Born into a family where photography was ever-present, Kashope Elijah Faje’s unique upbringing and exposure to different cultures shaped his ability to see beauty in the simplest of things.
His latest series focuses on portraying love in everyday scenarios, challenging the societal norms that equate romance with just luxury. Instead, Kashope captures love in its most accessible form—couples enjoying mundane moments, like doing chores or riding a bike, reminding us that love, much like photography, is often found in the ordinary.
We explore how Kashope’s background, his connection to community, and his belief in collaboration have all contributed to his storytelling process. He shares his insights on creating authentic and heartfelt images, how working with a team brings his visions to life, and how he’s building a community of creatives around him.

Tell me a bit about your background, what's your journey been as a photographer?
My dad is Yoruba and my mom is Igala, from Kogi State, and I was born in her village. But I grew up all over, moving between different states, and living with various family members. It was always my choice. My parents believed in letting me make my own decisions from a young age, so as long as it was safe, I could visit relatives and friends. Looking back, that freedom allowed me to experience the world early, learn about different cultures, and shape my own narratives. It gave me an eye for stories, but I didn’t realize how much of a foundation it laid for my approach to photography until much later.
Family played a huge role too. Photography was important in my household. All my aunties and uncles had their own personal digital cameras and camcorders—not professionally, just for fun. Every birthday, picnic, or family gathering was captured. I always had family photos packed in my suitcase whenever I travelled.
My journey into photography started like that—casual and personal. I went to the University of Benin to study dentistry, and in my first year, I had a Blackberry phone, taking pictures of my classmates and random moments. I loved it. Then, in my fifth year, a friend introduced me to photographers on Instagram who posted their work, from documentaries to portraits. That was the first time I saw photography as more than just capturing moments—it was an art form.
I started sharing my photos online, mostly for posterity, asking myself, ‘What can I create that will last?’ I began learning photography on YouTube, watching tutorials to the point where I neglected my books, even during exams. My interest just spiked, and I couldn’t ignore it. At that time, I didn’t even have a camera yet, but I kept taking pictures with my phone, which had upgraded to an Android by then. I’d call up my friends, get them to dress up, and take photos.
Eventually, with my savings and help from my mom, I bought my first camera—a Nikon D90. I was so excited. Since I had already watched countless tutorials, using it wasn’t foreign to me. The moment I got the camera, I was off, taking pictures everywhere. I remember photographing traffic lights and snapping shots of the driver’s mirror while in a taxi back to school. I was just that thrilled.
When I returned to school, I was still taking photos nonstop. One day, I saw a little girl and took her picture, edited it on my phone with Lightroom, and posted it. I didn’t even know how to use a laptop for post-production at the time—Photoshop seemed overwhelming as a beginner. But I was just doing my thing, sharing my work.
Then, the guy who sold me the camera reached out. He saw the pictures I posted and told me I had a wedding to photograph—a traditional wedding. That was my first paid gig, and I earned 6,000 Naira. For me, it wasn’t about the money; it was just the fact that someone thought I was good enough to shoot their event. In a month, I was making about 20-25K. I wasn’t aiming to buy anything fancy—just to enjoy life a bit more, like getting ice cream whenever I wanted.
I discovered there was a photography community at my university, and I joined. That community was instrumental in my growth. I learned that photographers could even make more than dentists, and I developed my skills. It was also helpful that I could borrow equipment like lights, softboxes, and reflectors from the community and lend whatever I had. Collaboration became key, and I started posting more, getting more clients—even some high-profile ones that came as a shock to me. Some clients would even provide high-end equipment for me, which helped me get more attention when I posted those images.
One post that really stands out was a shoot of a random Mercedes car I saw near where I lived. I posted the photos, and Mercedes themselves replied to my post, and that brought so much attention. I always tell young photographers: the best camera is the one you have right now. Yes, there’s a difference when you’re shooting with high-end equipment, but you have to start where you are. At the end of the day, we’re not magicians. We can only photograph what’s in front of us, and the subject matters just as much as the tools.
Looking back, I can see God’s hand in my journey. Things just seemed to fall into place. I never had to struggle too much, and I knew deep down that this is exactly what I’m supposed to be doing.

This is truly inspiring. I’d love to hear about your creative process, from the initial idea to executing the final shot. How do you develop your concepts and bring them to life?
I try to draw inspiration from things around me. I believe that, sometimes, we tend to think of the biggest, most complex ideas when it comes to creativity, and in doing so, we can overlook the simplicity and beauty right in front of us. If you're not paying attention to your surroundings, it becomes easy to miss those moments. For a while, I made the mistake of wanting to tell stories that felt distant, stories that didn’t resonate with me personally. But over time, I realised that the things around me—those unique, everyday experiences—are what make my work distinct. These are the things that will truly set me apart. Like Fela said, "I have to identify myself with Africa." Once I started embracing that mindset, my creative process shifted.
Now, I approach every project as one cohesive body of work. Pre-production is essential, and there’s so much that goes into it—moodboarding, styling, makeup, hair, choosing the right locations and models. All these elements need to align with the story I want to tell. For example, I can't depict a simple love story in a skyscraper or an extravagant setting. Even if it’s editorial, everything must come together to tell the same story. The details matter because they support the overall vision.

So how did the love stories series start?
The inspiration for the romance series came from noticing how romance is becoming highly monetised. These days, if it’s not a super expensive restaurant or the most extravagant outfit, it’s not deemed worthy of being posted on TikTok or Instagram. We forget that the average Nigerian doesn’t have access to these luxuries. Even secondary school students comment on my work, so I try to be intentional about the stories I tell because they travel far and influence narratives. I’m playing a role in showcasing Africa, and the question is: how do I do that in the best light? Sure, there’s always room for improvement, but we don’t need to demonise our stories. That’s the core inspiration behind everything I do now. How can I portray our simple stories in ways that look grand, that show joy? For the love series, it’s the same.
For the first one, I wanted to capture young lovers having fun in a simple, everyday way—just chilling, playing games, doing simple chores. Then for the bike romance, it’s a concept every Nigerian is familiar with. The location was a simple red container as a background, and the right styling and models made the difference.
You mentioned there are a lot of things that go into it, from location to casting, makeup, and styling. How important would you say your community or your team of collaborators are?
People see pictures and can easily give all the credit to the photographer, but it’s not just about the photographer. As a photographer, having a team that understands your vision makes all the difference. I always seek to collaborate with the best minds because if I have a vision and don’t have the right people to interpret it, it’s not going to turn out well.
For the bike shoot, it was my first time working with Senami, the stylist. I didn’t have any prior relationship with her. I just liked her work, reached out, shared my vision, and she loved it and was willing to work with me. I’ve learned not to stick with familiar people for convenience but to work with people whose work I admire.
I’m grateful to God for giving me a good mind to come up with ideas and a good eye to spot angles and the right people to work with. But I also recognsze my limits—I’m not a stylist, makeup artist, or hairstylist. So when I need things done, I make sure to seek out the best people.

You’ve shared experiences about your community from your university days, and now you’re advising younger photographers on the importance of community. How has community influenced your work?
Community is essential because no one can do anything alone, right? There’s a saying: "If you want to go fast, go alone. If you want to go far, go together." Right from the start, community has been important. I worked with the right people early on.
As my brand grows, I’m trying to accommodate more people—bringing interns into the studio, for example. I’ve moved from being dependent on a community to building one myself. I’m training people, and it impacts me as much as it does them.
Community has also helped with personal collaborations. Many people don’t realise that personal projects can be costly for photographers. But with the support of my community, we pool our resources—often just covering the location, logistics, and refreshments—and everyone contributes their best to the project.
So yes, having a strong community makes it easier to execute my vision. When I have a shoot, I immediately think of three, four, or five names for styling, makeup, or hair. It’s helped my work tremendously. But trust me, collaborating in Lagos is difficult. It’s not just about building a network—it’s about maintaining those relationships, listening to everyone’s opinions, and making sure they feel included.

You're absolutely right about the power of collaboration—when everyone’s on the same page, the result can be truly beautiful. Speaking of love stories, I wanted to ask about your preparation process. You often photograph weddings, so you're familiar with capturing intimate moments, and also with your current series focused on everyday routines, how do you approach those subtle, intimate moments? What’s that process like?
The way I approach photographing intimate moments really starts with pre-production. Like I always tell my photographers, 70% of the work is done before you even get to the shoot. If you have the right people working with you, the images naturally turn out great. Take Mike and Hawa's shoot, for example. They had never met before the session. But I had met both of them separately and knew they were individually amazing—easy-going and great to work with. I had a gut feeling that they would click on set. There’s no magic that can create chemistry if it’s not there, but for them, it just happened. They were comfortable, the goal was to have fun, and that’s exactly what they did.
Another approach I take is to keep the vibe on set very warm and chatty. I’ll say things like, "Your makeup looks amazing," or "You look beautiful, don't worry about it, this is going to be easy." It helps build the confidence of whoever I’m shooting, whether it's a solo subject, a couple, or people who are meeting for the first time. That relaxed energy allows them to let go of any anxiety and bring out positive vibes.
And then, of course, there’s music. I always make sure we have good music playing—it sets the mood, especially if we’re aiming for a romantic vibe. It doesn’t make the shoot effortless, but it definitely helps us get on the right track.
I love that approach. Now, you have a few exciting projects in the works, like reimagining Bible characters and continuing your love series. What’s next for you, and what ideas are you excited to explore?
For this love series, I’m really interested in combining music and African culture with romance. I’m focusing on three of Nigeria's major tribes, and the plan is to showcase each tribe with a traditional musical instrument that’s unique to them, and have the subjects play those instruments for their partners.
Beyond that, I’m working on a series featuring sportswomen, which is something I’m excited about. But the Bible characters project is the one that’s really challenging me the most. It’s a big one, and I feel like it's going to push me creatively in new ways.
That all sounds so exciting! I can’t wait to see how these projects unfold.
Images via Thekashope