Toyin Adedokun is a Nigerian visual storyteller and graduate of Business Administration from the Kwara State University. He began his photography journey as an undergraduate, capturing culturally related pictures and portraits of students in the university. His works have been exhibited both on national and international platforms. In this interview, Adedokun speaks on his profession and the challenges.
How did your journey start as a street and documentary photographer?
Most times, I don’t like to box myself into a particular genre, I’m a visual storyteller, and my works revolve around documentary photography and photojournalism, capturing real-life stories of people and places, working with NGOs and other brands that want storytelling for their visibility.
My journey started as a traditional artist, I draw and paint. My photography journey started at the university while offering a course on entrepreneurship. We were meant to learn entrepreneurship outside the wall of the school, so I decided to pursue knowledge in photography. My mum used to be a photographer, but despite this, it never occurred to me until I got to college. Mr Adèbánjí Òkéowó of Banjyte Imagery introduced me to the basics of photography and ever since, it’s been a journey.
Photography seems to have taken new dimensions from what we used to know. What has changed?
The transition from film to digital photography has accelerated in Nigeria, primarily due to the increased availability and affordability of digital cameras and smartphones. This shift has made photography more accessible to a broader population.
We are in the era of social media such as Twitter, Instagram, and Facebook where everyone wants to have a voice, and lots of breaking news here and there, photography has shifted from what it used to be 10 years ago, where it’s all about traditional portraiture, events and few reportages, today the less popular genre such as photojournalism and documentary are now taking over, people are more aware of their environment.
Many Nigerian photographers like myself have taken up the task of documenting and celebrating Nigeria’s diverse cultures and traditions. I belong to a group called StoryHuntersNg which I co-founded with my friend Theadebayomi where we travel across Africa. We currently have over 20 active members, the aim is to bring young talents who are passionate about stories together, to counter stereotypes and showcase the richness and complexity of Nigerian culture through images. This increased focus on cultural representation has provided a fresh perspective and greater authenticity in Nigerian photography.
Also, Nigerian photographers have increasingly collaborated with professionals from other creative fields such as fashion designers, stylists, makeup artists, and models. These collaborations have resulted in innovative projects that merge photography with other art forms, contributing to the evolution of Nigerian photography.
Nigerian photographers have gained recognition on the global stage, with increased participation in international exhibitions, festivals, and photography competitions. This exposure has helped to elevate our profile as Nigerian photographers and contributed to the growth of the industry.
Although every development comes with its pros and cons, a lot of fake news now circulates because people don’t tend to verify the source of news before sharing. Today, every politician has a personal photographer which is not what it used to be.
What are your set goals as a documentary photographer?
My set goals as a documentary photographer/photojournalist are to tell stories that create consciousness around social and environmental issues for change. To strive to present an accurate and unbiased representation of the subject matter I’m documenting, without altering or manipulating the reality to convey emotions, evoke empathy, and create a narrative that resonates with viewers.
With my stories, I also want to bear witness to historical events, and human experiences, ensuring that important stories are preserved for future generations.
What differentiates you from the roadside photographer?
My ability to tell an in-depth story differentiates me from a roadside photographer. I often choose subjects that reflect real-life situations, social issues, cultural practices, historical events, or personal stories.
A story can last for six months, one year, five years, or even more. There is a story I have been working on for the past 3 years, this is because I want to have an in-depth knowledge of the subject matter. I emphasize my storytelling and often aim to create a narrative through my images. I use series of photographs to present a cohesive story or to shed light on a particular issue. On the other hand, a roadside photographer will focus more on the aesthetics of their photographs.
You said you set out to use photography as a tool for social change, how do you mean?
Yes, as a dedicated storyteller, it’s a matter of duty to capture the stark realities, untold struggles, and inspiring resilience of communities grappling with basic needs. Through my stories, I ignite compassion, ignite change. Some of the stories I tell is against the government such as the #EndSars, #EndAsuustrike protest, Flooding in Ogun State, and stories of community with no basic infrastructure such as the photo series ‘Living off the Grid’ which was about Saki – a community in Oyo State with just a few hours of electricity a week, among others.
Have you ever landed yourself into trouble while taking photos?
Haha! I have landed in trouble many times. Most times, shooting in the street is like an extreme sport, I can equate it to a war zone. People are furious by default. I have been locked up for over two hours by the police for taking pictures together with criminals.
The most recent one, sometime in April, I was arrested and arraigned in court. It was a crazy experience but it’s part of the job hazard.
Do you think Nigerians actually appreciate and reckon with street photography?
No, people don’t appreciate street and photojournalism in Nigeria, I think lack of orientation and awareness is the problem. When people see you with a camera on the street, everyone is aggressive, they believe you are intruding in their space. During the Naira scarcity saga, I went on the street, and people were protesting, it’s understandable that everyone is angry but I point a camera, they become aggressive, why are you taking our pictures and all of that, its frustrating, many times I have been attacked.
Do you have the support of your parents?
Yes, my parents supported me, as I said earlier, my mum used to be a studio photographer. My parents are not the type that forces profession on their children, they were always supportive, but they don’t want me to be just another photographer running after people at events like the so-called ‘pa pa pa’ photographers. It got to a time after I graduated from college, they were worried about my future. I remembered them talking to me about opening a studio since I said it’s photography I wanted to do. When I told them about documentary photography, they began to worry because they were not familiar with it. So, they started sending me job opportunities, and they will call to tell me ‘this particular application is on; try and apply,’ it was becoming so overwhelming. There was a time my dad got me a banking job, but I knew that was not what I wanted to do. They tried their best until results started to show, and that’s when their mind became at rest.
Which of your shots do you like most and why?
There is a saying that your first 10000 photographs are your worst photo, I have different images, but the one that struck me is of a clinic where babies are born in the dark. It’s a sad one but I love the fact that I was able to capture that reality.
If you are not a photographer, what would you have become?
If I’m not a photographer, I would be a banker by now.
Where do you see yourself in the next five years?
In five years, I would like to have expanded my scope of work and create a diverse portfolio and be deeply involved in advocacy works. I am also working on the Story Hunters project with my other colleagues so as to give an avenue to like minds which together will change the narrative of Africa’s stories by Africans.
