This is the 173rd edition of Tender Photo, a newsletter on African photography.
Two of three figures in the foreground carry sacks on their backs, hunched over in scurrying forms along a street littered with the flotsam of city life. What appears to be a discarded disposable food container is perched against the pavement. The third figure, who at first glance appears indifferent to the rush, betrays this in the purposeful stretch of his stride. Others in the background stand still or stay flat against the wall of the building that stands by the road. All face the same direction, seeking the source of a collectively experienced disturbance, one that set the men ahead of them running. Behind the rushing figures, a bus bedecked in bold fonts comes down the road, with someone leaning halfway out of its door. A tree, stark and foreboding, looms over the left side of the street, obscuring a billboard. Its branches droop heavily towards the ground.
— Michelle Angwenyi
“I use photography to express myself, to question, to change perception, to marvel, to empower, to inspire, and to bring the viewer to look at the world differently.”
This photograph was captured along Latema Road in the Nairobi CBD.
The image is instantly recognizable to anyone who has done any roadside shopping in the CBD, where vendors and the city inspectorate are regularly engaged in a battle for control of sidewalks and paved pathways. The vendors typically have a spotter who warns them of a raid, after which they quickly carry away their makeshift displays to avoid their wares being seized.
I use photography to express myself, to question, to change perception, to marvel, to empower, to inspire, and to bring the viewer to look at the world differently.
— Khalid Omar
About Khalid Omar
Khalid Omar is a street photography hobbyist based in Nairobi where he has been collecting an image bank of this moment in time. He spends most of his days in the commercial business district, specifically in the downtown area. You can find more of his work on Instagram.
RELATED — “Train Crossing” by Abifola Olorunlana
The photograph was taken at Tejuosho, Yaba, Lagos.
I was spontaneous in taking the photograph. Street photography requires you to be always ready for the next moment because you might never get to witness certain events again. Even if nothing unusual is happening around, you have to fish with your own eyes. That was how this photograph came about.
LAST WEEK — “Noir” by Angéle Etoundi Essamba
NOIR 40 was created in my studio and is part of the Noirs series (2000–2001), marking a turning point in my photography. I began to explore the texture of black-and-white photography to emphasize the pride and strength of Black people. I work with contemporary figures from daily life, family, and friends. I'm interested in what they radiate, their struggle, challenges and resilience. From the framework I create we build together on mutual respect and shared vision. I highlight the symbolic and aesthetic dimension through harmonious compositions.
The TENDER PHOTO newsletter is the flagship project of Tender Photos, a digital platform of African photography and visual storytelling, founded by Emmanuel Iduma and Ayọ̀bámi Adébáyọ̀. This edition is edited by Michelle Angwenyi, one of our editorial fellows. Our aim is to engage with life on the African continent through photography. We publish narratives about the people, places, and events pictured in photographs, contributing to nuanced and layered perceptions. The newsletter also read on web (best for viewing images), and via the Substack iOS/Android apps.
Every Wednesday we feature a photograph, a short caption about it, and a statement from the photographer. In the past, we have published commentaries or photo-essays in response to photographs previously featured on the newsletter, including CORRESPONDENCES, CONCORDANCE, KINDRED, INDEX, and AFFINITIES.
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