Within Seconds. Johannesburg, South Africa 2007
Within Seconds. Johannesburg, South Africa 2007
Within Seconds. Johannesburg, South Africa 2007
Within Seconds. Johannesburg, South Africa 2007

The Fifth Lens with Pogus Caesar

Interview by Esta Maffrett | 02.08.24

How did you get into photography?
I was always interested in imagery. First memories, my Father had numerous copies of Reader's Digest and National Geographic. I would delve into those magazines and pour over images of places like Constantinople, Mongolia, Zimbabwe and Alaska. Those lands really interested me, coming from the Carribean I had no knowledge of these lands so the visuals were enticing. For me, the real point of interest in photography was reignited during a visit to America in the 1980s. I had a small 110 Instamatic camera and started to go around the areas of Bronx, Queens, Harlem, Brooklyn, just taking photos with this little camera. During that time I was very interested in the work of Gil Scott-Heron, I visited a record/book store near to Washington Square Park and purchased the LP 'Secrets' While in the shop, browsing through the shelves and saw a photography book by the late Diane Arbus,  I spent quite some time looking at the images, and to a certain extent concluded that photographs didn’t have to be perfect. I left the shop with an LP and book in my bag. On returning to the UK I began investigating other photographers, it was captivating imagery and text. So I made the decision to document subjects that interested me, my confidence increased. Eventually I purchased a little 35mm Canon Auto Focus camera and would  take photographs. Around 1984 I began exhibiting in art centres, community centres, schools and one or two galleries. 1986 was a pivitol moment for me,  realising  the work had cultural value when The Museum of Film Photography in Bradford offered me a small solo exhibition 'Instamatic Views of New York.' The same year I also entered broadcast television and became a presenter on 'Here & Now' a flagship multi cultural series for Central Trlevision, Birmingham. I would eventually become a Director and Series Producer for Carlton Television and the BBC. Life would become very interesting. My camera was always in my bag!

What was it like growing up in Birmingham during the 1980s?

The 1980s was a wonderful time, engaging with artists who were living and working in the West Midlands or just passing through. They included Sonia Boyce, Donald Rodney, John Akomfrah, Maxine Walker, Eddie Chambers and Keith Piper, they have all produced astounding work throughout the decades.  We were young creatives with aspirations slowly navigating our way through the complexities of the art world. There were institutions/galleries who just could not or declined to appreciate the work being produced. A number of artists moved on and changed career - many of us stood our ground, self belief and inner strength has no boundary.

I have always found that 60% of people may connect with your work, 30% do not understand and 10%  will never like anything that you do. Once you accept the reality it gives you strength to propel forward. As creatives we have this burning desire to show the world our medium and for me photography is a great visual diary of life.

Untitled: North Africa 1986
Untitled: North Africa 1986

So your images and looking back on them enable you not to sensationalise the moment but instead realise the slowness of them.

Sometimes it takes decades to appreciate why a photograph has been taken and what it means to me.  We are documenters of our history, with social media we can publish everyday, however be mindful of what is revealed for public consumption. Regarding portrait photography, there are five lenses involved; my two eyes, the eyes of the subject and the camera lens. With the ongoing series 'Schwarz Flaneur'  that has allowed me to travel and expand my visual plateau. The OOM Gallery Archive is organically expanding, I am pleased the public find it of interest.

Growing up did you feel like you chose your community or it was something you fell into?

Growing up I was always very critical about all manner of things.  Travelling by bus to Birmingham Central Library and borrowing books with my little library card, later on going to house parties,  listening to a lot of music including Gospel, Soul, Reggae, Jazz and R&B. Overhearing stories from family members, hearing about their dreams and aspirations and reflecting on life in the West Indies. Many thought good jobs were waiting for them, instead they were resigned to work on the buses, trains, factories and hospitals - their dreams became water down the drain but they still had pride. They worked hard and did not complain because of an inner strength and willingness to exist in a strange land, they did the best they could. Much of these experiences have been incorporated in my photographic projects.

We discovered a lot about ourselves in Birmingham, weekends we would travel by coach to Leeds, Bristol, Nottingham and London to visit other communities and how they experienced life. If you look back at many family photograph albums there is a lot missing; what were the roads, buildings, house interiors, everyday life like! Much of or daily experiences are undocumented. Where possible, I have been trying to fill those gaps and still learning how to take photographs.

Pivot A Stronger Pull. London. 1989
Pivot A Stronger Pull. London. 1989

A lot of your work documents urban and city environments and the people within them - what are your thoughts of kind of the inner turmoil that comes with being young in relationship with how the city is also ever changing and growing as well?

It is a evolving relationship. In the 70/80s so much was happening, on reflection I have managed to document a tiny percentage of the environment. Because you are young and part of it,  you go to sleep and wake up - life never stops. Through photography I can freeze time and tell a particular story. Nearly every photograph taken, I know the location, the situation and what it meant. Much of the time it  is not about the central subject but something completely different.

If you could put one object into Museum of Youth Culture what would it be and why?

Definitely My Canon AF camera. It is very old and has accompanied me and witnessed decades of experiences. In case I have needed spare parts, throughout the years, I have purchased broken models from charity shops. I am constantly surprised by the versatility of the fixed 35mm lens and the ultimate surprise when a film is processed. Each time the contact sheets are revisited, experiences come flooding back, every frame viewed through a renewed and dazzling fifth lens.

Dr Pogus Caesar lives and works in Birmingham

©Pogus Caesar/OOM Gallery Archive. All Rights Reserved, DACS/Artimage 2024