Kinsey Kimathi is one of the fresh new faces taking over the photography scene in Nairobi. What began as an extracurricular activity  in high school soon became a conduit for creative expression. But it wasn’t until he took his first photograph at a concert that he knew he had found something special. He describes that moment vividly, as though still living in it, and I can picture Kinsey at that concert two years ago, lifting his camera, picking a frame, shooting and absolutely falling in love. 

Now, his portfolio boasts of names like NSG, Rema, Arya Starr, Nikita Kering’, Adekunle Gold, WSTRN, Khaligraph, Xenia Manasseh, Dababby and more. He operates at a level of excellence and passion that is refreshing, inspiring and even at times surprising. He smiles  cheekily as he describes the beginning of his event photography journeyIncluding how he would show up hours early for events as an attendee to secure the best seats for shooting. At present, he has learned to view his work both as art and business worth protecting and working hard for. We spoke about his art, experiences as a young photographer and the concert photography scene in Nairobi.

Take us through your photography journey

It started in high school through computer co-curricular activities. I was drawn to editing because I was really fascinated by how you can manipulate colours and visuals to get a desired look. Most people are used to the perspective of the human eye but having the opportunity to tweak that into something I like was a game changer for me. I picked up my first camera in 2016 when I was in form 1. At the time I was a car photographer and stayed in that niche for a long time, because I love cars. I transitioned into travel photography but it wasn’t possible because I was still  in school. 

More specifically, how did you get into event photography?

My friend invited me to an event and suggested that I bring my camera. Immediately I took the first picture, I was captivated by how it translated  the raw emotion of the moment. I was hooked by that. When people are at concerts they are at their rawest and happiest state, everyone is loving the music, connecting and letting loose. Getting to capture that and put it into frames was what drew me to concert photography.

What was your family’s reaction to you getting into photography?

Everyone thought it was just one of those hobbies that teenagers pick up and drop. Once I finished high school, my mum encouraged me to pursue it seriously because I already had gear. She has been my biggest supporter. My dad also really supported me even financially. My friend and manager Sauli Bahati has had my back and taught me so much within a very short time. What got my parents convinced (of my seriousness) was when I attended Rolling Loud in Miami. I camped in line for 6 hours in order to get to the front of the stage with my camera because I really wanted to shoot a few artists. I wasn’t expecting anything out of it other than the experience but when I posted the photos, rapper DDG reached out and requested me to send him the photos. I was so shocked, and on top of that he posted and tagged me. I lost it. 

 What tips do you have for fellow upcoming photographers? 

One thing that people really take for granted is reaching out. There’s the assumption that a big artist won't recognise you, or that the event organisers already have photographers. Both are not necessarily true. My advice is to first create a portfolio then try and get out there as much as you can. If you want to shoot a show, reach out to the event organisers, sponsors or anyone that can land you a ticket. Show up early, set up base and shoot. After you have a few such photos on your feed, you then have something to show your work and can negotiate. Social media is such a powerhouse, it’s your record and an opportunity to connect. 

Is that how you got selected to cover Arya Starr in Kenya?

When I saw that she was coming to Kenya, I initially reached out but did not get a response. After some research I then reached out to Arya Starr’s makeup artist who directed me to her manager and I wrote him a brief proposal via Instagram DM. This led to a chain of reaction and the tour manager responded and we got to work together. This was the first time I was shooting directly with an artist. It was such a lovely experience working with her and her team. There’s always someone who knows someone, so when reaching out to prospective clients I try to cover everyone. For example when I was trying to work with Fireboy, I reached out to many people on his team including the flutist in his band who responded. 

Is age ever a factor for your clients; are people shocked when they meet you?

Initially people were really shocked by my age, especially in the Kenyan scene where people associate professional photography with experience. I think my portfolio shocks people, but it’s now becoming less because they know my work. 

What are your thoughts on the concert photography scene in Kenya?

Each event has been different. Every organiser is trying to do the best they can including photography. I’ve noticed that even the budgets allocated to creatives for concerts are changing, because the world is moving in a certain direction. Photographers can now even have a say in some aspects of the concerts such as lighting to set up. I’ve also been able to meet so many great photographers such as Kiguta Francis, Brain Kinywa, Azegele Bradely, Eyes of Mungai, Life of Lenses, Muthoni Camilla and so many others. People are really supportive and elevating each other. There’s a notion that Kenyan creatives don’t support each other but in my experience so far it has been the complete opposite. We are more united than ever before, from learning new techniques, exchanging gear and giving each other feedback. Concert photography is an area that’s growing in Kenya.

What are some of the challenges you have faced?

Concerts can get really hectic, so I try to never take it personally. Sometimes you’re limited in terms of where you can access which is confusing because as a photographer you are paid to get coverage of the show. I’ve learned from a fellow photographer to familiarise myself with everyone from security to DJs before the show begins. Establishing that rapport helps and I wish I'd learned that sooner. There are also event organisers who don’t pay dues. Investing your time as a creative in learning the business side and  how to protect yourself is very beneficial. 

Your editing style is very unique, how have you developed it?

My editing is based around strong tones and punches of colour. I believe that colour makes a difference in everything. It dictates the mood you’ll have towards the photo. I like to put hints of warmth and high contrast of cool temperatures which brings out that wow factor. I try to work on it from the composition stage by having a bucket shot which is an idea of the picture you want to get before you even take the photo. I want to be able to create the emotion that the event was giving and relay it in colours. So for example when I want to depict high energy you’ll see a lot of green, sharpness and clarity. For instance, Rema is a rockstar so to depict that I wanted to have a lot of red, which most of us associate with rage, and to have a lot going on in the photo so that even someone back at home can feel the energy that was on stage. My editing technique is influenced by that kind of psychological thinking.

What can your followers  expect next?

I’m going to university soon but this won't stop my work and I’ll keep creating. If anything, I hope it only gets better. I want to put out more content from different stages across the world. I hope to shoot more artists, particularly Drake.