African Photo Magazine Issue #7
A Pan-African magazine showcasing Africa's photographers and their stories!
A Pan-African magazine showcasing Africa's photographers and their stories!
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Local Perspectives, <strong>African</strong> Insights<br />
+ Kenya + Phillda +<br />
<strong>Photo</strong>graphy<br />
Showcasing Kenya’s<br />
photographers on<br />
Instagram<br />
Ragland Njau<br />
A walk down memory<br />
lane<br />
Spotlight on<br />
Kibera<br />
“Sanaa ni kioo cha<br />
jamii”<br />
[<br />
ISSUE 7<br />
DEC 2017<br />
[
[<br />
04 BAKE<br />
CONTENTS<br />
<strong>Photo</strong>graphy Bloggers of 2017<br />
16 Phillda Ragland-Njau<br />
04 30 12<br />
From first <strong>African</strong>-American female<br />
photographer for the Presbyterian<br />
Church of the United of the United<br />
States to curator of Paa ya Paa gallery<br />
22 Spotlight on Kibera<br />
Kibera’s artists show there is more to<br />
their home than what is supposed to<br />
form the “slum menu”<br />
36 Mekatilili Wa Menza<br />
Story of a Kenyan warrior<br />
19 <strong>Photo</strong>shop Tutorial<br />
South Africa’s IMAGE magazine with tips<br />
to better photography<br />
[<br />
[<br />
46 Instagram Kenya<br />
Spotlighting Kenya’s community of<br />
photographers<br />
54 <strong>Photo</strong>graphy Gear<br />
Cool accessories to take your skills to<br />
the next level<br />
62 Lucas Maranga<br />
A man at 40<br />
to current times, we say a big ‘hello!’ to the pre<br />
and post independent period that birthed our<br />
<strong>African</strong> photographers. Far too many young<br />
photographers today, indeed many young<br />
practitioners in various fields, have a poor grasp<br />
of the rich history behind their chosen fields<br />
and the blood, sweat and tears their fore-fathers<br />
shed to allow them to craft the present. These<br />
<strong>African</strong> greats stood up at the dawning of a new<br />
Africa; as independence movements gathered<br />
steam in the 1950s and 1960s, a new breed of<br />
photographer was about to take the stage.<br />
This publication has the very great honor of<br />
featuring some of our greats in this edition,<br />
such as Malick Sidibe of Mali, Mohamed Amin of<br />
Kenya (now deceased) and Obie Oberholzer of<br />
South Africa. We have created a “Hall of Framers”<br />
to showcase the amazing work and talent of<br />
these greats and will endeavor to feature at least<br />
one great in every issue we publish ~ they must<br />
not be forgotten!<br />
64<br />
Additionally, in this issue, we feature Canon sponsored<br />
workshops called Project Miraisha. Since December 2014,<br />
Canon has facilitated three workshops in Kenya, led by world<br />
renowned photojournalist and Canon Master Gary Knight.<br />
With the support of local partners, Canon is using its core<br />
imaging skills to help local people develop livelihoods in<br />
professional photography or print. The next workshops are<br />
slated for Saturday 14th - Friday 20th May, 2016 and will be<br />
co-hosted with House of Fotography, a local outfit based in<br />
Nairobi, Kenya.<br />
As we come to the close of 2017,<br />
it is only fitting that we do so<br />
with our 7th issue and with a<br />
special spotlight on Kenya and its<br />
photographers, for this magazine<br />
calls this great nation, home.<br />
Kenya has also come out of a<br />
very acrimonious election season<br />
and it is our fervent prayer that as<br />
we face the harsh realities of our<br />
political life as Kenyans, we must<br />
continue to remind ourselves of<br />
the goodness that permeates our<br />
lives every day, and much of that<br />
goodness is seen in our arts and<br />
stories as a diverse community of<br />
peoples.<br />
We open up the 7th issue saluting<br />
the 2017 nominees of the Bloggers<br />
Association of Kenya (BAKE)<br />
<strong>Photo</strong>grapher of the Year category,<br />
and the ultimate winner, Mutua<br />
Matheka. The effort it requires to<br />
consistently produce photographic<br />
content at a very high standard is<br />
commendable indeed and you<br />
have earned our high praise and a<br />
deserved spot on BAKE’s platform!<br />
In keeping with our practice of<br />
reaching back to our past while<br />
looking forward to our future, we<br />
are delighted to feature Phillda<br />
“nollywood” themed exhibition presented by<br />
Lagos<strong>Photo</strong><br />
The Sony World <strong>Photo</strong>graphy<br />
Awards will open for entries on 1st June<br />
Letter from the Editor<br />
Ragland-Njau. Phillda was the<br />
first black woman photographer<br />
Lastly, we tip off our hats to our <strong>African</strong> photographers be sent that on overseas mission<br />
came out tops in the recently concluded assignments SONY and Hamdan by the United<br />
bin Mohammed bin Rashid Al Maktoum Presbyterian International Church of the United<br />
<strong>Photo</strong>graphy Award (HIPA) competitions. States, These are and the in 1969 she came to<br />
largest photography competitions in the Kenya world and and Africa never looked back.<br />
took its place amongst the very best. Kudos Phillda’s to our winners! work has been featured<br />
It is an absolute pleasure The Editor, bring this magazine publications to you and I such as TIME<br />
trust you Sharon will enjoy Mitchener<br />
as much as I do! magazine, Jet magazine and<br />
EBONY. Today, Phillda runs Paa ya<br />
Paa with her artist husband Elimo<br />
The Editor,<br />
Njau, and her contribution to the<br />
fabric of Kenya’s arts community<br />
cannot be overstated. Phillda, and<br />
her husband Elimo Njau are the<br />
giants of yesteryear and we must<br />
“Sanaa ni kioo cha jamii<br />
Art is the reflection of the<br />
community”<br />
AFRICANPHOTOMAGAZINE 2 Local Perspectives. <strong>African</strong> Insights.<br />
lovingly continue their legacy for<br />
our posterity.<br />
The Maasai, the Mara and Kibera<br />
have pretty much become<br />
synonymous with the Kenyan<br />
experience. While the Massai<br />
and the Mara receive extremely<br />
favorable coverage, Kibera is often<br />
depicted as offering a slum menu<br />
that centres on poverty, crime, tribal<br />
angst and hopelessness. However,<br />
“sanaa ni kioo cha jamii” and Kibera<br />
has a very different story to tell, if<br />
you care to listen. This publication<br />
has selected a few of the many<br />
amazing and inspiring stories being<br />
created by the very proud residents<br />
of the ‘slum’.<br />
Included in this issue is a story of a<br />
little known Kenyan warrior by the<br />
name of Mekatilili Wa Menza. This<br />
masterful depiction of hope, of<br />
uncompromising faith and of great<br />
strength was the work of Rich Allela<br />
(Kenya) and Dapel Kureng (Nigeria).<br />
These are the stories we must keep<br />
alive, for our sakes and the sake of<br />
our children. We must remember<br />
that we are a great people, with a<br />
great history and a promising future,<br />
and that we are the keepers (and<br />
destroyers) of our shared destiny. It<br />
is up to us whether we will rise up,<br />
or fall down. It is up to us, whether<br />
the battles that Mekatilili Wa Menza<br />
and her ilk fought were in vain, or<br />
award<br />
winners<br />
were worth the death they so freely<br />
45<br />
embraced, for Kenya to stand tall<br />
as a nation.<br />
We also celebrate Kenya’s<br />
photographers featured on<br />
Instagram under the moniker<br />
#igKenya and the work they do<br />
to keep flying the nation’s flag<br />
high. It would be remiss of us<br />
to not specifically mention the<br />
cooperation and enthusiasm we<br />
received from the team at #igKenya<br />
while compiling this piece.<br />
Also in this issue we would like<br />
to roll out the red carpet for<br />
Lucas Maranga, our new regular<br />
contributor, with his blog entitled,<br />
A Man at 40. We first met Lucas at<br />
Engage and fell in love with his wit<br />
and candor. We hope you like him<br />
as much as we do.<br />
At the close of 2016 we celebrated<br />
the 170 year anniversary of PSSA,<br />
the very first <strong>African</strong> photographic<br />
society established by our brothers<br />
in Cape Town, South Africa, back in<br />
1846. PSSA publishes a quarterly<br />
magazine named IMAGE, which<br />
covers all aspects of the Society’s<br />
activities and photography in<br />
general. IMAGE has so very<br />
graciously come alongside us to<br />
promote our efforts and in this<br />
issue has contributed <strong>Photo</strong>shop<br />
tutorial techniques we know our<br />
readers will find most instructive<br />
and beneficial.<br />
Lastly, in this issue we share with<br />
you what we consider interesting<br />
developments in terms of gear a<br />
photographer would be interested<br />
in, and in this issue we look at some<br />
gadgets one can use to improve<br />
their photography skills.<br />
Our next issue will come out in<br />
early 2018 but in the meantime stay<br />
connected via our website, http://<br />
www.africanphotomag.co.ke/ and<br />
social media pages.<br />
Asante Sana, and enjoy!<br />
pu<br />
Th<br />
be<br />
2 africanphotomagazine ISSUE 7 November 2017 3
BAKE<br />
nominees for<br />
the category of<br />
<strong>Photo</strong>graphy Blogger<br />
of the Year 2017<br />
MUTUA<br />
MATHEKA<br />
MWANGI<br />
KIRUBI<br />
What is BAKE?<br />
The Bloggers Association of Kenya (BAKE) is a community association of Kenyan<br />
bloggers and content creators that promotes online content creation & free<br />
expression in Kenya. BAKE connects blogs in Kenya from all areas of interest<br />
and expertise. BAKE was formed in 2011 after a series of discussions concerning<br />
content creation and consumption of online content in Kenya.<br />
BAKE recognizes the efforts of exceptional bloggers through the BAKE Awards.<br />
The awards seek to reward bloggers that post on a regular basis, have great<br />
and useful content, are creative and innovative. These awards represent BAKE’s<br />
efforts in the promotion of quality content creation.<br />
BAKE has successfully held the awards for 6 years running since 2012. The<br />
inaugural BAKE Awards had 14 categories. The categories have increased every<br />
year and the 6th edition which was held in May 2017 had 23 categories of blogs<br />
to award.<br />
This publication proudly features the nominees for the category of <strong>Photo</strong>graphy<br />
Blogger of the Year 2017, who have collectively captured our imaginations!<br />
PETER<br />
IRUNGU<br />
VICTOR<br />
PEACE<br />
4 africanphotomagazine<br />
SANAA<br />
STORY
MUTUA<br />
MATHEKA<br />
WINNER OF BAKE 2017<br />
PHOTOGRAPHER OF THE YEAR<br />
-2 • • 1 • • • • 1 • • +2<br />
“When I started photography, I did it<br />
because it was so much fun to me<br />
and creating came easier than many<br />
other things. I didn’t have a subject<br />
matter which meant I kept looking at<br />
other photographers here in Nairobi<br />
to figure out what I wanted to shoot.<br />
One time a friend took me to the KICC<br />
rooftop and when I saw the city from<br />
above I had an inkling as to what I<br />
wanted to photograph. Cityscapes and<br />
architecture. Contrary to the case right<br />
now, beautiful images of Nairobi were<br />
not the norm 7 years ago when I started<br />
but I kept on. Now shooting cities and<br />
buildings is how I feed my family and<br />
like at the start, photography is still so<br />
much fun.”<br />
Mutua is an Architect from Jomo<br />
Kenyatta University of Agriculture<br />
& Technology (J.K.U.A.T), and fully<br />
applies his architectural eye to capture<br />
architecture, cityscapes & landscapes<br />
with his photography. Mutua, together<br />
with David ‘Blackman’ Muthami and<br />
the UN Habitat, use photography of<br />
urban spaces in Africa to showcase a<br />
beautiful Nairobi and eventually Africa.<br />
Mutua uses his photography to show<br />
the world that Africa, and his beloved<br />
Kenya, is much more than Maasai’s,<br />
safaris and lions.<br />
In this special feature of Mutua, we<br />
showcase the amazing photography<br />
that first launched him onto the scene<br />
and stamped his place as one of<br />
Africa’s pre-eminent photographers.<br />
www.mutuamatheka.co.ke<br />
-2 • • 1 • • • • 1 • • +2<br />
6 africanphotomagazine ISSUE 7 NOVEMBER 2017 7
MWANGI<br />
KIRUBI<br />
NOMINEE OF BAKE 2017<br />
PHOTOGRAPHER OF THE YEAR<br />
-2 • • 1 • • • • 1 • • +2<br />
Mwangi Kirubi, known to many as<br />
Mwarv, takes photos that primarily<br />
showcase Kenya’s beauty, and works<br />
with NGOs and other development organizations<br />
to showcase their work in<br />
Kenya and on the <strong>African</strong> continent.<br />
Mwarv, has been in the photography<br />
industry for 11 years and characterizes<br />
his success as being driven by<br />
passion and building strong<br />
relationships. Before Mwarv ventured<br />
into photography in 2006, he was a<br />
copyrighter. “The salary was good, but<br />
I felt there was no need to be empty<br />
during the week and then full on<br />
weekends, which is when I pursued my<br />
photography passion. Quitting my job<br />
in 2006 was the best decision I made.”<br />
Mwarv started out by taking photos for<br />
Mavuno Church’s events and moved<br />
on to wedding photography, which he<br />
did for a number of years until it no<br />
longer fulfilled him.<br />
Mwarv then made the bold decision to<br />
follow his dream and that dream would<br />
take him on a series of photographic<br />
road trips around East Africa, including<br />
his home country of Kenya. Through<br />
his photos, Mwarv counters negative<br />
stereotypes about the continent<br />
with regal portraits, awe-inspiring<br />
landscapes, and iridescent city shows.<br />
‘My biggest achievement as a<br />
photographer involves making people<br />
look at Kenya and Africa in a whole new<br />
light.”<br />
Link: www.mwarv.click.co.ke/<br />
-2 • • 1 • • • • 1 • • +2<br />
8 africanphotomagazine ISSUE 7 NOVEMBER 2017 9
PETER<br />
IRUNGU<br />
NOMINEE OF BAKE 2017<br />
PHOTOGRAPHER OF THE YEAR<br />
-2 • • 1 • • • • 1 • • +2<br />
Peter Irungu is a <strong>Photo</strong>grapher,<br />
Designer, cinematographer who<br />
appreciates all Art Forms. His mission is<br />
to impress upon a change in negative<br />
mentality and perception through<br />
which Africa is viewed. Through his<br />
photos he wants the world to view<br />
<strong>African</strong>s as equals in beauty, diversity<br />
and creation in every aspect.<br />
Two of Peter’s artistic projects<br />
define him as a stand out, unique<br />
photographer.<br />
His series HUMAN vs CONCRETE is<br />
a series that projects our influences<br />
as humans onto the landscapes that<br />
define our architecture and cityscapes.<br />
The buildings are an expression of the<br />
architects vision and also influences<br />
what the eventual occupants want to<br />
identify them as and for.<br />
Nairobi Urban Rush, is a street<br />
time-lapse project. “It might seem<br />
chaotic at first but that’s all an act. A<br />
different perspective is all that it takes<br />
to unmask the poetic motion of the<br />
masses, filling up the streets on their<br />
way home.”<br />
irungu.tumblr.com<br />
-2 • • 1 • • • • 1 • • +2<br />
10 africanphotomagazine ISSUE 7 NOVEMBER 2017 11
VICTOR<br />
PEACE<br />
NOMINEE OF BAKE 2017<br />
PHOTOGRAPHER OF THE YEAR<br />
-2 • • 1 • • • • 1 • • +2<br />
<strong>African</strong> Fashion and Beauty <strong>Photo</strong>grapher<br />
Victor Peace is a leading artist in<br />
Africa having worked with prestigious<br />
companies such as Ford and Forbes.<br />
His project ‘Maumbo’, meaning shapes<br />
in Swahili was a stunning color-rich<br />
editorial project done in collaboration<br />
with stylist and set designer Kevo<br />
Abbra and features Kenyan model<br />
Sylvia Owalla.<br />
Victor’s interest in photography<br />
was sparked first by his very cool<br />
grandfather, a great professional<br />
photographer who had been shooting<br />
from the 1970’s with his portfolio<br />
expanding and showcased as far as<br />
Japan. Victor would accompany him<br />
to weddings and funerals and as the<br />
grandfather shot video, Victor was his<br />
accomplice, shooting stills with his old<br />
manual minolta camera.<br />
Victor Loves shooting fashion and<br />
beauty and aspires to be one of the<br />
best fashion and beauty photographers<br />
of his time. We wish him all the best!<br />
www.victorpeace.com<br />
-2 • • 1 • • • • 1 • • +2<br />
12 africanphotomagazine ISSUE 7 NOVEMBER 2017 13
SANAA<br />
STORY<br />
NOMINEE OF BAKE 2017<br />
PHOTOGRAPHER OF THE YEAR<br />
-2 • • 1 • • • • 1 • • +2<br />
SanaaStory is currently running three<br />
major creative projects.<br />
SanaaFashion is the merchandising<br />
franchise that presents a stylish yet<br />
meaningful touch of design to the<br />
fashion market.<br />
SanaaStory is a creative investment company. SanaaStory aims to invest in creative projects<br />
that spearhead bold and fresh initiatives in the urban artistic/creative culture, in order to make<br />
art a sustainable venture for artists.<br />
The SanaaStory began in 2014 when a group of young art enthusiasts wanted to create a<br />
cultural movement that would redefine how art spaces were viewed and perceived. Far from<br />
the traditional desk and chair in a dimly-lit room, art could also be created and experienced in<br />
the great outdoors, in downtown Nairobi and even amongst non-creatives.<br />
The first venture was a street art gallery on November 29th 2014. A crowd of about ten guests<br />
came to experience art installation on the road. Since then they have experienced growth and<br />
support that has seen them hold four more events in venues such as Michael Joseph Center<br />
and the Village Market.<br />
SanaaCulture is an event, which<br />
provides a platform that allows artists<br />
to display their creative works. The<br />
event also brings together non-artists<br />
and art enthusiasts for a chance to<br />
view, enjoy and purchase the different<br />
forms of creative works.<br />
Their ventures grew as they met creatives along the way that shaped their understanding and<br />
philosophy. From fashion to travel to music and to photography, their growth is continuously<br />
shaped by the collaborations and development of the artists they have worked with.<br />
www.sanaastory.co.ke<br />
SanaaWanderlust is a purpose<br />
and culture driven take to tourism.<br />
SanaaStory organizes budget trips to<br />
both SanaaWanderlust members and<br />
non-members, with an aim to immerse<br />
the travelers in a destination’s cuisine,<br />
culture and creative opportunities.<br />
14 africanphotomagazine ISSUE 7 NOVEMBER 2017 15
A<br />
WALK DOWN<br />
MEMORY LANE<br />
Interviews by <strong>African</strong> <strong>Photo</strong> <strong>Magazine</strong><br />
VIEWFINDERS | Black Women <strong>Photo</strong>graphers by Jeanne Moutoussamy-Ashe @1985<br />
PHILLDA RAGLAND-NJAU<br />
“P<br />
hillda Ragland-Njau, born in<br />
Plainfield, New Jersey, in 1939,<br />
was the first black woman<br />
photographer to be sent on<br />
overseas mission assignments by<br />
the United Presbyterian Church. At<br />
twenty-nine, Phillda was the manager of production for<br />
the filmstrip and photography section of the Commission<br />
on Ecumenical Missions and relations – the overseas<br />
department of the United Presbyterian Church in the<br />
United States. Phillda comments, “Being the first black<br />
woman photographer in the church of course made<br />
a difference, but I thought of my assignment more as<br />
a personal journey into life, self-development, and<br />
opportunity for spiritual growth through involvement with<br />
people.” Phillda goes on to say, “it is the aesthetic and<br />
spiritual dimension of photography that interests me,<br />
and which I try to put across in my work, whether I am<br />
photographing a person, a natural thing, or an object.”<br />
From very early on, Phillda captured the imagination<br />
of many, gracing the cover of the famed Jet magazine<br />
in 1958 when her alma mater, Upsala Collage of New<br />
Jersey named a “Negro” as Gazette Girl. In 1966 Phillda<br />
was again in the spotlight when she made the cover of<br />
Film News and a feature segment in the TIME magazine<br />
in 1968. In 1969 she was the subject of an extensive<br />
photo feature in Ebony magazine and her work with<br />
the church was publicized in The Courier News of New<br />
Jersey.<br />
ISSUE 7 NOVEMBER 2017 17
Phillda’s work for the church’s overseas department<br />
included photographing the social and economic<br />
projects that the church sponsored in many foreign<br />
countries. Some of her interesting photographs were<br />
collected for an exhibition, “Kids Next Door,” that drew<br />
large crows to the church’s headquarters in New York. At<br />
the same time that she was teaching an adult education<br />
class in scriptwriting and in shooting and editing motion<br />
pictures, Phillda received her Master’s degree at<br />
Columbia University, with her earlier enrollment making<br />
the press in New York Beat as a singular event of note!<br />
From very early on, Phillda captured the<br />
imagination of many, gracing the cover<br />
of the famed Jet magazine in 1958 when<br />
her alma mater, Upsala Collage of New<br />
Jersey named a “Negro” as Gazette Girl<br />
Jet <strong>Magazine</strong>, March 1958<br />
Initially hired as a photo librarian for the United<br />
Presbyterian Church, Phillda’s big break came when<br />
Fred Haines, a photographer for the home office, taught<br />
her the basic camera techniques. “Fred was so helpful,<br />
giving up weekends to guide me along,” says Phillda.<br />
When her boss, Dr. Archie Crouch noticed her progress,<br />
he sent her to Latin America in 1967 for her first overseas<br />
assignment, trading her summer vacation for this great<br />
challenge. On her assignment, Phillda used an old<br />
Rollei-cord 120 box camera and a separate handheld<br />
light meter, later graduating to a Minolta Pentax<br />
35mm. Phillda undertook other several assignments,<br />
including conferences and photo features for articles<br />
about black women. As the official photographer for a<br />
black clergymen’s conference in St. Louis, Phillda was<br />
among the handful of women in the assembly of about<br />
four hundred black clergymen, and the only woman<br />
photographer in the press pit. That year Phillda was<br />
named New Jersey’s Outstanding Young Woman of the<br />
Year, an honour given to young women for their accomplishments.<br />
After the Latin America assignment, Phillda went on<br />
to also document the United Presbyterian Church’s<br />
activities in Europe in 1968, and it was on her assignment<br />
to East Africa in 1969 that she met the man who was<br />
to later become her husband, Elimo Njau. Elimo was a<br />
Tanzanian mural painter and Phillda had been sent on<br />
assignment to cover his work as a Christian artist. Elimo<br />
invited Phillda to join the East <strong>African</strong> International Arts<br />
Programme, which sponsored two art centres, one<br />
in Tanzania, the Kibo Art Gallery, and one in Kenya,<br />
the Paa ya Paa Art Gallery. Phillda’s earlier travels to<br />
Jet <strong>Magazine</strong>, March 1958<br />
VIEWFINDERS, Black Women <strong>Photo</strong>graphers, 1985<br />
Ebony <strong>Magazine</strong>, March 1969<br />
18 africanphotomagazine ISSUE 7 NOVEMBER 2017 19
Ebony <strong>Magazine</strong>, March 1969<br />
Film News, June 1966<br />
Latin America and then East Africa stirred a deep<br />
longing to plant roots in cultures that exemplified<br />
family, community and a deep connection to the<br />
environment. It therefore came as no surprise to her,<br />
and her boss back home, when on her second tour to<br />
East Africa, she decided to make Tanzania her home,<br />
and later Kenya.<br />
Phillda has been resident in Tanzania and Kenya over<br />
forty years, becoming Elimo’s wife and raising three<br />
children together, and now serves as the Paa ya Paa<br />
gallery’s archivist, curator and tour guide. In its heyday<br />
in the 1970s and 1980s, Paa ya Paa served as the hub<br />
of cultural activity when it was frequented by the likes<br />
of Okot P Bitek, Philip Ochieng, Ngugi wa Thiong’o<br />
and Hilary Ng’weno, among international notables<br />
such as Nigerian playwright and Nobel Laureate<br />
Wole Soyinka, former US President Jimmy Carter,<br />
Sidney Poitier and US civil rights activist, Dick Gregory.<br />
Unbowed by a 1997 inferno that consumed sculptures,<br />
artefacts, paintings and over 7,000 literature books<br />
worth millions of shillings, the charred remains and<br />
structure are slowly been reconstructed with the help<br />
of artists and well-wishers and the gallery paintings<br />
now hang in the burned ruins of the 100-year-old<br />
colonial house, which gives it an even more artistic<br />
finish.<br />
The last two decades have not been kind to Paa ya<br />
Paa as attention has shifted to other art galleries and<br />
art forms, but Phillda and Elimo find solace among the<br />
mainly young artists who come faithfully to the centre<br />
to be mentored by the master painter-sculptor. Paa ya<br />
Paa’s legacy lives on under the very capable hands of<br />
Phillda, and her husband Elimo, and Phillda’s desire is<br />
not only see Paa ya Paa flourish again, but to pick up a<br />
camera and revisit her first love for photography.<br />
The Courier News, Nov 1969<br />
Ebony <strong>Magazine</strong>, March 1969<br />
Old Rollei-cord 120 box camera<br />
20 africanphotomagazine ISSUE 7 NOVEMBER 2017 21
“Sanaa ni<br />
kioo cha jamii”<br />
Art is the reflection of<br />
the community<br />
“K<br />
ibera is one of the most densely<br />
populated urban settlements<br />
in the world. An untold number<br />
of people, possibly as many as<br />
one million, crowd a 632-acre<br />
area outside Nairobi, Kenya. In<br />
this small, crowded community, residents struggle<br />
to meet basic needs—daily meals, clean water,<br />
adequate housing. It is one of the fastest growing<br />
areas in Kenya and as many as half its residents are<br />
under the age of fifteen. Despite these sobering<br />
statistics, the resilient youth of Kibera do overcome<br />
their circumstances showing great courage,<br />
creativity and determination and these same<br />
qualities are essential for affecting and sustaining<br />
great change in their community and in our country<br />
Kenya.<br />
“Kibera’s artists show there is more to their home than<br />
what is supposed to form the “slum menu: poverty,<br />
poor education, violence… Kibera is also about<br />
solidarity, strength, generosity, adaptability, beauty,<br />
perseverance, and a lot of laughing.<br />
People use crafts, poetry, music, painting, dance,<br />
acting or comedy as ways to tell their stories. It is the<br />
collection of all these diverse talents of the people of<br />
Kibera that draws the fascinating, constantly moving,<br />
picture of Kibera “ ~ Kibera Creative Arts<br />
In this issue, we proudly celebrate the Kibera artist.<br />
22 africanphotomagazine ISSUE 7 NOVEMBER 2017 23
KIBERA<br />
STORIES<br />
B<br />
rian Otieno is a freelance photojournalist<br />
who operates an online photo project<br />
called “KiberaStories,” since 2013. Brian<br />
was raised in Kibera – Africa’s most<br />
vibrant, biggest shantytown in Nairobi,<br />
Kenya and is a graduate from Multimedia<br />
University of Kenya with a Diploma in Journalism and<br />
Strategic Public Relations.<br />
Brian’s passion and commitment lies in capturing<br />
the visual realities and documenting the norm of<br />
everyday life from the people around him, and<br />
sharing their stories. His visual stories attempt to go beyond the chaotic appearance<br />
and to demonstrate the daily lives in Kibera from socio-economic, cultural, political<br />
and environmental perspectives. By doing so, Brian also tries to draw the attention<br />
of the public to understand the diversity, dynamics, and inequality of urban life as an<br />
observer with a unique point of view through photography.<br />
In this particular series, the publication showcases a fashionista from Kibera, Stephen<br />
Okoth, also known as Ondivour, a film-maker, photographer and model for his self-styled<br />
colourful and vintage fashion. “He inspires a generation in the shanty town through his<br />
sense of style, which brings hope to the people.” His signature bright clothes sourced<br />
from local second-hand markets have turned him into a local celebrity.<br />
http://storitellah.com/<br />
#KiberaStories<br />
“HE INSPIRES A GENERATION IN THE SHANTY<br />
TOWN THROUGH HIS SENSE OF STYLE, WHICH<br />
BRINGS HOPE TO THE PEOPLE.”<br />
24 africanphotomagazine ISSUE 7 NOVEMBER 2017 25
ISSUE 7 NOVEMBER 2017 27
<strong>Photo</strong> Start is a non-profit organization<br />
developed to foster creativity and teach<br />
marketable skills to disadvantaged children in<br />
depressed areas.<br />
<strong>Photo</strong>graphers in the programme learn to<br />
become literate in the digital darkroom, and the<br />
underlying concepts of computing, to take, edit,<br />
produce, print, store and transmit photographs.<br />
<strong>Photo</strong> Start graduates are capable of using<br />
digital cameras, manipulating light, understand<br />
best practices regarding digital workflow, digital<br />
production, and digital asset management.<br />
Planning and patience, two prized assets of<br />
the prepared photographer, are also valued<br />
highly by businesses and hiring managers in a<br />
multitude of fields.<br />
<strong>Photo</strong> Start students also improve in self-esteem,<br />
self-confidence, and self-reliance, leadership<br />
traits that are highly translatable and extremely<br />
marketable, particularly in developing regions.<br />
It is important to amplify the voices of those we<br />
have never heard from and to this end, <strong>Photo</strong><br />
Start provides equipment, learning space, and<br />
one on one guidance with program participants.<br />
By teaching vulnerable students photography<br />
as an art, and a business, <strong>Photo</strong> Start hopes<br />
to bring about much needed economic<br />
development as well as to introduce the world<br />
to a new generation of artists.<br />
ISSUE 7 NOVEMBER 2017 29
THE UWEZA ART GALLERY<br />
Located at Kamukunji grounds in Kibera, Uweza provides advanced art students from art classes as well<br />
as other Kibera-based artists with a space to create, market and sell their own original artwork. The youth<br />
that have graduated from the art classes to the gallery are encouraged to consider art as a viable career<br />
option and to explore different techniques, genres and mediums as they find their own artistic styles.<br />
Artwork created at the gallery is sold both locally and abroad and the proceeds are used to fund the<br />
artists’ high school education or act as a source of income for older artists living in Kibera. All participating<br />
artists that are high school age are currently enrolled in high schools throughout Kenya, fully supported<br />
by the sales of their art.<br />
M2 ART-CENTRE<br />
The centre was was founded in 2001 by Otieno Gomba and Otieno Kota. The pair began by selling novel<br />
hand-painted signs along Kibera drive, before acquiring a permanent site in 2003. This became the M2<br />
Art-centre, serving as a studio cum gallery and a juncture for many creatives and artists in the area.<br />
The M2 Art-centre was a pioneering visual art space in Kibera initiating opportunities for participation,<br />
collaboration, teaching and socialization as well as providing a space to work.<br />
M2 has also ventured into community outreach projects, conceptual work, fashion, film, mixed media,<br />
music, photography and sculpture. The artists and their work traverse local, national and global art worlds.<br />
THE UWEZA ART GALLERY<br />
M2 ART-CENTRE<br />
30 africanphotomagazine ISSUE 7 NOVEMBER 2017 31
NYOTA ART GALLERY<br />
The Gallery is a registered CBO whose conceptual work revolves around creative issues with educational<br />
empowerment focus, aiming to provide the gifted but under privileged youth from the slums with space,<br />
supplies, training and market so that they can change their livelihoods and inspire their peers despite their<br />
social, physical and economic disadvantaged backgrounds. The proceeds from the sales of their artworks go<br />
towards the funding of their education.<br />
Nyota desires to develop talents, to reach out and empower, the normal, deaf and the mentally handicapped<br />
youngsters in Kibera as they believe that every child should have the opportunity to seek, to explore and<br />
nurture their God-given talents.<br />
NYOTA ART GALLERY<br />
32 africanphotomagazine ISSUE 7 NOVEMBER 2017 33
WE ARE<br />
Creative & Digital<br />
Disruptive thinkers | Creative Doers | Innovative Actors<br />
Our mission is to providing leadership in integrated creative and digital<br />
space that catapults action and delivers sustainable outcomes for our partners.<br />
We are disruptive in our thinking, creative in our process and Innovative<br />
in our execution.<br />
www.jamodesigns.com<br />
34 africanphotomagazine ISSUE 7 NOVEMBER 2017 35
Mekatilili Wa Menza<br />
of Kenya<br />
by Mfon Abigail for 24Naija<br />
F<br />
rom the bowels of Kenya, a prophesy about British oppression<br />
had gone ahead. What also followed was that the savior would<br />
be a woman. No one guessed that it would be Mnyazi wa Menza,<br />
an only girl among 5 children, born to poor parents in Mutsara<br />
wa Tsatsu, a village of the Giriama, sometime between 1840<br />
and 1860. The little girl had no idea as well until she became<br />
an eye-witness to the capture of one of her brothers by the Arabs in the<br />
market place. The rage and dissatisfaction was only fueled when the British<br />
colonial masters arrived and marched right on to threaten the values of<br />
the Giriama people, pushing them to the verge of extinction. The culture,<br />
norms and values of her people were to be replaced with British policies<br />
and ordinances. But this was unacceptable to the young woman whom the<br />
birth of her son katilili had christened Mekatilili (Mother of Katilili). It didn’t<br />
matter who stood as the tower against her, she was ready to fight and tear<br />
out her people from the jaws of the British colonial lions.<br />
Despite the fact that numerous ideologies from time immemorial have<br />
oppressed, caged, trodden, abused and discriminated against the woman<br />
and her core, gender inequality has also provoked her to be referred to as<br />
one who is to be seen and not heard and to crown it all, cultural moves,<br />
beliefs and practices in the world at large and in Africa particularly, have<br />
justified this unnatural behavior.<br />
Thankfully, women like Mekatilili of Kenya have been bold enough to step<br />
forward, rising beyond the embargo placed on them by society to express<br />
their inner strength and worth.<br />
The fact that she was a young widow without a man to stand up for and<br />
protect her should have deterred her but she harnessed and embraced<br />
it, preferring to see it as a breath of freedom to travel and speak for the<br />
emancipation of her people.<br />
She was a woman of many qualities and these became her tools. Her<br />
exceptional prowess in both oratory and the kifudu dance which was a<br />
funeral dance garnered many admirers who turned followers. When the<br />
need arose she conscripted them to become her army of fighters against<br />
the brutal colonial masters. Many of them were women but their gender<br />
Rich Allela(Kenya) -https://www.instagram.com/rich_allela/<br />
Dapel Kureng(Nigeria) -https://www.instagram.com/kurengworkx/<br />
36 africanphotomagazine ISSUE 7 NOVEMBER 2017 37
wasn’t an impediment because they<br />
drew strength from their Mekatilili.<br />
She met Wanje wa Mwadori Kola; a<br />
notable traditional medicine man<br />
who became a powerful ally. He<br />
helped in organizing a large meeting<br />
at Kaya Fungo and together, they<br />
administered the deadliest oaths: the<br />
mukushekushe among the women<br />
and Fisi among the men. The oaths<br />
helped them keep sacred creed<br />
never to cooperate with the British in<br />
any form whatsoever or die. Together,<br />
they went to war with their courage<br />
and trust in the singular course of<br />
freedom.<br />
Her exile on 17th October 1913<br />
together with her ally by the colonial<br />
oppressors to Mumias in Western<br />
Province only functioned as a<br />
necessary retreat for Mekatilili. She<br />
is said to have escaped and trekked<br />
about 1,000km with Mwadori through<br />
the dangerous forests, back to<br />
Giriama to continue the fight right<br />
where she had stopped. This instilled<br />
fear in the colonial master thus, she<br />
was recaptured but, this instigated<br />
the uprising of October 25, 1914.<br />
Although the British had the upper<br />
hand, they were unable to gain total<br />
control and eventually, yielded to the<br />
demands of the Giriama people.<br />
Many may frown at the insinuation<br />
that she is a preserver of life but a<br />
close look at the mere fact that she is<br />
a carrier of the seed that blooms into<br />
a human being is proof enough. The<br />
woman is thus to be preserved. In the<br />
case of Kenya’s Mekatilili, it is within<br />
her bowels that the seed of freedom<br />
is birthed and she stopped at<br />
nothing to ensure that the freedom<br />
of the Giriama people came to be<br />
even though she was far away in the<br />
Northern parts of Kenya. Five years<br />
later, Mekatilili returned again from<br />
her second exile.<br />
She was indeed a warrior and one<br />
would imagine that her outspoken<br />
nature in the battle ground would<br />
generally define her. But it is almost<br />
quite ironic that she enjoyed a very<br />
private and quiet life in her home<br />
when she wasn’t about the business<br />
of freeing her people from the<br />
clutches of colonialism or holding<br />
leadership positions among the<br />
Baraza, Hifudu or Makushekushe.<br />
She was womanly in every sense<br />
of the word and cared so much for<br />
her immediate family, providing<br />
basic home needs and dutifully<br />
performing wifely responsibilities to<br />
her husband Dyeka wa Duka until he<br />
died.<br />
Although she died in 1924, and<br />
was buried in Bungale, in Magarini<br />
Constituency, Malindi District, her<br />
heart beats on, inspiring many simply<br />
because the woman has been built<br />
to be the guardian of the flame of life,<br />
virtues and values; the active and<br />
total expression of her innate worth in<br />
its entirety spells preservation of life<br />
and core human and societal values.<br />
Her life represents the strength of<br />
womanhood and inspires <strong>African</strong><br />
women to RISE above the inequality<br />
and discrimination saddled around<br />
their necks.<br />
Rich Allela(Kenya) -https://www.instagram.com/rich_allela/<br />
Dapel Kureng(Nigeria) -https://www.instagram.com/kurengworkx/<br />
38 africanphotomagazine ISSUE 7 NOVEMBER 2017 39
40 africanphotomagazine ISSUE 7 NOVEMBER 2017 41
PSSA (<strong>Photo</strong>graphic Society of South Africa) is the oldest photographic society on the<br />
Continent and recognised by the South <strong>African</strong> Government through the Performing<br />
Arts Council. PSSA is consulted on all aspects affecting photography in South Africa<br />
as well as being able to negotiate protection and exemption for photographic clubs<br />
and members.<br />
PSSA publishes a magazine named IMAGE, which covers all aspects of the Society’s<br />
activities and photography in general.<br />
This is a submission by IMAGE, sharing photoshop tips and techniques, with readers<br />
of our publication.<br />
42 africanphotomagazine ISSUE 7 NOVEMBER 2017 43
44 africanphotomagazine ISSUE 7 NOVEMBER 2017 45
<strong>Photo</strong> books to read<br />
Vanishing Songs of the Warriors<br />
(Available for purchase from All Time News Stand Village Market, TBC Sarit Centre and Bookstop Yaya Centre.)<br />
Vanishing Songs of the Warriors is an amazing compilation of illuminating moments that reflect the veiled thoughts of Africa. Woven through<br />
its pages is a story with a message; a deep message that is so simple, yet so significant. It is a photographic coffee table book that explores the<br />
Maasai, Borana, Turkana, Pokot, South Sudan, among other communities.<br />
46 africanphotomagazine ISSUE 7 NOVEMBER 2017 47
B<br />
With over 25,000 followers and over 250k<br />
images tagged, #igKenya is the Instagrammers<br />
community in Kenya, promoting Kenya, events of<br />
note and instagrammers to follow.<br />
In this issue’s focus on Kenya, we would be<br />
remiss not to cover the Instagrammers community in Kenya<br />
@urbanskript<br />
@Petersize10<br />
48 africanphotomagazine @l.eafar<br />
ISSUE 7 NOVEMBER 2017 49<br />
@mvrhodes
@Petersize10<br />
@kip_briann<br />
@jaydabliu<br />
@the.frostographer<br />
@isaacgitau<br />
50 africanphotomagazine ISSUE 7 NOVEMBER 2017 51
@thandiwe_muriu<br />
@kidd_volt<br />
@izmungai<br />
@brianbett<br />
@miantaqeel<br />
@roykingrhd<br />
@asayf<br />
@urbanskript<br />
52 africanphotomagazine ISSUE 7 NOVEMBER 2017 53
@amaliezw<br />
@madrascala<br />
@jonobuffey<br />
@dionvanaardt<br />
@jaydabliu<br />
@tichtoo<br />
@atta_guhad<br />
@wanzalla<br />
54 africanphotomagazine ISSUE 7 NOVEMBER 2017 55
@jason_jamhuri<br />
@mboss_weh_tis_vaimbah<br />
@joerobiii<br />
@the_mentalyst<br />
@thelifetraveller<br />
@_brian_gathu<br />
@wesleygrim<br />
@moeng_photography<br />
56 africanphotomagazine ISSUE 7 NOVEMBER 2017 57
[<br />
[<br />
[<br />
GEAR<br />
[<br />
GEAR<br />
Some cool accessories to<br />
take your skills to the<br />
NEXT LEVEL!<br />
WIRAL LITE EASY<br />
CABLE CAM<br />
MEVO PLUS<br />
LIVE-STREAMING CAMERA<br />
Kick your footage up a notch with the Wiral LITE Easy<br />
Cable Cam. Compatible with GoPro and other action<br />
cameras, this device gives your camera a totally steady<br />
line to follow. Hanging easily and effortlessly, your camera<br />
glides smoothly along to capture the perfect angle with<br />
minimal shake. The Wiral LITE has two modes to suit<br />
your style. In standard mode, the Wiral LITE can travel<br />
along the cable as fast as 28mph to keep up with you. In<br />
addition, the device works in time-lapse mode. With this,<br />
it can go as slow as 0.006mph to capture all the nuances<br />
of the world around you.<br />
Make your online live streams look more professional<br />
with the Mevo Plus Livestreaming Camera. This latest<br />
camera from Livestream edits video in real-time and<br />
shares it on every major social media platform. The<br />
purpose is to tell your video story in the best and<br />
quickest way possible. In fact, you can actually create<br />
a multi-camera production with a single Mevo Plus.<br />
You just need to enable the Autopilot mode and let<br />
Mevo’s advanced AI do the editing for you.<br />
NANO DSLR RIG<br />
Using your own body to steady the camera, the Nano<br />
DSLR Rig can turn your DSLR camera into the ultimate<br />
movie-making machine, as well as give you all the options<br />
you need to brace your camera for the perfect photo.<br />
The flexibility of the rig opens up a world of different<br />
possibilities on how it can be used.<br />
SAMSUNG 360<br />
ROUND VR CAMERA<br />
Create high-quality content anywhere when you have<br />
the Samsung 360 Round VR Camera. This high-tech<br />
system is complete with a whopping 17 different<br />
lenses to capture literally everything around. The<br />
cameras are spread throughout the disc-like shape.<br />
The camera can create 3D images thanks to all the<br />
lenses working in unison. With this, you can also<br />
create content for a variety of VR headsets. With six<br />
built-in microphones and two external ports, you can<br />
also pair your content with crystal clear audio. The<br />
360 Round is both water and dust resistant so you can<br />
take the whole system anywhere you go.<br />
GORILLAPOD<br />
The Gorillapod needs no introduction and should be in<br />
every photographer’s kit. The flexible tripod can attach<br />
itself to just about any surface, making it easy to get<br />
the exact photo that you want. And there’s a whole line<br />
of Gorillapod’s available, that can take anywhere from<br />
325g to 5kg, so no matter what kind of camera you use,<br />
whether a small point and shoot, or a huge SLR sporting<br />
a telephoto lens.<br />
58 africanphotomagazine ISSUE 7 NOVEMBER 2017 59
I Love my country, Kenya<br />
Canon Trainer, T eddy Mitchener with workshop students,<br />
Kenya S ept 11 -16, 2017<br />
In Emerging Markets, Canon is helping local people to<br />
establish careers in photography and print, and since<br />
December 2014, Canon has facilitated many workshops<br />
across Africa.<br />
Through each free week-long workshop, students experience<br />
classroom learning, one-to-one training, hands-on<br />
application and lectures by established locally-based<br />
professional photographers. These workshops have inspired<br />
and developed the students’ ability to tell powerful stories<br />
that matter to them through their cameras.<br />
With the support of local partners, Canon is using its core<br />
imaging skills to help local people develop livelihoods in<br />
professional photography or print. Already some of the<br />
workshop students have had their work published locally<br />
and abroad.<br />
What does<br />
mean? Miraisha is the<br />
combination of the Japanese word ‘mirai’ meaning ‘future’<br />
and the Swahili word ‘maisha’ meaning ‘livelihood or life’.<br />
60 africanphotomagazine<br />
Visit this publications website on<br />
www.africanphotomag.co.ke<br />
to register for the 2018 and beyond Miraisha Workshops<br />
Mumbe Mutisya | https://www.behance.net/cmutisya112d49<br />
ISSUE 7 NOVEMBER 2017 61
“Life i s not a solo act. It’s a huge collaboration,<br />
and we all need to assemble around us, the people<br />
who care about what we care about.”<br />
~ Tim Gunn<br />
Kenya Fashion Awards, The Norfolk Fairmont and House of Fotography have come<br />
together to roll out a series of collaborative projects that showcase the best in each<br />
other.<br />
To see more on this collaboration visit this publications website on<br />
www.africanphotomag.co.ke<br />
62 africanphotomagazine ISSUE 7 NOVEMBER 2017 63
FASTLANE<br />
I once heard that you are most alive when closest to death. This week I had<br />
the opportunity to be extra alive for a short while courtesy of a conspiracy<br />
between the weather and poor human planning. God and man pulled a<br />
fast one on me.<br />
I was in Nyali for one of my public servant jobs over the long weekend. I<br />
went down with the Madaraka Express, commonly known as SGR. I got<br />
my ticket a week earlier as I had been informed that you can easily miss a<br />
seat especially being the Mashujaa weekend. I was very impressed with<br />
the Nairobi station and for a minute, I felt like I was at a train station in<br />
Shanghai. Well done GOK. You delivered this one for sure.<br />
I got onto my window seat with my notebook and pen in hand, just in case<br />
some inspiration from the passing landscape came to me. That was exactly<br />
why I wanted to travel alone by train – to call myself to a meeting and just<br />
be. In my 40s, I am enjoying my own company more and I love it. It was a<br />
good ride apart from the usual noisy (and some high) Kenyans chatting<br />
animatedly as they went on holiday. We arrived at the Miritini station<br />
exactly five hours later and the train spewed out the sea of humanity. I<br />
plan to go back in December with my baby sharks. I’m sure they’ll love it.<br />
My good pal Junia from Nairobi Serena Hotel hooked me up with the<br />
usual five star treatment at the Serena beach and they did not disappoint.<br />
Their hospitality game is at the top. Even the monkey that stole fruits from<br />
my room through the bathroom window was courteous enough to ask for<br />
them using that woiyemonkey look. He even left me an orange. Customer<br />
service monkey style hapo.<br />
My four-day working holiday was enjoyable despite the 18-hole sauna<br />
that was playing golf in the Mombasa heat. The morning moments at the<br />
beach were cleansing to my heart and mind. Watching the sea and hearing<br />
the sound of the waves collapsing lazily on the white sandy beaches was<br />
the paracetamol to the high fever caused by my anxieties. I’ve told you<br />
guys about them in the past. I even posted on twitter that the sea doesn’t<br />
seem to be in a hurry. Maybe it’s because it knows there will be enough<br />
waves for today and the day after. Be easy folks.<br />
The event at Nyali ended well and on the day of departure my good pal<br />
Cecily, sent her cab guy to pick me up. She wanted to hook me up with a<br />
guy for some biashara. We met in this Chinese restaurant and devoured<br />
some chicken wings and spare ribs. As we talked, I glanced at my watch<br />
and it was 2:30 PM. My flight back home was at 3:45 PM and it was raining<br />
outside. I said my kwaheris and got into Cecily’s car for the ride to the<br />
airport. We only drove a short distance, before our fears were confirmed.<br />
Standstill traffic at Makupa. It was now 40 minutes to my flight and I was<br />
determined not to miss it. So I left my suitcase in the car, grabbed my<br />
backpack with my bucket hat on my head and jumped out for a 500 metre<br />
hop, skip and jump dash to where the nduthis were.<br />
I jumped on one and instructed the rider to<br />
step on it to the airport. It was a ride mixed with<br />
fear, danger, panic and slight excitement. I<br />
told the rider to go fast yet carefully, whatever<br />
that means. I silently asked the Lord to keep<br />
us safe as we swerved in traffic, crisscrossing<br />
matatus that feel nothing for bodabodas<br />
and mean looking old trucks coming from<br />
the port. All this time the raindrops were<br />
slapping my face hard. My biggest fear was<br />
colliding with the tarmac and being scarred<br />
for life. I need to retain my looks you know.<br />
Especially now when I need to impress my<br />
second half new contacts.<br />
We finally got to the Moi International Airport<br />
entrance and my superbike grandprix rider<br />
stopped, as he couldn’t go beyond this point.<br />
I paid him 650 bob which I found steep but<br />
I was least concerned as I ran towards the<br />
airport entrance. It was now 15 minutes to<br />
take off but my dream of catching the flight<br />
were still valid.. I decided to hitchhike and<br />
this mzungu couple offered me a lift to the<br />
airport terminal. Those were real angels sent<br />
to my rescue. I jumped off at Terminal one<br />
after blessing them thoroughly and sprinted<br />
to the gate just to be told by the guard<br />
‘Boss Jambojet iko Terminal One’. Wah! So,<br />
mimi huyo, running to Terminal Two. I went<br />
through security and met this Jambojet girl<br />
who asks for my ID and tells me to run.<br />
Folks I made my flight and it was like the fast<br />
and furious movie trailer, Kenyan edition.<br />
There was no better feeling than getting<br />
to my seat on that flight back home. I don’t<br />
recall the last time I felt that alive. It was just<br />
too deadly.<br />
Lesson for me was, in life, we have to think<br />
on our toes sometimes. Thinking on our feet<br />
may be too slow. Sometimes we have to<br />
throw ourselves out into the elements and<br />
take them head on. Chances are we shall get<br />
through on the other side just fine. Comfort<br />
zone at 40 or any other age is like a virus that<br />
will delete you from this life pap! If I saw the<br />
rain or matope on the road, I would have<br />
missed my flight. But having gone against<br />
the odds and succeeded confirmed that what<br />
we deeply desire is just on the other side of<br />
the rainfall or traffic jams that represent the<br />
domes in our lives.<br />
Now how do I reunite with my suitcase…?<br />
http://lucasmaranga.com<br />
<strong>Photo</strong> credit _ Jeb Weru of The Standard<br />
64 africanphotomagazine ISSUE 7 NOVEMBER 2017 65
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PUBLISHERS & ACKNOWLEDGEMENTS<br />
PUBLISHERS:<br />
House of Fotography<br />
EDITOR:<br />
Sharon Mitchener<br />
LAYOUT DESIGNER:<br />
Mumbe Mutisya | https://www.behance.net/cmutisya112d49<br />
EDITORIAL OFFICES:<br />
House of Fotography P.O. Box 25190-00603 Nairobi, Kenya<br />
Tel: (+254) 702.680.797 | 714.745.924<br />
hello@africanphotomag.co.ke<br />
A SPECIAL THANKS TO THE FOLLOWING:<br />
To all the photographers and artists who contributed towards this 7th issue, particularly<br />
the contribution from #igKenya and the photographers showcasing the greatness that is<br />
Kenyan <strong>Photo</strong>graphy!<br />
To Brian Otieno (Storitellah), Rich Allela, Mutua Matheka, Mwarv Kirubi, Peter Irungu, Victor<br />
Peace and SanaaStory for their commitment to their craft and elevating Kenyan <strong>Photo</strong>graphy.<br />
To <strong>Photo</strong>Start.Org, M2, Uweza and Nyota galleries for their dedication to the arts and to<br />
establishing creative communities and self-sustaining businesses in our beloved Kibera.<br />
A community of<br />
<strong>African</strong> photographers<br />
dedicated to sharing news and tutorials on<br />
techniques, business and marketing essentials for today’s photographer.<br />
A joint initiative of<br />
To Bobby Pall for being a leading light and documenting our shared history through his<br />
amazing photobooks.<br />
To Phillda Ragland-Njau for blazing the trail back in the 1960’s and coming to Kenya to<br />
make her mark in the great nation of Kenya and contributing significantly to the legacy that<br />
is Paa ya Paa<br />
To the <strong>Photo</strong>graphers Association of South Africa (PSSA) and its publication IMAGE for its<br />
immense contribution to the growth of our industry on the Continent and its support of this<br />
publication.<br />
To Lucas Maranga, A Man at 40. Thank you for your wit and candor, and joining the team.<br />
To Mumbe Mutisya for a spectacular layout design and ensuring this publication continues<br />
to see the light of day<br />
To our cover model (front & back), Clara Onyango for graciously giving of her time and<br />
efforts.<br />
And<br />
Ultimately, to our Almighty God for who He is and what He is doing.<br />
WATCH MORE VIDEOS ON OUR<br />
CHANNEL<br />
ISSUE 7 NOVEMBER 2017 67
Free yourself, Free your creativity<br />
fotohouse.co.ke