Work.Seun

Welcome to a celebration of people, light and the stories it reveals.

I’ve always written — I guess this is just where it lives now.
 When I really thought about it, I realised I’ve been reflecting publicly for over a decade. The platform keeps changing, and somehow people keep stealing my swag.

I’m grateful for many things, but especially for still collaborating with some of my earliest collaborators to this day. Looking back, the timeline makes sense. I started writing on a blog about music, putting together end-of-year lists of albums that rocked my world. That later extended to two other blogs, where I leaned more into written storytelling alongside my friend Oba. That eventually came to an end, but our relationship didn’t — we stayed in touch and continued creating in different ways.[Link for Urplaylist, Random Thoughts]

From there, things became more visual. I worked closely with Emmanuel and Emmanuel (I know — it’s a whole thing), exploring storytelling through images and film. That collaboration evolved into capturing love stories, and this summer I had the opportunity to document a few with one of the Emmanuels — work that genuinely made my year and reminded me why I love doing this.[like for ordinary and art]

The next progression was Instagram. At the end of each year, I’d find a way to show projects I enjoyed working on. Whether or not I was being peer-pressured, every recap made me pause and think: damn, I did that. And that feeling always pushed me forward.[Link for seun ‘22]

Thinking about all the ways I’ve done this before, it feels right to return here — to writing. This medium feels fuller. It holds more context, more intention, and ultimately feels more rewarding.

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I started the year in an in-between state. My employment contract had ended — I’d finished my master’s the year before and officially graduated in January — and I found myself back in interview cycles that felt frustrating and unfamiliar after years of freelancing.

That period, however, gave me time. Time with my mum. Time with my friends Oba and Sogie. We cooked, hung out, shot photos, and made loose New Year resolutions. Around this time, I also started Rambling with Seun, my first series of the year. I tinkered with ideas I didn’t realise I’d follow through on until I started putting this together

.[Graduation Photo, Shooting on stage Video]

Work didn’t come through until February, and that gap weighed on me. Eventually, I found my way into hospitality — a pivot that unexpectedly opened me up to new people, cultures, conversations around food, and a different way of thinking altogether. It reshaped how I see a lot of things. [Food Video]

Balancing weekday work with freelancing and personal projects stretched me thin. I struggled through it, but I’m glad I made the effort. This was the fewest number of projects I’ve worked on in a year — yet somehow, when I paused to reflect, there was still plenty here.

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Looking back, I noticed a quiet through-line in how I approached my work: conversation. Many of the sessions I shot were directly connected to — or influenced by — Home and Away with Friends, a project I’ve been workshopping for a while now. Even when I wasn’t consciously thinking about it, the approach seeped into the work.

My first session of the year was with Anukis, documenting her working in her studio alongside headshots for promotional use. We talked about intentions for the year, and later shot something that grew directly from that conversation. [Anukis Studio]

With Ash, we explored the space she occupied at that point in her life. The session became a kind of time capsule — we hung out, talked about writing, identity, early 2000s music, and everything in between. It remains one of my favourite sessions from the year. [Ash Bahamas]

I’m also working on an ongoing Oxford series with my friend Blessing — portraits from her announcement and matriculation, with plans to return and expand the work. Another session I deeply enjoyed was Club 28 with Sogie, where we created party images to commemorate her turning 28. Our shared process of ideation continues to be something I value a lot. [Blessing Annoncement Photo, Outside Oxford, Club 28]

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A lot of this year loops back to the people mentioned earlier. I worked with Esper across multiple events — from performing at Southbank to various community gatherings — spaces where I got to deepen relationships and explore my practice in more meaningful ways. [Southbank & Something Else]

I also collaborated with Yinka and Kola on promotional portraits for DJ work, and shot two weddings with Emmanuel. One of those involved a road trip with people I went to school with — a chance to reconnect, create, and make new memories together. [Kola’s Headshot]

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One area I became increasingly interested in was group photography and composites. My aim is to execute these at a high level for teams and campaigns. This year, I had two corporate bookings that allowed me to do just that.

One was a company I’d photographed years ago in Lagos when they were still in an early startup phase. Seeing their growth — and being invited back into their story — was genuinely fulfilling. The other was a smaller but more diverse team, which made building personal connections easier. A fun discovery during that shoot was realising two people were from Francophone countries. [Old & New Oui Photo, Start Up Disc, Photo of Easy and Sogie]

Working with teams — rather than alone — consistently elevates my work. Collaboration brings perspective, energy, and possibility. Shoutout to my friends who came through on these projects. I also documented a number of celebrations and milestone birthdays throughout the year.

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My main personal project was The Off Season, which I started the year before and expanded this year by introducing video. Inspired by basketball and self-portraiture, the project explores working during slower periods — the off-season — as a metaphor for sharpening oneself when things feel quiet. [Old Off Season, New Off Season]

I also continued developing Home and Away with Friends, a project I’ve struggled with. The difficulty lies in reconciling individual images with a broader narrative. In hindsight, I can see how I might have approached it differently — clearer intentions, stronger connections — but I’m learning to move past that. The work exists, and it deserves to be shared. I plan to push through that resistance and release it sometime in the first half of the year, I’m currently rounding up on with my friend Morenike who I also shot earlier in the year and I’m really excited(not the perfect word to use for this here) and I plan to finish it up before the year runs out. [Photo of Renike, Me pointing to Sogie and Dami]

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I worked on a video project with Blessing for Zikoko’s HER series — an experience that was both grounding and insightful, especially hearing her perspective as a high-achieving Nigerian woman.

I also collaborated with Nonye on a project that pushed me deeper into DaVinci Resolve. That process sharpened my editing skills and gave me a new appreciation for the amount of creativity and precision that goes into video work. I’ve since carried those lessons into my personal projects. [Link to HER episode]

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This year wasn’t loud — but it was formative.
 A year of laying groundwork, reconnecting with old collaborators, experimenting quietly, and trusting that movement doesn’t always look like momentum.

This feels less like an ending and more like a pause — a checkpoint.
 I’m still in progress. And for now, that feels right.

Finally, Just to have it on wax, I haven’t set next year’s resolutions yet.
 But a few things keep coming back to me.

Finishing a season of Home and Away with Friends.
 Travelling across Europe.
 And seeing my work live outside my hands again —
 in a room, an exhibition, or two.

Nothing fixed. Just directions.

[A photo of me ideally working but whatever I can find will have to suffice]