Nibil Elderkin is a director and photographer known mostly for his work on music videos.

His big break came when he befriended the then relatively unknown rap artist Kanye West. Elderkin had heard a Kanye West mixtape and had tried to contact the rapper by looking up www.kanyewest.com. The website came up as unregistered but available for registration, so he bought the domain name on an impulse. Three weeks later an executive from Roc-A-Fella Records contacted Elderkin to tell him the label had just signed Kanye West to a multi-album deal and wanted to know how much he was asking for the domain name. Without a monetary transaction Elderkin agreed to transfer the domain name provided he could meet the new artist and do a photoshoot with him, these images went on to be the artist's first publicity photos.

Elderkin's work has appeared in many platforms including advertising, magazine editorials and covers, artist branding, music videos, books, album covers and photojournalism. His clients list includes, amongst others artists, Kanye West, Nicki Minaj, Frank Ocean, Nas, Bon Iver, The Black Eyed Peas, K'naan, James Blake, Seal, John Legend, record labels Capitol Records, Universal Music, Sony, Warner Bros. print and broadcast media Billboard, Rolling Stone, Vogue, MTV, Rizzoli, fashion personalities like designer Jeremy Scott and model Heidi Klum, the charity Oxfam and manufacturers Coca-Cola, Foot Locker, Nike, adidas, Vans.

Elderkin also photographed Kanye West's biographical book Glow in the Dark documenting the Kanye West's "Glow in the Dark Tour" in 2008. His endeavor into photojournalism in war-torn Democratic Republic of the Congo through co-operation with Oxfam worker Claire Lewis resulted in a critically acclaimed exhibition at the United Nations General Assembly in New York in 2007. He also has directed numerous films for Frank Ocean, such as Pyramids, Novacane and Swim Good.

His debut long feature is the award-winning documentary film Bouncing Cats about a breakdance workshop for teaching b-boy culture to Ugandan disenfranchised youth. The film was financed by Red Bull through its Red Bull Media House.

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