Leica Ambassador Ramzi Mansour is known for his emotive black-and-white photography. We caught up with him to find out more about his photographic process and what we can expect from his upcoming exhibition with Martin and Sam Osner titled Memoirs of Light.

When and how did you first get into photography?

I had always been interested in pictures and movies, in the visual arts, you could say. During the pandemic, I picked up a camera one day and started playing around with taking photos of my family. I had plenty of time on my hands so I used the opportunity to immerse myself in photography and studying light which appeals to me.

How would you describe your work in four words?

Raw, sensual, authentic, emotive.

What draws you to capturing the human form? Have you always preferred capturing people over objects or spaces?

The core essence of my photography to date is really about capturing the emotion in my subject. I dabbled with different forms of photography, including landscapes and nature shots, but I kept coming back to the connection between myself and another human being. This really inspired me to create artworks within my photographs.

You manage to capture a sense of intimacy and emotion in your work. How do you go about approaching a subject?

The process for me is about creating a safe environment where honesty is foregrounded as we explore vulnerability within the framework of what we are creating. I try to be as authentic as possible to allow the subject to reciprocate the emotion we are working towards.

How do you work to get the best out of your subjects?

I think of every subject as my wife, my daughter, my mother or sister. If it’s a photo that I wouldn’t take of them, then I won’t take it of my subject. This integrity is the anchor to my process. I earn their trust where they feel safe and comfortable to explore the emotional requirement we need for the photograph. And we laugh a lot on set!

Whose work do you admire?

I really admire Peter Lindbergh’s work for the chic storytelling in his work; Vincent Peters for his sensational portraits and use of light; and Allan Schaller for his ground-breaking street photography style and his mastery of geometric shapes.

What is the concept behind Memoirs of Light?

The concept was to create a timeless and ethereal body of work that would showcase the raw vulnerability of the human condition through a modern female aesthetic and, ultimately, to tell the story of hope through light.

How did this exhibition come about? 

I wanted to challenge myself to stretch beyond my signature black-and-white style to mixed media fine-art photography. It just so happened that the Osner Gallery were looking for someone to represent in that particular space and so it was a serendipitous meeting of minds. I was taken aback by the authenticity of Martin and Sam Osner and knew that this match would allow all of us to grow and create something special.

What was the most challenging aspect of creating work for this exhibition?

Thinking outside the box, for sure. Going from a photographic still to being able to incorporate my signature photographic DNA, but now in an art form – it is something very new for me. This required a new level of vulnerability for me; trusting that I could not only include my fundamental form but also transcend it to a fresh, unknown outcome.

What’s your best piece of advice for the amateur, everyday photographer?

I have three pieces of advice: The best camera you’ll ever have is the one on you; as long as your intention is pure, don’t worry about the outcome; and trust is earned not given.

Any exciting projects coming up for the latter half of 2023?

My wife, Nicole, and I have been talking about producing another book. We released Resilience, a not-for-profit book exploring the journeys of South African women living with cancer, in 2021. Perhaps looking at doing an exhibition in Europe. But for now, spending time with my wife and children and enjoying every moment that this rollercoaster of life offers. 

Memoirs of Light featuring works by Ramzi Mansour, Martin and Samantha Lee Osner is on from 16 March until 8 April 2023 at The Argyle in Woodstock, Cape Town.

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Cellphone towers disguised as palm trees, massive electricity pylons and beaten paths are just some of the topics that young Capetonian photographer Dillon Marsh has zoomed in on.

He’s completely taken by how human-made elements interact with landscapes and the environment. His newest series, For What It’s Worth shows copper mines with thought-provoking computer-generated imagery (CGI) elements that represent the amount of ore extracted in proportion with the landscape. Having exhibited in London, Paris and Switzerland, to name but a few, we figured it’s about time he talked to us.

What’s your first memory of photography?

As a kid, I remember playing with my grandmother’s point-and-shoot camera while travelling in the Kruger National Park with my family. My curiosity led me to opening up the back and I accidentally exposed and spoiled the film inside. Needless to say my grandmother wasn’t very happy about that.

How would you describe your approach to photography?

I approach my photography in a meticulous way, often spending weeks or months exploring various ideas. When I am happy with an idea, I make use of Google Maps and Street View to scout for locations, after which I then plan a trip and photograph intensively for a week or so. The last step is to edit and finesse the images in Photoshop and incorporate CGI where necessary.

Tell us more about your latest project. What inspired the subject matter? 

I’m currently busy with an on-going project called For What It’s Worth in which I aim to offer a new perspective on mining in South Africa. I do so by photographing certain mines and incorporating CGI to accurately represent of the amount of pure material removed from each mine. The intention is to create a kind of visualisation of the merits and shortfalls of this industry that has shaped the history and economy of the country so radically. I began this project by focusing on the extraction of copper and diamonds, but I plan to also look at the extraction of other minerals such as gold and platinum in the near future.

Is the mining series a response to our socio-economic climate?

The mining industry is a dominant and often controversial feature of our current socio-economic climate, and this helps to make my project relevant. My aim is to present a new perspective of this industry, which is not only at the forefront of current affairs, but has been a driving force in
shaping the history, economy and identity of the country.

What’s next for Dillon Marsh?

I’ll be showing some large-scale prints from this project in an exhibition which opens on 4 December 2014 at the Brundyn+ Gallery in Cape Town. I don’t really know what will happen after that, but I’m excited by this new direction and keen to see where it leads me.

To view more of Dillon’s work, visit dillonmarsh.com.

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