With a belief that each person has a story waiting to be told, Kelenna Ogboso has dedicated his craft to amplifying the voices of talents whose captivating journeys can resonate with audiences worldwide.
“Africans have many stories that are yet to be leveraged on in terms of how they are told, medium or direction. There are many untapped stories. I would say a mental goldmine for us to tap into”
Through a transformative experience in his childhood for capturing people’s stories, Kelenna emerges as a creative director who views photography as a blend of creativity and technological innovation. This has propelled him to work with top-notch companies such as Al-Jazeera, Joko and United Nations Development Program. Guided by the power of storytelling, he has championed the talent of presenting stories through documentaries.
In addition to his creative work, he has worked on projects involving a variety of high-profile individuals and musicians, including Emmanuel Macron, J.Cole, Burna Boy, Wizkid, Oxlade, Bnxn, Teni, and many others.
I caught up with the Lagos-based director and photographer to discuss his perspective on storytelling, intersection of technology and creativity while also learning his aspirations for the future.
How did your journey as a visual director/cinematographer begin, and what inspired you to pursue this career path in Nigeria?
I would say it all started when I was 11 where I showed interest in visuals and films. I loved movies growing up and wanted to capture visuals. I told my mum I needed a camera which started the whole thing. During summer, we went on vacation, and I visited the Notting Hill Carnival in 2006 which was such a cultural experience for me. I was allowed to take pictures which ignited my freedom of expression. Overtime, it has transformed from taking pictures to the realization of the power of having a camera.
I noticed on your profile. You have three definitions of yourself like visual director, cinematographer and creative producer. Would you say there is a link between the three roles when working? I want to see how each distinctive role plays in your process.
I would describe myself as mostly visual-based regardless of projects being worked on. I have to be able to imagine whatever it is. The connecting tissue is creativity and having a visual expression. Whether an event or shoot, I like to re-imagine what you will want to see when in that space. I try to think of experiences that feel foreign to you but also relatable. It’s exposing me to new perspectives. That’s what I try to achieve in every process. I imagine the world or reality I want to see and bring that into real-time.
Collaboration is key in filmmaking. Can you share a memorable collaboration experience and how it influenced the final outcome of a project?
A huge part of being a balanced creative in Lagos is people or relationship management. It goes hand in hand with your skills and talents. There are many talented people in this country and it’s kind of an open market for how much creativity is here. Collaborations are an opportunity to merge ideas and a shared reality. To bring it down to basics, I would say the most memorable was EndSARS alongside EMPIRE. ENDSARS was a time where we felt powerless.
I was fortunate to have a good relationship with EMPIRE where we drew the socials to put some messages out there. I designed a billboard that went up on the island and mainland, messaging that creativity is not a crime. For me, I wasn’t able to be on the ground as much as I wanted to. Being able to lend my creativity was definitely something for me. Every other experience has been worthwhile and a build up for the next one. It’s a responsibility I am grateful for.
I expect that the journey has not been easy. Would you mind sharing any challenges you faced along the way?
Just like every other creative with a background in STEM. I had a background in Computer Information Systems. My first passion wasn’t photography but computing. In university, I found myself doing businesses due to influence from my parents. There is a saying where you cannot just be one person but be as many things as you can. Towards the end of my program, I realized I wasn’t ready to go into the Nigerian job market… I needed more time where I felt I could be doing more. My parents were gracious enough to give me that time. I learnt French and was soaking in as much of Lagos as I could.
I found my passion in photography around that time. That was the first challenge I faced which was mostly hopping from one job to this. From changing from that to being a full on creative. Another challenge is finding as much value to a project to whoever chooses to work with me. I based it into how I was raised. My parents always told me that everyone has a story to tell and it’s just to find out what they are trying to say. Regardless of whatever projects, it gives it a whole wholesome effect for building trust with my clients.
I noticed your touch in documentaries with companies like Al-jazeera and Joko. What draws you into the visual storytelling of making it a reality?
I find it very necessary where we tell our own stories and how we would like them to be told. We have not really had the opportunity to tell our own stories. There is no real way of connecting the past to the present or future if you are not able to document.For me, I am not fixated in telling my story, I know if I am able to exist in people’s lives, I know that I exist in those stories. That’s how I am able to propagate myself. Africans have many stories that are yet to be leveraged on in terms of how they are told, medium or direction. There are many untapped stories. A mental goldmine for us to tap into. All of these western concepts are played out. People seem to be tired of this concept now it’s time for us to be at its forefronts.It’s us telling our stories uniquely.
What brought about the inspiration for Lojay’s documentary?
At some point because I gravitate between different mediums, there is a bit of mental shift. I had not yet met the Joko team till the date of the shoot. A friend of mine, Dare Kasali, helped me run points on getting everything together. Lojay’s manager helped in facilitating everything to place. In the end, collaboration was important. I gave them a concept of what I wanted to choose. At the set was where I met the growing Joko team at the time, and It was a current lesson of growth at that time.
As a visual director, how do you approach balancing creativity while also trying to meet client expectations?
My ideal situation will be working with a brief. As a creative director, I understand the gaps that a team may not be aware of. Some of us who have not made it in the Nigerian music scene, it’s mostly indie till you make it. You have one person taking one or more different roles. Sometimes you find that this artist has made an amazing work but can’t translate it visually. One thing I always address is how do you feel when you listen to this sound and how will you like your fans to feel when they listen.
Some people aren’t always able to answer which is fine. With that you find a way to connect the persona that they have built with one that they are also trying to push forward. For me, I try to connect the gaps and what will be a win for me. As long as I connect the brand or concept and you tell me how it’s a win or pass, I am able to craft something. It’s non-negotiable that I connect with who I was working with first so I can craft my own version of events that is consistent with what they need.
Technology is rapidly evolving in the film industry. How do you stay innovative with different technologies in the scene to enhance your skills?
I am a nerd at heart. I am also an artist. I understand one of the needs is a good understanding of technology and balancing with traditional mediums. Most of the content created is for Africans. Our reality is not exactly cyber. I like to research new ways to play with lightning, laser and experiential technologies as well.
Do you want to share any exciting projects you are working on?
My friends push me a lot. I got a lot of interest in fashion. I have been making my designs and pieces. I am working on a menswear collection. I am working on a cinematic EP. It’s visual based with a producer, KLEF. It’s a visual experience of being in Lagos. It’s a curated body of work. It’s me exploring cinematic visuals that have music attached to it. I don’t have a name for it yet.
What advice do you have for aspiring visual directors/cinematographers in Nigeria who are looking to enter the industry?
I like to look at creativity as play. Try to have fun as you are doing it. You are most free when you are having fun. My advice would be have fun in what you do and don’t be scared to take a chance. Let the universe do its thing.
