James Barnor at 95: Shedding the spotlight on the godfather of Ghana’s photojournalism

What started as a simple gift of a plastic camera has put Ghana on the map, thanks to none other than James Barnor, the country’s godfather of photojournalism. His photographs not only chronicled Ghana’s journey to independence but also captured the changing face of African life in Britain during the swinging sixties.

This UK-based photographer is behind some of the most iconic images of Ghana’s first president, Kwame Nkrumah, and famous American boxer Muhammad Ali, as well as several prominent national and international events. A tribute festival, running for three months until the end of June, continues to pay homage to Barnor’s work.

As we celebrate Ghana’s first photojournalist, we look back on his colourful life and a career spanning over six decades across two continents.

Early life and Introduction to photography

Born in Accra in the former Gold Coast in 1929, Frederick Seton James Barnor’s journey into photography began as a family affair. With two uncles and several cousins already in the trade, it seemed almost inevitable that young James would follow suit. At 17, while teaching basket weaving at a missionary school, he was given his first camera – a Kodak Brownie 127 – by the headmaster.

In 1947, the young Barnor began an apprenticeship with his cousin J. P. Dodoo, a well-known portrait photographer. This experience laid the foundation for what would become a remarkable career in photography.

The Ever Young Studio

In the early 1950s, he established his own studio in Jamestown, Accra, naming it Ever Young. The name was inspired by a story he had read in school about magic apples granting eternal youth, but it also alluded to his practice of retouching photographs to make his subjects appear younger.

The Ever Young Studio quickly became a hub for Accra’s social scene. He photographed everyone from ordinary citizens to dignitaries, including Ghana’s future first president, Kwame Nkrumah. His ability to capture the essence of his subjects made him a sought-after photographer in the lead-up to Ghana’s independence.

Barnor recalls, “I did a lot of developing and printing for friends, as well as taking photos. I called my company FS James Barnor’s Quick Photo Service — FS are my initials, for Frederick Seton. If you bring me the negatives, you will get the photos the next day.”

Photojournalism with the Daily Graphic and Drum Magazine

Barnor’s career took off in 1950 when he became the first staff photographer for the Daily Graphic newspaper. This role allowed him to document great moments in Ghana’s history as the country moved towards independence.

At the same time, Barnor began selling photographs to other publications, most notably the South African magazine Drum. His work for Drum featured everyday life in Ghana, as well as major political and cultural events.

London calling: Documenting African life in Britain

In 1959, Barnor travelled to England to further develop his skills. After studying at Medway College of Art, he continued working as a photographer and technician in London. During this period, his work took on a new dimension as he began documenting the African diaspora in Britain.

His photographs from this era, particularly his fashion photography featuring black models against London backdrops, offer a unique perspective on the African experience in 1960s Britain. These images, often appearing on the covers of Drum magazine, helped to reshape perceptions of African beauty and style.

Return to Ghana and introducing colour processing

After a decade in England, he returned to Ghana in 1970, bringing with him the country’s first colour processing facilities. For the next 24 years, he worked as a professional photographer in Ghana, serving as the official African representative for Agfa-Gevaert and undertaking assignments for various government agencies and the American embassy.

Rediscovery and recent recognition

In 1994, Barnor returned to London, where his work began to receive widespread recognition. At the age of 79, he saw his first major exhibition, marking the beginning of a late but well-deserved surge in appreciation for his work.

Since 2010, his photographs have been exhibited in prestigious galleries worldwide, including the Harvard University’s Hutchins Center (formerly W. E. B. Du Bois Research Institute), South African National Gallery, and Tate Britain. These exhibitions have brought his unique perspective on Ghanaian and British culture to new audiences.

Influence on popular culture

Barnor’s iconic photographs have not only graced the walls of prestigious galleries but have also permeated various aspects of popular culture. His images have been featured on music album covers, in fashion editorials, and even as inspiration for digital media. In recent years, his work has found new life in unexpected places, from social media tributes to background art in slot games themed around African heritage. 

Published works and honours

In 2015, the first monograph of Barnor’s work, “James Barnor: Ever Young”, was published, cementing his place in the pantheon of great photographers. This publication showcased the breadth and depth of Barnor’s career, from his early studio portraits to his later colour work.

Barnor’s contributions to photography and Ghanaian culture have been recognised with several awards. In 2011, he received a GUBA (Ghana UK-Based Achievement) award for Lifetime Achievement. In 2016, the Ghanaian government honoured him with the Order of the Volta, one of the country’s highest honours.

Lasting legacy

As James Barnor celebrates his 95th birthday, his influence extends far beyond the realm of photography. His work has become a vital historical record, documenting Ghana’s path to independence and the African experience in post-war Britain.

Happy 95th birthday, Mr. Barnor. Your legacy, like your studio’s name, remains ever young.