Ngonidzashe Chinhara: Zimbabwean editorial photographer exploring culture and African youth stories

Ngonidzashe Chinhara is a Zimbabwean multi-niche photographer who often explores themes of culture in his practice. His work blurs the line between cultural reverence and rebellion. For over 15 years, he has photographed across Africa, capturing street life, counterculture, and music throughout the SADC region. His photography serves as both a visual delight and an insight into African youth culture. He is a true lover of photography as a medium for telling stories.

How did you get started in photography?

In university, I started taking photos with a BlackBerry Storm. It was my first proper camera phone, and I was taking photos of everything: things I found on the street, interesting silhouettes, and my friends in odd poses.

The man who would eventually become my mentor thought I had an interesting eye and told me to invest in a real camera. So I went on eBay and searched until I found a Nikon D40x that seemed right for me. It was ramen for every meal for a month after I bought it, but it was the most exciting thing

I have ever bought for myself. It completely changed my approach to the world, and for years afterwards, you couldn't see me without a camera. I've always been trying to translate scenes through my viewpoint, and that's honestly all I've ever needed to get me going when shooting.

How would you describe yourself?

This question gave me more stress than anything else on this list. I feel less stress presenting my art than being asked to self-promote. Maybe that will work as an answer.

The stress I feel at not knowing what to say makes my teeth itch. I have a lot of useless knowledge. I'm great at quiz nights, but almost none of the knowledge I have has translated into money in my pocket.

What are the main themes that inspire your photography?

I've spent a lot of time feeling like an outsider. When I was young, I was often the only African around, and even when I came back to Zimbabwe, it was obvious that I'd been steeped in different waters. So I've always felt like I've been learning about culture and how the world around me works.

Luckily, I enjoy that process of learning. It never felt burdensome to be on the outside. I think some of that inquisitive nature shows up in my work. I've always been an observer, so even my artistic work has a documentary bent to it.

As an African who spent many of his formative years in the West, I feel I'm always navigating what it means to be a "modern African man". What does it mean to add this generation's values to a pantheon of others?

Is culture a monolith, or is it an ever-shifting exchange between the past and those who live right now? Why is our culture so important to us as Africans, and what place should it hold in our lives? My personal work deals with that quite a lot.

What is the biggest challenge you've faced as a photographer?

At some point in 2018, I was hired to tackle a complex visual project for a development bank. We proposed capturing 360° imagery and displaying it on VR headsets for their exhibition stands at trade fairs. They agreed, but the timeline was extremely tight, and due to budgeting issues, we had to execute everything within three weeks.

We had to travel to over a dozen sites across the country to capture footage, photography, and 360° imagery, then edit, compile, and programme the VR headsets in time for the Zimbabwe International Trade Fair. In two weeks, we drove a combined distance of over 3,000 km.

It was the hardest project I've ever undertaken, and it was incredibly difficult to achieve, but we somehow made it happen. I was quite proud to realise I was able to coordinate such a complex operation within such a tight timeframe. It all boiled down to our planning skills.

Without them, we never would have made it happen. Several contingency plans had to be executed along the way, but we never found ourselves in a situation that was too difficult to overcome.

What moment in your career are you most proud of?

In 2018, I completed a project called 'The Tyranny of Ancestry'. It was the first time I committed to a multi-image narrative project. I was proud of how clearly I was able to communicate my internal struggle with culture and my own personal values that I had developed.

What type of photography do you specialise in?

Shooting editorially has always been great for me. I enjoy the collaboration between the subject and the photographer when creating an image. That exchange is rewarding for me. I especially work well with fashion designers when we have an understanding of each other's work.

What is your primary commercial niche?

Right now, I shoot a lot of food and personal projects for the most part. However, I've always had a love for fashion, editorial, and high-concept photography — areas that allow for a great deal of creative freedom and problem-solving.

It's not just about "a cool idea", but about trying to solve a communication problem with my photography. I've worked well in advertising as a result of that. My marketing degree helps me understand advertising quite well.

What is your unique technical or visual approach?

I think curiosity is at the root of all my shoots. Any hint of whimsy in my images is probably born out of that "what if" mentality I approach every shoot with. There is always a plan when I go into a shoot, but my goal is usually to achieve that as quickly as I can within my shoot time so that I can experiment after I have my "safety shots".

The energy on different shoots with different teams can differ so much. It's important to be flexible and "play" within that different energy. Play is an important part of the work.

Which global brands, photographers, or industries do you feel your work aligns with most?

I've always enjoyed the Aimé Leon Dore shoots. Something about that simple portraiture is great. I also like Carhartt's imagery.

I would love to shoot for Lukhanyo Mdingi. I also love streetwear brands like Leaf Apparel, Severe Nature, and Subwae (), brands that are led by story.

How's the photography and art space in Zimbabwe?

Zimbabwe's art space always amazes me. There is no shortage of talented creatives making amazing work. Over the last few years, the community has really exploded with events and community-led initiatives that expand and promote the art space. The space is truly for everyone, and people are determined to put their names out there.