About the current exhibition

Sebastien Cailleux, Eyerusalem Abera and I started working on this project two and half years ago. I met Sebastien at Fendika. He started following my Instagram and liked my photos. When he invited me to work on a photographic project using analog cameras, I was so intimidated about using the cameras that I almost turned down the proposal. These cameras are 70, 80 years old. Very complicated. No battery. You cannot use flash. I was given one camera for color and another for black and white. I was nervous, but I also wanted to challenge myself.

There are a couple of ideas behind this project. First, we used analog cameras because we wanted to make not just photographs, but art works. Photographing with analog cameras is a complicated process: from measuring the light to framing your subject, from knowing what the surroundings look like to assessing the darkness and the light of the subject. And the process continues in the dark room where you do your magic. Secondly, we chose to photograph Piassa because it is the oldest neighborhood in Addis. We wanted to match the oldness with the oldness of the medium. The cameras are as almost old as Piassa. We wanted the photos to have a historical look.

In summer 2018, we spent three weeks in Piassa. At first Sebastien showed me how to use the camera. When we first started taking photos, it was difficult because some people in the area were not happy with us going around and taking photos. So we decided to ask for permission from the people that we photographed. We went deep into the neighborhood and explained what this project was all about, and that because we were using analog cameras, it might take longer than other photographers to get the prints to them. Some of them were not happy. Some people asked for money. But others were really nice; some even invited us into their houses, made us coffee and lunch. They told us stories about their grandparents, who used analog cameras. They showed us photos of their grandparents. We took a lot of portraits; we told people we would come back with photo prints. Some of them were happy that we were going to put their portraits in the gallery.

It took us five to ten minutes to take each photo. Sebastien would use a light meter to measure the light; I would do the framing, and so on. After we took the photos, Sebastien went back to France to develop the film. I was just hoping that they would turn out good; I was not sure. When he sent me some images through email, I was really surprised. I was proud of myself! The photos turned out amazing! He came back with all the prints and we exhibited them at Guramayle Gallery.

The people in the photographs

Some of the people we photographed came to the exhibition. They were so happy to see their photos on the wall. They were really proud. One of the women I photographed came dressed all in white. She was so excited, and I wanted to cry when I saw her.

We met this little girl who was 11 or 12 years old while we were walking in Piassa. She just started following us as we worked. She told me that she liked photography and she was really interested in using one of those cameras. With Sebastien’s help, she took a nice portrait of me (included here, top of the page). This girl came with her mother to the exhibition. And a woman who worked in a café came, with all of her friends. That made me happy, because usually photographers don’t invite the people they photographed and these people would have no idea that their photos are being exhibited. That was the part I really like about that exhibition.

We took my favorite photo (above) in one of the old tej bets in Piassa. Located in one of those beautiful Piassa houses, it’s one of those tej bets where you can go when you are broke and you cannot afford a tej here at Fendika (laughs). You can buy a tej for 10 birr or 5 birr. And it’s often open 24 hours a day. So we went there, but we were not lucky enough to find someone willing to be photographed among the guys who were drinking there. But they let us into the kitchen, where we found this woman who was making tea. Seated next to her was this guy. First I thought he was deep in thought, having tej and thinking about life. But apparently he was sleeping! I photographed the woman. Then we waited a long time for the guy to wake up, because I didn’t want to photograph him without his permission. But he was not moving. He was sleeping hard! I didn’t want to miss the chance. It was a beautiful image in my head. So I decided to go ahead to photograph him, and if he woke up in the process, I would just explain to him why I was doing this. But nothing! He woke up at the end, when we were about to leave. But he was pretty drunk so we didn’t get to talk to him. The room was so dark I wasn’t sure if the photo was going to turn out ok. But I’m glad I gave it a shot, because it is one of my favorites! When we went back to give him the photo, he was not there. Maybe he was there just for the day, but then he was in the kitchen, so he must be someone who is close to the owner. But I don’t know for sure.

Learning from the project

I’ve learned a lot from this project besides how to use analog cameras. I learned how to approach people whom I want to take photos of. Sebastien has been traveling around Ethiopia and the world to take photos. He’s very experienced in this area. Even though he doesn’t know Amharic very well, he was really good at communicating with people and he was very respectful. I love photographing people, but I don’t do that often because I’m afraid I would be rejected. So I usually take photos in the street where you cannot see people closely and you cannot tell who they are. I don’t want to expose their faces without their permission. During the project with Sebastien, I have learned how to approach people respectfully, and tell them the intention behind me taking their photos. Going back with the photo prints was his idea.

One thing I’ve learned about myself is that I always want to learn something new. I like challenging myself. I didn’t used to trust myself enough to try new things. This project really helped me grow that way.

Becoming a photographer

How did I become a photographer? It just happened. It happened when I was working at the International Leadership Academy (Lebawi). I had always wanted to be an artist, but I didn’t know which kind of art I would be involved in. Working in that school really helped me figure out what I wanted to do. When I was working there, I started to take photos with my phone. And I would just show them to my friends. Just random things, flowers, people, my friends, light and shadow, reflection of a building, reflection of a glass on a table. I did it for fun, but I started to like it. Everyone I showed my photos to gave me good feedback. Then through a project I was coordinating at the school, I had access to a good camera. I started taking photos more frequently and became more serious about photography.

Then I joined photo walks that were organized by this photography company called Desta for Africa. I attended the photo walks three or four times. We would pick one area in Addis, and twenty of us would come together, walk around and take photos. We had all the permits we needed since we were organized by that company. So I did that and made friends who were photographers. But I was doing that as a hobby. I never thought I would come this far. I still don’t consider myself as a photographer because I know a lot of people who commit their lives to it while I spend very little time on it. I don’t think I’m fully there yet. But while we were doing the photo walks, I felt good about myself, because I was somehow getting to where I wanted to be. I was involved in some art scene, and that made me happy.

One of the reasons I do photography is nostalgia. I’m a very nostalgic person. I love to keep memories. And photography is my way of keeping memories. You photograph one thing, and that thing might be different in some years, in a minute, or in just a second. But your photos stay forever. I love looking at photos of my childhood. I love to see photos of my parents where they were younger, before they had me. I love seeing photos of Piassa in the 1970s and 80s when I was not even born. I love to see photos of the lifestyle that people had 50 years ago, how they used to dress up, what the architecture looked like, how things were. There was no way we would know about it if it was not for photography. For me, everything I take now is going to be a memory for us. When I take photos, I would think, “Someone is going to look at this photo, 40, 50 years later, maybe after I die, and they would say, ‘This is how they used to live. This is how life was back in the days 50 years ago, in Fendika.’” And I want my children to look at photos from now and say, “My Mom was like this when she was younger.” For me it’s all about creating memories. I want to show the coming generations how our life is, how things are now.

Challenges of doing photography as a woman

I like to photograph people. I also like to photograph things that are happening on the street. I like to walk around the city to take photos of different activities, but sometimes it can be dangerous because people might not be happy with that. I’m really not comfortable with doing that. I wish I were more comfortable, but you might get into really bad situations. When I was doing the photo walks with a group of photographers, it was easier for me. And when I did the project in Piassa with Sebastien, it was perfect. But by myself, I cannot do that yet. I don’t have that courage. But that’s what I want to do, you know, just to go onto the street and photograph everything that happens. Addis is one of the busiest cities. There are so many things going on in the street. That’s one thing I want to work on as a photographer.

As a woman, you get harassed on the street even without a camera. When you walk, men would say things about you. When you have a camera, you get all the unwanted attention. People would come and surround you. You cannot just sneak it in. If you hide behind a building or in a car, you might not get the shot you want. You have to really put yourself out there. Some people assume that when you take a photo, you would print the photo and sell it. They think you’re taking advantage of them. They would insult you, or tell you to go away. I have had encounters with angry men while taking photographs on the street. As a result, I don’t want to expose myself, being a woman, having this afro, with a camera… If I’m with someone, I would feel comfortable, but if I’m all alone, I don’t know. It’s something I have to overcome. I have to go out and expose myself more.

This is definitely an obstacle to my work. I think if I were a man, it would have been easier. It’s not common to see a female photographer to begin with. Being a woman walking in the street is already hard, adding a camera is extra hard.

Fendika: Where I Found Myself

I wouldn’t be where I am right now as a person, if it was not for Fendika. Fendika is a school for me. I have learned so many things here. I have found myself by spending a lot of time with the people at Fendika. I learned more things at Fendika than I learned from 3 years of college.

We are relatives with Melaku, so when I moved from Dessie to Addis for college I was spending a lot of time at Fendika. I was 17 when I started college. I loved spending time with Azeb (Melaku’s sister). Azeb would challenge us, Fre (sister of Azeb and Melaku) and me. She would loan us her books and ask us what we learned from them. She took us to cinemas, night clubs, and her friends’ places. We talked about everything. Azeb was a big inspiration for me. She speaks different languages. She had so many friends. She was a super star. Everyone loves her. I admired her. I still admire her. So living with her really benefited me. Fre and I were allowed to come to Fendika once a week, on Friday nights, but we were not allowed to drink beer or tej, so we would only drink Fanta, Merinda or Coke and enjoy the music. That was really interesting for me, because when I was in Dessie, I had never experienced anything like that. Seeing Fendika and Ethiocolor’s live performances was magical for me.

When Azeb moved to France, Fre and I started working there, which was another adventure. I worked the door there for a few years. I met so many people, some of whom are still very close to me now. I encountered a lot of annoying people as well. But I have met so many artists. And many celebrities. At first I would just freak out. “Oh my God that is someone I saw on TV!” Overtime I got used to seeing artists, musicians, and photographers whom I knew of from the media. I’ve met a lot of people who have shaped me in a good way, who have changed my life. I met my best friends there. It was a great experience for me.

But there were days I cried. Between Fre and me I am the tough one because I’m older than her. People thought she was just a child. They would try to take advantage of her. Then I had to intervene and started an argument. I wouldn’t let anyone in without paying. So I would always end up fighting. Oftentimes Melaku had to intervene.

Despite those moments, working the door at Fendika was one of the best times of my life. I had so many amazing conversations standing there by the door with so many people. I think meeting all those people and spending all that time at Fendika made me realized that I wanted to quit my salaried job. I’ve met a lot of artists who inspired me in so many ways. If Melaku was not there, who is still my big source of inspiration, if Azeb was not there, to help me figure out what I wanted to do in my life, if I didn’t have the friends that I had back then, if it was not for all those experiences, I wouldn’t end up here. They give me courage. Seeing Melaku struggle to achieve all his dreams really keeps me going.

What the future holds

It’s difficult to make plans now. Sebastien and I want to work on a photography project in Afar. I also want to work on a personal project that involves traveling. But I don’t know when that’s going to happen. So I should just do a project that doesn’t require traveling. I live in a condo apartment with my family. I’ve been seeing a lot of interesting stuff there. Each apartment building has 40 to 50 residents. That’s a lot of happenings in one building. So I thought about documenting everyday life there with my camera.

Last Sunday I was at home, so I picked up my camera. My mom was making injera. I wanted to take photos of her doing that. The lighting was bad. The shutter speed was so low that I couldn’t take a sharp picture. So I asked her to pause when she was pouring the batter. She kicked me out of the kitchen because I was ruining everything! Then I sat down by my bedroom window. Luckily from my window I could see the street. I could see people walking. I could see cars passing by. So I took photos of those. This could end up being an interesting project.

P.S. from the editor:

Haymanot is also a talented design artist and maker, whose design work is not only popular in Addis Ababa, but also sold in Europe and the U.S. She runs her own business Hamek Design and organizes arts and crafts pop-up events at Fendika Cultural Center. Her dream is to open her own shops in big cities around the world. Out of the goodness of her heart, she also models for other designers in Addis Ababa, with a recent appearance in AfroStyle Magazine. We wish you all the best, multi-talented Haymanot!