๐๐ก๐๐ง๐ ๐ข๐ง๐ ๐๐ก๐จ๐ญ๐จ๐ ๐ซ๐๐ฉ๐ก๐ฒ ๐ ๐จ๐ซ๐๐ฏ๐๐ซ: ๐๐ก๐ ๐๐๐ ๐๐ฑ๐ฉ๐๐ซ๐ข๐๐ง๐๐ ๐๐๐ง๐ญ๐ซ๐
๐ต๐ฆ: ‘๐๐๐ฆ๐ ๐ด๐๐๐๐๐ฆ๐
For twenty-three years, I have carried a dream quietly in my heart. A dream of a sanctuary for photography in Nigeria.
A place where the past, present, and future of image-making meet under one roof.
A place where young dreamers can walk in uncertain and walk out inspired.
A place where memory lives in paper, film, metal, glass, and pixels.
๐๐ก๐๐ญ ๐๐ซ๐๐๐ฆ ๐ข๐ฌ ๐ง๐จ๐ฐ ๐๐ซ๐๐๐ญ๐ก๐ข๐ง๐ .
This evening, I received a call that left me stunned. The kind of call that reminds you destiny has its own timetable. On the line was my dear friend, the father of modern Nigerian photography, ๐๐จ๐ง ๐๐๐ซ๐๐๐ซ.
โ๐๐๐,โ he said, in that familiar voice that carries decades of experience, โI have thousands of photography magazines for you, from 1986 till today. Complete runs. No missing titles.โ
For a moment, I was speechless. Then he gently reminded me of the years when I had shared with him my treasured collections of the ๐๐ซ๐ข๐ญ๐ข๐ฌ๐ก ๐๐จ๐ฎ๐ซ๐ง๐๐ฅ ๐จ๐ ๐๐ก๐จ๐ญ๐จ๐ ๐ซ๐๐ฉ๐ก๐ฒ. Issues that themselves chronicled the changing face of photography across continents and generations.
In that instant, I knew something historic was unfolding.
These magazines, preserved, protected, and now gifted, will form a powerful spine of the ๐๐๐ ๐๐ฑ๐ฉ๐๐ซ๐ข๐๐ง๐๐ ๐๐๐ง๐ญ๐ซ๐ ๐๐ข๐๐ซ๐๐ซ๐ฒ.
And what a library it will be.
From the United Kingdom alone, our shelves will carry some of the most respected photography publications in the world.
The legendary ๐๐ซ๐ข๐ญ๐ข๐ฌ๐ก ๐๐จ๐ฎ๐ซ๐ง๐๐ฅ ๐จ๐ ๐๐ก๐จ๐ญ๐จ๐ ๐ซ๐๐ฉ๐ก๐ฒ, founded in ๐๐๐๐ and the oldest photography magazine still in existence, will sit proudly among contemporary titles that have shaped discourse and practice since the 1980s.
Decades of British publications, from practical technique magazines to academic journals exploring photographic theory, culture, and criticism, will be available to anyone ready to learn.
From the rich, glossy pages that introduced new cameras and emerging talents in the late analogue eraโฆ
To the transitional issues that debated film versus digital in the 1990s and early 2000sโฆ
To the present-day editions examining AI, mirrorless systems, and the democratisation of image-makingโฆ
Our library will be a time capsule of photographic evolution.
Professional and amateur photographers in Nigeria, and across West Africa, are about to enter a new era.
If you are ready to learn, to unlearn, and to relearn, the ๐๐๐ ๐๐ฑ๐ฉ๐๐ซ๐ข๐๐ง๐๐ ๐๐๐ง๐ญ๐ซ๐ will be your classroom.
But beyond the library lies something even more magical. The museum.
Here, the history of photography, global and Nigerian, will unfold before your eyes.
You will encounter the humble pinhole camera, where light sneaks through a tiny aperture to paint its quiet miracle. No lens. No electronics. Just physics and patience.
You will see early box cameras, sturdy and democratic, which brought photography into homes and onto streets.
You will stand before twin-lens reflex cameras, whose waist-level viewfinders framed generations of portraits.
You will admire 35mm SLRs, the workhorses of journalists and artists, cameras that documented wars, independence movements, weddings, coronations, and everyday life.
There will be medium and large-format cameras, majestic in their precision, capable of rendering breathtaking detail.
You will witness the arrival of the digital revolution, early DSLRs that changed workflow forever.
And finally, you will confront the astonishing reality of todayโs mobile phones, some carrying sensors exceeding 200 megapixels, devices that have placed extraordinary photographic power in the palm of nearly every human being.
From wood and brass to aluminium and silicon. From ground glass to touchscreen. From dark cloth to cloud storage.
Every camera will tell a story, not only of technology, but of humanityโs relentless desire to preserve memory.
And then, the darkroom.
Ah, the darkroom.
That sacred chamber of red light and patience. Where negatives are lowered gently into trays of developer, where images rise slowly from blank paper like spirits revealing themselves. Where the agitation of chemicals, the discipline of timing, and the final fixing bath turn fleeting light into permanence.
Many young photographers have never seen this magic. They will now.
The ๐๐๐ ๐๐ฑ๐ฉ๐๐ซ๐ข๐๐ง๐๐ ๐๐๐ง๐ญ๐ซ๐ is not merely a building. It is a bridge, between generations, between analogue and digital, between Nigeriaโs photographic pioneers and its future innovators.
The history of photography, from its global beginnings in the 19th century to the rise of Nigerian masters who documented our independence, our festivals, our leaders, our resilience, will live here.
Actual cameras.
Actual archives.
Actual stories.
And at the heart of this unfolding chapter stands my dear friend, ๐๐จ๐ง ๐๐๐ซ๐๐๐ซ, whose generosity and foresight have added immeasurable depth to this dream.
As we race against time to open our doors to the public, especially to the younger generation who must understand where we are coming from, I make this heartfelt appeal: If you have photography books resting silently on your shelvesโฆ
If you have magazines you once treasured but no longer readโฆ
If you believe knowledge should circulate rather than sleepโฆ
Please donate them to the ๐๐๐ ๐๐ฑ๐ฉ๐๐ซ๐ข๐๐ง๐๐ ๐๐๐ง๐ญ๐ซ๐ ๐๐ข๐๐ซ๐๐ซ๐ฒ.
Let them educate.
Let them inspire.
Let them ignite new dreams.
After twenty-three years, the vision is no longer distant. It is closer than ever. And I stand here, deeply grateful, profoundly excited, and full of anticipation.
The ๐๐๐ ๐๐ฑ๐ฉ๐๐ซ๐ข๐๐ง๐๐ ๐๐๐ง๐ญ๐ซ๐ is coming.
And photography in Nigeria, and indeed Africa, will never be the same.
