INTERVIEW WITH TSHEPO MOGOPODI

Image of Tshepo Mogopodi

IQHAWE: How did your journey as a photographer begin?

TSHEPO: I started in 2014, which was when I owned my first camera, however, I did not consider myself a photographer then. In my first year, I was a part of a digital magazine called Eplazini lifestyle, and the owner of the magazine would get us tickets to go to events so we could shoot for them, publishing the images in the magazine. Through these events, I got the opportunity to learn more about photography. At one of the events, I met one of my favourite photographers, Kgomotso Neto. I took a picture of him, and when he asked to see it, he realised I was shooting on auto. He advised me to begin shooting on manual and he showed me how to do so. I started practising using manual since that day and now I only shoot in it. It has been a very beautiful experience.

IQHAWE: What makes Tshepo Mogopodi stand out from any other photographer in South Africa or even the world?

TSHEPO: One of the things I have done is to overcome one of my fears, which is shooting in the city because of the city’s busy nature. There is also a high risk of being mugged, so taking out your phone or camera there is very tricky. But then my ability to overcome that fear has made my work bolder and more authentic. The approach I try to take with my images is always authenticity. When someone sees that the work is authentic, it relates and resonates with them. I capture the city, I capture the townships that I travel to, be it Alex, Soweto, or the North West. I always want to capture not only the lifestyle but also how things are in different spaces and how people in those spaces behave.

IQHAWE: How has this journey been? Have your views about the industry changed since you first got in?

TSHEPO: It has been very overwhelming because you start dealing with self-doubt. I had so much self-doubt because I thought I needed to be validated by the people I look up to. I have been trying to move away from that mentally of constantly needing to be validated by other people or even thinking someone might not like this meaning you are creating for other people and not yourself. However, it has been a good journey with ups and downs, it has been amazing because you get to learn, and it has been an eye-opener for me. I hope I go through more challenges because that way, I become wiser towards certain things. And I have also learnt to grow a thick skin, so whoever criticizes your work, you take it.

This journey has taught me the spirit of Ubuntu. With photography, it becomes enhanced because you meet different people. If you want to take a picture of someone who is walking past, you have to approach them and speak to them.

IQHAWE: Which aspect of what you shoot do you find the most interesting? And how have you incorporated that into your brand?

TSHEPO: I think the most interesting has to be shooting taxis because this is what I use every day to travel. So, getting to know the taxi drivers and where they park, I try to get a bit more comfortable to shoot the taxis I use daily, so I can tell my story. I also like shooting buildings because there is a more minimal approach to it. It helps you see how the lines are and how they are intertwined.

IQHAWE: What has been some of the most important moments in your career thus far?

TSHEPO: The one thing that stood out for me was the Dickies shoot we did in 2019. This was a collaboration amongst us Black people, for us, by us. We all have Dickies clothes, and some of the people were sponsored by Dickies. So, we decided to do a shoot in Soweto Bara, with a Namibian influencer. He came to Joburg to come shoot the project. This project stood out for me because it demonstrated the power in collaboration, everyone is bringing their ideas into one and this opens more doors.

IQHAWE: How would you best describe your aesthetic and approach?

TSHEPO: I think that is a difficult question because I also do not know what my aesthetic is nor my signature when it comes to photography because it is ever-evolving. And one cannot constantly stick to one aesthetic.

IQHAWE: How has the global pandemic affected you professionally? How have you been able to overcome this?

TSHEPO: In a professional sense, prior to the lockdown, I would be able to shoot with friends who are models, and they would have shoots and state that they want me to be their photographer. And currently, there are not any of those projects lined up. It is quite hard. The same goes for weddings, matric dances and all other outdoor events that require me to take pictures. Currently, I am not receiving any compensation from photography. And personally, I hate being at home. I want to be outside my comfort zone because I believe I learn more the more I can challenge myself by being in different spaces.

IQHAWE: Let us talk about the technical aspect of shooting, what role does pre-production and other technical elements play in how you approach your shoots?

TSHEPO: Colour and lighting play a big role in my work because if I have a concept in mind and I have a location, I usually go to that place before I do the actual shoot so I can look at how the lighting is throughout the day. I personally prefer natural lighting, so on the day of the shoot I can be able to decide on the times of the day I would like to shoot.

IQHAWE: How do you go about the creative process before going into a shoot?

TSHEPO: I always conceptualize, whenever I have a concept or an idea in mind, I write it down and begin conducting research that relates to that concept. I then start creating a mood board where I combine all the images I found online that relate to the concept. I source these images from Instagram, articles or anywhere on the internet. I combine all these images and on the day of the shoot, use that mood board as a reference.

IQHAWE: What advice can you give to a beginner? Which equipment do you suggest they use?

TSHEPO: The one thing I have learned throughout my journey and my career is to use what you have and start with what you have. It could be anything from a small camera to a phone. You can buy the best camera and still not know how to use it. I recommend that people start with what they have and build from there.

The camera that I started with in 2014 is still the camera I use today.

IQHAWE: How does one go about getting approached and working with entities within the industry?

TSHEPO: I think it is simply knocking on a lot of doors, one will open. Do not be afraid to ask people for assistance. With the work I have done, some entities approached me, and with some, I am the one that approached them. I would ask them to give me whatever I needed for a shoot and if they agree, we will work together. So emails can work because they are professional, but you can also find something you find interesting on their Instagram page, send it to them and ask to work with you and then they will tell you to send them an email.

IQHAWE: Does Social influence and reach on social media matter? Does a photographer’s influence or popularity influence the gigs they get?

TSHEPO: I personally think one should not consider your following as a factor because followers are followers. The following and followers’ ratio messes with our minds because we are so focused on getting followers and not the actual work to create authentic content. In all honesty, it is more about the content you put out and who you are trying to reach.

IQHAWE: What are methods or platforms available for photographers to get their names out there and be visible in the spaces I need to be visible in?

TSHEPO: Going the website route could be costly, and I have been told never to use Instagram as a portfolio because some people prefer a pdf or a portfolio. I think Behance is more professional because that is where you get to showcase your work and connect with people across borders and engage with their work. I also think Instagram does also help because when people do campaigns, they start on social media. I also get recommendations and referrals.

IQHAWE: A lot of upcoming photographers struggle with rates, how do you go about your rates and what platforms are there to help you?

TSHEPO: I once went to a workshop where Austin Malema was speaking, and he had a template that consisted of all the possible rates you could be charging for different gigs per image. When you set prices and rates for yourself, you need to make sure you cover the amount you have spent for your equipment, transportation and all the other expenses you may have used. First, cover that, then only you can make your profit.

IQHAWE: What do the next five years look like for you?

TSHEPO: In five years, I would love to work for a big company, maybe Redbull or any modelling agency out there. I want to have the experience of being in a studio with other creatives and learning from them, whilst aspiring to have my own studio by 2025.

“IT IS MORE ABOUT THE CONTENT YOU PUT OUT”