Photographer James Clifford Kent returns to the maternity ward where his daughter was born

While the Covid pandemic halted most of our daily rhythms, for some life – and the responsibilities that come with it – heightened. Healthcare workers found themselves with an unprecedented amount of pressure, both dealing with the virus and the now strained typical runnings of a hospital. For other people, once-in-a-lifetime events occurred during a nationwide lockdown – like those bringing new life into an uncertain world. This was the case for the photographer James Clifford Kent and his wife Charley, whose daughter was born in the midst of the pandemic.

Shortly after his daughter was born, James – who is an associate professor of Visual Culture at Royal Holloway, University of London – took a photograph of Charley being supported by their midwife, and the image went viral. Acutely aware of the impact social restrictions were having on families and compelled by the clear resonance of the image, James began documenting other parents and their stories through his series, Pregnant in a Pandemic, which ended up being covered across numerous outlets.

However, even after the pandemic had passed (or abated) James still felt his work was incomplete, and so, he spent many months planning a return to the maternity ward his daughter was born on. He was inspired by W. Eugene Smith’s 1951 photo essay for Life magazine, Nurse Midwife, which followed the midwife Maude E. Callen as she cared for families living in the harsh conditions of North Carolina. “I wondered how replicating Smith’s approach would allow me to use light and shadow to capture the drama of a modern-day maternity unit,” says James.

For the series, titled Maternity, James shadowed Osaeloke Osakwe, the obstetric consultant “who had listened to my wife and provided compassionate care leading up to the birth of our daughter”, says James. This also meant closely interacting with the maternity ward team – from midwives, scrub nurses and maternity support workers, to anaesthetists and anaesthetic operating department workers. He was determined to demonstrate the “commitment of NHS staff”, and the “often-overlooked aspects of maternity care”. This incentive wasn’t only fuelled by James and Charley’s experience, but also his childhood. James’ mother was an NHS nurse and so from a young age he witnessed firsthand the dedication of healthcare workers.

One of the most important aspects of James’ approach was building trust, both with healthcare workers and expectant parents, and he did so through paying close attention to his tools. “They let me into their world and allowed me to document some of their most challenging and intimate moments,” says James. “Using a small compact camera meant I could be discreet while capturing these deeply personal experiences.” Clearly, this method worked. The shots of the runnings of the ward – staff briefings, medical preparations, parents holding their child for the first time – appear so genuine that it feels hard to believe that a photographer was physically present. While conversely, the handful of portraits present moments of calm honesty and a clear sense of connection between James and each sitter.

There’s one image in particular that stands out, both for its beauty and how it encapsulates the intention behind the series. It shows Osaeloke and fellow obstetric surgeon Afnan Zuhair delivering a baby via caesarean. A light shines dramatically on the new baby’s face, while the many hands emerge from the shadows (accentuated by the black and white format), showing just how many people such intricate work requires.

Through the series James ended up learning the stories of many of the workers too, and after a 12-hour shift James had a coffee with Afnan, who told him about her childhood; being born in Iraq during the Gulf War and fleeing to the UK when she was just six months old in 1994. When James showed her the images taken that day, she said: “It’s true when they say it takes a village and my colleagues are the beating heart of this hospital – their passion resonates through every stage of the pregnancy journey. Many would never witness what happens within these walls.”

To date, James says that working on Maternity has been one of the most “fulfilling” moments of his career. “The recognition this project has received is a tribute to the hard work and commitment of Ossie [Osaeloke] and his team, and I’m honoured to have been able to share their stories,” says James. Maternity manages to find the perfect balance between showing the beauty and rawness of new life, but also the extraordinary graft, dedication and resilience that it takes to bring it into the world safely.

The exhibition runs until 14 October at West Middlesex University Hospital, part of Chelsea & Westminster NHS Foundation Trust, after which the prints will be displayed permanently on the Queen Mary Maternity Unit.