Unpacking the legacy of photographer Ernest Cole
- Text by Lindokuhle Sobekwa
- Photography by Lindokuhle Sobekwa / Magnum Photos

This story appears in The Documentary Photography Special VII. Get your copy now, or subscribe to make sure you never miss another issue.
I remember coming across Ernest Cole’s book, House of Bondage, when I was in high school. At the time, I was familiar with a lot of black photographers – but not black South African ones. So when I learned of his work, I was immediately inspired. The fact that he was also working in his early 20s was particularly influential to me, given that I’m doing the same.
For those who do not know him, Ernest Cole was South Africa’s first black freelance photojournalist. He worked under the hardship of apartheid in South Africa. Obviously, it wasn’t easy to work under such circumstances. If a black person was found carrying a camera and shooting the kind of stories that Ernest Cole was shooting, they’d be in big trouble.
So in that sense, he was very brave. If you look at his photos, you can see how personal he was with his stories – he knew black richness, but he also knew humiliation. In 1966, he was able to sneak out of South Africa and go to places like London and New York. His work helped show the outside world what was happening here, which was something that was kind of hidden at the time. House of Bondage soon followed, which was banned in South Africa.
The first photo of his that really struck me was one of a black nanny with a white child. Despite being taken back in the ’60s, I could relate with that photograph in 2012, because I saw in it the relationship I had with my mother. She used to work as a sleep-in domestic worker for a white family – for a very long time, she was distant from us because she was taking care of another family. The most painful part was seeing her showing love to other children.
It’s something that still affects a lot of black children in South Africa. I remember going to the place my mother used to work and seeing her showing love to the kid of her boss, knowing that I’d never really gotten that love. That impacted me in terms of growing up – I had to grow up fast and take care of myself to survive in the township. When I saw the photograph, I could relate to it. It brought up a lot of unresolved issues, it was very emotional.
That was one of the things Ernest was good at. Photography is a very suggestive thing – with a great photograph, you look at it and it communicates with you; it triggers something. Ernest Cole photographed in that kind of way. He was not a photographer who went into conflict. But he looked at the critical issues that affected black people: demolition of houses, prison life, the mines… they were not easy things to photograph.
In that sense, for me, he really is the godfather. A photographer who gave not only me, but a lot of black South African photographers the confidence to know that we could do it too. Ernest was the footprint. He told us we were able to tell our own story.

© Ernest Cole/Magnum Photos
This story appears in The Documentary Photography Special VII. Get your copy now, or subscribe to make sure you never miss another issue.
Enjoyed this article? Like Huck on Facebook or follow us on Twitter.
You might like

Dalia Al-Dujaili: “When you’re placeless, nature can fill the void”
Babylon, Albion — As her new book publishes, the British-Iraqi author speaks about connecting with the land as a second-generation migrant, plants as symbols of resistance, and being proud of her parents.
Written by: Zahra Onsori

Why Katy Perry’s space flight was one giant flop for mankind
Galactic girlbossing — In a widely-panned, 11-minute trip to the edge of the earth’s atmosphere, the ‘Women’s World’ singer joined an all-female space crew in an expensive vanity advert for Jeff Bezos’ Blue Origin. Newsletter columnist Emma Garland explains its apocalypse indicating signs.
Written by: Emma Garland

Katie Goh: “I want people to engage with the politics of oranges”
Foreign Fruit — In her new book, the Edinburgh-based writer traces her personal history through the citrus fruit’s global spread, from a village in China to Californian groves. Angela Hui caught up with her to find out more.
Written by: Angela Hui
Meet the hair-raised radicals of Berlin’s noise punk scene
Powertool — In his new zine, George Nebieridze captures moments of loud rage and quiet intimacy of the German capital’s bands, while exploring the intersections between music, community and anti-establishment politics.
Written by: Miss Rosen

The rebellious roots of Cornwall’s surfing scene
100 years of waveriding — Despite past attempts to ban the sport from beaches, surfers have remained as integral, conservationist presences in England’s southwestern tip. A new exhibition in Falmouth traces its long history in the area.
Written by: Ella Glossop

Southbank Centre reveals new series dedicated to East and Southeast Asian arts
ESEA Encounters — Taking place between 17-20 July, there will be a live concert from YMO’s Haruomi Hosono, as well as discussions around Asian literature, stage productions, and a pop-up Japanese Yokimono summer market.
Written by: Zahra Onsori