Human rights lawyer & photographer - Canada & Kenya

How does your work combine both law and photography?

I’ve found a niche blending together law and photography. I consider myself a documentary photographer because I try to use photography to tell authentic stories, always while preserving my subject’s integrity. The law comes in where, in some cases, I have had the opportunity to shine a light on the social and legal issues that underpin a person’s circumstances. For example, in 2015, I worked with the International Commission of Jurists (ICJ) in Nairobi, Kenya, as a legal intern on a photo advocacy project. Currently, I’m working on a project that will shed light on the disproportionate rate at which indigenous women are incarcerated in Canadian prisons.

Can you tell us more about your experiences working in East Africa?

After my first year of law school, I was looking for an experience that would expose me to both of my passions: photography and law. So I took an assignment with Photographers without Borders in Uganda. There, I photographed a local NGO called Tackle Africa. The organization teaches youth in urban and rural Uganda about HIV/AIDS through the use of soccer, or football.

Following my assignment, I flew into Nairobi, for a legal internship at the International Commission of Jurists (ICJ) Kenya. In this role I drafted legal memoranda and provided legal research on key issues for the Executive Director. At the time, the organization was engaged in public interest litigation against the Kenyan government for the atrocities that occurred to Kenyan citizens following post-election violence in 2007. I worked with a team to create a photo advocacy project where we could tell stories of some of the people who had been affected by the violence. It was important because there was a time when the Kenyan government was denying that there were internally-displaced persons (IDPs) from the conflict. That was simply not true. So we went on a two-week field mission to speak with people across the country. I photographed and as a team we collected the stories.

What inspired you to study law?

I mentioned that I grew up in Kenya. My father is of Indian descent, but he was born and raised in Nairobi, Kenya. My mother is Canadian. They met in Canada and moved back to Kenya where they raised me. When I was 11 years-old, we decided to move back to Canada. My parents and I were Canadian citizens, but my father’s brother – who had Down’s Syndrome and was living with us – was not. We struggled to secure a Canadian visa for my uncle. So while my father moved to Canada to set up shop for us, my mum, uncle and I waited in Kenya for his visa.

This experience really helped to shape what I wanted to do with my life. I wanted to learn more about refugee and immigration law. And, as a law student, I had the unique opportunity to work with the refugee support sponsorship program, and was also an executive for the Ottawa Chapter of the Canadian Association of Refugee Lawyers last year.

How did you get into photography?

I picked up my first camera in 2010—an entry level DSLR—and booked a solo trip to San Francisco. At 19, I was eager to just experience new things, so I wandered through the city, meeting and photographing people along the way. I’ve been perfecting my craft ever since—taking workshops, classes, and, most importantly, finding mentors.

Shortly after returning from San Francisco, I had heard about a program that the United Way of Calgary was facilitating, called the Urban Exposure Project. The program brought together local photographers to mentor a group of aspiring photographers. The aim was to document social issues in Calgary, and bring awareness to the work that United Way was doing in the area. Our photos were published in a community exhibit, and I started to see the impact that photography can have. The following year I went on to lead the project as a facilitator. The rest, as they say, is history.

What do you love about working internationally?

As a multi-racial “third-culture kid”, I’ve always been interested (and a bit conflicted) by my own identity and where “home” is. I’ve always been in awe of my friends who have family homes—you know, the homes they spent their whole lives growing up in. Fortunately, though, what I lack in a consistent mailing address, I make up for in adaptability. All of that to say, I love the challenge of working internationally. When you work abroad you must absolutely have an open mind. Luggage gets lost. Language barriers divide. Credit cards get locked. Being able to take a deep breath in and just embrace the challenges along the way is part of the fun—and adventure!

But what I love the most about working internationally is getting to meet interesting people with such varied life experience.

What are some of the challenges of being a photographer/lawyer working with vulnerable populations?

From an ethical perspective, if you’re working with a vulnerable population you should have a strong knowledge of the community you’re working with. You have to do your homework. For example, right now I’m taking on a challenging project and I want to make sure I have the necessary cultural competency training to be working with indigenous populations – and that I’m working with advocacy partners who are really well versed in the area of Canadian prison law. The last thing you want to do is re-victimize a population.

What are some of the other challenges you encounter?

I think being a lawyer in training has really helped to shape me as a photographer. In an age where an image can be pushed out to a following in an instant, I think that many photographers and journalists are itching to get out there, and just start working without doing the background work. My background in law has taught me that – if you want to do a good job – there’s a lot of preparation that needs to go into something. Sometimes that stifles me, that fear of getting out there and taking that first step. But I think it’s important to press that shutter ethically.

What abilities and skills does it take to do this work internationally?

In many ways, law school has this ability to kick you when you’re down. It’s such a challenging and competitive environment. Sometimes it can feel very stifling, creatively speaking, because you’re constantly battling yourself and others. If you’re a self-critical person it can be especially challenging. I would say that in the context of wanting to do this kind of work, you must be tenacious, and always be willing to get back on the horse. You can’t be too proud. Be willing to ask for help. Be willing to look to others who have gone before you. We all stand on the shoulders of giants, but we can only do that if we look for those giants! Let go of your ego and look for great mentors who inspire you.

What kind of jobs are out there in your field as a lawyer at the moment?

Given the current political environment – and the outcome of the U.S. elections in November – it’s going to be an interesting time for trade and investment law. I think there will be a lot of interesting opportunities for Canadian lawyers in that field.

In the world of law, we are living in a time where there aren’t enough articling positions to go around. It’s hyper-competitive in Ontario, specifically. It’s tough going for recent law graduates. But only to the extent that you’re not willing to think outside of the box. It’s the same with photography. For me, I’m the type of person who is excited by the prospect of making something out of nothing. That’s true for both law and photography. It’s about taking charge of your own story by making the decision about what you want – and going after it.

I think this is a challenge that law students face because many students go into law school immediately after undergrad – some because they don’t know what to do, but they want to further their education. That’s great; education can be a great tool. But you have to remember that it is a tool. I think it’s important to self-reflect and ask ‘What do I really want? How am I going to get there?’ Sometimes it’s a matter of making your own opportunities, and being creative

What advice would you have for someone who is interested in pursuing either law, or photography? What steps can they take to achieve these goals?

For somebody who might be interested in law, or photography, or even blending the two together, it’s important to reach out to others who’ve done this kind of work. Be honest, stay humble, and always ask questions. It’s hard for me to say, ‘go this route, do this type of schooling…’ because I think what might be right for one person might be wrong for someone else. There isn’t a single route you have to take, but there are many small steps that can take in the direction you want to go. The first basic step is to reach out to find mentors that inspire you – and learn from them.

How important is education, or specialization to your fields of work?

I do think that in today’s day and age education is critical, but it’s so much more than just a piece of paper. I think some of the most significant lessons that I learned came from experiential learning. In law school I worked on a clinic team, interned at Global Affairs Canada; and was also fortunate enough to participate in a case competition in Argentina. It’s easy to learn black letter law, but it’s just as essential to learn how to interact with people and how to adapt to certain situations. If you’re planning to work internationally, it’s essential to build cultural-cultural competencies. Know when to speak and when to listen.

Is there anything else you want to add?

When you first approached me for this interview, I thought, ‘Why me? Surely I’m not that interesting.’ I think some young people need to get out of this head space, take control of their stories and say: ‘I am interesting. Here’s what I have to say. This is my experience.’ That’s my advice. Be bold.