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.

The Third Element by Kirth Bobb

PhotoTalk 2020/14

As someone who sees color as the third foundational element (light, shadow,+ color) of photographs. I’ve long studied and emulated the work of Alex Webb. Growing up in Guyana, the color was everywhere for me. From the vivid scenes at Big Market to all the colors of Pagwah, Easter, and Christmas. I can’t help but be drawn to color.

2020-14

This particular photograph, like much of Webb’s work in the Caribbean and Mexico, uses color, light a bit of his signature layering to give the photograph, what I think is a strong sense of place.

Here’s an excerpt from an interview where he discusses his use of color.

“What I also realized, and this took place over a period of a few years. As I did that (and I was working then in black and white) I realized that something was missing. That the intense, searing light that exists in the tropics. And the kind of brilliant colors that exist in a Haiti or a Mexico. I wasn’t capturing those in black and white. I wasn’t dealing with, at some level, the sensuality of some of these cultures. So I began photographing in color in 78 and 79 as a response to that. And basically have been working in color ever since. I mean, initially it was a response to working in certain kinds of places where there is vibrant color. Now I sort of work in color everywhere.”‘

The full interview can be found here:

http://www.streetshootr.com/video-alex-webb-on-inspiration-and-the-photographic-process/

How do you use color in your photo recipe when you’re making photographs? Guyana has so much fantastic color and harsh light, that when I look at Webb’s works, I can; ‘t help to think of home. a

This book remains one of my top 10 photo books to date:

https://aperture.org/shop/alex-webb-and-rebecca-norris-webb-on-street-photography-and-the-poetic-image-books/

And The suffering of light is another classic that’s in my top 10:

https://aperture.org/shop/the-suffering-of-light-3217

Thanks for joining in the conversation,

Kirth Bobb


Kirth originally published this to the Guyana Photographers’ Facebook Group on April 30th, 2020. To see the original comments and discussion please check that post.


Darrell Carpenay

PhotoTalk 2020/12

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Bringing it closer to home today: I wasn’t intending to tackle one of Darrell’s pieces until much later down, but I came across this one in one of his Instagram accounts and thought it would be good to share it now.

It was lumped in with his Street Photographs, but to me this leans more toward Seascapes (personal opinion only) and its one of those images that immediately strikes me as a stand-out image. For those of you who are not familiar with some of Darrell Carpenay’s works, he tended toward more Nature and Landscape images, in recent years he has also made great strides in Street Photography here.

Now back to the image, firstly it uses very subtle tones and contrast, eking out subtle yet important details in the sky and in the waters, the there is the dark slash of the Jetty (groin, pier) across the width of the image, it angles up towards the left where stands two fishermen, and then there is the pièce de résistance for me, the marked undulation of the waves against the jetty. For me, this combines his love of landscapes and street photography into a simple, yet powerful image.

The image can be seen on instagram:

https://www.instagram.com/p/B0mhLGrHx-c/

Also you can follow his Street Photography on Instagram:

https://www.instagram.com/visualdarrell/

and his Nature and Landscape Photography at

https://www.instagram.com/darrellcarpenay/


Originally posted to the Guyana Photographers’ Facebook Group on the 23rd April, 2020. The original comments and discussion 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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