Photographs showcase some of Ethiopia's fading tribes, with a focus on the Surma people

Kenya-born and Sydney-based photographer Louisa Seton embarked on an extraordinary adventure into Ethiopia's remote Upper Omo Valley to document the Surma people's customs, capturing them before they vanish.

Facing local militias and being stranded on the Omo River, Seton now possesses a remarkable collection of images that narrate her journey of survival and discovery.

Dinogo: What fuels your passion for African photography?

Seton: Having grown up in Kenya, I feel a deep connection to Africa.

As a child, I would fly over Kenya with my father, a pilot, in a small plane, witnessing the vibrant tribal communities below.

Whenever I returned to Kenya, I'd venture into the wilderness to seek out different tribes and photograph their portraits.

What is your photographic goal?

Many people portray Africa through a lens of negativity, focusing on conflict, famine, and hardship.

However, I wanted to highlight the strength, beauty, and pride of these remarkable people, showcasing their deep connection to the land and the changing seasons.

What motivated your trip to Ethiopia?

I had heard stories about the tribal communities residing in the Upper Omo Valley.

I also learned about the construction of the Gibe III Dam, which aims to generate electricity but threatens to displace these tribal communities.

Many of these diverse groups could eventually see their traditions gradually fade away over time.

What was the focus of your photography?

I was particularly drawn to photograph the Suri and Mursi tribes, which are collectively known as the Surma tribes.

The lip plates worn by women in these tribes are especially captivating.

When girls reach marriageable age, typically around 14, their lower teeth are removed using a rock as part of a traditional practice.

Next, they make an incision in the lower lip with a razor, gradually stretching it with a wooden plug, then a larger one, and progressively larger plugs.

Eventually, the lip stretches enough to accommodate a clay plate. This practice signifies beauty and status among these women, with the size of the lip plate correlating to a higher dowry.

How did you reach the Upper Omo Valley?

I flew from Nairobi to Addis Ababa, where I met a guide and driver recommended by another photographer.

From there, it was a three-day journey by four-wheel drive—eight hours a day—until we reached Kibish, located near the South Sudanese border.

The Upper Omo is extremely isolated and difficult to access; the Lower Omo attracts far more tourists.

The only people who venture into the Upper Omo are anthropologists and photographers.

Was it safe?

It was dangerous to photograph the Suri tribe near Kibish. They are armed with AK-47s and are much more confrontational compared to tribes in the Lower Omo Valley.

On our way out, our vehicle became stuck on a narrow track deep in the bush.

We endured heavy rainfall and spent eight hours digging to try and free the vehicle from the mud.

Eventually, my guide and I set out on foot to find help while the driver stayed behind with the vehicle.

I was forced to leave with nothing but the clothes on my back. I had to abandon all my gear, the vehicle—everything—and walk through the wilderness until a truck came along to take us to Kangatan, a small settlement by the Omo River. I ended up staying in a local shebeen, which was essentially a brothel.

Three days later, we heard that the driver had managed to get out and make his way back to Kibish. We hitched a ride on a truck to Jinka, where we finally reunited with our driver.

After that, I traveled to Mago National Park to photograph the Mursi tribe.

Did you have to pay the tribespeople for permission to photograph them?

I paid a few dollars per person in exchange for the opportunity to take their photos.

They tend to work in groups or cliques.

Tensions would rise, and people would argue over the money, making it difficult while I was trying to set up a makeshift studio in the bush. It was pretty stressful.

There’s a significant amount of money involved—it's far from the romantic notion of simply walking into a village and taking photos.

How did you set up your shots?

I would gather a group of people and have two men hold up a white cloth to serve as a backdrop for the photos.

I used a Canon 5D Mark III with three lenses, including a 100mm prime lens for portraits.

In Africa, the light can be harsh and intense, so I always aim to capture the softer, more flattering light of early morning.

I prefer shooting in black and white. When I was learning photography, we were only allowed to use color film once we had mastered black and white. That experience really helped me develop a deeper appreciation for seeing in monochrome.

‘Odyssey’ by Louisa Seton will be on display at Studio 124, Mosman Park, Perth, from April 7-30. A catalog of the images is available for viewing and purchase at Louisaseton.com.au.