ALBUM/ PHOTOGRAPH COLLECTIONS: A GAUGE OF NETWORK OF SOCIALRELATIONSHIP IN CAMEROON.

BY

Valentine NYAMNDON-Department of Anthropology and Development, Catholic University of Cameroon, Bamenda.vnyamdon@yahoo.com, (237) 75 51 77 91 & David Zeitlyn- University of Oxford, Institute of Social and CulturalAnthropology.

ABSTRACT

This study begins with the collections of stamps from black and white photographers onthe back of photographs that dated up to the 1990’s from different families in thefive of the seven divisions of the North West Region of Cameroon using purposive andquota sampling techniques to select the families’ photograph collections. We copiedthe photographers’ stamps and recorded interviews which were later transcribed andanalyzed. Then we proceeded to more detailed documentation limiting ourselves to fiveelderly persons with albums from different families in Bali Nyonga. They were allinterviewed about the photographs in their albums in a bid to find out how photographscould be used as a measure of network of social relationship in Cameroon. (Our finalsample is small because of suspicion and the sensitive nature of this study). This hasestablished that photographs can play an important role as gauge of network of socialrelationships in families and lineages despite global impact, fear of exposure andpoor means of preservation. We recommend a simple but yet available means ofphotographs archiving acting as an interaction with researchers and to educate throughconferences and seminars the importance of photographs and anthropology yesterday,today and posterity.

Key words: Albums, Photographs collection, Network, Social Relationships, Families,Anthropology, Photographers, Bali Nyonga, Cameroon.

INTRODUCTION

The role of photography in Cameroon has been little studied. For example, theblack and white photographs owned by families in the Bamenda Region ofCameroon has scarcely been studied. In connection of photography to memoriesJohn Berger wrote “Memory is a strange faculty. The sharper and more isolated the stimulus memoryreceives, the more comprehensive the stimulus the less it remembers. This is perhaps why black and whitephotography is paradoxically more evocative than color photograph. It stimulates a faster on rush ofmemories because less has been given, more has left out” (1992:192-193).

Some families keep photographs in albums for family memories and generalreferences other keep their photographs loose in envelopes or boxes. And somefamilies keep no photographs at all (We must recognize the limitations of ourstudy). Some people display prints on wall-hung mats woven from strips ofbamboo (raffia palm). Albums (using the term for all collections) contain

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photographs of family and non- family members of varying relationships to theowner of albums. These relationships could be traced from the past to thepresent as the focus of Anthropological approach (a relative and holisticscience of humanities)1. Knowledge of the science of taking photographs byphotographers remains private to some elderly persons in Bali Nyonga a villagein North West Cameroon. Also discussions concerning photographs remain aprivate to many informants due to a popular belief that it is a medium ofMagic, Witchcraft and Sorcery attacks. This makes the paradigm shift ofincorporating Photography Elicitation Interviews (PEI), (See Collier 1967)into pure ethnographic studies particularly difficult. In a bid to situatethe relationship between PEI and ethnography in this paper with regards toblack and white photograph then needs a careful and delicate methodologicalapproach.

1.1 Purpose: Situating to what extent black and white photographs can providemeasures of social relationships network ethnographically at the same timeethnographically eliciting the interviewees’ cognitive frame work on the basisof status conferring, social nexus, myths and symbolic interpretations of thedifferent photographic prints found in their albums .

2.0 MATERIAL AND METHODS

2.1 Study site: This study began with collections of black and whitephotographer’s stamps on the backs of photos that dated up to the 1990’s fromdifferent families in the 5 of the 7 divisions of the North West Region ofCameroon. These divisions include Mezam, Momo, Bui, Mechum,Donga and Mantung.Students with families based and knowledge of the different divisions wererecruited either to assist in identifying siblings and friends with black andwhite photographs, labeling and collecting or assisting the researcher withtranslations. The distribution of data collection was as follow:

Table1: Distribution in the 5 of the 7 divisions

Of the North West Region of Cameroon.

l ran training sessions on the use ofvideo and audio devices with the fieldassistants focusing on photography,video and audio recording (exposure,picture, camera basics, taking

2

No Students perdivision

Division

1 2 Mezam

2 3 Momo

3 1 Bui

4 1 Menchum

5 2 Donga andMantung

total

9 5

notes)1 .Then the most important of it all was training on ethicalconsiderations and creating back ups2 .

2.2 Methodology: Purposive and quota sampling techniques were used to selectthe photographers and families in possession of black and white Photos. Thenqualitative and quantitative methods were used guided by several theoreticalframes. These included Geertz’s Thick Description (1973), in theinterpretation of the different facets of significance taken intoconsideration while employing explicit awareness (Nkwi 2014). According toRyan et al. (2001: 17-18), an investigator can identify certain type ofinformants that may supply the type of information they want to have, takinginto consideration the heterogeneity of the division and back ground wheredata were collected. The collections of photographs in a varied culturalbackground were aimed at eliciting different view points in relation torepeated frames in which photographs are taken. All the divisions differ inone way or another, especially in this study where descents of the differentarea where data were collected could be traced either from the Chamba or theTikar (see Gwanfogbe and Takor 2013 and Zeitlyn 1996 for cautions). But whatis certain is that the people from whom elicitation were conducted are allGrass-fielders. Names and boundaries bring about material and immaterialdifferences even to those with blood relations for the sake of identity. TheGermans conquered Bali Nyonga in 1891 and it was made a station to controlother areas in the Grass fields. From Bali Dr. Zintgraff occupied himself withthe rest of the Grass- fields. With the help of the Bali, he changed the nameof Grass- fields villages by adding the prefix ‘Ba’ to each village.Consequently Mbэ was changed to Bambui, Mbðli become Bambili, Bf becomeBafut, Nso become Banso, Fousam become Bafoussam and Ngante become Bangante(Bonu, 2012:37-38). Despite the similarities in the prefixes of the names ofthese places culture significantly remain different. Going on with thisbackdrop and keeping in focus with photography, Suchar’s (1992), posit thatphotographs become some thing like a Rorschach ink blot in which people ofdifferent cultures can spin out their respective worlds of meaning. Thisprocedure is fueled by the radical but simple idea that two people standingside by side looking at identical object may see completely different things

1 Based on Mandana Seyfeddinipur’s presentations on Camera basics andethics. Summer School of documentary linguistics Buea-2013 . Visiting from ELDP.2 Paul Trilsbeek From The language archive Max- Plank Institute forpsycholinguistics, Nijmegen, The Netherlands, presentation on back up, metadata and dataorganization at (CERDOTOLA) –Cameroon 2013.

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(though this may be be exaggerated: it may not always be the case) When aphotograph is viewed, by many informants the differences in perception can bedefined, compared and eventually understood to be socially constructed by bothparties ( Suchar in Harper 2012,10-11). Related to this we can achieve ourobjective to use photograph collection/albums explain in the following:

For those with relatives who have albums/ collections these were the PhotoElicitation Interviews (PEI). How many photographs are there in the Album? Howmany of those Photographs have stamps on the back? (Of those with stamps, Howmany are illegible? How many are legible? How many come from the samephotographer?) How many are inherited? How many were obtained as gifts fromfamily members and friends? Give brief comments on the poses and back groundconfigurations? What do photographs symbolizes today, the Past and in thefuture? The structuring of these questions were intended to provide data fora study of the history of photography and photographers in Cameroon that isongoing3 and using observation, stage and elicitation finding out the extentto which photographs could be used as a gauge of network of social relations.

2.3 ETHICS: Our informants were mainly elderly men who had lived andexperienced the art of photography from the pre-colonial, colonial and postcolonial periods in Cameroon up to the 1990’s. About 55% of the informants whohad lived through this experience were illiterate. We sought their consent atvarious levels, making sure not to look the fronts of photographs that weweren’t permitted to do so, asking them to whether we could copy the stamps ornot. The digital camera and digital voice recorder were also explained to ourinformants and how they worked. We made sure to explain difficult questionsespecially through the used of a translator to the informants especially inareas where we couldn’t understand their language. The raison d’être orpurpose of doing the study was also explained to the informants. Small giftsof money, detergent and drinks were also given as compensation for their timetaken off from agricultural activities to answer our questions at the end ofthe interview. In the course of doing this study, suspicions set in that wewere doing it because we wanted to sell in a witch economy, collectingphotographs and stamps to sell as antiquities and that it could be a way toinitiate informants into secret societies (belief of sending people to work inan invisible world and in return send back money to those who send you there-famla, yungo, ndah nsaa4). So instead of using a wide heterogeneous sample sizeintended for the history of photographers in Cameroon, with varying degree of

3Zeitlyn David, Oxford Institute of Social and Cultural Anthropology, School ofAnthropology and museum ethnography- ongoing project on the History of photographersin Cameroon.

4 Secret societies in Cameroon Grass- fields e.g. the West and North West Regions.

4

suspicions, detailed interviews were carefully reduced to 5 elderly persons inNyamndon’s natal village Bali Nyonga.

2.4 Analysis:

Data collected through interviews were transcribed and information from albumsquantified. To check the validity and reliability of the information from thefield, data from ethnographic interview that were compared with those usingPhotograph Elicitation Interviews.

2.5 Results

The interviewees were Christians, males and retired civil servants and stateworkers who were all willing to cooperate with me concerning the photographelicitations. The first part of our interview and elicitation were focus onthe history of photographers, through the used of stamps to identify theirnames town and dates that they were on activities. (See appendix:1). We thengot statistics that expresses the number of color, black and whitephotographs. The extent of legibility were used to identify the number ofphotographers while the use of social nexus to know the means of acquiringphotographs were used to identify the objectives how albums can be use asgauges of networks of social relationships.

Ndaghu (61 years old): Albums you need to know were not so popular in the past when we weregrowing- up l remember my father used the bamboo mat album: he displayed his few photographsabove the head of his bamboo bed.

The common areas identified in the interview were the way photographs serve toshare memories, confer status, nexus of social relationship and the mythicalperception of photography. The statistics from my first interviewee were asfollows:

A1) Table 2: J.F AGEM’S COLLECTION BALI(65 YEARS OLD) – TIH QUARTER BALI

5

Photograph Total %

Black andwhite

142 68%

color 67 32%

stamped 131 67%

Without stamp 78 37%

illegible 25 12

legible 184 88%

From this l intended looking the social nexus with the used of PhotographElicitation Interviews in line with photography commission received as giftand inherited. This was effectively done for the four interviewees.

A2) Table 3: Tracing social network using J.F AGEM’S Album

Photographs Commission Received asgift fromfriends andfamily

Inherited Total

Black and white 80 56 6 142

Colour 43 24 0 67

All 123 80 6 209

All (%) 59% 38% 3% 100%

2.6 Photos as medium of tracing and recalling memories:

6

Agem (65 years old): Photograph is indeed important because it recalls our memories to our past andeven present. Through photographs lam able to remember my class- mates in P.T.T.C Batibo and eventhose who have died in the family.

2.7 Myths of Photography

Agem (65 years old): Photographers were actually magicians in the arts of snapping photos. Just imaginesome body making your images to appear on a platform. They were feared because it was widely believethat they could take your photograph to secret societies or ‘famla.’ We always ran away from white menbecause they take photographs of us naked and made post- cards with them.

2.8 Photography in recent time.

Agem (65 years old): Nowadays my children don’t care about my photographs as they have moreadvanced technology today. Some even use the internet and the computer to save their photographs forposterity.

B1) Table 4: Ndaghu Thomas( 65 years old ) album Ntanfoang quarter Bali

Photograph Total %

Black andwhite

74 23%

color 245 76%

stamped 43 13%

Without stamp 10 03%

illegible / /

legible 21 07%

B2) Table 5: Tracing social network using Ndaghu Thomas’ Album

Photographs Commission

Received as giftfrom friends andfamily

Inherited

Total

Black andwhite

176 28 41 245

Colour 60 / 14 74

All 236 28 55 319

Percentage 74% 09% 17% 100%

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2.9 Memories

Ndaghu (65 years old): When l go through my album l have a lot of nostalgia especially fromphotographs l had in primary school and our family photographs when we were young.

l still vividly remember that photographs were taken only on national feast days like 20 th May, 11th

February, and when there was a school or university graduation.

2.10 Photographs as index of relationship

We had a photograph in our house when l was growing up, the photograph included my elder brother.However since he was doing plantation agriculture work in the south west, when we lined up for thephotograph an enlarged photograph of him was held to signify that he belonged in the photo as afamily member (Ndaghu: 65years old)

2.11 Myths

Ndaghu (65 years old): Photograph in those days was arts that were not meant for every body especiallywhen it comes to death. Only photographers who had medicine could snap a corpse. It was believed thatif one took a shot of a corpse without medicine in his pocket, the person will either be assaulted by thedead person at night or the photograph will not appear at all. Also there were ‘juju’ (masquerades) thatwere not snapped at all in Bali, like the “gumba” and “voma”. Today there are different types of “juju” inBali, and some are even transported on motorcycle from one funeral to another.

2.12 Status conferring

Photographs were difficult to come by in those days. Only one or two photographs were enough to getmarried. Plantation workers in the CDC plantation in the South West Region were shown accompanied bytheir trunks, bicycle, radio, sewing machines, grinding machines, thermos flasks, to confer their status toa new wife they want to married to. Some times they borrowed all these things just so the status wasdisplayed. (Ndaghu: 65 years old)

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C1) Table 6: Langsi S.( 55 years old ) album Naka Village Bali

Photograph Total %

Black andwhite

09 03%

color 348 97%

stamped 178 50%

Without stamp 179 50%

illegible 21 06%

legible 157 44%

C2) Table 7: Tracing social link using Langsi’s Album

photograph commission

Received as giftfrom friends andfamily

inherited Total

Black and white 4 3 2 9

color 236 102 10 348

All 240 105 12 357

All (%) 67% 29% 3% 100%

Langsi (55 years old) Photograph could be used to remember friend and family members long after theydie l still remember it is because of photograph that l saw my grand mother who died long before theyever think of me.

2.13 Symbolic interpretation

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Langsi (55 years old) marriages are done between a man and a woman. They meet as tradition demandsand take odd of eating ‘shugaa’ but today it is rare in my communities. Those from the ‘coast and evenabroad send their photograph and a brother to represents them in their in-laws compound.

D1) Table 8: Ba Peter Nuvaga Kuna (88 years-old) Album Naka Village Bali

Photograph Total %

Black and white 106 66%

color 55 34%

stamped 88 55%

Without stamp 73 50%

illegible 17 45%

legible 71 44%

D2) Table 9: Tracing social link using Ba Peter Kuna’s Album

photograph Commision

Received fromfamily andfriends

inherited Total

Black andwhite

96 6 4 106

color 36 8 11 55

All 132 14 15 161

All (%) 82% 9% 9% 100%

The Comparison of the above findings could be combined foralbums/photograph collections and sources of tracing social network

from our informants as follows:

Table 10: Stamps from Album/Photograph collections.

Photographs J.F Agem Ndaghu Langsi Ba PeterKuna

Black/White 143 74 09 106

10

Colour 67 245 348 55

Stamped 131 43 178 88

Illegible 25 10 21 17

Legible 184 0 157 71

WithoutStamp

78 21 179 73

Fig 1: Graphical representation of combined tables of stamps.

Table 11: Sources of photographs

Name J.F Agem Ndaghu Langsi Ba PeterKuna

11

Commission 123 236 240 132

Receivedas giftfromfriendsand familymembers

80 55 105 14

Inherited 06 28 12 15

Fig 2: Graphical representation of combined sources of photographs.

2.14 Conferring Status

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Ba Peter Nuvaga K.(85 years old): l was the first driver of the late Lebaga in Bongo Square Buea. The Carwas Pontiac and only the photograph of the car does every thing for me. l remember l always drovewearing a white uniform. When l came back to the North West Region, it was thanks to this photographthat l was recruited as V.S Galega II driver.

Also l got my job with the CDC only because the photograph of the Pontiac was shown the manager andhis confirmation that l could drive. So indeed photography has been of help to me, l still remember that lwas the class mate of (D.B. Tata an elite in Bali) and we could snap photograph only during graduationor on Empire Days.( Ba Peter Nuvaga 85 years old)

3.0 Discussion

In this qualitative study, we attempted to learn the role ofphotograph acting as a link of social relations amongst family and thecommunity at large. The findings of our analysis show that photographsare not just sheets of paper. Rather they are much, much more thanthat: they have roles in the recall of memories, conferring status,social nexus, and as a symbol of interaction. This goes a long way ofenabling us to design socio-anthropological investigations that usephotographic elicitation.

3.1. Recall Memories: Most of the respondents, laid a lot of emphasis onthe use of photographs to bring up memories, photographs affect thepsyche of individual triggering nostalgia for the past. Throughphotographs people could easily identify themselves as peers, agegrades, classmates from the same alma mater. They also highlightmemories, history, norms, and culture in different prints.

3.2. Social Nexus: Photographs document families as an enduring group byphotographing family members in a group together the image evidence ofbelonging. To some extent, when omitted from a photograph it is as ifthe person is an “outsider” or non –family members. This hurts mostwhen selections are made for a photograph despite one’s presence in agroup. Even in contemporary times there is still hierarchy in snappingphotographs as different family members are called up at differentinterval for a photograph. Going on with this one can be tempted tosay that photography which was a uniting force yesterday could bebreeding individualism today. Field reports show that in the past theabsence of a family member when snapping photograph, such a member wasrepresented by a family member in the group holding one of his/herother photographs. Also family trees are created in different housesusing photographs, showing how links are also established throughphotographs that are handed down as gifts or inherited from onegeneration to another. So photograph collections and albums are not

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only commissioned by individuals but are also passed down from onegeneration to another.

3.3. Status Conferring: From respondent photographs were symbols of wealth,power, and prestige the number of photographs that one has in an albumor as a collection signified one’s status in society. The sizes ofphotographs in frames and albums also signified status and wealth. Itwas common to have photographs taken with property that wereconsidered modern and associated with the white men, Bicycles,motorcycles, cars, vacuum flasks, radios and televisions werecommodities that demonstrated the move from poverty to riches or anadvanced state of civilization.

3.4. Symbol of interaction: Like else where in Bali Nyonga marriage isusually presided over by parents, family members and friends of thebride and groom. Until recently migrant workers(for example in theCameroon Development Cooperation (CDC), would send photographs ofthemselves well dressed and holding for example a radio to familymembers to look for a beautiful wife for them. This practice is nowfollowed, by those living abroad. It was observed that some men andwomen abroad become married simply by sending their photographs hometo representatives of their families in order that traditional ritescould be conducted on their behalf.

4.0. Conclusion

This project started with a qualitative research design intended togather material for the history of photographers in Cameroon. Emergingfrom this we thought it necessary to investigate the used ofphotographs in more detail. Our tours in the five divisions of theNorth West Cameroon found approximately 600 black and whitephotographs with and without stamps and the exercise are ongoing.Suspicion from informants limited the number of informants availablefor detailed discussion. In course of our interview one of our keyinformants became sick so we actually have only been able to do thestudy with 4 of the 5 informants. In these interviews the issue ofsocial links as symbol of interaction, social nexus, status conferringand recall of memories were unraveled.

For the sake of validity and reliability, Photograph ElicitationInterviews were used with other ethnographic methods of datacollection. Purposive sample techniques were also important in thisstudy because elderly persons with enormous experience on

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photography were selected but unfortunately health reasons reduced oursample size to four. In all the use of photo elicitation influencesvalidity and reliability to a large extent, responses to photographsframe were spontaneous, excellent rapport created between our self andinformants and they were also focusing on a particular configurationof the photographic images.

Despite all these we would not claim that it is possible to entirelyreplace interviews with elicitation but it could always be an adjunctpart of it. Elicitation consumed a lot of time that could end up withpoor results if photograph print and configurations are poor, leadingto skewed results. It is also too sensitive a method such thatinformant even sometime refused answering questions concerningphotographs thought of as private and to avoid the use of images forunintended purposes. Recapitulating from above, myths and popularbelief has made the photographers to be looked upon as magicians,sorcerers and witches. Also the non- respect of bioethics on childrenand adult photographs by tourists made things worse. Present look oftheories especially post- structuralism or modernism is laying moreemphasis on deconstruction which poses a lot of challenge and paradigmshift in the humanities.

Black and white photography has given way to color photography whichare not appreciated by all, globalization impacts has lead todifferent methods of keeping photos, the internet, computer and phonesare all devices in which photographs can be stored, graduallyreplacing analogue method of photograph preservations. Photographywas an elite practice, is today as common as every body can be aphotographer since cameras are incorporated into many types of devicesranging from key holders to telephones. The vulgarization of this oncescarce commodity has also affected ethical consideration by theirusers. It is high time visual anthropology should be introduced as adepartment on its own in higher institution and colleges. The use ofphoto elicitation in research could also be introduced in other sub-fields in the humanities since it readily enables one to open up andadvance discussion of issues that are meant for furtherinvestigations.

Future research could be focus on the impact of globalization on blackand white photos, the symbolic relevance of photography replacinghuman being during ritual performances could also be an importantfield of study. Also the myths that surround photography yesterday,today and the future is equally an interesting field for further

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research. For example are concern about famla and photography (whichwere real problem for our research working with aged informants) stillan issue for youths of today who have grown up with camera in theirphones

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Appendix

Appendix I: Detailed spread sheets of some album/photo collections inthe Mezam Division in line with the project on History of Photography.

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HISTORY OF PHOTOGRAHERS- J. F AGEM'S COLLECTION BALI (65 years Old) – TIHBALI

No PHOTOGRAHER PLACE DATE TOTAL1 P.B Fonyonga

PhotosBali 16/7/83,10/2/74, 15/2/81,

20/5/83,20/5/87,9/10/83,1/1/85 & 1(N.D)

9

2 Beauty BasePhoto

Mankon 3(N.D 3

3 Chico de Youngphoto

Mankon 11/1/73,12/10/71 2

4 Young S.T.M Bali 17(N.D) & 10/11/72,6/8/73, 12/4/70

20

5 Royal PhotoStudio

Bali 20(N.D) 20

6 J .N Okia Bamenda 1(N.D) 17 Lekunze L.N

Bright PrudentPhoto

Batibo 29/4/72,2/6/73 & 2(N.D) 4

8 Charity Photo Bali 12(N.D) 129 Lily Photo Bamenda 23/12/77 110 Pius Modern man

PhotoBamenda 2(N.D) 2

11 Dr. G.BGwanvoma sunsetPhoto

Bali 10/8/69,11/7/83, 9(N.D) 11

12 Photo ChampionMohamadou

Ngaoundere

6/12/71, 5/12/71 2

13 Photo Guinea Douala 22/7/72 114 Standard Photo Bamenda 1(N.D) 115 G . B

ElectricalPhoto

Bali 2(N.D), 17/1/77 3

16 Olympique Photoet Vent

Yaounde 26/11/74,11/3/75 & 1 (N.D) 3

17 Rex standardPhoto

Kumba 22/6/76 1

18 Peter EmakesWeli Photos

Fundong 9/12/73 1

19 Studio PhotoBrilliant

Douala 5/3/84 1

20 All The TimePhotos

Mana 2(N.D) 2

21 J. C Aloh’sever Bright

/ 1(N.D) 1

19

Photos22 Ever Ready Pho Limbe 8/5/84,27/9/85 223 Pius Modern Man

photosNdop 21/12/70,11/8/69,6/6/66, &

4(N.D)7

24 Young JohnnyPhotos

Cameroon 1(N.D) 1

25 EkweInternationalPhotos

Limbe 1/1/1988 1

26 Hilferr deworld HopePhotos

mankon 1(N.D) 1

27 Kapa Photos Bali 1(N.D) 128 Photo Omega Douala 18/1/81 129 Space man ‘s

photosLimbe 24/9/83 1

30 Gay Photos Mankon 31/01/76 131 Easy Life

PhotosVictoria 26/6/83 1

32 J.C.A Quickservice Photos

Bafut 1(N.D) 1

33 Kingsway Photos Kumba 1(N.D) 134 Richards Photos Meta 1(N.D) 135 C.N Nkwain Fundong 1(N.D) 136 Johnny Graphic

PhotosLikomba 1(N.D) 1

37 Chico deCambride

Bamenda 20/11/70 1

38 J.M.XElectricalPhotos

Santa 2(N.D) 2

39 Ever ReadyGright DayPhotos

Mankon 3(N.D) 3

40 Charles G.Fonyonga Photos

Limbe 1(N.D) 1

41 G. Neba EverReady Photos

/ 1(N.D) 1

42 Dragon deUniverse

Batieh 20/2/71 1

HISTORY OF PHOTOGRAHERS- LANGSI SYLVESTER’S ALBUM( 55 YEARS OLD)- NAKA BALI

20

No PHOTOGRAHER PLACE DATE TOTAL1 Photo social Douala 20/05/87 12 Saloon de Young Bouda 3(15/08/83),28

/11/844

3 Lilly Photo Studio Bamenda 01/01/84 14 Express Photo

studioBamenda 4/03/82 1

HISTORY OF PHOTOGRAPHERS-PETER NUVAGA KUNA "TUTUWAN"nee BA NTAHLIG KUNA (87YEARS OLD) NKWATKAN-BALI

No PHOTOGRAHER PLACE DATE TOTAL

1 P.B Fonyonga Bali 4/86,1/86 2

2 Albert Photo Service Buea 1(N.D) 1

3 Photograph by theCameroon InformationService

Buea 2(N.D) 2

4 Beauty Base Press Bamenda 1(N.D) 1

5 African Photo Douala 1(N.D) 1

6 Ever Ready BrightPhoto

Mankon 27/9/85 1

7 Royal photo Service Bali 1(N.D) 1

8 Atlas Service PhotoStudio

yaounde 28/3/76 1

9 Chico CambridePhoto

Bamenda 1(N.D) 1

10 Young S.T.M PhotoStudio

Bali 1(N.D) 1

11 Emmanuel N. Photo Bali 6/5/84,28/2/87

2

12 UNESCO Photo Studio Victoria 5/12/83 1

13 C.C Bright Photo Bamenda 1(N.D) 1

14 Prudence Bamenda 1(N.D) 1

21

Photographies

15 T.N.G Photo BakossiCampMukunje

1(N.D) 1

16 G.B Titamoh Camp 12,ModoniPalms

19/8/78 1

17 G. B Photo Studio Bali 1(N.D) 1

18 Fito de Hilford Bamenda 25/3/76 1

HISTORY OF PHOTOGRAPHERS-NDAGHU TABOH THOMAS’ ALBUM (65 YEARS OLD) NTANFOANG-BALI

No PHOTOGRAHER PLACE DATE TOTAL

1 C.K the SeniorService

Kumba 20/9/77,15/8/82

2

2 Ekwes InternationalPhotos

HausaQuarterKumba

26/6/80,8/4/88

2

3 Olympic Photo Kumba 1(N.D) 1

4 P.B Fonyonga Bali 4(6/10/84),8/10/84,15/6/82

6

5 Bright Way Photos Mamfe 2(N.D) 2

6 Studio Photo Milky Douala 5/01/76,2(N.D)

3

7 J.C Asanji MobilePhoto studio

/ 1(N.D) 1

8 Lucky Bright photo / / 1

9 / Ngaoundere 21/5/74 1

10 Photo Jimmy Cliff Yaounde 6/85 1

11 Rex Studio Photo kumba 27/2/78 1

22

12 Studio Photo Di AvBoy

Bertoua 24/8/85 1

13 Archieong and SonsCommercial Photostudio

/ 4(N.D) 4

14 Domingo PhotoStudio

Bamenda 18/1/76 1

15 Yong S.T.M Bali 5/8/72,3/1/73 2

16 Jeunese PhotoStudio

Kumba 12/6/83 1

17 Olympic Photo / 1(N.D) 1

18 Eric des Diverse Bertoua 24/12/84 1

19 E.B & F Photo Kumba 1(N.D) 1

20 Jerry’s PhotoStudio

Victoria 1(N.D) 1

21 O. K de sevur FiangoKumba

/ 1

22 Studio Photo H.T.Zacharie

Foumban / 1

23 Ever Ready Photo / 1/1/68 1

24 G. B ElectricalPhoto Service

Bali 17/6/74 1

25 Photo Elim-Mbi ConfidencestreetFiangoKumba

/ 1

26 Madu Photo work Buea 8/1/74 1

27 Luky Blonjus Photo Kumba 11/82 1

23

Appendix II: Type of Albums

24

Tradition Album (Closed)

Tradition Album ( Open) Cartoon Photo Collection

Modern Album

Appendix III: Photo Elicitation Interview(PEI) with interviewees

25

26