Ingmar Ostermaier | An Exclusive Interview | Nigeria

Nigeria
Distance to care
by Ingmar Ostermaier

“My photography is driven by presence rather than by the construction of narrative.
I photograph situations as I encounter them — without artificial intervention or narrative control.
For me, photography is not about explaining the world.
It is about being present within it.”
– Ingmar Ostermaier

In January 2026, I joined an international humanitarian medical mission in rural Nigeria. For two weeks, volunteer doctors and medical staff operated a small hospital serving dispersed communities in the region.
Many patients traveled immense distances to reach the hospital. Some spent up to twenty hours on the road before arriving. For many, this temporary mission offered rare access to medical care.

The series documents everyday moments inside and around the hospital—waiting areas, treatment rooms, corridors, and the village—focusing on people’s gestures, expressions, and presence as they navigate uncertainty, hope, and exhaustion.
This series is not meant as medical or aid reporting. Instead, it reflects small facets of human experience within a place where vulnerability and resilience coexist.

These photographs capture a brief encounter with a community where care, distance, and dignity intersect.”

• Ingmar Ostermaier

Ingmar Ostermaier

Ingmar Ostermaier is an Austrian documentary and street photographer based in Vorarlberg, Austria, working across Europe and internationally. His photography centers on human presence in authentic situations, often examining the subtle tension between daily existence, social reality, and intimate moments.

Ostermaier works mainly in black and white, using photography as visual field notes to capture moments as they naturally unfold.

Before focusing on photography, Ostermaier spent over a decade as a professional singer, shaping his sensitivity to mood, rhythm, and human expression. His work shifts between documentary, street, and portrait photography, guided by a single principle: prioritize presence over narrative.

In 2026, he joined a humanitarian hospital mission in rural Nigeria, documenting the work of international medical teams and patients who journeyed far for care. The resulting photographic series continues his exploration of humanity, resilience, and dignity amid adversity.

An Exclusive Interview With
Ingmar Ostermaier
By Ariel SU

Lens Magazine: It’s a pleasure to interview you, Ingmar.
We’re excited to highlight your ongoing field-based projects, with a special focus on your fantastic series “Nigeria – Distance to care.”
Could you share how your photography journey began? Did you always have a passion for documentary?

Ingmar Ostermaier: Photography did not start as a clear decision.
It developed gradually—and continues to evolve, as I am far from considering myself a “finished” photographer.
For a long time, I was already observing people and situations very closely, but without a camera. Photography became a way to translate that observation into something visible. What began as curiosity slowly turned into a consistent way of seeing.
At some point, I moved from using a smartphone to working with dedicated photographic equipment, which allowed me to engage with the medium more consciously and with greater intent.
Before focusing more seriously on photography, I spent many years working professionally as a musician, touring and performing. Photography initially emerged as a creative counterbalance to that life.
Both music and photography are, for me, deeply connected to emotion. While music allowed me to express and perform emotion, photography has become a way to observe and create it in a quieter, more reflective form. Over time, I realized that I am less interested in photography as an image and more in photography as presence.
For me, photography is not about capturing something. It is about being there when something reveals itself.

L.M: In January 2026, you began your journey in Nigeria, joining an international humanitarian medical mission in rural areas. What inspired you to choose this path? Was it influenced by a deeper personal experience?

I.O.: The project in Nigeria came through the opportunity to join an international humanitarian medical mission.
What interested me was not only the possibility of documenting the situation, but above all the opportunity to be physically present in an environment where everyday life is shaped by conditions very different from those I know — and from what we would usually photograph.
There was no single defining moment that led me there. It was more of a growing interest in understanding how people live and move within challenging realities.

At the same time, it was an opportunity to support the humanitarian work of the Emeakaroha Foundation within my own possibilities, and to document what can be achieved outside of large organizational structures.
The project is largely organized and financed by private individuals. It is remarkable to see what can happen when a group of people comes together with a shared intention — in this case, around twenty-five individuals working collectively to make a real difference.
I was not looking for a story. I was looking for a place where presence matters.

“I am not trying to promote a specific message or agenda. My role is to observe and to create images that allow others to encounter a situation in their own way.
If awareness emerges, it comes through the image itself, not through intention.
I am not trying to change the world. I am trying to show that it exists in a certain way.”
– Ingmar Ostermaier

L.M.: As I understand, the current situation in Nigeria is not easy, with a severe economic state, widespread insecurity, and governance challenges. Although there’s supposed to be a democratic system, there are many human rights issues, including crackdowns on protests, while contending with entrenched corruption, banditry, and extremist violence. Did you feel tension in the streets? Did you experience a harsh situation there? I wonder what your first impressions of Nigeria were regarding culture, people, and conditions?

I.O.: My first impression of Nigeria was its intensity. From the moment we landed in Port Harcourt at night, there was a constant density of people, movement, expectations, and sound. Everything felt immediate and present.
Nigeria also has its own approach to planning and intentions. It requires a certain openness to adapt and let go of control — something that, once accepted, often works in unexpected ways. I did not experience tension in the sense of fear. This may also be due to the security measures in place — we were accompanied by armed guards and were able to move relatively safely between locations.
However, what I would describe as “difficult” was not the political or infrastructural situation. It was the confrontation with realities that are far removed from what we are used to in a Western context.
People traveling for an entire day — sometimes on foot — just to reach the hospital. Waiting for days to be treated. Being confronted with situations of domestic violence or loss. These are the moments that stay with you. At the same time, the medical team deserves great respect. Their work in such conditions is remarkable.

The hospital itself became a place where multiple realities intersected: hope, exhaustion, urgency, and waiting. Moments of tension would arise, especially in the evenings when the team had to stop working, and people realized they would have to wait even longer for treatment.
What stayed with me most, however, was the openness of people despite these conditions. Even in difficult moments, there was a strong sense of dignity and human connection.
The environment was intense, but the people were not defined by it — they carried it with quiet strength.

L.M.: It’s not an easy experience to witness difficult cases of health and to work on a full documentary project inside a hospital. How did you manage emotionally while observing challenging situations?

I.O.: At a certain point, you realize that you are not only observing situations, but also becoming part of the atmosphere in which they unfold. That creates an emotional proximity that you cannot fully distance yourself from.
For me, it was important to remain present without immediately interpreting or controlling everything. At the same time, it helps to observe situations also from the perspective of the photograph — to stay aware of how a moment translates into an image, without losing the connection to the situation itself.
You don’t protect yourself by stepping back. You protect yourself by staying aware of where you stand within the moment.

L.M.: Did you experience any unique or surprising interactions while communicating with people?

I.O.: Many interactions, despite the intensity of the environment, were very warm and shaped by a strong sense of gratitude. A lot of people expressed the wish to be photographed once they noticed the camera, often asking to be part of the moment themselves. That openness was something I did not expect in that form.
What I found particularly remarkable was the depth of faith and religiosity. It is something that exists in a very different way from what I am used to in my home country.

At the same time, many of the most meaningful encounters were not based on direct communication. They existed in shared moments — eye contact, small gestures, or simply being accepted into a situation without words. These moments are difficult to describe, but they are essential to my work.
Some of the most important encounters happen without words — they exist only in presence.”

L.M: Your work is significant for raising awareness of humanitarian issues, especially in less modernized regions.
Do you see yourself as a socially active photographer?

I.O.: I would not describe my work as activist, although social aspects naturally play an important role, as I consider myself a socially aware and engaged person. I am not trying to promote a specific message or agenda. My role is to observe and to create images that allow others to encounter a situation in their own way. If awareness emerges, it comes through the image itself, not through intention. I am not trying to change the world. I am trying to show that it exists in a certain way.

L.M: Your photography often captures sensitive human moments in black and white. When did you start using this style? Are you seeking a dramatic or classic effect in your projects?

I.O.: Black and white, for me, is not a tool for dramatization, but for reduction.
By removing color, the image becomes more focused on relationships — between people, light, and space.
It simplifies the visual field and allows a more direct connection to the moment. In the context of the Nigeria project, this was particularly important. Nigeria is an incredibly vivid and colorful place, and scenes with large crowds often feature an overwhelming array of colors. While visually striking, these colors can easily dominate the image and distract from what is actually happening.
Black and white allows the image to move beyond visual richness and return to its core — the human presence within the moment. Black and white removes distraction and leaves only what matters.

Whether working in the streets of European cities or in more complex environments such as humanitarian projects, my approach remains the same: to photograph honestly, respectfully, and with curiosity toward the people whose lives briefly intersect with my camera.
For me, photography is not about explaining the world.”
– Ingmar Ostermaier

L.M: Looking to the future, do you plan to exhibit this project or publish a dedicated documentary book?

I.O.: Yes, the project is intended to continue beyond the magazine publication. I am currently exploring ways to develop it further as both an exhibition and a long-term body of work, including the possibility of a dedicated book. The experience in Nigeria is not something that can be concluded with a single journey. It feels more like the beginning of an ongoing process.
There are already initial plans to return to Nigeria and to continue working on projects in similar contexts. This project is not a conclusion — it’s more like a starting point.

L.M: Did you create the project with a film camera?

I.O.: No, the project was created digitally. For me, the choice of medium is secondary to the experience of presence. What matters is not how an image is produced, but how it is perceived.

L.M: What gear and post-processing tools do you use?

I.O.: My setup is intentionally minimal. I work with a full-frame camera, primarily a Sony A7 III or Sony A6100, and a small selection of lenses — including a 24mm, 85mm, and a standard zoom — allowing me to stay flexible and unobtrusive. When needed, I also use a direct on-camera flash.
In post-processing (in Lightroom Classic), I focus on subtle adjustments rather than strong manipulation.
I also work with a black-and-white preview in-camera, which already gives me a sense of the final image while photographing. The goal is not to transform the image, but to remain as close as possible to the original moment. The less the process interferes, the more the moment remains.

L.M: I discovered your early street photography projects from 2023, which reminded me of Henri Cartier-Bresson’s work with their composition and classic style. Has his artistic approach influenced your own?

I.O.: Thank you — I truly appreciate the comparison, and it’s an honor to be mentioned in that context. I think it is almost impossible to engage with street or documentary photography without being aware of his influence.
What resonates with me is not only his sense of composition, but his sensitivity to timing and presence. In an era when it is easy to rely on continuous shooting and select the “perfect” frame afterward, his ability to create such precise, timeless images with an analog camera is remarkable and deeply inspiring.
At the same time, I do not try to follow a specific tradition.
My work develops more from observation than from reference. Influence is inevitable, but presence is always personal.

Website: ingmarostermaier.com | Instagram: @photo.ostermaier