Discover the inspiring story of France Leclerc, an independent photographer who has transformed her passion for academia and travel into a unique form of visual storytelling.

In this interview, France explains how her unending curiosity and love for exploring different cultures have shaped her artistic approach, taking her from the remote corners of Ethiopia’s Omo Valley to the traditional festivities of Lamu.

Her project “Maulid in Lamu” was featured in our printed edition number 30 last September 2024, reaffirming her commitment to documentary photography. Through her words, readers are invited to experience the challenges and excitement of capturing the essence of diverse communities, highlighting the importance of documenting authenticity in an ever-changing world. An essential read for anyone who appreciates photography and seeks inspiration in the art of conveying deep messages through images.[Official Website]

You transitioned from a career in academia to becoming an independent photographer. What motivated you to make this significant change, and how has your background influenced your photography?

First I want to say thank you to the team at Dodho Magazine for sharing my work. I am truly thrilled and honored to see my images, once again, in print in this first-rate publication.

As for my career, I wouldn’t say that I transitioned from academia to photography. I decided to leave academia for several reasons, but at that time, it was unclear what I would do next or whether I would return to the academy. While I was contemplating my future, I decided to treat myself to my favorite activity: traveling to places where few people go. One of the first destinations I chose was the Omo Valley in Ethiopia. Back then, it was not as popular among photographers as it is now. I had purchased beautiful books by Han Sylvester about the Omo Valley tribes, and I was also a devoted fan of Angela Fisher and Carol Beckwith’s early work on African ceremonies. The experience was incredible, and I became hooked. I wanted more, and I felt compelled to share what I had seen, mainly because I was afraid it would soon disappear. Photography became my outlet, so I began working on my skills, a pursuit I have continued ever since. It’s important to clarify that at this point in my life, I was fortunate enough not to have to rely solely on income from photography. Supporting myself with photography alone would have been infeasible then, especially as a newcomer, and it is even more challenging now given the current trends in the industry.

The aspect of my academic career that fully translates into my interest in photography is my curiosity and desire for learning. I use photography to share what I have learned, but my passion for travel and interacting with different cultures is driven by a desire to better understand other people’s ways of life.

You work focuses on visual storytelling and capturing life’s diverse moments. How do you approach documenting different cultures and communities in your photography?

Before traveling anywhere, I always try to conduct as much research as possible about the people, place, or event I will be involved with. Finding a local person who can provide insights before my trip and assist me while I’m there can be incredibly helpful, and sometimes it’s essential. Currently, I focus mainly on documentary work, so nothing is staged in advance. I aim to have a clear idea of what I want to photograph, as well as where and when the best opportunities might be. However, inevitably things unfold differently than I had planned, resulting in a somewhat (if not entirely) different story than the one I initially envisioned. This flexibility is perfectly fine for me, as I don’t work on assignments, allowing me to adapt to whatever the experience offers. So, while I prepare in advance, I also remain open to the unexpected.

Can you share what draws you to places like Lamu Island and events like the Maulid Festival? What impact do these experiences have on your work?

I always enjoy being part of and witnessing celebrations and rituals, as they are special occasions for individuals and the community. I had been to Lamu Island once before my visit during the festival and was quite taken by its charm. It’s hard to imagine a place today where cars are not allowed and donkeys serve as the primary mode of transport. During my first trip, the locals told me about their unique celebration of Maulid, describing the various activities and the many visitors who come to participate. Their enthusiastic descriptions made me eager to experience it for myself, so I decided to attend the next Maulid.

In your project “Maulid in Lamu,” you highlight a unique celebration in a place where time seems to stand still. What were some of the most memorable moments you captured during this festival?

The experience was unforgettable. I spent long hours at the mosque, where I could truly feel the intense devotion of the pilgrims. Watching the donkey race was quite amusing, and the “dhow races” were a majestic sight to behold. However, what stayed with me the most was the joy and excitement shared by everyone during the festivities, especially on the last day. On this day, a procession takes place that represents every town and mosque in the archipelago through its official group. In an age where community expressions of joy are rare, this event felt particularly special.

How do you ensure that your photography respectfully represents the people and cultures you document, especially when working in communities different from your own?

A respectful and accurate depiction of experiences is essential to me. I strive to present the world as it is, rather than how it was or how I would like it to be. I recognize that my perspectives, as well as my lack of knowledge because I am an outsider, may influence my images. To mitigate this, I often show all the photos I intend to use to my local connections. Their reactions and feedback are invaluable in ensuring that nothing was misleading, disrespectful, or offensive.

Your images have been exhibited internationally and featured in various publications. How has this recognition affected your career and your approach to photography?

I have been fortunate to have some of my images well received, but I understand that luck plays a significant role in this process. There are countless talented photographers, and ultimately, it comes down to whether a judge or curator connects with your work. If someone else had made the decision, different images might have been chosen. Therefore, this recognition serves as motivation for me to work harder and enhance my skills. Recently, I’ve been focusing a lot on street photography. I find it enjoyable, and I believe that the challenge of creating unique and captivating images in public spaces also improves my composition skills in documentary work.

What challenges have you faced while capturing authentic moments in your travels, and how have you overcome them?

There are various logistical challenges, given some of the locations I have visited. A constant challenge is getting people to forget that I am there so they can go about their lives as they usually would. Often, people feel they need to smile or acknowledge my presence, which is a typical social reaction. Sometimes, I stay for a while without taking any photographs. Instead, I might photograph their pets or pictures on the wall. When people see me busy with something else, they often return to their regular activities, which is when my “real” work begins. As a woman photographer, there are certain places I am not allowed to enter. For instance, in Lamu, I was not allowed to enter the mosque, which I find quite frustrating. However, I must be respectful of the local culture.

As someone fascinated by human behavior, how do you think photography can contribute to a better understanding of different ways of life?

I’m not sure if people truly “understand” different ways of life through photography, but they can certainly be made “aware” of them. For decades, photographers have documented various living conditions—wars, conflicts, famines, and more. Documenting culture and diversity has become a prominent area in photography, with notable figures like Sebastião Salgado and Steve McCurry leading the way. So yes, raising awareness about different ways of life is possible, and hopefully, this can serve as a first step toward deeper understanding. I also write some text to accompany my images, which I post on my website for those who are curious to know more.

Can you discuss the significance of visual storytelling in today’s world and how you aim to convey messages through your images?

Visual storytelling has become an essential method for people to gather information, especially as many individuals no longer take the time to read extensively. The challenge lies in ensuring that one’s work stands out amidst the overwhelming amount of content available. Producing the highest quality work possible is crucial, as it’s the primary aspect within a photographer’s control. Beyond that, the quest for exposure in reputable outlets is a challenge we all face, leading to varying degrees of success. Of course, the challenge today is that it is becoming increasingly difficult to determine whether a photo has been significantly altered or is entirely AI-generated, making it hard for viewers to trust what they see. But that raises a different topic, and it’s not an easy one.

How do you choose the subjects or themes for your photography projects and what inspires you to explore new ones?

I choose contexts that either haven’t been extensively covered or for which I believe I can offer a unique perspective. I’ve always enjoyed photographing rituals, ceremonies, and special celebrations. While it’s becoming increasingly difficult to find unique cultures, they still exist. Two years ago, I had the opportunity to visit the Kalash people, a small minority group in northwestern Pakistan, and it was a fascinating experience.

What advice would you give to aspiring photographers who wish to document cultural events and traditions around the world?

I don’t have anything groundbreaking to say. I would perhaps emphasize the value of doing your homework. (Once a teacher…) Do your research and thoroughly check what has already been done on a topic before deciding to invest time and money in travel.

Finally, what do you hope viewers take away from your photographs, and what messages do you want to convey through art?

Our world is becoming more insular and inward-looking. Borders are closing, and anger is being directed at immigrants, especially those who do not resemble “us.” Even those who travel internationally often encounter sanitized versions of the countries they visit, with little interaction with locals in their native environments. This leads to a shallow and often inaccurate impression of “them.” I hope that as more people learn about different cultures and ways of life, they will feel less threatened by them. Who knows? Maybe they will even find inspiration in them, as I often do. I also hope that people recognize that despite the vast diversity we see in individuals around the world—in terms of appearance, traditions, and norms—we still share the same strong core values. I understand that this perspective may seem naïve, but it motivates me to keep going.