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The South African snapper who’s gone back to basics

In years gone by, the role of photography in journalism was as important, if not more important than the actual words that described the story. Without an image to illustrate the story, it was nowhere near as strong. Images filled the front pages of our newspapers, able to stand on their own and tell the story without words.

But in this new world of fast-food, consumer journalism, things have changed. Media outlets are happy to run almost any images on the pages of their newspapers and websites. It is no longer about quality; it is about having any image from the story as quickly as possible, no matter the quality.

Unfortunately, the role of the photographer seems to have changed as well: many media outlets have got rid of their staff photographers, relying on libraries and whatever they can glean from the internet. This has forced the stalwarts, these phenomenal photographers dedicated to their craft, to seek out other ways of plying their trade.

One such photographer, who of his left of his own accord before this all happened is Mujahid Safodien. Muj, as he is affectionately known by those in the industry, is what I would call a real photographer. He has the ability to see images and stories where the rest of us see nothing.

AFP PHOTO/MUJAHID SAFODIEN
AFP PHOTO/MUJAHID SAFODIEN

Safodien first picked up a camera in Cape Town in 1994 and his photography was an extension of his activism. He has worked for many national newspapers and wire agencies during his 21 years behind the lens. Over these years, he has taken many iconic images documenting the changes in South Africa. But out of all of these one moment that sticks in his memory.

“I will never forget taking pictures of Nelson Mandela when he made his speech as President of South Africa, it has stayed with me all the years,” Safodien says.

But when asked about his favourite pictures, it is not one of his fantastic press images that he calls up.

“My favourite pictures are the ones of my children, documenting their lives is a non-stop lifelong photographic project,” says Safodine.

He does not consider himself a photojournalist, or even a photographer. “I am a storyteller, a person with a camera, I am drawn to documentary photography but make most of my income in photojournalism,” he says.

Safodine is not your typical gung-ho photojournalist. There’s no sense of bravado about when talks about what he does for a living, nor any trace of the ego that’s often mistaken for a job requirement. In fact, he is most probably the most unassuming and friendly person you will ever meet. Personally I think that this is one of the reasons that he manages to make the images that he does. He somehow blends into the background and always walks away with images that are exceptional.

Safodien started his career working on film cameras, but as the needs of the industry changed he moved over to digital. However, he has once again picked up his trusty film Leica and is currently working on a project called Back TO Basics.

“I am going back to the roots of photography, to remind myself of the fundamentals, ” he says, “On film you have to use your imagination, whereas on digital you just delete the pictures you don’t want.”

Safodine believes that all photographers get stuck in a routine and it would be good for any photographer to do something that reminds them of the fundamentals.

“I hope to learn more about my photography and that’s why I am doing it,” he adds.

Bullets used by police and military during raids at the Jeppie Hostels during the recent Xenophobia
Bullets used by police and military during raids at the
Jeppe hostels during the recent xenophobia outbreaks.

Safodien believes that as photographers, sometimes we need to go back in order to go forward.

While many photographers are torn on the subject of social media and platforms like Instagram and there, have been raging debates online for years about how these platforms are killing professional photography.

“Instagram and other social media are important,” says Safodien, “As they could be used to promote your ideas as a photographer, there is a place for it,  but it’s how you approach it that is important.

“In the end you will always be able to tell the difference between a cell phone picture or a picture taken by a professional camera,” he adds.

He encourages youngsters who would like to take up photography as a career to follow their hearts. “Believe in yourself and invest in yourself because nobody else will. Make images, no matter what,” he says.

Safodine says there will always be a place for visual storytellers because photography has no words, it is a language on its own and is spoken and understood by everybody.

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