The last large survey exhibition of African photography by a major western gallery was In/Sight at the Guggenheim Museum in New York in 1996. Twenty-seven years later, Tate Modern is introducing a British audience to the next generation of African photographers.

With such a long gap, there are high expectations for A World in Common: Contemporary African Photography. And the exhibition faces many curatorial challenges.

For most British visitors, this exhibition serves as an enlightening journey that challenges their perspective. It confronts and dismantles enduring colonial stereotypes associated with Africa. Simultaneously, it stands as a long-awaited affirmation of African photographers, validating their unique use of the medium.

The show’s curator, Osei Bonsu, developed three major themes – “identity and tradition”, “counter histories” and “imagined futures”. The 36 featured photographers tell stories of a new and confident Africa. It’s an Africa that celebrates its spirituality and is untangling itself from its colonial past. This is awe-inspiring work, by a new generation of artists who draw on the rich social and political history of the continent to tell their stories.

When entering the exhibition, I was immediately taken in by a series of large portraits: Nigerian Monarchs by George Osodi. The formality of the images speaks to the importance of these rulers as custodians of cultural heritage – even though their powers were eroded during British colonial rule.

The portrait of Obi Anyasi II, the longest reigning African king, is a clever comment on Nigeria’s past. His stern gaze competes with that of Queen Elizabeth II, whose portrait is printed on his gown. In the exhibition catalogue, Osodi explains that documenting and archiving culture is “key to understanding cultural origins, and thus developing a sense of identity”.

In the same room is Zimbabwean artist Kudzanai Chiurai’s series We Live in Silence. These works are a reminder that Christian missionaries contributed to the colonial occupation of the continent and were instrumental in dismantling pre-colonial societies, in which women had often been powerful and influential figures.

Inspired by Bible scenes, Chiurai’s work focuses on modern African women. She reclaims their space in the historic narrative of the continent. At the same time, the artist herself is claiming her space in the exhibition as one of only 12 women featured. Gender balance should have been a fundamental consideration in the curation of this exhibition, as it is crucial to foster equal representation of African women in the arts.

Dialogue and consent

Wura-Natasha Ogunji’s work stood out as the only piece in the show that documented a response from Africans and engaged the African audience directly.

In her performance video, Will I Still Carry Water When I Am a Dead Woman? a group of masked women drag golden water canisters through the busy streets of Lagos, Nigeria. The reactions of the local people underscored art’s potential to challenge the undervaluing of female labour. It provokes dialogue where performance art is not widely understood or appreciated.

Ogunji, born in Nigeria, received her BA from Stanford University and an MFA from San Jose State University in the US. This highlights yet another issue with the roster of photographers in the exhibition. A considerable number have well-established ties with European and American art institutions.

Also, a significant portion have pursued their studies in Europe and the US, are represented by international galleries and maintain a dual presence between two continents. They are part of the global art scene that sees African art as a growing investment opportunity. There’s a risk that will result in the best examples of African art leaving the continent. As French gallery owner Cécile Fakhoury has observed: “If we keep going as we are, in ten or 20 years we will see all the major pieces in foreign countries.”

As this intensifies, it perpetuates a resource vacuum for local artists solely residing and working in Africa. It highlights the continuous underfunding of the cultural sector by most African governments and the lack of globally recognised art institutions on the continent.

Sadly, Tate Modern has missed a trick here. It could have more purposefully supported and celebrated the creation of local African art and included material that challenged its own position (as well as that of other western art institutions) in the global art market. As it is, I am provoked to think that A World in Common is a European exhibition with African content, rather than an exhibition that invites uncomfortable conversations about the function of institutions in the effort to decolonise our understanding of African art.

In the final two rooms, artists are imagining futures for Africa. Kiripi Katembo’s beautiful photographs of Kinshasa reflected in rainwater puddles capture urban life through a surreal mirror. Andrew Esiebe’s large images create a momentary stillness in the ever-changing architecture and landscape of Lagos. They comment on the “endless juxtapositions that exist in the city, between past and present, modernity and tradition”, as Esiebe observes in the catalogue.

What struck me most about the exhibition was the consent implicitly and explicitly expressed in all the works by collaborating with the sitters and avoiding works created through covert observations.

By working with masks, mirrors, self-portraiture or consenting sitters, the featured artists all circumnavigate the historic and often still-present exploitative relationship between the camera and the African continent. This is a decolonial approach to photography we can all learn from, but it also poses the question of how African photographers will make visible the richness of everyday life on the continent.

On the epilogue text panel, Senegalese writer and academic Felwine Sarr calls for “Africans to think and formulate their own future”. The 36 exhibiting artists definitely do that. But the curatorial challenges are manifold. My observations are an attempt to move the conversation beyond the thought-provoking work of the photographers and towards challenging the role of Tate Modern.

A World in Common: Contemporary African Photography is on at the Tate Modern until January 4 2024.

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Being a successful professional photographer is about a lot more than simply being good with a camera. One of the things you need to be good at (and something a lot of people are uncomfortable doing) is selling yourself and your work, which requires a good dose of self-confidence or the ability to fake it, at least. Done wrong, though, and this can lead to pushing away clients. This insightful video essay features an experienced commercial photographer discussing the delicate balance and why it is so important. 

Coming to you from Scott Choucino of Tin House Studio, this fantastic video essay discusses the fine line between self-confidence and arrogance as a professional photographer. We need a good dose of confidence in our work in order to sell it; after all, a client is not going to believe in your abilities if you do not believe in them yourself. However, it can be easy to take this a little too far and come off as arrogant, even if you do not mean to. I am sure you have been around someone like this, whether in photography or some other area, and you know how off-putting it can be. Nonetheless, it can be a bit harder to detect when we’re the ones doing it. That is why it is so important to routinely ask yourself how you are relating to clients and if there is anything you should change or can improve. Check out the video above for the full rundown from Choucino. 

Ian Weldon is not your typical wedding photographer. Instead of staged and posed shots, the artist captures the raw, unfiltered moments that make each wedding unique. He describes himself as just another guest who blends in by using small cameras. He doesn’t want to attract too much attention, so funnily people often think he’s a friend or family member of the couple.

“I don’t really see myself as a ‘wedding photographer’, more a photographer that photographs weddings. I’m interested in photography as an expressive medium, as a way to make sense of the world around me, and as a way to show others how I perceive my surroundings,” the photographer told us in a previous interview.

Continue scrolling to see Weldon’s unscripted photographs! Don’t forget to upvote your favorite ones and let us know your thoughts in the comments. For more of his work, check out our previous articles here, here and here. 

More info: Instagram | ianweldon.com | twitter.com

ICM, which stands for “intentional camera movement,” is a technique in which the photographer moves the camera during the exposure in a precise way, resulting in creatively blurry images that often have a painterly appearance. It is a great way to explore your creativity and expand your landscape photography techniques. This neat video takes you behind the scenes as a landscape photographer tries it out to show you what is possible and some common mistakes. 

Coming to you from Jason Friend Photography, this awesome video will show you some of what is possible with intentional camera movement in landscape photography. One important thing to remember if you try it out is that less is more. You probably need a lot less camera movement than you think in order to create the effect, as it is a thin line between creative rendition and a total mess. And if you do not get the result you want, try again. Each shot, even if of the same subject, will be unique, as all your little movements will have slight variations. Check out the video above for the full rundown from Friend. 

If you enjoy intentional camera movement photos, check out the work of our October 2021 Photographer of the Month, Alan Brown. 

A cat performing its best victory pose, a smiling ferret and a flower-eating turtle are among the 25 comical images that made it to the shortlist for the Comedy Pet Photo Awards.

The funny pet photo is a global photo and video competition intended to “promote positive awareness of animal welfare issues and celebrate the incredible and hugely valuable contribution that pets can and do have on our lives,” the organizers explain.

Created by professional photographers Paul Joynson-Hicks and Tom Sullam, the contest also seeks to encourage public engagement around animal welfare and “through the wonders of photography and film, we want to share the hilarious expressions, antics and naughty capers that your joyous pets get up to and share the love and laughter with the world.”

“Pets keep us fit, sane and grounded. They listen to us when no one else does; they know how to cheer us up and will do anything for us (unless we’re talking about cats, but they have special superpowers of their own that we dare not talk about).”

On the Gallery page, you can see all 25 finalists and if you fancy voting for your favorite click to the People’s Choice Award. The last date to vote is August 6.

The 2023 Comedy Pet Winners will be announced on August 11.

In the ‘Dogs-Who-Look-Like-Their-Owners Department’, there are Karin and her two Afghan Windhounds in Landstuhl, Germany.

“Alex and Max are two rescued kittens. Alex is the shy one; Max is the playful one,” Zoghzoghi said. “Together, they’re a lethally cute duo. I had more fun taking photos of these two than during my most adventurous wildlife photography trips.”

Two sisters from different litters — self-confident Crystal and cute baby Daisy — look to the future.

Big Boss is certainly the boss around the port, says Morinaga, nothing that he’s also gentle and kind.

Shadow was digging holes as normal at the beach, when all of a sudden he decided to show off his new technique.

This small, happy ferret named Boudicca enjoys her first outdoor walk at 2 1/2 months, in Amherst, Massachussetts.

His name is Oscar and he’s an Afghan greyhound clearly pleased with himself.

Beautiful Edgar’s favorite food is the leaf and flower of the dandelion. Here, she savors the flavor in Wymondham, England.

Happiness is achieved in the midst of hemp plants in Zurich, Switzerland. These plants, however, are for industrial use, not marijuana.

It looks like a perfect land 10.0 landing.

Misty the spaniel desperately wanted to play with Nala, the dignified older lady of the menagerie,” said Horstmanschof. “She wasn’t that keen and fortunately Misty was pretty bad at hide and seek.”

• The Comedy Pet Photography Awards highlight hilarious photos of pets.
• The contest shared its 2023 photo finalists, and winners will be announced August 11.
• Notable finalists include rambunctious dogs, sassy cats, and adventurous ferrets.

The annual Comedy Pet Photography Awards highlight amusing pictures of pets and their hilarious antics.

The winning photos will be decided by a panel of judges and announced on August 11, and fans can vote online for their favorite snapshot to win the People’s Choice Award.

Here are the 25 finalists in this year’s contest. Photo captions have been condensed and edited for clarity.

Bringing together more than 100 works, this exhibition at Tate Modern (6 July–14 January 2024) reveals how contemporary African photographers are both reflecting on the continent’s rich heritage and imagining a shared future. Images of traditional rulers in full regalia by George Osodi are presented alongside vivid interpretations of masks and masquerades by Zina Saro-Wiwa, Edgar Chagas and others; the legacy of the tradition of studio portraiture on the continent is felt in works by Santu Mofokeng and Hassan Hajjaj, while reflections on the threat posed disproportionately to Africa by climate change are the focus on the final stages of the show. Find out more on the Tate’s website.

Preview below | View Apollo’s Art Diary

Kwana Germiston Bosiu I (2013), Lebohang Kganye. Courtesy Lebohang Kganye

Adut and Bigoa from The Studio Series (2015), Atong Atem. Courtesy MARS Gallery and the artist; © Atong Atem

Star Shine Moon Glow, Water Life (2018), Aïda Muluneh. Image: © Aïda Muluneh

Architectural photographer Jim Stephenson explains how The Architect Has Left The Building exhibition at RIBA aims to draw attention to how people use buildings, in this interview.

Despite taking place at the Architecture Gallery at the Royal Institute of British Architects’ central London HQ, Stephenson told Dezeen that the exhibition is not focused on buildings.

“The installation is about people watching,” he said. “Although it’s at the RIBA and in the architecture gallery, it’s not really about the buildings – they’re just the backdrop, they’re the stage set really.”

“We wanted to create a meditative, large scale film piece that was all about how people use (and misuse) space once the architect’s work is done,” he continued.

As the exhibition’s title suggests, the exhibition focuses on how buildings are used after the architect’s work is finished.

It aims to show buildings in use, in contrast to the majority of architectural photography that often portrays buildings empty, at their point of completion.

“When I used to work in architecture practices, we used to design everything around people and context,” explained Stephenson. “It felt like everything was dictated by those two things and then when we would get projects photographed we’d ask the photographer to omit those two things.”

“The buildings were empty objects – sculptures,” he continued. “It always jarred with me, so in our work we focus on people using space as much as possible.”

The exhibition include numerous photos taken by Stephenson, along with an enclosed screening room, where a film created for the exhibition was played on a dual screen.

“This film is all about the small interactions that occur in and around buildings – between individuals, groups of people and even between people and the buildings,” said Stephenson. “It’s all about the people!”

The film, which was created with artist Sofia Smith and has a soundtrack created by Simon James, contains numerous contemporary buildings from the past 15 years.

Among the buildings featured are Tintagel Castle Bridge by William Matthews Architects, Tate St Ives extension by Jamie Fobert, Sands End Arts and Community Centre by Mae Architects and London Bridge Station by Grimshaw, which were all shortlisted for the Stirling Prize.

The film makes aims to makes people think about the connections between buildings and how people are connected to them.

“Watching Sofia make visual links between buildings that I hadn’t previously considered to have much in common was fascinating,” explained Stephenson.

“There’s a point in the film where we transition from Sands End Community Centre to Tintagel footbridge and it’s seamless – from a community centre in West London to a bridge over the sea in Cornwall!”

“And at London Bridge train station, Simon recorded not just the ambient sound that everyone can hear, but he also recorded the inner guts of the building with contact mics, as well as the sound in the electromagnetic spectrum,” he continued. “All those sounds get layered up in the show and I can’t go through that station now without thinking about them.”

Stephenson hopes that the film will demonstrate how people improve architectural spaces and how they are recorded.

“The history of architectural photography is dominated by empty, glossy, new buildings, photographed before people have come in,” said Stephenson.

“I think there was a fear amongst architects that people ‘mess up their building’ and photographing them empty somehow showed the architecture in a more pure and distilled way,” he continued.

“I think that’s mad. If the people you designed the building for are ‘messing it up’ then maybe there’s something wrong with the building? I’m half joking, but I’ve never documented a space that wasn’t improved by people, or at the very least a sign of life.”

One of the UK’s best-known architectural photographers, Stephenson co-founded film production studio Stephenson& with Smith. Recent projects photographed by Stephenson include a wood-lined community space in east London, a rammed-earth yoga studio to the gardens of Somerset hotel and a rolling bridge in London.

Recent buildings captured on film by Stephenson& include a visitor centre at the UK’s largest sawmill and a school theatre by Jonathan Tuckey Design in London.

The photography is by Agnese Sanvito, unless stated. The film is by Jim Stephenson and Sofia Smith with soundtrack by Simon James.

The Architect Has Left The Building is at RIBA in London until 12 August 2023. See Dezeen Events Guide for an up-to-date list of architecture and design events taking place around the world.

Nature enthusiasts may find themselves interested in beginning wildlife photography but they don’t know where to start. You might take photos of birds with your phone only to find out that they don’t live up to your expectations, often turning out grainy or blurred due to the distance.

As a fellow newcomer to the world of wildlife photography, I can offer a few tips for those just starting out.

Selecting a camera and lens can be a daunting task. There are an abundance of cameras and lenses that are available to those interested in wildlife photography. Your budget can help to narrow down the options, and great photos can be taken on any budget.

Lenses and camera bodies are often sold or rented separately, but can be sold in kits. Many photographers switch out multiple lenses with their camera bodies depending on the subject they are trying to capture.

A telephoto lens is often most helpful when photographing wild birds as they allow you to photograph subjects from greater distances.

Some camera bodies even come with wildlife eye tracking technology, this allows a user to quickly focus on the subject’s eye.

Other useful equipment for the beginner can include lens protection such as a lens cover or lens hood. Tripods and monopods are useful for stabilization, especially with heavier set ups, although handheld shooting has perks as well with its free range of motion. Long distance trips and camping can benefit from back up batteries.

Memory cards are for storing photos, and they have varying capacity and read and write speeds.

Another tip is to do your research before going out into the wilderness. Learn about the three basic settings in photography: shutter speed, ISO and aperture. If you want an easier experience you can shoot in auto, this means the camera automatically adjusts these settings for you.

Go to your local camera store or birding hot spot and ask for tips; people are often happy to share.

It also helps to get comfortable with your camera and take advantage of free resources. YouTube and photography blogs are great places to start.

Additionally, you can pay for a photography workshop, where an experienced photographer may lead you to wildlife hotspots and teach you helpful techniques with real time feedback.

Once you know how to use your camera, you can practice with a stuffed animal outside. Try to focus on the eye of the animal, as the eyes are the “windows to the soul.” When you get comfortable with this, try progressing to birds that are used to humans so they are less likely to flee. Parks, beaches and sanctuaries are great starters for beginners.

You can encourage birds to stop by your own backyard by planting native species and offering clean water.

Pay attention to the foreground and background of your bird as well. You can slowly and quietly adjust your position to avoid a branch covering your bird’s face and to add interesting elements to the foreground and background. Try to capture behavior, as this brings interest to the photo.

When photographing birds in flight with a hand held camera, try to keep your camera as steady as possible, rotating with your body rather than with your hands.

With enough research and practice, you will be getting shots you will want to share with friends and family. Most importantly, do not forget to be respectful to the wildlife and their habitats and have fun.