Ty of and in us

Mail & Guardian - - Photography -

was: You might see that woman as go­ing through a lot of shit but at the same time, why can’t we see her as some­one who is con­tribut­ing to the com­mu­nity be­cause she is sell­ing veg­gies and stuff to the com­mu­nity? Why can’t we see her as a provider? So from then on, I had this thing of shoot­ing peo­ple who aren’t really heard in the com­mu­nity.

I shot the re­cy­clers who were here [in Mabo­neng]. They are from Le­sotho. They were telling me about how much money they make in a month and they have fam­i­lies back in Le­sotho and they send money home. The rea­son why they wear dirty clothes is be­cause the work re­quires that they wear it.

They are not home­less peo­ple. There are a lot of mis­con­cep­tions we have about our own com­mu­nity. Also with taxi driv­ers. That was my main thing be­cause I use taxis all the time.

I like de­sat­u­rat­ing pic­tures a lot. De­sat­u­ra­tion is like my thing. The dom­i­nant colour, I make it pop a bit more. That is how I edit my pic­tures. It’s the same process I have been us­ing since I started us­ing [the edit­ing soft­ware] Light­room. I feel like it makes them more raw even. I don’t know if that is what takes away that poverty [porn] ele­ment, I don’t know.

What I’m proud of is that my work has been able to, to some ex­tent, change how peo­ple see their own spa­ces, not just the neg­a­tive parts to it. You are able to ex­plore other parts of it be­cause I have ap­proached it in this way.

Now, I want to tell the same sto­ries I have been telling, but now I want to work on them prop­erly, whereas my projects would come un­in­ten­tion­ally.

When you say to peo­ple you are telling a story about some­thing, you are do­ing it with pic­tures and peo­ple think there is some writ­ing that should go with that.

I think there are ways where we can do a proper ed­i­to­rial shoot but it can still come out as a story about the kinds of places that I usu­ally fre­quent.

Our spa­ces have al­ways been used for doc­u­men­tary but I want to look at just the beauty that was in our houses grow­ing up, like the room di­viders and stuff, the beauty that comes with that.

of sub­jects, but his main fo­cus is on the un­canny beauty of black spa­ces

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