November 20, (THEWILL) — Christopher Oputa, the founder and Chief Executive Officer of Studio 24, believes Nigeria is entering a new economic moment in the digital imaging business, one driven by fresh technology, structured skills development, and a massive untapped consumer market. After more than 30 years navigating the cycles of Nigeria’s photography industry, Oputa is now positioning the company for what he describes as its “biggest modernisation phase yet”.
Speaking in Lagos during a two-day industry event, he announced two major commitments: a large-scale human capital development programme for young creatives, and the re-entry of Kodak into the Nigerian market through Kodak Moments, the company’s global on-the-spot printing and personalised imaging platform.
The launch also signalled the start of the Pix-Her Africa Project, a talent pipeline jointly powered by Studio 24, Canon Academy and Kodak Moments, and implemented by Kidpreneur Africa. The programme provides full scholarships for teenagers aged 15 to 18, transitioning them into paid apprenticeships within Studio 24, while also supporting adults unable to afford tuition but who show creative potential.
“We have struggled for years to find the trained people we need. In countries with strong apprenticeship systems, industries grow faster. We decided to start building that structure here”, Oputa said.
The initiative is designed to train the next wave of photographers, digital printers, imaging technicians, designers and small business owners across the country. For Studio 24, the project also serves as a strategic workforce pipeline, reinforcing the company’s long-term expansion goals across West and Central Africa.
The first phase of Pix-Her Africa was scheduled to align with World Premature Babies Day, a symbolic nod to nurturing potential early. While the first day focused on sensitisation and onboarding, the second day addressed the market implications of Kodak’s renewed interest in Nigeria.
According to Oputa, the new Kodak Moments model represents a “complete shift” from Kodak’s previous Nigerian operations in the 1990s and early 2000s. This era is focused not on cameras but on high-speed instant printing, personalised photo gifting, and premium digital imaging kiosks — the same systems currently deployed in advanced markets across Europe and North America.
“This is the first time Nigerians are getting direct access to Kodak’s modern printing technology, exactly the same machines used in Europe and America. No downgraded versions. These are the real systems”, he said.
Beyond equipment, the collaboration aims to expand Nigeria’s participation in a global printing market valued at billions of dollars annually. Oputa argues that Nigeria’s existing demand shows enormous potential.
“If every human being prints just two photos a year, a country of 4 million people produces 8 million prints. In a country of 250 million people, that figure jumps to over 500 million prints each year. And Nigerians will print more if the technology is reliable and accessible”, he explained.
Kodak Moments is expected to strengthen this market by providing kiosks and print stations that individuals, studios and small businesses can deploy to earn income. Oputa describes the Nigerian photography ecosystem as “a virgin territory”, not because Nigerians do not take pictures, but because the technology required to monetise photography at scale has never been fully available.
Studio 24 will serve as Kodak’s major distribution and training partner, providing market access across West and Central Africa. The company is responsible for onboarding operators, supplying equipment, and offering technical support.
The Lagos announcement also underscored Studio 24’s resilience. The business has survived the decline of film, the rise of digital cameras, the smartphone disruption, and repeated industry downturns by reinventing its model — from traditional laboratories to digital systems, photobooks, corporate imaging services, and training facilities.
Oputa emphasised that the next decade will be driven by localisation of global-standard imaging technology. “Our goal is to give Nigerians the same instant imaging experience available in London, New York or Tokyo”, he said.
The return of Kodak offers not only technology transfer but also jobs and an enterprise pipeline. Studio 24 plans to absorb as many programme graduates as its growth requires, while also encouraging others to establish independent printing and creative businesses using Kodak-supported systems.
“We are building the people we want to hire,” Oputa said. “And those we cannot employ immediately will still be able to earn by starting their own ventures.”
For many participants and investors observing the event, the strategic significance was clear: the partnership is not symbolic, but commercial. Kodak is investing in Nigeria’s growing consumption base, while Studio 24 is investing in the workforce that will support that expansion.
Oputa concluded with a message aimed at industry stakeholders, SMEs and potential franchise partners: “Kodak is back. And this is only the beginning.”
Janefrances Ebere Chibuzor is a Tourism Writer at THEWILL
