Photographed at St. Timothy Catholic Church in Lagos, Uka Nne (ii) shows three women in frame standing in line with their CWO (Catholic Women's Organization) blouse and head scarf visible during a Mothering Sunday thanksgiving mass. As the priest speaks about the value of women in the world, my church friend's mother turns around to face my camera realising who is behind it. Moments later, they would dance forward to the altar. This image looks at the everyday choreography of faith, womanhood, and recognition within Nigeria’s communal spaces.

Uka Nne (ii) 

The oldest leather tannery in Nigeria has served played a significant role in the leather industry where Nigeria mostly exports to foreign countries but now is gradually attracting local artisans that are producing creative solutions for the use of leather.

Leather Pits

This is a close-up portrait that focuses intensely on the eyes of a person whose face is partially obscured.  The person is wrapped in what appears to be a colorful fabric or scarf that covers the lower half of their face, leaving only their eyes and the upper bridge of their nose visible. The fabric is patterned with broad vertical stripes, including a prominent yellow-orange and a white band across the nose, framed by darker colors, possibly green or deep blue, at the edges and around the forehead. The colors in the fabric are rich and slightly muted, contributing to a somewhat vintage or moody feel.

VEILED

A traveller tending to his horse and posing for a portrait at the bank of an oasis in the heart of the desert.

Loyal Steed

On the waters of Makoko, fishermen steer their canoes beneath the Third Mainland Bridge a meeting of Lagos’s past and present. Here, tradition flows beside modernity, and life on the lagoon endures in the city’s restless rhythm.

Between the Bridge and the Lagoon

Most people who pass here are so consumed by the prospects of the destination, that they fail to notice the excellence of the journey, and the uniqueness of the trail. I couldn’t ignore it, and after seeing where this road led, I was glad I took the time to enjoy the simple joys of the road. The green field up ahead is Nigeria's biggest highland tea plantation. It is an amazing place, and thousands of people have endured the difficult journey up the Mambilla plateau just to see it.  All of them tell tales of the plantation with loads of pictures to prove, but very few remember what the road to Kakara looks, or feels like. This image was taken on my first of many trips to Kakara, before I ever set eyes on the plantation itself. And till today, I find the view of this road from this spot more impressive than the plantation itself. We miss out on a lot when we focus only on the destination.  should all try to enjoy the road sometimes.

The road to Kakara

This is Abeokuta, the gateway state, The land adorned delicately with adire; a tapestry of colourful patterns and geometric shapes. Surrounded by rocks, The fortress of its gods echoing the songs of victory. Abeokuta, the mother of the playwright, the musician, the actor, the leader the home of the greats.

ODE TO ABEOKUTA

This photograph is just a photograph. No story behind it as it is up to you to determine whatever Mr. Okada man is.

MR. OKADA MAN

From wooden stages to floodlit arenas, this image traces the journey of creative endurance — artists, audiences, and a nation learning to take up space, one leap at a time.

The Long Run

In this powerful black and white portrait, a face adorned with delicate flowers holds a silent story. Water droplets streak down the subject's serene expression, capturing a moment of bittersweet emotion, resilience, and connection to nature. The gentle grip on the sprig of leaves and blossoms adds a touch of hope amidst the silence, reminding us of the delicate balance between strength and vulnerability. This evocative image speaks to the beauty found in raw emotion and the quiet power of the natural world.

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