Da’anong Gyang is one of the nominees in the Best Cinematography category at the 12th Africa Magic Viewers' Choice Awards, earning his nod for Finding Nina. This nomination follows a string of critical recognition for the film, including cinematography nods at the Best of Nollywood (BON) Awards and the ZUMA Film Festival, as well as a Win for Best Cinematography at the Arewa Film Festival.
While he's in the film industry today, Gyang didn’t start with movies. He majored in TV journalism, but life drew him towards filmmaking and he fell in love with it.
It started with an internship from school. While in the journalism department, he chose to intern with a movie production outfit owned and managed by Dimbo Atiya, and this gave him his first proper time on a movie set, three weeks as a camera assistant.
On returning to school after the internship, the dream became different. He started moving more with the production department, joining them on projects and assignments.
While he’s being celebrated for Finding Nina today, Gyang worked as a camera operator on titles like Sons of the Caliphate and 4th Republic. On the 240-episode Halita, he was second unit camera operator for the first season, and by the second season, he was promoted to second unit DOP.
Gyang’s approach to cinematography is defined by a commitment to "Visual Authenticity", a unique Point of View that prioritizes the emotional truth of a scene over mere aesthetic polish. He pays meticulous attention to the interplay of natural light and shadow to create depth, ensuring that every frame serves the narrative's soul. It is this distinct voice and POV as a DOP that shaped the visual identity of Finding Nina, distinguishing his work through its intimacy and texture.
While resident in Abuja at the start, he began frequently visiting Lagos to learn and grow, taking advantage of webinars, courses, platforms like the MultiChoice Talent Factory, and Anthill Studios courses by Niyi Akinmolayan, the Native Filmworks Bootcamp with Steve Gukas, and an invaluable internship with award-winning DOP John Demps. He also participated in the Arri Masterclass led by Alana Mejía González, further sharpening his technical edge.
On getting into Finding Nina, he shared that friends from Unfriendly Space Production were awarded the contract by Nemsia Studios to film it. The crew was largely made up of people he had known from university days, so it felt like a reunion but now with more experience and growth.
Taking on Finding Nina came easy for him. Being around Northern Nigeria, he wanted to be involved in a story that felt close to home, and this project gave him that opportunity.
However, while filming Finding Nina, they encountered a major setback, a protest that stalled production. At that point, there was no work, just staying back at the hotel, bills piling up, and uncertainty all around. But that setback became a turning point.
During the protest, he kept sending pictures from production to Nemsia Studios. Those images, showcasing his specific visual taste caught their attention and earned him the opportunity to shoot his next film, Thicker than Water, streaming on Prime Video.
While Finding Nina came with its challenges, Thicker than Water posed fewer issues, aside from the extended shoot period, long nights, working with fire, and dealing with insects. It was also his first time working with a visual effects director on set, which came with a new learning curve.
Gyang is also the cinematographer behind Onobiren: A Woman’s Story, the highest-grossing Nollywood film for March 2026, earning ₦138.1M within seven weeks.
Describing the Onobiren set, Gyang noted that Koko, Delta State, provided a 360-degree cinematic canvas. Everything felt natural, from the fishing nets and canoes to the kids swimming in the river. For Gyang, the goal is always to capture this "real-world magic" rather than relying on constructed sets.
Prior to his recent feature success Finding Nina, Thicker than Water, and Onobiren, Gyang told stories through documentaries for Al Jazeera, the South African reality TV show Bae Beyond Borders, and served as part of the crew on The Real Housewives of Abuja.
Looking at the AMVCA nominations, being listed alongside names like Jermaine Edwards (My Father’s Shadow), Kabelo Thathe (To Kill A Monkey), Emmanuel Igbekele (The Herd, The Serpent’s Gift, Gingerrr), and KC Obiajulu (Stitches), Gyang stands out as one of the newer faces, especially with a relatively lean filmography compared to others with multiple nominations and larger film catalog.
While it may feel early, given his filmography and the fact that this is his first major title as a cinematographer, the nomination is a moment he holds with both humility and gratitude.
Looking ahead, Gyang remains committed to creating visually compelling projects, stories that last and stay with audiences long after they’ve been seen. He hopes more of these stories come his way.
Contrasting Nollywood with Hollywood, he noted that while cinematographers in Hollywood often have agents securing jobs for them, in Nollywood, opportunities are largely built on relationships with directors and industry peers. For now, he remains hopeful and focused on the work.
With the awards set for May 9, this marks his debut on the AMVCA stage, a full-circle moment for someone who started out as a camera assistant and kept showing up for the work.