Showing posts with label Africa photography. Show all posts
Showing posts with label Africa photography. Show all posts

Tony Karumba


Being an albino in Africa is not only difficult but also very dangerous. 
There is a real “hunt” on them in Tanzania and Burundi. 
People believe that the body parts of albinos bring wealth and luck. 
For example, fishermen are making fishing nets out of their hair because they believe it will bring abundance and lots of fish.
 
International organizations offer camps where albinos can live and be protected. 







Lalla Essaydi
















Lalla Essaydi, 1956, is a fine art photographer from Morocco. She received an MFA at the School of the Museum of Fine Arts in Boston. Besides photography she uses other media as painting, film and installations. Her art often contains islamic calligraphy in combination with the representation of the female body. She addresses the complex reality of the Arab female identity. She has looked at the western painting tradition, recreating the paintings in an orientalist setting. In Les Femmes du Maroc, all the props used, including the background and the clothes, are covered in caligraphy. The calligraphy is even on the bodies of the females with the use of henna. Essaydi has exhibited extensively, is represented by numerous galleries and her work is in private and public collections. The following images come from the series Les Femmes du Maroc and Harem.

Seydou Keita


Considered to be one the important precursors of African photography, Seydou Keita was born in Bamako (Mali) in 1920. Like many of his contemporaries, nothing particularly predestined him to become a photographer.
His uncles bring back a camera from a trip to Senegal, and the young Seydou is fascinated. He starts photographing his relatives and discovers a deep passion for this art.
Although he makes furniture for a living, he spends much time with Pierre Garnier who has his own studio.

There, Seydou Keita learns the secrets of the trade and soon realises that there was an enormous demand for individual pictures. This drives him to open his own studio in 1948. Up until then, whites had had a lot of trouble convincing local population to have their pictures taken, because they were so afraid to lose their identity.
With Keita it\'s different: he is one of them and permits them to choose their own picture that will be left for the close family.

From then on, we see the opposite effect: people queue up to have their pictures taken. This is to become the great specialty of the malinese artist.
Slowly he develops his own style, in which one finds accents of Mountaga Kouyaté\'s work, an intellectual that fought a bitter personal battle for the independence of Soedan.
To look their best, that is the sole desire of people in front of Keita\'s lens. Keita even gives them costumes, accessories and furniture to further enhance their appearance.Men, women and children, all look perfectly elegant. If we look beyond the aesthetics of the black-and-white pictures, Seydou shows us a portrait of Malinese society in full transition.

Finally Seydou is to become the country\'s official photographer, and will stop working in 1977. Nevertheless, it will be many years before his work is noted at the famous \"Festival of African Photography\".