Fernanda Pineda On The Exploitation of Indigenous Communities
All images by Fernanda Pineda. Used with permission.
Fernanda Pineda’s mission is to contentiously highlight the issues we face in the world. The Colombian photographer’s dedication to challenging injustices is making her a rising name in the field, and she’s receiving support from some of the industry's largest institutions.
2024 saw the return of the Joop Swart Masterclass. It’s World Press Photo’s most prominent education program and it supports documentary photographers and photojournalists by helping them develop the stories that matter the most.
Thanks to her superb storytelling, Pineda was selected amongst 12 other photographers to develop her current project, Yoluja.
Them Frames had the opportunity to speak to Pineda, and we were charmed by her attitude towards critical storytelling.
Rather than soak up in her own success, Pineda was quick to point out the importance of collaboration. She told us that through working together and blending different creative disciplines, we really can drive change.
Her photographs are as powerful as her words. They’re not built on shock factor and instead have a subtleness about them. Her approach gradually lets you into the world of the communities she documents.
There’s strength in this. As her method of storytelling doesn’t make you want to run away from the injustices she covers, but rather, stay with them; listen and understand.
Pinedia kindly took the time to share more about her journey into documentary photography. She also shares the benefits of working alongside World Press Photo and how the experience is helping her move forward in her photographic journey.
Them Frames: Hey Fernanda! Tell us about your early life experience…how do you think it helped shape your photographic identity?
Fernanda Pineda: My early life experiences, particularly my education at an arts academy, have been instrumental in shaping my photographic identity.
Immersing myself in art history equipped me with essential tools for developing a visual language that informs my work today.
The narratives of Colombian authors such as Andrés Caicedo, Rafael Chaparro Madiedo, Alfredo Molano and Gabriel García Márquez have profoundly influenced my approach to storytelling.
Their works offer a distinct Colombian perspective, allowing me to confront social issues while celebrating the rich cultural tapestry of our nation.
Through literature and the works of artists like Óscar Muñoz, Beatriz González, and Antonio Caro, I discovered a means to understand our complex social realities and the significance of our cultural diversity.
This exploration has guided my lens to capture identities that resonate with my own experiences, highlighting how we perceive ourselves and how we wish to be seen through cinema and photography.
I aim to challenge the dominant narratives that have shaped us for centuries, using my art to reclaim and redefine our stories.
Them Frames: What makes a story stand out to you? In other words…what do you need to see to say “I need to photograph that…”?
Fernanda Pineda: For me, dignity is at the heart of storytelling. An image should not only reflect the photographer's vision but also resonate with what the subjects want to express about themselves.
Capturing identity through the lenses of gender and race is crucial, as it allows us to celebrate cultural richness and individuality.
I am particularly drawn to stories that embody a deeper quest for understanding and representation, where the act of photography becomes part of a broader narrative—one that empowers individuals or communities to share their messages with the world.
Them Frames: Your current series is Yoluja…can you tell us more about how this first began to materialize?
Fernanda Pineda: Yoluja is a multimedia project that my partner, filmmaker Hanz Rippe, and I have been working on together. It began about seven years ago, while we were exploring a story about fishermen on Colombia’s Caribbean coast.
There, we met Monchi, the protagonist, who challenged us to rethink the story we were telling versus the one they truly needed to share.
Since then, we’ve had multiple encounters, creating both audiovisual and photographic pieces. Through our interviews, we kept hearing about Yoluja, the malevolent spirit—a recurring figure mentioned by various family and community members.
This shifted our narrative focus to this entity and the spiritual toll on Monchi’s family after being displaced by the coal mine.
We are currently developing both a feature-length documentary that includes animation, as well as the photographic series. This project has evolved into a deeper exploration of identity, resilience, and the spiritual challenges faced by those living with the legacy of displacement.
Them Frames: What are both your short term and long term goals with this project?
Fernanda Pineda: In the short term, my goal is to create a strategy to fund the project by applying for both documentary and photographic production grants.
In the long term, by 2027, we aim to complete the project with a documentary film and a photo exhibition. This will allow us to amplify its impact both globally and locally, opening a conversation about the spiritual harm and mental health consequences of mining exploitation on indigenous communities—issues that still remain outside of institutional and governmental agendas.
Them Frames: You are part of the 2024 Joop Swart Masterclass. Can you share how this has helped enhance your photography skills and develop your project?
Fernanda Pineda: Being part of the 2024 Joop Swart Masterclass has given me a clearer understanding of the various challenges and opportunities within the photography industry today.
The experience of learning from mentors and peers has broadened my storytelling approach, encouraging me to delve deeper into the emotional layers and complexities of the communities I photograph.
Through workshops and one-on-one sessions, I’ve refined my visual language and gained valuable insights into techniques that enhance both my narrative and technical skills.
The Masterclass has also highlighted the importance of collaboration, which is central to my project. Sharing my work and receiving feedback has allowed me to view my project from fresh perspectives, helping me better convey the cultural and spiritual realities of the Wayuu community.
It’s also connected me with others who, after learning about my project, may play a role in its continued development.
Them Frames: For you, what are the biggest challenges to using photography as a way to drive social change?
Fernanda Pineda: One of the biggest challenges, I believe, is that as photographers, we sometimes lack the necessary tools to approach a project strategically—to build an impact campaign that not only raises awareness but also influences agendas and sparks meaningful conversations throughout its development and circulation.
While shedding light on critical issues is a powerful step, there’s often a lingering uncertainty about whether we’re genuinely driving change.
We take on a tremendous responsibility to make an impact, yet the broader context surrounding our work can feel overwhelming, making it difficult to see tangible effects.
This question of impact is something I continue to grapple with, especially after hearing from my colleagues from Palestine during the workshop.
Their stories highlight the complex layers of responsibility and reach involved in using photography for social change, serving as a continuous source of reflection and questioning for me.
Them Frames: When you enter a community, how do you build trust with them so they are relaxed when you photograph them?
Fernanda Pineda: Building trust with a community is a process of respect, patience, and listening. I focus on getting to know the people and their environment without immediately picking up the camera.
I spend time talking with them, understanding their stories, and showing genuine interest in their lives. Often, I’ll join in daily activities. I’ll listen to their concerns, and share some of my own experiences to create a mutual exchange, so they feel my presence as a participant, not just as a photographer.
I also aim to be transparent about my intentions, explaining the purpose of my work and how it might contribute to amplifying their voices.
I believe that allowing people to have input on how they’re portrayed helps them feel more at ease, as they know I’m there to represent their perspectives, not impose my own.
Over time, as they see my commitment to portraying them with dignity and respect, trust begins to grow naturally, allowing them to be comfortable in front of the lens.
Them Frames: Finally, please can you share some of your photographic goals for the future?
Fernanda Pineda: Looking ahead, my main goal is to create work that fosters meaningful dialogue and raises awareness of underrepresented stories, particularly within communities in Colombia and Latin America.
I aim to explore deeper intersections of identity, resilience, and cultural preservation, highlighting both the challenges and the beauty of these communities.
Collaboration is also a key focus for me; I want to engage more with the people I document, allowing them to shape the narrative and become co-creators in the process. This approach adds authenticity and agency to the work.
On a personal level, I seek to expand my visual language by incorporating multimedia elements and exploring intersections between photography and other art forms, such as animation and sound.
Additionally, I want to continue learning about printing and developing techniques, as well as exploring different materials to enhance my practice.
I aim to connect with educational, funding, and exhibition opportunities both locally and globally to build bridges that expand themes and narratives for greater impact.
You can see more work from Fernanda Pineda by visting her website and Instagram. You can see more details from the World Press Photo Joop Swart Masterclass here.
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