Why I Shoot People

There was a time when I thought that picking up a camera was the quickest path to becoming an artist. And so there I was, with a pink Casio point-and-shoot, ready to bestride the world with effortless artistry. Silly rabbit. Ten years down the hole, and I’m still nowhere close to creating what I’d call ‘art’. The only difference is, now I have a camera that has more functions than my TV remote.

In the early days, I was smitten with the idea of freezing time with a single click. It seemed so… easy. But as the clicks turned into thousands of shutter snaps, the naïveté faded, much like the memories of my initial photos that were more blur than beauty.

I feel no shame in saying there was a stage where every like was a standing ovation, every comment a review. I’d be lying if I said it didn’t give me a rush. Posting a photo and waiting for the likes to roll in was like waiting for rain in a drought. Or electricity after a GPL interlude. But then came the question, was I doing this for art or affirmation?

Now, a decade later, the reality is clear and, ironically, captured in high resolution: I am hooked. It’s not about chasing the elusive dragon of ‘art’ or the digital nods of approval anymore. It’s about the urge to capture the light just right, the colours vividly, the world in a frame – likes or no likes, art or fart.

The addiction is real. There’s no morning without wanting to capture that golden glow off a building. No walk on Regent Street without seeking a story in a single frame. It’s a compulsion, a need, a reflex. My camera has become an extension of my being, a companion in my daily sojourns into the mundane and the magnificent.

I may have embarked on this journey with a naïve ambition, fueled by the simplistic idea of creating art. But over time, the journey has become the destination. Each photograph, a reflection of my growth, each snapshot, a lesson in humility.

So, the learning quest continues. Point-and-shoot in pocket (ninja black), I step into the light, chasing shadows, textures, and the endless stories that lie in wait. There’s a subtle joy in this routine, satisfaction in the click of the shutter, a quiet dialogue between me and the myriad hues of life.

I’ll still take likes though.

Click click.


Kwesi is a communications specialist who spent over a dozen years as a practicing journalist.

Follow him on Facebook, and on Instagram.

Joe McNally – Faces of Ground Zero

PhotoTalk 2020/09

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Joe McNally is one of those photographers whose works are known around the world, his images have featured in many major publications including TIME, Newsweek and National Geographic. One of his more notable works is “The Future of Flying” which was National Geographic’s first fully digital story. Joe’s portfolio covers fashion, portraits, dance, athletes, healthcare and industrial images among many.

The image I chose from Joe McNally is one from his series “Faces of Ground Zero”, a tribute to the men and women who were the true heroes of 9/11, all of the portraits are great, at a glance you can tell the individual’s occupation and associate with that their possible role in the aftermath of the terror attacks. As I looked at the images I loved how clean the images looked, but I also noted the state of their dress, many “cleaned up”for their portrait it seemed, but this one (and a few others) showed them as if they just climbed out of the rubble.

In this image I could see the looks of determination, of loss, of despair; I can see that these men worked tirelessly to help. I’ve seen many of Joe McNally’s situational Portraits where you get an immediate sense of the person, just from the photograph, from the surroundings. In this one Joe has accomplished that with a plain white background, and just the men, their attire, their tools and their expressions.

The information below was taken from TIME Magazine.

Billy Ryan and Mike Morrisey, Firefighters, Rescue 3, FDNY

Each was home when the attack came. They arrived at the site just after the second collapse.

“I tried to get overtime the night before but signed up too late,” said Morrisey. “It would have been me. Eight me in my house were killed.” Said Ryan: “Two tables of people from my wedding are not here anymore. I’m tired of burying my friends.”

Today, doctors and nurses are on the frontlines AND the last line of defence in the COVID-19 Pandemic, let us remember them, but can we also reach out like this?


The original post was published on the Guyana Photographers’ Facebook Page on April 9th, 2020. The original comments and discussions can be seen on that post.


Bruce Gilden – Street Photography

PhotoTalk 2020/05

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Let’s venture into some Street Photography discussions (almost always contentious).

There are different types of Street Photographers, yes there are, who would have thought it!? Among them are those who sit patiently and wait for the right moment, there are those who walk about and capture as they go, there’s a few others, I won’t go into all. Mostly, street ‘togs tend to use small cameras, to be as discreet as possible, to not interact or affect the scene… mostly. There are those who interact with the subjects amiably and derive some amazing street portraits as well, and then there’s Bruce Gilden.

What made Bruce different was his habit of walking around with his camera and a flash attached to it, and he would walk right up to his intended subject(s) and press the shutter button also triggering his flash, most times shocking the unsuspecting subject.

You should check more of his work, this image is but one that represents his collection, his work captured the 1980s New York City scenes memorably.

Is Street Photography simply about capturing candid moments? Some of us may consider it voyeuristic, is it? Is such photography an invasion of privacy? Is Gilden’s approach any better than that of other street togs who choose not to interact? What’s your opinion and your own questions?


Originally posted to the Guyana Photographers’ Facebook Group on April 1st, 2020. original comments and discussions can be seen on the original post.


Today is Tomorrow’s Yesterday

As Guyana heads into inevitable elections and a possible and uncertain future where Oil may play a large role (larger than necessary), some photographers, including Nikhil Ramkarran, Dwayne Hackett and Darrell Carpenay, have been saying both privately and publicly that Georgetown (and the coastal areas) will undergo certain changes; they see it as a time to capture life as we see it before that change is in our past.


“Photographers deal in things which are continually vanishing and when they have vanished there is no contrivance on earth which can make them come back again.” – Henri Cartier-Bresson

Clean-Up – 19-0102 | DXO One
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