Kwame Dapaa, Felt, Not Seen (2026)
Gallery / 10 images
For Kwame Dapaa, everything has always pointed toward photography. Growing up in Ghana, he first found himself behind the lens as his mum’s personal photographer. “She would ask me to take pictures of her whenever she was getting ready to go out with her friends,” he tells Dazed. Then, there was the photographer who shot on film in his neighbourhood, capturing portraits of families and residents, then delivering the developed photos the following weekend. “I always found that such a fascinating way to document people’s lives,” he adds.
The final turn in the tale came after Dapaa moved to the UK: when art classes were full at his sixth form college, he was nudged once again toward photography. Several years later, that happy accident has definitely paid off. Working as a fashion photographer and creative director, the images he shoots today are bold and atmospheric, including projects for the likes of Balenciaga, Oakley, and AJ Tracey. “I aim to create images that feel emotionally honest while still leaving room for interpretation,” he explains, “inviting viewers to look a little longer and form their own connections.”
Dapaa’s talents are especially evident in Felt, Not Seen, a series he recently developed with support from MPB – a global provider of high-quality used photography kit – in collaboration with Dazed Club. Inspired by the folklore and fairytales that surrounded him as a child, the shoot takes us into a world of fantasy, taking particular inspiration from The Princess and the Pea (with Hannah Simonsen cast as the titular princess in sheer dresses and frothy gowns).
 supported by MPB)
Kwame Dapaa, Felt, Not Seen (2026) supported by MPBPhotography Kwame Dapaa
The starting point for the visuals came from something quite mundane, Dapaa explains: a lamp in his bedroom. “Depending on the angle you viewed it from, the objects on the cabinet appeared slightly misaligned because of the way the shadows fell,” he adds. “I found this visual distortion really interesting and wanted to explore how light could alter perception within a photograph.” In Felt, Not Seen, this effect is transported to a haunting set where mattresses are piled high, wallpaper peels from the walls, and antique furniture serves as a canvas for the shadows that creep into frame.
“The shoot itself was great,” says Dapaa. “There’s something really satisfying about watching an idea you’ve been carrying around in your head become real.” Of course, this also requires building a team you can trust to make the vision reality. “I always look for people I genuinely connect with on a personal level first, because I think that naturally translates into a stronger professional relationship,” he adds. “Those two things go hand in hand. The best ideas usually come from open conversations where everyone feels comfortable contributing and bringing something unique to the project.”
 supported by MPB)
Kwame Dapaa, Felt, Not Seen (2026) supported by MPBPhotography Kwame Dapaa
In this case, MPB also played a significant role in the creative process. In case you’re unfamiliar, the online platform is the biggest marketplace of its kind for buying, selling, and trading in photo and video gear, aimed at both beginners and professionals. The site also produces original content in the form of guides, interviews with visual storytellers, competitions and more. After Dapaa successfully responded to a callout on the Dazed Club app, MPB provided a budget for his shoot, plus a chance to borrow valuable equipment.
“Having MPB’s support gave me the confidence to fully realise the creative idea without having to compromise because of budget limitations,” Dapaa explains. “Being able to use the right equipment meant I could focus on storytelling and atmosphere instead of worrying about technical constraints. And it gave me the freedom to experiment.”
 supported by MPB)
Kwame Dapaa, Felt, Not Seen (2026) supported by MPBPhotography Kwame Dapaa
On a practical level, he adds: “We used a combination of Canon R5 and Ricoh GR IV, and Profoto flash heads from MPB. We were working with quite dramatic lighting, deep shadows and a lot of contrast, so having equipment and a space that allowed us to control the light and experiment with different compositions was essential.” The result is that the shadows became “another character within the story” of the shoot that interacted with the model in novel and surprising ways. “There were moments where we could push the light further, change the angle, and let the shadows fall in ways that weren’t necessarily expected… something I hope you can sense in the image before you can necessarily explain what you’re seeing.”
While Dapaa was grateful to use the much-loved R5, the Ricoh GR IV – a compact digital camera – came as the biggest surprise. “I really enjoyed the way it allowed me to approach the space and the model,” he adds. “I wasn’t necessarily looking for everything to feel clean and balanced. I wanted some frames to feel slightly distorted, to create a sense of discomfort. The Ricoh gave me the freedom to play with perspective and create that sense of unease, while still keeping the images feeling cinematic.”
 supported by MPB)
Kwame Dapaa, Felt, Not Seen (2026) supported by MPBPhotography Kwame Dapaa
Having this room to experiment is essential for a photographer like Dapaa, whose photographic worlds are the product of a distinctive imagination, with touches of darkness and surrealism. But in truth, seeking out this space is part of any successful photographer’s process.
Looking back on mentorship he’s received from fellow photographers and teachers over the years – shoutout sixth form’s Miss Delaney – the photographer is now in a place where he can offer up some advice of his own. “Trust your gut. Stay curious, experiment and don’t be afraid to make mistakes. And don’t be afraid to let ideas go and come back to them later, when the time feels right. Build on your ideas, revisit them and allow them to evolve.”
Check out the full campaign in the gallery above.