In a visual culture saturated with trends, filters, and fast content, Adedotun Soyebi stands firmly rooted in purpose. A documentary photographer and visual storyteller, his work spans festivals, politics, corporates and culture, but his intention remains the same: to document truth, preserve memory, and highlight legacy.

In this conversation, Adedotun breaks down what guides his process, what he looks for in power, and why he’s drawn to stories that give back to the world.

NoteS: When you say you’re a documentary photographer, what exactly does that mean?

Adedotun Soyebi:
Visual storytelling is not just photography; it is also videography, which is what I do, but I focus more on documentary photography. I like to capture things objectively and freeze things in time .

A fashion photographer might edit or retouch images to enhance beauty by removing stretch marks, blemishes, or other perceived imperfections. 

A wedding photographer may focus on capturing love, but often in highly curated, idealised ways.

My approach is different. I document what is really happening and craft a story from what I observe. 

If I’m shooting a wedding, I’m not just capturing the aesthetics, I’m capturing the why. I want to show the emotions in the room: the joy, the anticipation, and even the tension, whether it’s from the parents, the groom’s side, or the bride’s side, and if someone isn’t happy about the union, that’s part of the story too. Ultimately, my work is rooted in honesty. I aim to be an objective storyteller, revealing the true atmosphere and emotions of any event I’m documenting.

NoteS: What guides your approach when you pick up the camera?

Adedotun Soyebi:
If it’s a client-based shoot, I get a brief and we go back and forth, discussing, asking questions so I can fully understand the story they are trying to tell. That process helps me connect with the vision and I get excited about bringing it to life

The client reaching out to me shows that they want me to document their whole legacy or a part of it.

So I always come from the legacy standpoint. That’s the value I give to whomever I’m documenting. If it’s a personal project that intrigues me, I dive into research because I am already intrigued. I want to tell my own story and share it through the perspective of my lens.

NoteS: You’ve photographed presidents, governors, and executives. What’s your mindset going in?

Adedotun Soyebi:

When documenting people in such positions, it makes me wonder why they would take such roles and carry all of that responsibility on themselves.

There’s a reason why they take on these roles; it is because they have a vision that others may not have seen. They’ve shared that vision, communicated and explained it clearly, and that’s why people choose to follow them. 

So when I’m documenting such people in these influential roles, the public already knows what they’ve promised to do. But it makes me wonder, and I am more interested in how the vision is built and what the architecture of vision is.

I want to understand the person’s day-to-day. How do they handle pressure or tension? How do they interact with other leaders in power, and how do they show up and do the work? That’s where the story is, and that’s what I’m really documenting. That’s their legacy. So when they start actualising their vision and I document it, I can connect both stories, and through that I tell a deeper story and show the legacy of that person more than what the public usually sees.

NoteS: You recently documented the Ojude Oba festival in Ijebu-Ode. What drew you to that project?

Adedotun Soyebi:
The publicity and buzz first got my attention and it got me intrigued, like, what’s really going on there?

I did a little research and learned of the festival’s history and origin. The king once left traditional worship for Islam, and that shift is at the heart of what they celebrate. But I also know that part of Nigeria is also known for holding tightly to traditional customs, so I had a lot of questions.

I wanted to see for myself to witness how they celebrate, and what rites happen before, during, or after the festival.

And truth be told, I saw a beautiful blend. I captured traditional rites, yes, but I also saw modern expressions in people. I saw locals who have never left Ijebu-Ode, and city people celebrating with bright-coloured dresses, dancing and riding horses… all in front of the king’s palace.

In the end, all I saw was unity, whether you’re from Ijebu Ode or just interested in preserved tradition, everyone was there to celebrate. Different ethnic groups coming together. It was chaotic… but full of Joy.

NoteS: How do you balance beauty with truth, especially in a world of misrepresentation?

Adedotun Soyebi:
Before I start shooting, I’ve already created a standard in how I perceive things. I always want to bring out the good and the beauty even in ordinary situations. 

If I choose to document something or someone, I already believe there’s some good and value in it. That’s what I’m looking for.

I might see negatives, but unless those negatives lead to something positive later, I may not document them. And once I’m done shooting, the audience has the liberty to take what they want from it. Not everything will align with everyone. But it sparks conversations, which gives feedback to the client, and shows them what to improve on or what to amplify.

NoteS: Are there moments where you know you’ve captured something timeless?

Adedotun Soyebi:
Rarely. Most times, I just document everything I see in the most creative way possible. Things happen very fast. 

But in post-production, when I look back through the pictures, I can now see — this is a story. That’s when it makes sense.

NoteS: You’ve worked across cultures. How do you stay consistent across different narratives?

Adedotun Soyebi:
I am drawn to documenting people who are giving something back. Individuals whose lives in a big or small way, make a positive impact on others.  You don’t have to be wealthy or in a major position. But if you’re doing something impactful in your little way, I want to amplify that.

NoteS: Where do you see documentary photography in Africa heading?

Adedotun Soyebi:
I’m trying to document African stories told by an African. It’s not rewriting history, it’s writing a new edition.

There’s so much happening in Africa, especially in countries like Nigeria, Namibia, and Ghana that Africans aren’t aware of.

You can search for anything online sure, but how do you search for something you do not even know exists. 

Take diamonds for example , people usually associate them with brands like Cartier or countries like Italy. But there are  thriving diamond businesses here in Africa doing remarkable work. These are the stories that deserve our attention and we need to amplify them.

That’s my goal: to tell our stories and write our version of history and show that we can do it from here.

NTS: Is there a dream subject you’re hoping to document?

Adedotun Soyebi: Aliko Dangote. There’s something about him that intrigues me.

I know of him, of course, but I don’t know him. I don’t know if that makes sense.

With someone like Wike, you get a sense of his personality, and you have a sense of how to relate to him. But with Dangote, he seems hard to read. You can’t quite crack the surface.

Yes, he’s built a refinery, but what fascinates me is the man behind the achievement. What’s his daily routine? What’s his step-by-step? How does he move through the day? What are the small, almost invisible habits that shape his success?

If people knew he wakes up at 5 a.m. and does 20 push-ups, they’d probably want to copy that, not because of the exercise, but because those simple actions might be part of his genius. That’s what I want to know: the little things that make him who he is.

NoteS: What’s your advice to young photographers starting?

Adedotun Soyebi:
I just advise people, don’t follow the crowd. Do what you really want to do and what truly speaks to you.

Whether it’s weddings, portraits or documentary, just start with whatever you have, even with a phone. Just make sure you’re learning constantly. There’s free education. Connect with people in your field. If you’re focused and consistent, your niche will find you. And when people need that niche, they’ll reach out to you.

Conclusion

In an era where visuals are abundant but meaning is rare, Adedotun Soyebi is doing the quiet work of capturing truth, not for trends but for legacy. Through his lens, African stories are not just told, they’re respected.

And that might be the most powerful image of all.