Photobook Conversations #8 | Paul Ninson: “Engagement with photobooks is on the rise in Africa”

Photobook Conversations is edited by Ana Casas Broda (Hydra + Fotografía), Anshika Varma (Offset Projects) and Duncan Wooldridge (Manchester Metropolitan University). Sitting alongside the earlier Writer Conversations (1000 Words, 2023), edited by Lucy Soutter and Duncan Wooldridge, and Curator Conversations (1000 Words, 2021), edited by Tim Clark, it completes the series exploring the ways our understanding and experience of photography is mediated through exhibitions, writing and publishing.

Paul Ninson | Photobook Conversations #8 | 4 Apr 2025

Paul Ninson is an educator, scholar, curator, photographer, and cultural practitioner. In 2022 he established Africa’s biggest photography library, nested within Dikan Center, Accra, Ghana, a non-profit institution dedicated to shaping the next generation of Africa’s creative leaders. Having witnessed firsthand the impact of young African photographers and creatives being denied resources, Ninson’s mission is to impact lives through the transformative power of visual education. He continually strives to make visual education accessible for all through educational programmes, curating exhibitions, cultural heritage and archiving, as well as community engagement.

What were the encounters which started your relationship with photobooks?

It all began with my love for books and reading, an infection from my father. Reading was a big part of my upbringing, whether it was the Bible or Ladybird books. Photobooks were my first love and go-to for inspiration and learning when I began my photography journey. Oral stories from my grandparents exposed me to the art of storytelling, and I guess photography was the best medium for me to express myself more fully. The emergence of a photobook culture at the Dikan Center is deeply rooted in the need for equity and accessibility to knowledge, specifically African knowledge, for creatives in Ghana and beyond. It was extremely hard to access books and materials on photography and visual culture in Africa. To be an African visual storyteller, it is important to know African visual history. I remember the shock I felt when I got to New York, seeing so many African materials in various libraries yet not accessible in Ghana or other parts of Africa. These encounters influenced my quest to build the Dikan ecosystem as a way of educating the African creative leader.

The impetus to establish the Dikan Center was to educate through books, materials and programming. Photobooks here are not just collections of photographs, but curated experiences that reflect the complexities and beauty of African life. This dedication to cultivating a photobook culture is about affirming the value of our stories and ensuring they resonate not just within Africa, but globally, thus bridging cultural gaps and fostering a deeper understanding of the continent and its history.

What is your process for arriving at decisions about books and the projects that you undertake?

The history of photobooks in Africa has greatly influenced my initiative to create Africa’s first and largest photographic library. Initially, photobooks in Africa were mainly produced by outsiders during the colonial era, focusing on ethnographic views that didn’t truly reflect African life. However, post-independence, African photographers began using photobooks to showcase their own stories and culture, which inspired me. Seeing how African photographers like Seydou Keïta and Malick Sidibé, as well as contemporary artists such as Zanele Muholi, have used photobooks to challenge stereotypes and celebrate African identities motivated me to create a space in which this rich heritage could be preserved and appreciated widely. This led to the establishment of a library that not only houses photobooks but also supports a broader understanding of African visual culture. Through this library, my goal has been to make African visual culture accessible to both Africans and the global community, promoting exhibitions, research and educational programmes that expand on the narratives these photobooks offer. This initiative is about honouring our past whilst shaping a future narrative that reflects the true diversity and dynamism of African cultures.

The guiding principles for selecting and sourcing at the Dikan Center are deeply rooted in our mission to reflect the true diversity and richness of the continent’s knowledge systems. We prioritise works that offer new insights, challenge stereotypes and fill knowledge gaps in African visual history. Each selection is considered for its potential to contribute significantly to educational programmes, stimulate scholarly research and enhance public understanding of art and culture. We seek to increase the African collection, despite the considerable financial costs.

How do you balance choices between working with highly specific materials or processes, and the desire for access?

The motivation to start our own publishing programme stemmed from a critical look at the global publishing landscape, where African voices were significantly underrepresented. By establishing a dedicated publishing programme, we are able to support African photographers, researchers and writers in creating works that authentically represent their cultures and stories. This initiative also stems from a desire to have control over the narratives we share, ensuring that they are told with the dignity and depth that is often missing from outside portrayals of Africa.

The state of photobook publishing in Africa is at a pivotal moment, characterised by a growing recognition of its value as a medium for storytelling. The future looks bright, as more institutions and initiatives like Dikan emerge to support and promote photobook projects. Photobooks serve as essential educational resources at Dikan, providing unique material for curatorial work, enriching our archives and supporting various educational and development programmes. They offer tangible insights and historical records that are indispensable for research and teaching.

What is the public for a photobook? Who do you think of as your audience?

The photobook, along with books and archival materials, is the cornerstone of Dikan’s ecosystem, acting as both a documentation and preservation of African history. It captures the essence of eras, movements and changes across the continent, offering future generations a well-recorded and accessible history of indigenous knowledge systems.

The audience for our photobooks is incredibly diverse, encompassing anyone from scholars and students to artists and general readers across the globe. We specifically aim to engage those who are directly impacted by the narratives we present, including African communities and diasporas seeking connections with their respective heritages. Engagement with photobooks is on the rise in Africa, driven by an increasing appreciation for their role in preserving culture and history. Promoting their educational and aesthetic values is essential to building further interest and understanding of their significance.

How important is it for photobooks to reach other continents?

International distribution is crucial not only for the sustainability of photobook projects but also for promoting cross-cultural understanding. As a curator and publisher, global distribution expands the impact of our work, enabling African stories to reach a worldwide audience and contribute to a more inclusive global narrative. Whilst continually aiming for international distribution, we also remain committed to maintaining a balance that respects and promotes localised value alongside global recognition.

What is the place of language and writing in a book of photographs?

Language and narrative are central to the impact of our photobooks and publications, providing essential context and depth to the visual content. The interplay between image and text in our books is carefully crafted to enhance the reader’s understanding and engagement with the material. Whilst photobooks are powerful research tools, they are most effective when used in conjunction with other forms of media. For the most part, there isn’t a great difference between my approach to curating an exhibition and creating a photobook, just as the text or captions for an exhibition, so as the text and images relate. This multimedia approach allows for a richer exploration of topics, inserting photobooks within a larger, more dynamic landscape that includes digital platforms, exhibitions and interactive archives. We are seeking to go beyond photobooks as a mere static form. I am currently working on a book on African music, in which I am including links to a dedicated website for other forms such as augmented reality, video and so on.

Who have been the models or templates for your own activities?

Influential figures in the field of photography and cultural preservation have greatly shaped my approach and vision for Dikan. Particularly, organisations such as the Walther Collection have been instrumental in highlighting the importance of preserving and showcasing African photography. These figures and institutions serve as benchmarks for our work at Dikan, inspiring our efforts to create a sustainable and impactful ecosystem of visual culture. We aspire for a fair world in which Africans can have equal access to African knowledge.

What would make a better photobook ecosystem?

Improvements could include greater support for local publishers, initiatives to foster collaborations across different media and increased funding and resources for publishing projects. As a publication and journal, Dikan Press can play a significant role here. Major publishers could have a profound impact by partnering with local institutions to co-publish and distribute photobooks, ensuring these publications are accessible and relevant locally whilst also reaching an international audience. This approach would not only amplify African voices but also enrich the global literary and artistic landscape with diverse African perspectives.♦

Further interviews in the Photobook Conversations series can be read here

Images:

1-Paul Ninson © Ernest Ankomah

2-Library books at Dikan Center, Accra, Ghana

1000 Words favourites

• Renée Mussai on exhibitions as sites of dialogue, critique and activism

• Roxana Marcoci navigates curatorial practice in the digital age

• Tanvi Mishra reviews Felipe Romero Beltrán’s Dialect

• Discover London’s top five photography galleries

• Tim Clark in conversation with Hayward Gallery’s Ralph Rugoff on Hiroshi Sugimoto

• Academic rigour and essayistic freedom as told by Taous Dahmani

• Shana Lopes reviews Agnieszka Sosnowska’s För