OLA’S EYE
Our Chat with the Trinidadian Photographer Olajuwon Scott
September 14th, 2025
Image-based reflections of moments in our history have long been mainstays of memory.
Olajuwon Scott seems to disrobe his subject, laying them bare in moments frozen by his shutter.
Scott’s work began as a way of unmasking the monolith, which serves as a proxy for Laventille in the national consciousness.
Scott’s delicate representations of his neighbours holds space for the reality of his upbringing and concerns itself with peeling back the layers of that shared experience; for its softer parts and its more arid ones, made so in the dance of survival.
Per his bio; “Olajuwon offers alternate readings of Laventille, drawing on fond memories that influence his craft such as kite flying in the Savannah, the cocoyea broom his mother used for both cleaning and discipline, and children playing in the yard, and experiencing the joy of togetherness at an age where their innocence has not yet been tainted by a sometimes unforgiving environment.”
His desire, like so many artists from the area still hungover from the badjohn fantasies of those who’d rather not walk the capital, is to speak to the roots twisting under his grounding experience.
And exploring the whys of his space rather than what they wrought in isolation.
Scott says his works offer nuance to the survival stories that make the hills teem, it’s aim is to make more apparent its complexities; to encourage less reliance on dingy tropes without compelling its subjects to break character.
That quiet, almost anthropological approach bleeds into his other work, in this piece Scott presents images that have meant something to his journey to here…
Olajuwon: If I remember correctly, this was my first time on a larger-scale set or one of the first. It was for Remember the Days, Jimmy October’s music video. A couple of months before, Jimmy and I had met and become friends. At the time, I was still in school and just beginning my journey as a photographer. Jimmy told me he wanted me to shoot the cover for his new song, along with the promotional images.
Of course, this was my first time doing something like that, and there wasn’t any advice other than to show up and do it. The music video was being shot at the same time as the photos, so I had to stay close and be ready. It was hot, I was anxious, and all I kept thinking was: this is amazing… This is actually happening. Why are Jimmy and his team trusting me? lol.
Jimmy believed I could pull it off based on a portrait session we had done before, and from the work I’d been posting on Instagram.
This image (1) is important to me because it opened up a world I didn’t know existed. That experience taught me to say yes and figure it out as I go. Something that’s been instrumental to my growth as a photographer.
Olajuwon: This image (2) was also taken on the set of Remember the Days. What made this moment so inspiring and important to me was that it marked the first time I truly discovered the value of observation of waiting for the right moment within a series of unscripted interactions.
My naturalistic approach to photography really started here, and it’s something that has continued to evolve ever since.
Olajuwon: While searching for a cover image for my school project titled The Shape of Us, one memory from my childhood kept replaying in my mind. I remembered growing up and occasionally giving trouble, and how my mom always had different household items she used for discipline. One that stood out vividly was the cocoyea broom not just because of the punishment, but also because I used it to build the frame for kites.
It brought me both joy and pain, which made it the perfect symbol to encapsulate the story of The Shape of Us.
Another layer of meaning in this image is that it quietly sparked my interest in galvanize something I didn’t fully realize until two years later, when it became the foundation for my first photo series, Galvanize Portraits.
This image means so much to me because my mom is such an important figure in my life. The power this photo holds to have inspired my future self to create something that marked a turning point in my growth as an artist is something I hold close. It was a moment that made me dream a little bigger.
Grounded 2024 | Galvanize Portraits
Olajuwon: This project holds the utmost importance in my creative journey. Galvanize Portraits challenges our preconceived notions of what we see when we look at a rusty galvanized fence. It also delves into themes of sexual identity and social issues. At its core, it’s a reflection on the idea that our identities are only as strong as our relationships with one another and with our surroundings.
From the COVID era to now, I’ve spent so much time in observation, preservation, and development. This project came out of that space. Being forced to spend so much time at home made me see it differently. Things I used to ignore started to pique my interest. People I felt disconnected from began to feel close again. I wanted to create a project that felt deeply personal and close to home, while also challenging some of the things I’ve continued to observe through the fragments of my own experience.
I saw how rusty galvanize shaped the landscape of Laventille: how we hang clothes on it, how my dad paints on it to beautify our yard. All of these little things connected in my mind and made galvanized fences the perfect backdrop to tell this story about vulnerability, quiet strength, and tenderness of Black men.
This project wouldn’t have come to life without the support of my friends, those who showed up to be photographed, and Mickiel, who helped behind the scenes both with assisting on set and listening to my ideas and offering thoughtful, constructive criticism.
Unfurled S/S 2025
Olajuwon: I’m always looking at editorials and fashion content, hoping to create or work on more fashion-centered projects. So when Meiling reached out and asked me to shoot her Unfurled S/S 2025 lookbook, I was extremely excited. I’ve always wanted to photograph her pieces.
Not only was I excited to shoot the collection, but developing the lighting setup brought me a lot of joy and valuable experience. Shooting in a studio is still relatively new to me or at least, it still feels that way. To get more comfortable, I’ve been spending a lot of time learning about lighting setups virtually, so that when I do get access to studio time, I’m better prepared to execute the vision.
Based on the moodboard shared with me for this project, I was able to create a lighting setup that not only matched the desired aesthetic of the lookbook but also complemented my personal editing style.
What I also loved about this shoot was the team that brought it to life. Being able to focus solely on creating the images while everyone else handled their roles so seamlessly was incredibly important and inspiring.
From this shoot, I grew a lot and gained a bit more confidence with lighting
Olajuwon: Planning and executing the kind of work you want to get paid to do!!!!! This shoot was a huge collaborative effort between me, my friend Anthonio, and a few others. The lighting setup was completely new to me, but I created a lighting plan and got the help I needed to bring it to life.
Looking at this image now, I can see how much I’ve grown both in my ability to tell stories and in applying my work to things I used to only see in magazines. I honestly think this shoot opened up a lot of opportunities for me.
The story behind it draws inspiration from the inclusive evolution of the Jab Molassie, where the horns remain a constant. This editorial features a striking hairstyle that mirrors the distinct shape of the Jab’s horns, designed to flow effortlessly with every subtle movement.
It reminds me how I can blend photography with my cultural knowledge and translate that into editorial work shaping something deeply personal into something visually powerful.
Olajuwon: This portrait is of my cousin and his son, two people whose relationship I truly admire. It’s a bond that strays from the societal norm, where fathers are often seen as absent or emotionally distant. What stood out to me in this moment was how something as simple and sweet as kite making/kite flying became a way for them to connect to create a memory together. There’s a sense of care, presence, and joy that I felt deeply while watching them.
Capturing this moment felt important not just because of who they are to me, but because of what it represents. I’ve always been drawn to documenting the softer, quieter sides of Black family life, especially moments that challenge the typical narratives. Seeing my cousin so present with his son reminded me of the kind of emotional connection that often gets overlooked. It made me reflect on my own experiences and how rare, yet powerful, these interactions can be.
I think my naturalistic approach to photography shines in this image, and I can see the growth from where I started to now in the composition, color, and atmosphere created..
Olajuwon: Another image from my Galvanize Portraits series, titled Unwavering Support. Every photo in this series reflects how much I’ve grown not just technically, but emotionally and conceptually as an artist. The series explores themes of strength, vulnerability, and connection within my community, using the backdrop of galvanized fences and structures that are so familiar to me. It’s always represented both protection and separation, something tough, yet deeply rooted in my experience.
‘Unwavering Support’ was a personal favorite. From the moment I took it, I knew there was something special in the way it captured the quiet strength and tenderness of Black men supporting each other. It felt honest, emotionally grounded, and culturally relevant to the change I’ve begun to experience. I submitted it to the Palm* Photo Prize 2024, and it was selected for the group exhibition at Melkweg Expo in Amsterdam and 1014 Gallery in London.
Even though I didn’t get to physically see my work on display, I felt immense joy and gratitude just knowing it was there, standing among work from photographers all over the world. It reminded me that stories from where I’m from, told in our own way, can resonate far beyond our borders. And it made me even more appreciative of the time, effort, and intention poured into creating this project.
Moko Rest stop
Olajuwon: I love shooting on the road for Carnival. While most people focus on just the masqueraders, my eyes are always drawn to what’s happening beyond that. I’m constantly observing the onlookers, the traditional Carnival characters, and those in-between moments that carry just as much energy and story.
One of the images I captured during Carnival really stood out to me. As someone who’s always been drawn to documentary photography, it felt like a surreal and powerful moment frozen in time.
The tall walls of Port of Spain became a resting place for these majestic stilt walkers, the Moko Jumbies. Even in stillness, their presence radiated a quiet sense of peace, as if they carried the wisdom of the heavens in their elevated stature. Their long limbs, once moving gracefully above the crowd, now hung with a kind of quiet dignity, transforming the ordinary into something sacred.
In that moment, the Moko Jumbie didn’t just perform, they transformed the space around them. And through the lens, I felt I was witnessing something deeply spiritual: a merging of the mystical and the mundane.
One thing that continues to develop and I think is my most powerful tool is the power of slowing down and observing everything around me, even when so much is happening at the same time.That stillness, that attention, is where I find the most meaning and create my best work.
Olajuwon: I’ve always wanted to photograph athletes. There’s something raw and powerful about the way their bodies move with intention. In a conversation with a friend, I mentioned my interest in exploring this space, but doing it in my own visual language and style. That conversation led to a connection with a promising young footballer based in Tobago.
This was new territory for me capturing dynamic motion, speed, and intensity in a way that still felt like me. But once we got started, something clicked. As I reviewed the shots afterward, it almost looked like a choreographed dance each movement captured with precision and grace. The fluidity, the tension, the rhythm it all translated into still frames that felt alive. We ended up with some beautiful work, and it felt like the beginning of something exciting. I hope that i get the opportunity to explore photography with more athletes
Artist’s Bio
Olajuwon Scott is a photographer based in Trinidad and Tobago. He holds a Higher National Diploma in Creative Media Production from the School of Business and Computer Science (SBCS). He has exhibited his work locally and internationally, including at The Old Stone House in Brooklyn, New York, and both the 1014 Gallery in London and Melkweg Expo Amsterdam for Palms Photo Prize 2024, both group exhibitions, he was also 1 of 15 individuals to participate in the transcultural program sponsored by UNESCO which took place at 2024 edition of the International Festival of Photography and Visual arts “ Photo Espana.
Writer | Interviewer: Jovan Ravello