Bukunmi’s photography is shaped by her deep attention to culture, history, and emotional context, producing images that are relevant and resonate with global audiences.
Bukunmi came to photography through observation rather than ambition. Before the camera became central to her life, she was studying international relations, immersed in language, culture, and the mechanics of how people and nations communicate. That foundation still shapes her work. Her photographs are informed by research, context, and lived experience. Her images are intuitive, grounded in a sensitivity to place, history, and the emotional charge of a moment.
Bukunmi’s early editorial breakthrough, a self-initiated shoot in Cape Town that led to a feature in ELLE South Africa, set the tone for a career built on responsiveness and risk. Working with minimal resources, she learned how to trust available light, instinct, and collaboration. Since then, her work has moved fluidly between editorial and commercial spaces, shaped by an interest in narrative, symbolism, and cultural continuity. Whether photographing musicians, designers, or cultural figures, Bukunmi’s images evolve, attentive to the present moment while carrying an awareness of art history, storytelling, and the power of the photograph as a record of time and culture.
Let’s start from the very beginning. How did you get started in photography?
My entry point into photography was my early discovery and fascination with fashion and art. Over time, a combination of coursework, lived experience, and professional explorations deepened that curiosity into a devotion to photography as an artistic medium capable of effecting change through documentation.
After graduation, I ventured into the nonprofit world, but I used available moments to remain close to creativity by conversing with artists, collaborating with designers and learning from producers.
I photographed musicians, artists, and any subject that invited me to refine my eye and develop visual fluency. Years later, during my first real vacation, I decided to test-shoot and take meetings with editors. That moment led to my first editorial feature with ELLE, marking a pivotal turning point in my career.
From there, I immersed myself in the editorial world and fell in love with its elasticity. Within that world, I was able to strengthen my visual language while styling, writing, creative directing, and producing. That foundation allowed me to translate my skills into the commercial space, where the work offered both stability and scale, supporting continued expansion as an artist and deeper exploration of photography.
What is one photoshoot that you feel marked a turning point in your photography?
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The editorial I shot for ELLE South Africa remains a defining turning point in my career. It was a rogue, guerrilla-style shoot in Cape Town with a minimal crew. Everything felt instinctual and alive. I discovered the designer just days before and responded intuitively to the available light and the surrounding environment. That experience taught me how to find beauty within limitation. and it ultimately propelled my work into the editorial world in a more visible way.
Another pivotal moment was photographing Alicia Keys for the cover of her book, “Tears for Water”. That shoot allowed me to fully immerse myself in a conceptual framework, exploring the idea of floating above one’s own beauty and sorrow, and reimagining John Everett Millais’ “Ophelia” through a contemporary lens. My research informed the body of work into artists such as David LaChapelle who implores a sensorial, symbolic form of storytelling to converge vulnerability, art history, and image-making.
What initially drew you to your preferred photography style?
My aesthetic comes from a desire to elevate ideas, identity, and visual presence. I have always admired image-making that feels immersive and narrative-driven.
Early on, I was interested in exploring photography as a medium for cultural preservation and self-expression. Then I became drawn to images that hold space for complexity within a narrative context. The use of saturation and movement to communicate states of being also intrigued me.
Now I approach my work experimentally, allowing my style to evolve in response to research and shifting awareness. Rather than adhering to a fixed signature, I let each new year inform my visual language, ensuring the work remains rooted yet responsive.
Who or what has been your biggest influence as a photographer?
My influences are a bit layered and interdisciplinary. Long before photography, I was deeply drawn to designers like Alexander McQueen who saw fashion as a vessel for history, mythology and identity reconstruction. That sensibility later translated into my interest in artists like Helmut Newton and Cindy Sherman, who utilised narrative tension to shape image-making as both performance and provocation.
Equally foundational are photographers such as Malick Sidibé, whose work captured cultural intimacy with profound authenticity. In general, I’m inspired by diasporic photographers who use the camera as a tool for agency and preservation.
Beyond historical references, I’m continually influenced by my peers who push the boundaries of visual identity and transform everyday moments into enduring cultural records. Their willingness to experiment and reimagine keeps my own practice in constant dialogue with the zeitgeist.
How would you describe your creative process before, during, and after a shoot?
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I prefer to start with conceptualising, drawing from the emotional undercurrent of a desired storyline. In this phase, I focus primarily on alignment, ensuring the concept, subject, styling, and environment are all in conversation with one another.
During the shoot, I prioritise trust and presence. Years of editorial work and art production across fashion and lifestyle have taught me how to build systems that allow for both structure and spontaneity. While there is always a clear framework guiding the shoot, I remain responsive to the moment and encourage movement beyond the mechanics of posing and into a space where essence can naturally surface. Afterwards, the narrative is shaped through refinement and editing. I approach post-production as an extension of storytelling, ensuring the final body of work feels cohesive and resonant.
Read also: Women photographing women: reframing the female gaze through photography
What challenges have you faced in your photography journey, and how did you overcome them?
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Yes, I’ve faced reductive biases, pigeonholing, and moments of typecasting throughout my journey. Navigating limitations has taught me to advocate for myself and others, all while staying grounded in my purpose. Each obstacle has offered me an opportunity to mould my practice by expanding my understanding of how to build a sustainable creative career.
How has your style evolved since you first picked up a camera?
When I first picked up a camera, I was drawn to high fashion aesthetics, editorial polish, and surface glamour. Over time, my work has become more layered, shaped by context and a growing cultural awareness. I’m increasingly interested in the codes embedded within culture – the meaning an image carries, not just how it looks. There is now a deeper commitment to creating images that hold space for complexities and new forms of storytelling.
What advice would you give to someone just starting in photography?
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Shoot as often as you can, but try to create with intention; being clear on how you’re telling a story and who it’s for. It’s important to build your vision and sense of purpose first, and learn early how to advocate for your value. Commit to constant learning and surround yourself with information that expands your perspective and technical skills. Last but equally important, always experiment with various types of equipment and conditions.
What goals or projects are you most excited about pursuing this year?
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This year, I’m focused on expanding my visual vocabulary while reimagining narratives around modern culture. That includes new editorial collaborations, exhibitions, and projects that bridge photography and fine art. I’m also excited to deepen partnerships that foster sustained creative exchange, allowing my practice to evolve more fully as a multidisciplinary expression.
