Elsie and I first crossed paths at the University of Westminster in England while pursuing our Bachelor of Arts (B.A.) in Photography. Renowned for its excellence in media studies and research, the university offered a course that was both intellectually stimulating and deeply insightful. As a Kenyan living in the United Kingdom (UK), I often found myself reflecting on the contrast between insider and outsider perspectives in photography. This became especially evident when discussing the medium’s power, its role in representation, and its complex history since its inception in 1839. These debates, which began with photography’s birth, remain highly relevant today.

The photobook, a medium that marries imagery and narrative, emerged soon after the invention of photography. As early as 1843, pioneers like Anna Atkins and William Henry Fox Talbot were producing groundbreaking works that combined photographs with text (Badger, 2015). Despite the long history of photobooks, global narratives have largely focused on technological advancements, often ignoring significant contributions from regions such as Africa. During our time at Westminster, we noticed this gap acutely: while the university library boasted an extensive collection of photography resources, photobooks by African photographers—especially those from East Africa—were glaringly absent.

As practising photographers from East Africa, this realisation was profoundly personal. Armed with a combination of practical skills and theoretical insights into photography’s potential for storytelling, representation, and archiving, we resolved to address this gap. This led to the conception of a digital library dedicated to photobooks by East African photographers. The rise of the photobook as a collaborative medium—melding the talents of artists, editors, and designers to craft visual narratives—has made such an initiative especially timely.

Photography plays a pivotal role in shaping cultural identity and national belonging. Scholars such as Tina Campt (2012) have explored how photography acts as a critical tool for articulating complex relationships with identity. Historically, photography’s narrative in Africa has been shaped by colonial and anthropological perspectives, often reinforcing the Western gaze. However, African and Black photographers have long recognised the power of the medium, using it to document their communities and assert agency in storytelling. This underscores the vital importance of creating, preserving, and disseminating archives—whether physical or digital. Today, a new generation of African photographers is disrupting entrenched visual tropes, redefining how Africa is portrayed globally.

As Tamara Rhodes (2014) notes, the role of libraries is evolving. Once confined to physical spaces of concrete and glass, libraries are increasingly becoming dynamic hubs of culture and community. While East Africa continues to build physical libraries, it is imperative to prioritise digital spaces for archiving and sharing cultural artefacts. Libraries are repositories of collective memory, essential for preserving the past and informing the future. Photobooks, as rich cultural documents, must be included in these efforts.

Producing photobooks, however, is not without challenges. The process requires significant resources, including funding, collaboration, and technical expertise. Despite these hurdles, East African photographers have already produced compelling works, many of which remain undiscovered or inaccessible. Our mission is to uncover these photobooks and make them available to diverse audiences, from scholars and students to the general public. By amplifying these works, we aim to inspire a deeper engagement with East African photography and encourage greater representation of the region in the global photobook market.

In doing so, we hope to contribute to a broader movement that challenges traditional narratives, showcases the talent of East African photographers, and ensures their stories are preserved for generations to come.

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BIBLIOGRAPHY

Badger, Gerry. “Why Photobooks are Important” Revistazum, ZUM MAGAZINE, https://revistazum.com.br/en/revista-zum-8/fotolivros/

Campt, M. Tina “Image Matters: Archive, Photography, and the African Diaspora in Europe.” Duke University Press, 2012. ProQuest Ebook Central,
http://ebookcentral.proquest.com/lib/westminster/detail.action?docID=1173014

Helff, Sissy and Michels, Stefanie. “Global Photographies Memory – History – Archives.”2018 JSTOR

Rhodes Tamara. “A living, breathing revolution: How libraries can use ‘living archives’ to support, engage, and document social movements.” 2014 Sage Journal, doi:10.1177/0340035214526536

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