Street Photography
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For many years, a visit to Nairobi’s Central Business District (CBD) would not be complete without a photograph at the prominent Kenya International Convention Centre (KICC).
Traditionally, visitors encountered a group of photographers in khaki outfits wielding analogue cameras, many of whom have been capturing moments at this location for over 25 years. However, the advent of digital photography has significantly altered the street photography landscape, leading to a decline in earnings for these seasoned professionals. Paul Mbogo, 62, reflects on his career, recalling a time when he could earn up to Sh3,500 per day at KICC. Today, however, he struggles to make Sh500, an indication of the tumultuous changes in the industry.
The emergence of a youthful, tech-savvy generation of photographers, armed with cutting-edge equipment and competitive pricing, has reshaped the market. Among this new wave of photographers is 23-year-old Killian Okoth, a university student who now provides instant photo services at KICC. Charging Sh200 for three photographs, Okoth can earn up to Sh3,000 on a good day, a sum that helps him support his family. His venture, spurred by a fellow student’s guidance and the encouragement of his church pastor, has granted him a sense of financial independence.
Similarly, 26-year-old Sally Karemi underlines the need for innovation within the photography sector. She and her colleagues have modernized their offerings, boasting prompt delivery of photos through WhatsApp, email, or Bluetooth, which appeals to a trend-conscious clientele. Karemi contends that adaptation to technological advancements is crucial for survival in this evolving industry. This transformation in the street photography market is not exclusive to Nairobi; it resonates across various towns in Kenya.
In Eldoret, photographers gather in front of Zion Mall on weekends, while in Kitale, the area outside the Law Courts serves as a photography hotspot. Naiposha Garden in Limuru has also emerged as a favoured location among nature enthusiasts for street photography. Kelvin, an early adopter of modern street photography techniques in Nairobi, recounts his transition from two years of job hunting to establishing a successful photography business.
Despite holding a degree, he finds pride in supporting his family through his photography work. Yet, he voices concerns over ongoing harassment from police and city officials, a sentiment echoed by Dan Luvanda, another emerging photographer operating near the 1998 Bomb Blast Memorial.
Luvanda advocates for governmental involvement to formalize street photography, emphasizing its role as a vital source of income for many young Kenyans.
He criticizes the treatment of innovative photographers as unjust and calls for policymakers to recognize and promote this burgeoning sector.