The Himba People of Namibia
One of the most enriching photography experiences in Namibia is encountering the Himba people. The Himba are an indigenous ethnic group living in the remote northwest of Namibia (primarily in the Kunene Region, formerly Kaokoland). They are known for their semi-nomadic pastoral lifestyle and striking appearance – especially the women, who adorn their skin and hair with a mixture of red ochre and butterfat called otjize, giving them a distinctive reddish glow. Photographing the Himba offers a chance to capture cultural portraits that tell the story of a way of life largely untouched by modernity. However, it also comes with a responsibility: to approach our subjects with respect and sensitivity.
Who are the Himba? The Himba are related to the Herero people and have lived in Namibia for centuries. They herd cattle and goats, moving with the seasons to find water and grazing (hence their semi-nomadic nature). In Himba culture, the red ochre paste is not only a beauty adornment but also a practical sunscreen and insect repellent in the harsh desert environment. They build cone-shaped huts from mopane branches, mud, and cow dung. Often you’ll see Himba women with elaborate hairstyles – thick braids covered in ochre and decorated with beads – and wearing leather skirts and ornate jewelry made of iron and shells. The men can be seen with a simpler dress and often carry a carved walking stick or wear a head-covering if married. This rich cultural attire makes for visually compelling portraits, but remember: these are not models in a studio, they are real people with traditions and dignity.
Approaching the Himba for photography: If you are part of a guided tour or workshop (such as those I lead), visits are usually arranged with a local village through a guide or community liaison. This means the community expects visitors and is usually welcoming, often demonstrating aspects of their daily life or culture. Even so, it’s crucial to seek permission before taking photographs, especially of individuals. In practice, you might have a guide introduce you to the chief or a family, and then you can indicate (through the guide or gestures) that you’d like to take photos. The Himba are generally friendly and used to visitors, but respect is key. I always greet people with a smile, try to learn a couple of words in their language (like “moro” for hello), and spend time interacting without the camera initially, to establish rapport. Showing genuine interest – perhaps asking about their crafts or how they braid hair (via a translator) – can lead to a more relaxed atmosphere for photography.
Photography techniques for portraiture:
Natural Light: Whenever possible, I use natural light for portraits. In a Himba village, there’s no studio lighting of course, so find the light that works best. Early morning or late afternoon produces a warm, soft light that flatters skin tones and brings out the textures (like hair and jewelry) nicely. If the sun is high and harsh, look for open shade – perhaps the shadow side of a hut – to get even lighting. The ochre on skin can be shiny, so softer light helps avoid blown highlights on faces or shoulders.
Backgrounds: Be mindful of your backgrounds. The village will have huts, fences of upright sticks, livestock, and other people moving about. For a clean portrait, you might use a shallow depth of field (like f/2.8 to f/5.6) to blur the background. Position your subject against a simple backdrop if possible (a hut wall, the sky, or distant landscape). Sometimes I compose a wider environmental portrait to show context: for instance, a mother grinding corn in front of her hut, with children playing in the background. These can tell a richer story, but try not to let the background clutter distract from your main subject.
Lenses: A portrait lens in the short telephoto range (85mm, 105mm, 70-200mm etc.) is ideal for individual portraits – it lets you get some distance so you’re not in their personal space, yet fills the frame with the person. For group shots or environmental scenes, a normal zoom (24-70mm) can work well. I avoid super-wide lenses for close-ups of people as it can distort features unless used very intentionally.
Focus on Details: Himba adornments are full of detail: the texture of the ochre-covered hair, the leather ōtjise adornments (the crown piece worn by Himba women), the stacks of metal and bead bracelets, anklets, and the expression in their eyes. Don’t forget to take some close-up shots of these details. You might photograph just a pair of hands doing a task, or a close crop of a braided hairstyle – these make for beautiful vignettes within the larger story.
Cultural sensitivity and ethics:
Photographing the Himba comes with an ethical obligation. These guidelines will help ensure a respectful experience:
Ask Permission: Always ask (or gesture) if it’s okay to take someone’s photo. Often a thumbs-up and pointing at your camera with a questioning look can work if language fails, but typically your guide can communicate on your behalf. If someone doesn’t want to be photographed, respect that choice.
Show the Images: One of my favorite moments is after taking a portrait, showing the photo on the back of my camera to the person. Many Himba, especially children, delight in seeing themselves on the screen – it often breaks the ice and results in genuine smiles and laughter. It’s a form of giving back an immediate small joy. If you have a portable instax printer or Polaroid camera, consider printing a couple of shots to give to them. A physical photo can be a treasured gift in communities where they don’t have many pictures of themselves.
Do Not Pose Inappropriately: Avoid imposing your ideas that might make them act out of character or do things they wouldn’t normally do. It’s fine to ask someone to stand by their hut doorway because the light is nice there, but don’t ask them to, say, dress differently or perform for the camera in a way that feels unnatural or disrespectful. Candid shots of genuine daily life are often the most authentic.
Respect Personal Space and Customs: Keep in mind certain areas or items might be off-limits. For example, many Himba villages have a sacred fire (okuruwo) that is kept by the fire-keeper; visitors shouldn’t cross between that fire and the main hut as it’s a spiritual pathway. Also, be mindful not to touch people or things without permission – e.g., don’t pick up their jewelry or move their belongings for a photo arrangement.
Compensation: It’s common practice to bring some form of thanks for the community when visiting. This could be a donation of useful goods (sugar, maize meal, soap) or purchasing some of their handcrafted jewelry, or a direct fee arranged by your guide. Contributing in this way is appreciated and helps support them. Avoid just handing out money to children (which can encourage begging culture) – funnel any support appropriately through the community elders or your guide’s advice.
Photographing the Himba people can be a deeply rewarding experience. It’s not just about getting beautiful portraits (though you certainly will); it’s also about the cultural exchange. I recall one visit where I spent a good while sitting with a group of Himba women, through a translator, learning how they make the otjize paste from ochre stone and butter. I took photos of the process, but more importantly, I was participating in an exchange. Later, I showed them some of my wildlife photos from my camera’s memory – the women laughed and pointed, perhaps recognizing the animals. Moments like these turn a photoshoot into a shared human experience.
In your images of the Himba, aim to capture their dignity, warmth, and heritage. A well-made Himba portrait can convey strength and pride, or joy and hospitality. I’ve found the Himba to be very dignified people; even the children carry themselves with confidence. If you invest time and respect, your photographs will naturally reflect that trust and connection. These photos often end up being the most memorable from a trip – not just for their visual impact, but for the stories behind them.
We have also written pages that describe our other favorite locations in Namibia. Please continue reading about some of the other areas that keep us going back to Namibia with small groups.
The Spitzkoppe Region of Namibia - a favourite for landscape and astrophotographer enthusiasts
Our favorite WIldlife areas we like to visit in Namibia
Deadvlei and Sossusvlei - one of the most dramatic landscape photography areas we have ever visited
Kolmanskop - the abandoned mining town being taken back by the desert.
The Quiver Trees Forest - a favorite for astrophotographers
We have written a section on photography gear suggestions to take to Namibia
Thinking of joining a Namibia photo tour? Learn the skills we teach on our Namibia Photo workshops
Learn what to expect on one of our Namibia photo tours, and what tours we are leading