

lifting a woman’s skirt, alongside 

a story of a friend’s narrow escape 

from rape — and the excuses 

enablers commonly use in Côte 

d’Ivoire. “Thousands of women 

are raped every day in the world, 

but very few are able to talk about 

it, to complain or fight. Why? 

Because our ‘beautiful’ society has 

the tendency to blame the victim 

almost every time,” Ky wrote in a 

blistering post that’s drawn over 

11,000 likes so far. 

“I use myself 

as a canvas 

to symbolize 

self-assurance 

and self-love.” 

“’Oh but you should not have 

gone out so late !!!’ ‘Ah, but you 

had a mini skirt,’ ‘why are you 

complaining if you agreed to have 

dinner with him?’ ‘dont tell me that 

you were not trying to seduce him 

with all that makeup.’” 

“... Ladies ... Nothing Justifies Rape, 

Sexual Assault or Harassment. 

Don’t remain silent, dont let 

anyone tell you that you have some 

responsibility in this despicable 

act !!!! Speak out because you dont 

have to carry this burden alone, 

talk to help other women who are 

afraid, talk to start a revolution, 

talk to change things.” 

See more of Ky on IG: @laetitiaky 


PSSA (Photographic Society of South Africa) is the oldest photographic society on the 

Continent and recognised by the South African Government through the Performing 

Arts Council. PSSA is consulted on all aspects affecting photography in South Africa 

as well as being able to negotiate protection and exemption for photographic clubs 

and members. 

PSSA publishes a magazine named IMAGE, which covers all aspects of the Society’s 

activities and photography in general. 

This is a submission by IMAGE, sharing photoshop tips and techniques, with readers 

of our publication. 



T 

Culture Trip 

By Lilian Diarra 

http://contributors.theculturetrip.com/contributors/lilian-diarra 

The 

he contemporary art scene in Africa is dynamic and diverse, teeming with extraordinary talented and 

passionate artists using their work to reflect the continent’s cultural diversity, natural beauty, and long 

history. Although formal exhibition spaces remain limited in many African countries, there are a growing 

number of exceptional independent art galleries across the Continent promoting and exhibiting the 

best of African contemporary art. We explore ten of these galleries. 

Banana Hill Art Gallery, 

Nairobi, Kenya 

A true art gem situated on the outskirts of Nairobi, the Banana Hill Art 

Gallery exhibits a superb selection of beautiful African contemporary 

artwork and has showcased over 70 artists and sculptors principally 

from Kenya and East Africa. The gallery displays a variety of stunning 

and vibrant paintings and a few sculptures illustrating a range of 

subjects, uniquely captured through each artist’s personal interpretation 

reflecting day-to-day life in cities and rural areas, abstract art, cultural 

traditions, and Kenya’s rich wildlife and landscapes. Founded by Shine 

Tani, a brilliant artist himself, the gallery’s vision is to bring exposure to 

African artists and promote art appreciation in the region. 

Banana Hill Art Gallery, Banana Raini Road, Nairobi, Kenya, 

+254 711 756 911 

Afriart Gallery, 

Kampala, Uganda 

A leading contemporary art gallery in Uganda, the Afriart Gallery exhibits 

an exquisite selection of Ugandan and African art. Representing both 

well-established and rising artists, the gallery’s interior is filled with 

beautiful paintings and sculptures and has featured well-known local 

artists such as Edison Mugalu and Paulo Akiiki. Regularly exhibiting the 

artwork of different artists, Afriart has become a focal point amongst 

the artistic community in Kampala’s budding art scene. The gallery also 

provides art consulting services and runs a craft shop selling art books, 

ceramics, statues, traditional fabrics, locally designed clothes and 

recycled glassware. Housed in a conspicuous red double-storey building, 

the Afriart Gallery is hard to miss. 

Afriart Gallery, Block 56, Kenneth Dale Drive, Kampala, Uganda, 

+256 04143 75455 

Zoma Contemporary Art Centre, 

Addis Ababa, Ethiopia 

Created by one of Ethiopia’s most original and active artists, Elias Sime, 

the Zoma Contemporary Art Centre (ZCAC) seeks to promote multidisciplinary 

contemporary art, facilitate international exchange between 

artists, and inculcate a culture of environmentally conscious art projects 

in Ethiopia. Listed by the New York Times as one of the top places to 

visit in 2014, the ZCAC is situated in an extraordinary house made from 

mud, straw, and stone. Designed and sculpted by Sime, it represents the 

center’s philosophy of driving environmental sustainability through art. 

Regular exhibitions are held in the center’s showroom, and there is an 

open studio for visiting artists. In collaboration with partner institutions, 

the ZCAC also runs artist-in-residence and education programs, and 

has a second location in a small historic village called Harla. 

ZCAC, P.O.Box 6050, Addis Ababa, Ethiopia, +251 91 124 9374 

Goodman Gallery, 

Johannesburg & Cape Town, South Africa 

The Goodman Gallery is at the forefront of contemporary art in South 

Africa, showcasing prominent artists and up-and-coming creative talents 

from South Africa, the rest of the African continent, and international 

artists who portray the African context through their artwork. With an 

ethos of developing artistic talent and cultural consciousness, the gallery 

focuses on artwork reflecting South Africa’s socio-political issues. Since 

its inception in 1966, the gallery has stood fast by its principles and 

encouraged all artists to showcase their work despite the stringent race 

laws during the apartheid era. Today the gallery represents about 40 

South African and African artists including William Kentridge, conceptual 

artist Kendell Geers, and photographer David Goldblatt. 

Goodman Gallery, 163 Jan Smuts Avenue, Parkwood, Johannesburg, 

South Africa, +27 11 788 1113 

Omenka Gallery, 

Lagos, Nigeria 

A leading contemporary art gallery in Nigeria, Omenka Gallery showcases 

the work of emerging and acclaimed Nigerian and international artists, 

and houses one of the most comprehensive collections of the renowned 

Nigerian painter and sculptor Ben Enwounwu. Hosting solo exhibitions, 

group shows, and large, themed exhibitions, Omenka also participates 

in a number of international art fairs, runs an active publications program, 

and facilitates workshops to encourage critical development and 

dialogue on contemporary art in the country and the continent at large. 

Omenka regularly collaborates with international artists such as South 

African photographer Cedric Nunn, Angolan artist Manuela Sambo, and 

London-born Ransome Stanley, to create a culture of experimentation 

and creative exchange between local and international artists. 

Omenka Gallery, 24 Modupe Alakija Crescent, Lagos, Nigeria, 

+234 1 818 45 53331 

First Floor Gallery, 

Harare, Zimbabwe 

The First Floor Gallery Harare is the first independent contemporary gallery 

run by emerging artists in Zimbabwe. Founded in 2009, the gallery is 

situated in Harare’s busy inner city center. Showcasing the artwork of rising 

and promising contemporary Zimbabwean artists, the gallery supports 

their professional development by growing their exposure across local 

and international audiences, facilitating art workshops and classes, and 

serving as an interactive experimental space. The First Floor Gallery hosts 

a number of interesting exhibitions throughout the year featuring local 

artists such as Moffat Takadiwa, Wycliffe Mundopa, and Mavis Tauzeni. 

Over the past few years, it has quickly become an important venue for fine 

arts, film, poetry, and music events. 

First Floor Gallery, Mercury House, 24 George Silundika Avenue, Harare, 

Zimbabwe, +263 4 251 502 

Eureka Galerie, Abidjan, 

Ivory Coast 

Situated in the Ivory Coast’s tropical bustling capital city, the Eureka 

Galerie is an outstanding gallery devoted to discovering, sharing and 

promoting appreciation of African contemporary art in Ivory Coast and 

the surrounding region. From paintings, wooden and bronze sculptures, 

to antique masks, traditional fabrics and textiles, the gallery spotlights 

a delightful collection of art pieces in its warm, earth-toned interior. The 

Eureka gallery has displayed the artwork of groundbreaking African 

artists such as the Ghanaian painters Gabriel Eklou and Samkobee, 

Ivorian artists Salif Diabagaté and Djédjé Mel, as well as a few 

international artists such as French painter Jean Claude Heinen. 

Eureka Galerie, Rue Marconi, Zone 4C, Abidjan, Ivory Coast, 

+225 21 35 08 08 


[ 

the culture trip 

[ 

[ 

Publishers & Acknowledgements 

[ 

[ 

[ 

Galerie El Marsa, 

La Marsa, Tunisia 

Galerie El Marsa is dedicated to representing current trends and 

developing the potential of contemporary artists in Arab countries, with 

a particular focus on artists from Tunisia and the North African region. The 

gallery takes pride in supporting artists who have made an exceptional 

impact on the contemporary art scene in North Africa and features 

art pieces that illustrate the region’s historical and cultural diversity, 

shared history, and Mediterranean, Arab and African influences. El 

Marsa has also enhanced its worldwide reputation by participating in 

international art fairs in Dubai, Abu Dhabi, Paris, Marrakech, and Miami, 

amongst others. Located along the Mediterranean coast in El Marsa’s 

historic and artistic neighborhood, the gallery is situated in an idyllic 

setting next to the shoreline and is definitely worth a visit. 

Galerie El Marsa, 2 al-Marsa 2070,Tunisia, +216 71 74 05 72 

Publishers: 

House of Fotography 

Editor: 

Sharon Mitchener 

Layout Designer: 

Mumbe Mutisya | https://www.behance.net/cmutisya112d49 

Editorial Offices: 

House of Fotography P.O. Box 25190-00603 Nairobi, Kenya 

Tel: (+254) 702.680.797 | 714.745.924 

hello@africanphotomag.co.ke 

[ 

Specializing in the promotion of Egyptian contemporary art, the 

Zamalek Art Gallery hosts a series of exciting monthly exhibitions 

featuring recognized and emerging young artists from Egypt. The 

gallery also houses a permanent collection of artwork from more 

than 20 prominent Egyptian artists such as painters Gazbia Sirry and 

Farouk Hosny, and the late Gamal El Sagini. All the artwork is elegantly 

presented in the gallery’s spacious interior, made up of spotless white 

walls, gleaming wooden floors, and arched doorways. Privately owned, 

the gallery is nestled in the heart of Cairo’s cosmopolitan suburb where 

most of the city’s cultural events take place. 

A SPECIAL THANKS TO THE FOLLOWING: 

To all the photographers and artists who are showcased in this 8th issue 

To Laylah Amatullah Barrayn and Delphine Fawundu spotlighting a younger generation of 

black women photographers 

Zamalek Art Gallery, 

Cairo, Egypt 

Zamalek Art Gallery, 11 Brazil Street, Zamalek, Cairo, Egypt, 

+202 2 735 1240 

To Artists Kehinde Wiley and Amy Sherald, who became the first African American painters 

to paint the first African American President and First Lady of the United States 

Matisse Art Gallery, 

Marrakech, Morocco 

One of the oldest and most sophisticated contemporary art galleries in 

Marrakech, the Matisse Art Gallery exhibits the work of up-and-coming 

and well-known Moroccan artists such as painters Farid Belkahia 

and Hassan El Glaoui, and calligrapher Noureddine Daifallah. More 

recently, the gallery opened its doors to international artists to appeal 

to its growing worldwide clientele and has exhibited the artwork of a 

number of international famous 20th-century contemporary artists. 

The gallery regularly publishes catalogs and artist monographs and is 

actively involved in supporting young Moroccan artists and increasing 

public appreciation of Morocco’s art scene. Housed in an impressive 

building made out of polished black marble, the classy gallery also 

runs an art library open to all visitors. 

Matisse Gallery, 61 Rue Yougoslavie, Passage Ghandouri, 

Marrakech, Morocco, 

+212 524 448 326 

To the #MeToo Movement and the new inspiration it provides to those facing 

gender discrimination 

To African photographers EVERYWHERE for telling our stories behind your lenses 

To the Photographers Association of South Africa (PSSA) and its publication IMAGE for its 

immense contribution to the growth of our industry on the Continent and its support of 

this publication 

To Mumbe Mutisya for a spectacular layout design and ensuring this publication continues 

to see the light of day 

To our mother, our hero, Winnie Madikizela Mandela whose death in April 2018 reminds us 

that we in Africa stand on the shoulders of Giants! 

And 

Ultimately, to our Almighty God who still sits on the Throne. 


Free yourself, Free your creativity 

fotohouse.co.ke 

62 africanphotomagazine

African Photo Magazine Issue #8

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