Simi Vijay’s Powerful Journey Through the Lens

Author(s): Scott Douglas Jacobsen

Publication (Outlet/Website): The Good Men Project

Publication Date (yyyy/mm/dd): 2025/04/18

Engineer-turned-photographer Simi Vijay recounts his journey from Nigeria’s National Youth Service Corps to becoming a respected documentary & portrait photographer. Initially inspired by a friend in photography, he began shooting weddings and portraits before transitioning into documentary work, encouraged by an investigative photojournalist. His major breakthrough was UNICEF’s Hard to Reach project during a polio crisis, which led him to study Visual Journalism at ICP in New York. Vijay has documented refugee experiences for UNHCR, cultural stories, and high-profile events. His work blends technical skills with artistic realism, emphasizing cultural identity, immigrant narratives, and social issues while continuously evolving through diverse photographic projects remarkably.

Scott Douglas Jacobsen: What is your overall background?

Simi Vijay: My background is in engineering. I studied electronics engineering at university, and after graduating, I had to complete the mandatory one-year National Youth Service Corps (NYSC) in Nigeria.

During that time, I started spending time with a friend who was into photography. Her name was Aisha Augie-Kuta. She is currently a Director General at the Centre for Black and African Arts Culture (CBAAC). Through her, I developed an interest in photography, experimenting with capturing images and learning how to use a camera properly.

I began enjoying the process and started shooting a lot of weddings. One day, a friend named Tom Saater, a photographer and investigative photojournalist, approached me and suggested that I explore documentary photography. That was how I started—gradually taking on more projects.

My first major assignment was with UNICEF on the Hard to Reach project. At the time, all indicators suggested that polio had been eradicated in Nigeria, and the project aimed to document the effort and showcase how vaccination teams reached the most remote areas. However, shortly after the completion of that photo project, polio resurfaced in the country. This led to renewed efforts to eliminate the virus, a process that took several years. Nigeria was officially declared polio-free by the World Health Organization (WHO) in 2020.

After that experience, I transitioned into documentary photography and videography, focusing on telling human-interest stories. I became motivated to pursue formal education in the field, leading me to apply for a program in the United States. I was accepted into the International Center of Photography (ICP) in New York, where I studied Visual Journalism and Documentary Practice.

My time in the U.S. was particularly eye-opening, as it was my first exposure to a vast collection of photography books covering various styles—from still life to fine art. In Nigeria, there were no formal schools for photography, so most photographers were self-taught, learning from platforms like YouTube and Instagram. Many started with affordable lighting and basic equipment, honing their craft through practice and determination.

Several of my friends in Nigeria have since become successful photographers. Inspired by my experiences, I decided to explore living and working in America as a photographer, particularly in New York.

And I decided that I wanted to—of course, I started trying to do more documentary work and projects like that. But as time went on, I realized that many of the clients I had worked with in Nigeria—doing documentary work and portraits—would contact me when they came to New York for events like the United Nations General Assembly (UNGA), the Commission on the Status of Women (CSW), or the Spring Meetings in Washington, D.C. They would engage my services to document their processes, meetings, and interactions in the U.S. during those time frames. That was how I started documenting some of these events. So, that is my connection to ministers, the governor of the Central Bank of Nigeria (CBN), and other high-level executives.

Over time, this work became a significant part of my career. 

Jacobsen: Some people incorporate their nationality and heritage into their personal brand and work, while others do not. Is this a factor in your work?

Vijay: Sometimes, yes. When I work for Nigerians or Africans, my understanding of the culture, the nuances of respect, and the way our society functions helps me in my interactions and the way I approach certain projects. In that sense, cultural awareness definitely plays a role in my work.

It also informs the way I photograph. When I work on personal documentary projects, I find myself drawn to stories about culture, identity, and immigration. These subjects intrigue me because they relate to globalization and how Nigerians, Africans, and immigrants fit into the broader global landscape.

Jacobsen: What about your work with UNHCR?

Vijay: For UNHCR, I documented the stories of people displaced from Cameroon into Nigeria. These refugees had crossed the border into Southwestern Nigeria.

To provide some context: Nigeria is an Anglophone country, while Cameroon is predominantly Francophone. However, there is a subset of people in Cameroon, from the Northwest and Southwest regions, who identify as Anglophone and have been fighting for independence to create their own country, called Ambazonia. This conflict has forced many to flee into Nigeria as refugees, and my work involved documenting their experiences and displacement.

They are mostly Anglophone speakers in a Francophone country, and many of them feel unrepresented. There is ongoing conflict between these groups and the Cameroonian central government.

As a result of clashes between separatist groups—or, as they see themselves, independence advocates—and the Cameroonian police and military, many people have been displaced into Nigeria. Before colonial-era borders were drawn by Western powers, the people on the Nigerian and Cameroonian sides of the border were essentially the same ethnic and cultural communities. Today, they are separated by an artificial border, but they still have deep familial and historical ties.

My job was to document some of these displaced individuals and tell their stories of survival. Many were children who had to flee their villages after attacks, walking long distances to cross into Nigeria, often because they had heard that they had relatives on the other side. These families had been separated for generations, but their connections remained.

That was one of the major projects I worked on, and I thoroughly valued the experience because it demonstrated the power of storytelling—to convey a person’s struggles and reality through photography.

Another UNHCR project I worked on involved documenting Filippo Grandi, the United Nations High Commissioner for Refugees, during his visit to Maiduguri and Abuja. He met with the President of Nigeria and other dignitaries while also inspecting humanitarian efforts in Maiduguri, a city devastated by the Boko Haram insurgency.

So yes, that was a significant part of my work with UNHCR.

Jacobsen: What about your work with UNICEF?

Vijay: For UNICEF, I was brought in to document the Hard to Reach project. This initiative aimed to showcase how UNICEF teams—composed of local staff and volunteers—worked to deliver polio vaccines to some of the most remote areas in Northern Nigeria.

The goal was to ensure every newborn received the polio vaccine, pushing toward the complete eradication of polio in Nigeria. The assignment required extensive travel across multiple states, including Kaduna, Katsina, and Yobe.

I captured images of both the beneficiaries—the children receiving the vaccines—and the UNICEF field workers responsible for carrying out the mission. These health workers transported vaccines in cold storage boxes, traveling across rivers, mountains, and inaccessible roads to reach the most isolated communities.

It was a demanding but impactful project, and I was honored to contribute to documenting UNICEF’s efforts in combating polio.

So that was what I documented. The project, however, never came to full fruition because, within a couple of months of photographing it, the polio vaccine initiative faced a setback when the poliovirus resurfaced in Maiduguri. As a result, the documentation had to end.

Yes, it took several more years, but I believe that eventually, the virus was officially eradicated.

By that time, though, I had already left for the U.S. to study. I’m not sure if they ever attempted to document or restart that project again.

Jacobsen: What about the Tokunbo project, exploring Nigerians in New York?

Vijay: So, Tokunbo is a project focused on identifying and documenting Nigerians in the diaspora. When I first came to the U.S. to study, I was amazed by how many Nigerians were living and thriving here.

One of the greatest challenges immigrants face is uprooting themselves from their culture and community. However, when they come to places like America, they rebuild a sense of home—whether in their personal spaces or through community gatherings.

Through this project, I explored how Nigerians maintain their cultural identity abroad. Some of the key elements I focused on were:

• Music, particularly Afrobeats and other Nigerian genres.
• Fashion, including traditional attire and modern influences.
• Cultural storytelling, such as how Nigerians pass down traditions, language, and history to their children.
• Food, which serves as a powerful cultural connector in immigrant communities.

The project examines how Nigerians integrate into American life while preserving their roots.

Jacobsen: How do you balance artistic creativity with documentary realism in your work?

Vijay: For me, my general approach is to observe quietly—the proverbial fly on the wall.

I try to document what I see as authentically as possible and let the images speak for themselves. By the time I put together a series of images with captions, my goal is to lead the viewer to a natural, plausible conclusion about the story being presented.

That, for me, is how I balance realism with artistic intent. I see myself as the fly on the wall, but beyond that, I also apply technical photography skills.

For instance, composition is crucial to my work. I aim to find interesting angles when photographing my subject, ensuring depth of field and a strong sense of place. This approach enhances the documentary storytelling aspect while still allowing for an artistic perspective.

Jacobsen: Who were your biggest influences in art?

Vijay: Honestly, for me, my first influences were the people around me in Nigeria.

I was greatly influenced by Aisha Augie-Kuta, whom I mentioned earlier as a photographer, and Tom Saater, another photographer whose work inspired me.

Later, I discovered international photographers whose visual storytelling resonated with me. One of my earliest influences was Steve McCurry. Over time, I became familiar with more photographers who balance artistic vision with documentary realism, such as Lindsay Addario and Sebastian Salgado, Ernest Cole, Aida Muluneh, Dario Mitidieri, among others.

However, much of my inspiration also comes from the vibrancy of my environment back home in Nigeria. The richness of color, the energy of daily life—these elements have always influenced my photography. Many of my works reflect that, as I aim to capture scenes in their full vibrancy and authenticity.

My family has also played a significant role in shaping my perspective. Growing up, my mother would take annual photographs of us, documenting moments in our lives. I remember spending time looking through old photo albums, captivated by how images could preserve memories. Looking back, I think that early exposure to photography created an intrinsic connection for me.

Jacobsen: What advice do you have for aspiring photographers?

Vijay: My biggest advice? Keep shooting. Keep practicing.

• Read about other photographers. Study how they see the world.
• Look at photo books. Get inspired by different styles of visual storytelling.
• Stay curious. Photography is about observation—the more you observe, the more you develop your photographic eye and voice.
• Collaborate with others. Engage with different artists and find the stories you want to tell.

More than anything, discover what part of humanity speaks to you—what themes you want to explore and represent through your work.

And most importantly, enjoy the process. Creativity is about bringing something into existence—whether from nothing or from our lived experiences—and leaving something meaningful for others to engage with.

Jacobsen: What’s next? We are participants of CSW69, primarily focusing on the Nigerian Women’s Day side event, which took up the entire day. So what are your next steps, and what are your reflections on the day and the event as a whole?

Vijay: For me, honestly, it was incredibly inspiring to hear the stories of these amazing women whom I had the opportunity to photograph and document throughout the day. The celebration of women is so important because women play a fundamental role in our world—from bringing us into this life to nurturing, supporting, and guiding both men and women. In a world filled with unrest and uncertainty, it is crucial to celebrate and uplift them.

I want to continue documenting stories—whether through photo essays or portraiture—because a single portrait can often convey a thousand emotions, revealing deep insights into people and places. That is what’s next for me. I also enjoy corporate photography, particularly observing how individuals navigate professional spaces and the dynamics of their lives both inside and outside of work.

More than anything, I was deeply moved and inspired by the CSW69 side event hosted by the Nigerian Ministry of Women Affairs. The resilience of these women and the challenges they have overcome were truly remarkable. Many of them have defied societal expectations that traditionally placed women in restrictive roles—whether as mothers or wives—and have instead become politicians, activists, professors, and corporate executives. They have pushed against cultural and systemic barriers, setting powerful examples for other women to follow. As someone who values storytelling, witnessing their strength reinforced the importance of self-belief and perseverance.

For me, that is exactly what I plan to keep doing—continuing to create and tell the stories of others through my perspective and the lens of my camera.

Jacobsen: Any final thoughts on how photography is evolving?

Vijay: I think that the evolution of photography, especially in North America, should include more narratives about migrants. Migration has fundamentally reshaped American society over generations, and I believe there is an opportunity to highlight the stories of immigrants and their integration into new cultural landscapes. The world is globalizing and evolving.

As immigration continues to shape economies, communities, and identities, I would love to see more visual storytelling that reflects these realities—documenting how migrants navigate life in a new country while preserving elements of their heritage and identity. The photographic landscape is evolving, and I hope it moves in a direction that amplifies diverse voices and untold stories.

Jacobsen: Thank you for the opportunity and your time, Simi. 

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