As part of the column ‘Women by Women: A Shared Vision,’ created to expand and develop the theme chosen for our Global open call, we had a conversation with April Wiser, curator and founder of Foto Femme United, a startup fostering diversity, equity and inclusion of female and non-binary photographers. They organise open calls and exhibitions, provide news and educational content on their website and social media and support women and non-binary photographers in their artistic path. We discussed about feminist practices, the power of photography in creating change and the fundamental role of solidarity and cooperation between creatives.
How did Foto Femme United come to life?
Foto Femme United (FFU) was founded in 2019 as a deliberate and organised response to the need for greater transparency and inclusivity within the photography industry. Prompted by research findings that revealed significant disparities and systemic biases, FFU emerged as a platform committed to challenging the status quo and amplifying underrepresented voices. Our mission is to provide meaningful exposure and support to female and non-binary photographers whose work too often goes unseen or unacknowledged in mainstream spaces. Through curated features, exhibitions, and community engagement, we strive to foster a more equitable and diverse visual landscape.
What does it mean to you to create space for women and non-binary photographers in today’s visual landscape?
It begins with acknowledging why such an initiative is necessary, by presenting the global statistics that highlight the persistent lack of equality within the photography industry. These figures speak volumes and reveal the systemic imbalances that continue to limit opportunities for female and non-binary photographers, but awareness alone is not enough. The next step is taking purposeful action. This includes creating tangible opportunities such as open call exhibitions, publications, and collaborative projects that elevate marginalised voices. It also means fostering critical conversations through panel discussions and encouraging the industry to confront these issues to work collectively towards real change.
Foto Femme United includes a section dedicated to photography and feminism. In your view, what feminist practices can artists and industry professionals adopt to help create a more just and equitable environment?
At its core, feminist practice in photography and the arts in general means questioning the structures that have historically excluded or marginalised certain voices, and actively working to redress those inequalities. For artists, this can begin with a commitment to inclusive and intersectional storytelling, such as considering whose narratives are being centred, and whose are being overlooked. Another good point would be collaboration over competition, and using your platform to uplift others, particularly women, non-binary, and other underrepresented artists.
For industry professionals, quite often the words diversity and inclusion come up, but equity is left out. Feminist practice means embedding equity into the decision-making processes. This can look like reassessing submission criteria, ensuring diverse representation on juries and panels, committing to transparent selection processes, and actively seeking out talent from a wide range of backgrounds and identities.
It’s also crucial to cultivate safer, more respectful working environments that are free from discrimination, exploitation, and gatekeeping. Ultimately, it’s about shifting from performative inclusion to actual structural change.
What does feminism mean to you today, and how has your understanding of it evolved?
I’m continuously learning as I go. As a result, my perspective evolves, shaped by new experiences, insights, and conversations that have expanded my understanding. I would never claim to have a perfect or complete grasp of feminism from every angle that exists. I think that would contradict the principles of growth and inclusivity that feminism upholds.
Today, I view feminism as a broad and nuanced spectrum, one that must be intersectional to be truly effective. It’s not a one-size-fits-all ideology. These experiences are not optional to consider; they are essential.
What are some surprising or unexpected outcomes of your work that you didn’t foresee?
More often than not, when I reach out to organisations or institutions led by men, I receive little to no response. So it was both surprising and genuinely encouraging that our last exhibition was realised in collaboration with Musée de la Femme in Marrakech, an institution with a male director. It’s a reminder of the importance of allies in positions of influence, and how change can happen when there is a willingness to engage and support inclusion.
What conversations do you think we should be having more often when it comes to women in the creative industries?
I think we’ve reached a point where the lack of equality in the creative industries is neither a shock nor a secret. The disparities are well-documented and widely acknowledged. What we need now are more conversations focused on actionable steps towards committed allyship and systemic change.
Equally important are discussions around sustainability, not just in practice or ethics, but in terms of building and maintaining a creative career. It’s alarming that a lot of photography programmes still lack dedicated courses on the business side of the profession. Considering that the majority of photography students are women, this oversight becomes even more concerning. Many are entering the industry without the foundational tools needed to financially sustain their careers.
To be serious about fostering equity, we must also ensure that women are not only seen and heard, but equipped and empowered to thrive long-term in the field.
At a time when women’s rights are increasingly under threat and values we once considered untouchable are being challenged, how can photography serve as a form of resistance or advocacy?
I often say that photography is the one truly universal language we have. Its ability to transcend borders, cultures, and spoken word gives it an unparalleled influence. Use it with intention. Use it to challenge, to inspire, to disrupt, and to drive change. Few mediums have the capacity to impact across the globe the way a single photograph can.
What is your vision for the future of Foto Femme United?
To expand our efforts globally and create even greater opportunities for female and non-binary photographers.
Since everything we do at PhotoVogue is rooted in empowerment and collaboration with entities that share our values, is there a women-focused organisation you’d like to spotlight or give a shout-out to?
Camfed is doing phenomenal work throughout Africa to foster the welfare, education and success of girls.
