The Agbogbloshie waste site has really become a crucible for examination of the charitable industrial complex. The richer the African city, the more consumer electronic waste it generates. When I go to Agbogbloshie, I don't see anything I didn't see in Mobile, Alabama.
But once, I thought did. When Westerners go to unfamiliar places, something happens. We photograph something that seems exotic, and the more shocking and unfamiliar, the more valuable the photo. It's interesting to contrast our Western photos of Agbogbloshie to those taken by an African who lived and worked at the place. Western photojournalists (e.g. Kevin McElvaney) earn a better living selling their photos if there's a nice Biblical Halloween Titled Hyperbole around them.
In Nuance 1 and 2, we focused again on Awal Muhammed of Savelugu, Ghana, the guy in his mid-20s who figured out that adding more gasoline - literally - to the ewaste (and tires, mostly) burning fire was a recipe for handouts. On my first visit to Agbo in 2015, he certainly stood out. (And he video calls me too often ever since, see last night).
Today, let's focus on an authority, Oluu Orga, who is everything Awal is not. He also came to Agbogbloshie from the North, he also pushed a cart around the city, but he didn't ever learn to perform fire tricks for the Photojournalist convention (which started in earnest a year after Oluu left).
Oluu Orga didn't have much to spend on film, but he took pictures of his friends doing different jobs.
In the mid 1980s, I returned from 30 months in Africa with 7 undeveloped rolls of film. When they were all developed at once, I could see where my priorities had been. Excited to be in remote Africa, the place I had heard about as primitive and natural and exotic.. many photos apparently were intended to "validate" my time there. More shots of grass roofs than corrugated steel, no pictures of paved roads. When I went through Oluu's photos of his time there, Agbogbloshie finally got real.
But once, I thought did. When Westerners go to unfamiliar places, something happens. We photograph something that seems exotic, and the more shocking and unfamiliar, the more valuable the photo. It's interesting to contrast our Western photos of Agbogbloshie to those taken by an African who lived and worked at the place. Western photojournalists (e.g. Kevin McElvaney) earn a better living selling their photos if there's a nice Biblical Halloween Titled Hyperbole around them.
Today, let's focus on an authority, Oluu Orga, who is everything Awal is not. He also came to Agbogbloshie from the North, he also pushed a cart around the city, but he didn't ever learn to perform fire tricks for the Photojournalist convention (which started in earnest a year after Oluu left).
Oluu Orga didn't have much to spend on film, but he took pictures of his friends doing different jobs.
In the mid 1980s, I returned from 30 months in Africa with 7 undeveloped rolls of film. When they were all developed at once, I could see where my priorities had been. Excited to be in remote Africa, the place I had heard about as primitive and natural and exotic.. many photos apparently were intended to "validate" my time there. More shots of grass roofs than corrugated steel, no pictures of paved roads. When I went through Oluu's photos of his time there, Agbogbloshie finally got real.
