Being A Good Photographer Transcends Talent & Creative Vision - Gina Amama

                      Portrait of Creative Photo Producer, Gina Amama, Photo by Lex Ash

 “It’s not just about capturing what’s in front of the lens but about evoking a feeling, telling a story, or inviting the viewer into a meticulously crafted world.” — Gina Amama

Born in southern Poland to a Polish-Nigerian family, Gina Amama embarked on her educational journey by moving to London for a degree in Art and Design at Camberwell College of Art. Although she initially aimed to pursue fine art, her exploration of photography in her first year — and the vibrant, creative atmosphere of one of London’s most unconventional art colleges, supported by her encouraging teachers — led her to specialize in photography for her BA degree at the London College of Fashion.

Her professional path in photography production began in 2011, initially serving as a production assistant for David Sims, before advancing to one of the world’s most prestigious representation agencies, Art Partner, within their moving image department. Her career took her to New York in 2015, where she worked as a studio manager for Cedric Buchet, followed by a role as an executive producer for Management Artist.

Portrait of Creative Photo Producer, Gina Amama, Courtesy of GenerationX

In 2017, she made a significant move to Lagos, Nigeria, where she has since made her home. Embarking on a new chapter in 2021, she founded Generation X, a boutique agency that she has since been successfully expanding across West Africa.

Throughout her journey in the realm of fashion photography, she has honed a keen eye for visual storytelling and amassed profound industry knowledge, along with an empathetic understanding of the challenges faced by photographers today.

Craat8ev Buxc’s Oluwapelumi Shemuel caught up with the creative photo producer, working from Lagos Island, about her practice. Amama opens up about her creative process, and her dedication to her craft shines through, as does her unique approach to the art of storytelling.

Except:

Gina, in our first conversation pertaining to photography, we talked about Nicéphore Niépce’s view from the window at Le Gras, the famous and first ever photograph captured using a camera obscura, a device that uses pinholes and dark rooms to project images onto a surface. To your best knowledge, what are some unconventional printmaking techniques photographers can employ today?

In the current landscape of photography, there’s a noticeable shift towards revisiting traditional printing methods, which, in my view, represents a brave and commendable effort. This trend is particularly remarkable given the dominance of digital photography, driven by its cost-effectiveness and convenience for commercial projects. Despite these advantages, the resurgence of film photography in recent years signals a growing interest in exploring the tactile and aesthetic qualities unique to analog formats. While it’s true that the art world has always been more receptive to experimentation, the commercial sector’s gradual embrace of film photography suggests a deeper longing within the industry to reconnect with its roots. This resurgence not only highlights a nostalgia for the distinct characteristics of film but also points to a broader appreciation for the craftsmanship involved in traditional photographic processes. The challenges of cost and budget constraints remain significant barriers. However, the increasing incorporation of analog techniques in commercial projects indicates a promising shift towards valuing artistic integrity and diversity in photographic expression.

SYSTEM MAGAZINE, PHOTOGRAPHY: Joshua Woods, FASHION: Ola Ebiti, SKIN: Lauretta Orji, HAIR: Kehinde Are, PRODUCTION: Generation X

Toni Gentilli is a well-known photographer who exposes cyanotypes in her parking lot, makes photo emulsions from plants growing in the alley, uses blood sugar chemistry to create cameraless prints, and generally engages in a tireless practice of curiosity and re-invention. A process she calls “Cyanometer” Do you agree that African photographers have what it takes to innovate the print-making process within our own context, using local materials, etc.?

Absolutely! Creativity, curiosity, and the freedom to explore are the fundamental drivers of the arts. In this context, Nigerian artists and photographers have proven many times that talent and vision can flourish on the global stage regardless of origin or ethnicity. However, it is crucial to address the practical barriers they face, particularly regarding financial support. Experimentation and artistic innovation are not only acts of creativity but also resources. In Nigeria, creative potential is abundant; however, the scarcity of grants and funding significantly hampers the ability of artists to realize their projects to their fullest extent. We should pivot towards creating more accessible funding opportunities for the creative industries. Addressing this gap is not just about nurturing talent; it is also essential for amplifying diverse voices and perspectives in the global art narrative. By investing in the creative endeavors of Nigerian artists, we can unlock a wealth of artistic expression that has the power to inspire, challenge, and enrich the global community.

What’s your most iconic photograph of all time, and who’s behind the photographs?

My passion for photography isn’t anchored to any single image but rather is deeply influenced by the works of the old masters, including Helmut Newton and David Sims. Having had the privilege to work alongside David Sims, I was able to witness his creative process firsthand. This experience profoundly deepened my appreciation for his artistry, offering me invaluable insights into the meticulous attention and innovative approach that define his work. What truly fascinates me about photography is not solely the artist behind the lens but the powerful capacity of photography to capture emotion, fleeting moments, or the ability to construct entire worlds, like photographers Tim Walker or Steven Meisel. Their ability to weave narrative, emotion, and imagination into a single frame resonates with me. It’s not just about capturing what’s in front of the lens but about evoking a feeling, telling a story, or inviting the viewer into a meticulously crafted world.

VOGUE PORTUGAL, PHOTOGRAPHY & STYLING: Daniel Obasi, SKIN: Mike Ukponu & Visage De Couleur, PRODUCTION :  Generation X

You studied photography for a while, correct? What early cameras did you use?

Yes, I have studied fashion photography at the London College of Fashion under the University of Arts London. We were extremely lucky to have access to an equipment room that had a rage of film and digital cameras that we could land without any significant limits. However, my first personal camera was a Canon.

Who were your influences in the early years of photography that really helped you develop an appreciation and, ultimately, a passion for fashion, advertising, and still photography?

There were so many! Paolo Roversi, Mario Testino, Annie Leibovitz, Juergen Teller, and Terry Richardson, to name just a few, each of whom has contributed uniquely to the way I perceive fashion imagery. Among these influences, however, it’s the work of Sally Mann, a figure renowned not for fashion photography but for her intimate documentary work, that resonates with me on a deeper level. Her ability to capture the raw, unfiltered essence of her subjects (mainly her kids) has always moved me.

BOY BROTHER FRIEND, PHOTOGRAPHY & FASHION: Daniel Obasi, SKIN: Lolu + Mike Makeover, HAIR: Kehinde Are, TALENT: Adewunmi Andre, Samiko Odunukwe, Hermes, Uche Uba, Denerele, PRODUCTION: Generation X

“The Artist Way,” shot in Dakar, Senegal, by Nardine Ijewere, is another collaborative project with Generation X for British Vogue and Chanel. Who are the people that appear in the photographs? What was the process to construct those images, and what informed the decisions?

As a photo production company, our primary goal is to bring the client’s or photographer’s vision to life. Our process begins with a dive into the provided mood board and brief, which serve as the foundation for creating the desired world for the shoot. Key initial steps include scouting the perfect locations and assembling a skilled local team tailored to the project’s unique requirements. The Vogue shoot photographed by Nadine was particularly challenging due to the essential involvement of key team members flying in from various countries, alongside the two globally recognized models, Mona Tougaard and Anok Yai. The clothing featured in this shoot was exclusively Chanel, adding another layer of sophistication and brand identity to the project. Therefore, finding locations that could embody and enhance the narrative and mood of the story was crucial. Successfully executing a high-profile shoot comes down to the ability to coordinate with demanding talents and artists, manage logistics across borders, and ensure every detail aligns with the creative vision. We do our best to not only meet but exceed client expectations.

BRITISH VOGUE, PHOTOGRAPHY: Nadine Ijewere, FASHION: Sarr Jamois, PRODUCTION : Generation  X

What was the experience like working with Ayra Star on the project Radar?

Ayra Star is a great artist, not only extremely professional and respectful on set but also very hard-working and responsive to photographers. It’s amazing to see her grow and I hope we shoot with her again…(Laughs)

What makes a good photograph? How do you decide when something you create meets or exceeds your expectations?

That’s a great question. Being a good photographer transcends talent and creative vision; it requires an ongoing commitment to learning and adaptation. In a world where technology evolves at a high-speed pace, a deep understanding of the medium and mastery over light become indispensable. The know-how of the latest digital advancements while also possessing a solid foundation in analog techniques, particularly the nuances of how light behaves and how it can be manipulated to achieve desired effects. Knowing where we came from to understand where are we going philosophy. Watching photographers struggle (sadly happens a lot in Nigeria) with lighting fundamentals is very painful and disheartening. Moreover, technical and innovative vision must be complemented by the ability to connect with subjects on a personal level. Creating a comfortable environment is key. Emotional intelligence mixed with the knowledge of your craft is the receipt.

REMA PR Shoot, PHOTOGRAPHY : Richie Igunma, FASHION: Pat, SKIN:  Onome By Maraki, SFX: CarinaSFX, SET DESIGN:  Gbenga Ayeblue, PRODUCTION :  Genaration X

You were the project coordinator for the just concluded major art event in Lagos held at the Tafawa Balewa Square that showcased the works of eighty artists from Nigeria, Africa, and the diaspora, responding in different ways to the theme of “Refuge” between February 3–10, 2024. What was your opinion about the fourth edition of the Lagos Biennial?

This is my second time working with LB, and while the project presents its own set of challenges, the outcome always fills me with amazement. Collaborating with multiple artists from varied backgrounds adds layers of complexity but also richness to the work. Moreover, navigating the vast expanse of TBS Square in Lagos posed its own unique challenges. Despite these obstacles, we succeeded in pulling off the project. This experience not only attests to our collective ability to overcome difficulties but also serves as a testament to the power of teamwork and creative synergy. Every time, the end result is a rewarding confirmation of our hard work and dedication.

How do you describe your photography to someone who’s not familiar with it?

The role of a photo producer in Nigeria feels relatively new, often leading to confusion and mistaken assumptions about my duties. A common misunderstanding I encounter is the belief that I also serve as the photographer, which is not the case. My role as a photo producer involves working closely with both the photographer and the client, acting as the pivotal link that navigates the gap between creative aspirations and the realities of on-the-ground production.

10 MEN MAGAZINE, PHOTOGRAPHY: Christina Ebenezer, FASHION: Ola Ebiti, GROOMING: Mike Makeover, TALENT: Lawal Badmus, Olaniyan Olamijuwon

More than just coordinating logistics, my job is to ensure that the envisioned project becomes achievable, balancing creative desires with practical possibilities. This involves detailed planning, problem-solving, and constant communication to keep the project aligned with its goals. Beyond these responsibilities, I compare my role on set to that of a nurturing figure, ensuring that everyone involved feels comfortable and safe. This aspect of my work is crucial, as it directly impacts the team’s ability to work effectively and maintain a positive, productive environment.

In summary, being a photo producer is about facilitating the smooth execution of a project from concept to completion, ensuring that the creative vision is realized while also managing the logistical and human elements of the production. It’s a role that demands a unique blend of organizational skills, empathy, and a deep understanding of both the creative, technical and practical sides of photography.

VOGUE US, PHOTOGRAPHY: Pieter Hugo, ALL LOOKS: Keneth Ize, PRODUCTION: Generation X

SHORT PROFILE

Name: Gina Amama

DOB: September 13, 1985

Place of birth: Southern Poland

Occupation: Creative Photo Producer