2Kai and Friends share Ten Tips for Street Photography
Kai came out with another tips video yesterday, this time on street photography. Because the popular vlogger doesn’t do much street shooting these days, he brought along two friends who do: Joshua K Jackson and Craig Whitehead.
Strolling around London’s Chinatown (and using silly British slang like “faff around”) the trio share ten tips for the aspiring street artist.
3Alejandro Olivares Captures Heated Scenes from the 2017 Venezuelan Protests
Photojournalism and documentary work are among the myriad of projects aspiring photographers strive to get into, often driven by a strong interest for powerful visual narratives. We’ve been putting the spotlight on documentary photography and photojournalism projects of all kinds, and today we’d like to add another important body of work to the list. In a two-part series titled At the Gates, Venezuelan photographer and art director Alejandro Olivares captured the heated moments that transpired during the 2017 Venezuelan protests.
Taken in his hometown of Caracas, Alejandro described the demonstrations as “the protests that shook the country over the course of 5 months in 2017.” We can recall that this dark episode in Venezuela’s history began on April 1st, with anti-government demonstrators staging daily protests against President Nicolas Maduro and his administration across the country. The violent clashes with riot police tallied thousands arrested, hundreds injured, and 66 dead. Both installments of At the Gates takes us straight to the action — gas bombs, molotovs, violent clashes and all.
4‘The Fight Is Not Over’: Luis C. Garza and George Rodriguez on Photojournalism in 1960s L.A. and the Legacy of the Chicano Blowouts
Over the past two years, there has been a marked uptick in high-profile political action by students in the United States, with young people staging protests in support of causes like stricter gun laws and maintaining the Deferred Action for Childhood Arrivals programming. On April 20, efforts to combat gun violence culminated in a National School Walkout across the nation, an event that harkened back to similar events in the 1960s, such as the Chicano Blowouts, in which hundreds of students from five high schools on the Eastside of Los Angeles walked out from their classrooms to fight for a better educational system. Among their criticisms was that schools with majority Chicanx populations were often geared toward vocational training instead of college-prep, which was common in predominantly white schools.
This March marked the 50th anniversary of those walkouts, and as part of the Getty Foundation’s Pacific Standard Time: LA/LA initiative, the Autry Museum in Los Angeles organized an exhibition looking at the photographic material of La Raza, a Chicanx publication that documented the Walkouts and other activism of the Chicano Movement. The exhibition provides a concise history of the tremendous output that La Raza’s photographers created, numbering some 26,000 images. They sought to serve as witnesses to this movement and its people, at a time when mainstream outlets ignored their calls for equity.
Just before Hurricane Maria swept over the hills of San Lorenzo, P.R., Sylvia Martínez noticed that everything, even the animals, had gone eerily silent. Hours later, when those ferocious winds died down, the first thing Ms. Martínez heard outside her home was the tiny Puerto Rican tree frog named the coquí for the sound of its quizzical call. Now, Ms. Martínez heard the coquí’s call differently.
“Estoy aquí!” it seemed to say: “I am here!” Then a rooster crowed. She knew the storm was over. What she didn’t know was how long she would continue to be without electricity, which she had first lost during Hurricane Irma.
“I am here.” In the case of Puerto Rico, that could be either a call for help or an affirmation of survival.
6In These Harlem Jazz Clubs, Musicians and Audience Became One
Twenty-odd years ago, Gerald Cyrus wandered into a Monday night jam session at St. Nick’s Pub, a jazz club in Harlem. There he found a very different scene from the one downtown, where he had spent years taking photographs at the Village Vanguard and other spots.
“It was a much more communal atmosphere, like a house party,” said Mr. Cyrus. “Downtown there was a fine separation between the stage and the audience. Uptown, there was no separation. Musicians made up a large part of the audience. They’d be listeners one minute, on stage the next.”
