Raiza Biza – Get By Featuring Bianca Paulus
by Phil Chard
Raiza Biza has been averaging at least 1.5 projects a year for the past 4 years. But since the release of his last project it seems that the New Zealand based rapper has taken his foot off the pedal to travel and rediscover his sound. Outside of his Bring It On Demo that dropped last month, the released from the artist have been few and far between in the last year.
Raiza Biza just dropped a new soulful single Get By , a song that has the signature sounds that he and his longtime producer Crime Heat have refined over the years. The song features Bianca Paulus who lends her vocals to the chorus. However Raiza promises that an EP is dropping at the end of the month
“all I can really tell you is that I'm in a really good space with music right now, and I have a lot I would like to share with you. And I will, starting with the EP I am dropping in less than a month. “ Raiza Biza
#SubmissionSunday | AYAT – BARISUJEY Featuring KIddblack
by Phil Chard
Ayat is a an artists hailing from Medina, Ghana who currently resides in the United States. The rapper just linked up with Kiddblack for the video for his trap themed single BARISUJEY
#SubmissionSunday | Hanta The Samurai – Niko Kazini (Official Video)
by Phil Chard
We featured the audio for Hanta The Samurai's single Niko Kazini in an earlier edition of #SubmissionSunday and now we have the accompanying visuals from the Kenyan artist. The video features some impressive aerial shots as Hanta speaks on hte importance of a 9-5 and working for the man, man.
#SubmissionSunday | Bridge – They Don’t Know
by Phil Chard
After taking a break from music to focus on his education, nigerian rapper Bridge has announced his comeback with the bass heavy joint titled They Don't Know. On the track Bridhe effortlessly weaves in and out of English and Pidgin lyrics as he raps about his return.
The AHHB Podcast Featuring Kweiks, Kagwe Mungai & Takura
by Phil Chard
AHHB Podcast V 2
We might be slightly delayed but the African Hip Hop Blog podcast is back with another incredible episode. I can assure you that we are getting pretty damn good at the podcasting thing. This week Phil shares interviews our #FeatureFridays winner Kweiks, who shares details of his career and how he overcome a life threatening accident to pursue his musical dream. He then crosses over to Kenya to hear about the type of music made by Kagwe Mungai and why his mother is happy that he chose to pursue music and finally we hear from Zimbabwe’s Takura who just dropped his 5 track EP Stripped.
We play Riky Tyler’s new remix for Swerve featuring Tshego and Doto from Kweiks as well a brief discussion onto the serious accusations made by Julius Malema against South Africa’s Mabala Noise label. Enjoy !
Sarkodie – Eny3 De3 Ehia Ni Featuring Strongman
by Phil Chard
The Number one Obidi continues to release this music at an impressively consistent rate.. Earlier today Sarkodie linked up with fellow Ghanaian rapper Strongman on Eny3 De3 Ehia Ni - a fast paced Azonto centred song.
Earlier this week Sarkodie also released a dedication to his fans in the form of the Sarkoholics freestyle. A song he recorded after asking his fans to tweet him to get personalised shout outs on the song.
Studio now !!! Wanna drop your names in there 😊😊😊 tweet Now ... Freestyle going down
— KingSark (@sarkodie) August 2, 2016
The Swerve Remix Is Here & It Is Several Flame Emojis
by Phil Chard
One of the few pleasures of being a music blogger (and they are VERY VERY FEW) is when you come across a song from a relatively unknown artist that is so jaw droppingly good you wonder how they haven't blown up yet. Ricky Tyler’s Swerve is a song that definitely fits into that box. The smooth fusion of Hip Hop and R&B over a hypnotic beat that married piano, guitar riffs and 80s pop bass influences was an instant favourite with me.
SWERVE_REMIXSadly however, it seems like the song never really caught the attention of the mainstream. In a smart move Ricky and his people have decided to remix the song and they recruited the falsetto voiced Batswana crooner Tshego to do what the original failed to do. The Family Tree artist does a very capable job of adding his voice to the song without messing with the originals perfect formula. Hopefully his addition will help give this song a second lease I'd life. Lord knows it deserves it.
Lil Trix – Baddie Feat. Beey Royce, Mikhale Jones & Versa-Tyle (Lyric Video)
by Phil Chard
Since leaving Blayze Entertainment about two years ago, the trajectory of Lil Trix’s career has been somewhat unclear. The talented young artist and producer doesn’t seem to have the direction he needs to steer his burgeoning career in the right direction. We are now three years removed from his debut project Colour Me Bad which displayed all of Trix potential, yet it does not seem that much has been achieved to build on that offering since.
In the 3 years since its release, Trix has failed to recapture that raw magic that had us sitting up and paying attention. Trix last single Life which he touted as his “best single to date” failed to impress me with it's much used Daft Punk baseline and his Kanye like flow borrowed from another song where ‘Ye sampled the French electro duo too. Couple this release with a very underwhelming performance by Trix at the African Star 8th Anniversary Dinner ( Trix is now one of their clients. The irony of his move from Blayze to African Star was not lost on me) The performance was supposed to be his introduction to the industry's A-list but it fell very flat.
With all this in mind, I approached Trix new single with an obvious level of bias as the previews that I had already heard had done little to change my outlook on his career. Somehow, however this song has changed my mind and reinstilled my initial optimism in Trix and his position in the South African Hip Hop scene.
On a song with a steel pan caribbean influence, Trix and his ensemble of collaborators that include Beey Royce, Mikhale Jones and VersaTyle deliver a song that plays directly to Trix strengths - a laid back delivery and catchy melodies. What Triz has always lacked in lyricsm he has made up for in his ability to blur the line between singing and rap coupled with his skills a s producer
Looks like Zunaid might still have something in his little bag of Trix
AKA – One Time (Official Video)
by Phil Chard
In his new video for One Time AKA looks to tell the tale of the moral dilemma faced by a Blessee on a night out with friends as they look to woo a cadre of pot bellied Blessers while ignoring calls from “bae”.
The video is shot mainly at an exclusive lounge , the type these blesser types might frequent and is peppered with cameos from BigStar Johnson, Yanga, Cass, Da L.E.S and many more who are all trying to out bless each other to get the attention of the ladies.
AHHB R&D | About ISRC Codes
Words By TNGlive
If you’re an independent artist, independent label head or going to be operating your own music publishing company in the spirit of banking the cents because it makes sense, the International Standard Recording Code is something you’re going to have to familiarise yourself with, if you’re not up on it already.
The ISRC is a unique code assigned to each individual sound recording or music video (podcasts can carry ISRCs too), preferably when you make the master copy of your song or music video. It’s a unique code that works with any digital format, that’s why it’s the industry standard when it comes to identifying and tracking the streaming or sales of your sound recordings worldwide.
What it Looks Like
The ISRC is a 12 digit alpha numeric code.
The country code is something you should never change regardless of where in the world you release your music or music video.
The Registrant Code is another element that should never be change.
Based on the combination of Year Of Reference and Designation Code, you shouldn’t run out of codes to generate in any given year, unless you’re releasing a total of 100 000 songs and music videos per annum - which would be both impressive and concerning if your name is not poppin’ yet because of it.
The ISRC is not something you entirely generate out of thin air. In order to be able to assign ISRC codes you’ll have to apply for that 3 alpha numeric Registrant Code. It’s just one of the components of the code that helps in identifying You as the owner of any specific ISRC code.
There are so many hustles around that ask you to pay a fee every time you need a new code generated, or asking you to pay an annual fee to ‘maintain’ your registrant code. Some agencies even claim that you must first become a member of the agency in order to secure a Registrant Code.
The International Federation of the Phonographic Industry (IFPI) clearly states that you do not have to be part of any music industry organisation for you to be eligible for a Registrant Code.
You can apply for a Registrant Code through an official ISRC Agency in your country. Click here for a list of Agencies and their respective contact details.
Alternatively, if there is no National ISRC Agency in your country, click here to apply through the International ISRC Agency.
You Can Now Stream E.L’s ELOM ALbum For Free
by Phil Chard
While E.L preps for the release of BAR III and continues to slay his competition with his new releases, the BBNZ rapper has just uploaded his last album ELOM for free streaming on Soundcloud. If you have not sampled the album then you have no excuses. I personally liked the ELOM but our writer Sabz had a slightly different opinion. Read his review below.
AKA at The National Arts Festival by Steven Chikosi
by Phil Chard
The South African National Arts Festival festival took place in early July and Zimbabwean photographer Steven Chikosi was in attendance to capture some these incredible shots of AKA's set.
You can view more images by clicking the links below.
Fela’s Eternal Youth
by Tseliso Monaheng
I'm surfing the net. This is the fastest the connection has been since the weekend. I download a couple of torrents of mostly rap music and leave them seeding overnight. There's an album called Expensive Shit by one Fela Kuti included. The next morning, a one-track-missing Expensive Shit folder is visible on the desktop.
I'd heard about Fela for so long that he'd become legend. He'd defected from active imagination and descended into an abyss of Afro-beaten reveries. Discovering Expensive Shit was the missing link. Suddenly, the legend assumed a tangible state. The title track, inspired by Fela’s stint in prison following one Simbiat Abiola's report that his stick-up kids had jacked her red car at gunpoint, amplified Fela's legend.
What was it about this man that left Obasanjo and his goons so shook?
A non-exhaustive rummage through the gophers of our catastrophe-prone present reveals the answer. More than 40 years after its release, Water still turns party-goers into itinerant militants on the dancefloor. Nineteen years after his passing, Fela's ideas are the fodder fuelling young people's fire across multiple disciplines on the African continent and throughout the diaspora. So, in the same way systems of governance in Nigeria sought to silence Fela, they’re silencing young, militant voices in Maseru; they’re policing Universities and enacting violence on students at Fort Hare; they lie in glass chambers while #discontent is the number one trending topic in Bulawayo.
And that’s just the tip.
For Brooklyn-based Ghanaian emcee Blitz the Ambassador, Fela inspired a specific sensibility: fuck the rules and just do the damn thing. Recently-returned from two performances on the Southern African festival circuit -- one at Bushfire in Swaziland and another at Zakifo, Durban -- he shares a story about how the song Free Your Mind off of the Native Sun album came about.
"[It's] probably one of the most complicated compositions that I made from scratch," he says, referring to the twenty or so parts to the song. He mouthed every part before giving it to his band, the delightful Mighty Embassy Ensemble, to play. "When I sing a part that I think is perfect for the trumpet, I'll end up [giving] that part instead to the bassline," he says.
It’s a technique Blitz often employs, "just to break out of what people [consciously] expect." In this way, he's challenging our thinking patterns as related to music have been constructed.
Elsewhere in his catalogue, Blitz recruits like-minded spirit Nneka for a collaboration. Whenever they link up, they discuss matters pertaining to the continent.
"We're talking about how do we go back home; how do we go back properly; how do we connect with the local [people who have] been building...and be able to merge what we've done internationally with what's happening locally," he says.
His statement brings to mind what a young Fela did following his return from #Brex…sorry, London. He went back to a nascent Lagos. He devised a form of music and pushed his own agenda.
Nneka took a leaf from Fela and has been making socially-conscious yet funky-as-fuck music for over a decade. Her ode V.I.P (Vagabonds In Power) is a Tony Allen-inspired drumline and a Spanish guitar sample -- music provided by longtime collaborator DJ Farhot. She delivers a new-age chant to the corrupt officials who still rule with an iron fist; whose tongues are laden with lies; who charm their way into the hearts of a leaderless continent with the empty rhetoric of 'a brighter future.'
Listening to Nneka is like witnessing a Fela Ransome-Kuti whose mind has been unshackled from the bonds of toxic masculinity.
"Dey rip my pride and dignity away," she sings on V.I.P, and then adds the refrain "dey make me dey suffer."
It’s a roll-call of violent empires instituted through oppressive means. It's a big up to ‘our’ women in Chibok; a dap to the 147 in Garissa; an air punch to the workers and students operating under the watchful eye of Big Brother at University campuses in Jozi.
Jozi offers fertile ground for the pan-Africanist ideals enshrined in Afro-beat. Kwelagobe Sekele is drawn by these and continues to apply them, to great effect, long after Kwani ceased being an Experience. "The music of Fela gets me. I resonate with the zero-fucks attitude and the coming together of different styles and sounds that make up Afrobeat. And it's big and bold and it's Black Consciousness," says Sekele.
Sekele's new project - Yeoville Radio - came about from imagining how a unifying voice in the boho suburb-turned-unofficial township that is Yeoville would sound. “That ship that it is carries all these African [nations],” he says.
Fela's deep. He's spiritual. He's also eternal youth, in the same way that mam'Sibongile Khumalo and bab'Sipho Mabuse are; in how Papa Ramps’ poetry fires on...
Fela's also inspired Nduduzo Makhathini, who took a page off of the originator's script to pen an homage called "King Fela" on his SAMA-nominated album Listening to the Ground. The music and the song comprise some of the most tripped-out Afro-Cubano lock-step harmonies this side of the KZN Midlands, from where the pianist, composer and producer originates. If Lagos were to take a boda-boda across these imaginary lines we term borders, passengers would hear this song playing at full volume on some border official's phone on the Mzansi side of Beit Bridge ,(assuming you have the dollars to bribe said officials at all the borders you would’ve had to cross).
TIA, and that’s just the way it goes.
Fela's deep. He's spiritual. He's also eternal youth, in the same way that mam'Sibongile Khumalo and bab'Sipho Mabuse are; in how Papa Ramps’ (Lesego Rampolokeng) poetry fires on despite an 18-25-obsessed marketing machine designed to put pressure on you to get your shit together before 30, because before you know it the half-a-century thing is happening and you don’t have kids and ermagerrrd it’s time to press the panic button!
Chill with these ideas of an expiring youth. Where there's Fela, there's no 18-25.
Navy Seal – 100 Dollar Bills Featuring Phuture Phil (Official Video)
by Phil Chard
Zimbabwean rapper Navy Seal has just released the the RasquesityKeaitse directed video for 100 Dollar Bills featuring Phuture Phil (i repeat, no relation)and the word that came to mind on several occasions while watching this video is “irony”. It is drenched in ironic imagery.
My only complaint about Navy Seal and his music has been his adoption of American idioms, topics and accents in his music. To me they paint his work with a coat of unoriginality and a lack of authenticity.
In the video Navy Seal is seen exiting a home with a design very common in Zimbabwean low income, high density suburbs. He then takes a long walk to a shopping centre whose amenities feature a car wash amongst other things.. It is clear that Navy Seal is trying to paint the “I'm from the grimy streets but I'm on my grind “ type of visual, which he manages to pull off... However in an ironic twist he helps prove my point for me. Would any of the people at the locations in the video was shot listen to his music? Would they understand what he is speaking about in his accent? Do they understand the phrase “pushing whips” and “stacking chips”. I would hazard a guess and say no.
Until Zimbabwean rappers begin to recognise the value of their own original and unique stories instead of falling over themselves to recreate what they hear coming from overseas, their only believable music will always be about the grind and haters, not about celebrating their successes.
We Spoke To Gigi LaMayne About Her New Deal With Mabala Noise
by Phil Chard
Soon after Gigi LaMayne announced that she would be singing with Mabala noise I got hold of the young rapper via chat to discuss her new deal and why she decided to take it. The normally outspoken and talkative rapper played it very coy and refused to share much beyond what was absolutely necessary during our conversation.
HI Gigi , can you tell us about your recent signing to Mabala Noise?
Gigi LaMayne: I'm so excited to be a part of a stable i can call home. I needed a lot of guidance on an A&R level and because of that, I had to make the switch to Mabala Noise. Please trust that this is the beginning of an African Music Empire.
What made you decide to sign with them?
I needed a record label. A home.
I'm sure they weren't the only label looking to sign you. What did they offer you that other labels cannot?
Unlimited support musically. I didn't have to focus on anything else other than music
What do you mean by unlimited support?
Studio, PR [Public Relations], distribution, etc all in one.
Are you able to share any details on the contract you signed?
No unfortunately. Not yet
Mabala Noise also do event promotion, has their been talk of a tour for these new artists as yet?
I can't say yet.: 😂
What about iGenesis? Any updates on its release now that you are signed?
It's gonna be sooner than people thought
Oooh. How many songs have you recorded thus far?
18
Wow. How many are you hoping to keep on this project?
Not sure. We are still to decide
At the press conference there was talk about elevating local acts to a point where they could demand R1,000,000 booking fees locally and abroad. How does Mabala plan to do that?
I think you need to speak to a representative of Mabala Noise. Not an artist. Lol😂
Gigi LaMayne was also interviewed recently by AfroPop Worldwide for their new podcast series. During the interview Gigi discussed #FeesMustFall and why so few rappers of her generation are speaking out against political issues .
Bougie Boutique In Pitcures
by Phil Chard
Cape Town's Club Eighty-Nine on Long Street hosted the Bougie Boutique Hip Hop event over the weekend . The show featured performances from Ginger Trill, Fono, Azuhl, Cudi, Aux Gawd and Beat Sampras. Our writer Sabelo Mkhabela was able to attend the event and snap these shots of Ginger Trill, FonZo, Korianda and Sole from the Cape Town crew The Archetypes.
Cassper Nyovest Featuring Casey Veggies – 428 To LA (Official Video)
by Phil Chard
Well over a year since Cassper released the song 428 To LA which first appeared on the platinum edition of his debut album Tsholofelo and was mysteriously included on his sophomore album Refiloe we now have the visuals for the Anatii produced song.
When I spoke to Cassper last year the rapper spoke of his intentions to shoot the video in LA with Cassey Veggies. During his recent trips to the United States Cassper got his wish and linked up with the rapper to produce a video that Cassper directed himself. The video features scenes of Cassper lapping up American culture in New York and LA as Cassper and Anatii meet up with a plethora of celebrities including Black Though, Naughty By Nature, DJ Drama and culminating in his interview on Sway.
Considering the timing of the release (the song is now an album old) it doesn't look like Cassper invested too much into its production. Cassper has also spoken of his intention to shoot a video for his Game assisted song Cooking In The Kitchen. Whether or not he was able to shoot it during his trip will become clear soon.
Patrobas – This World Featuring Ruyonga
by Phil Chard
The Ugandan duo of Patrobas and Ruyonga just linked up on This World, a song where they discuss some of the injustices occurring in Africa ands the world that are often ignored. “Now I can write you a combo about my bomb flow and tell you about the bombs going off in The Congo “ Ruyonga raps as he opens his verse.
Patrobas reflects on his verse about modern stay struggles that we all face “inequality and racism still alive, even slavery but some would say I'm telling lies “
Always great to hear rappers rapping lyrics and also remembering to package their message into a good and palatable song. Stay Woke!
The Pitfalls Of Rappers Marketing On Twitter
by Mayuyuka
After Silas' exploration of rappers creating their own platforms and TNG's informative pieces on how to be a successful rapper from the ground up. I penned this piece as a fleshed-out rant regarding the risks associated with using a hackneyed approach when methods that's were once unique are employed by up-and-coming rappers. We've explored the sheer power of branding in building a following before, so this is not a "how-to"; it's an "are-you-sure-you've-thought-that-through"?
Guerilla marketing is a really creative way to reach new customers. It involves utilising unconventional ways of attracting the public's attention and offering the audience a unique experience along with that of the product or service. Without getting technical, let's consider an artist a brand and their music a product that entertains. Enticing fans through airtime bundles, cash prizes, meet and greets or the sheer quality of your previous work as an artist are always viable options to get your name trending on social media. There are plenty of organic ways to go viral and generate interest in what you're offering.
Word of mouth still remains a very key aspect of extending an artist's reach. Only now, the power of the mouth is augmented by social media outlets like Facebook, Whatsapp and Twitter. Force-feeding the twitter streets seems to be a really popular go-to nowadays and can come off as a little crass... especially if it's not part of a more nuanced marketing strategy employed by a rapper.
Promo twitter seems to be largely effective, if the right influencers are punting your song (and they should get their proper dues for doing so please). A Twitter dependent marketing strategy is hard to gauge in terms of success though, because the music is usually offered for free. So unless you as an artist push the audience to your paying platforms and bank the cents... a successful campaign is relatively hard to measure.
A rapper thus has to cede a lot of their destiny into the hands of their promoters, who will try and influence their respective audiences to follow the rapper and download their song. It thus becomes a numbers game... solely about increasing reach. But what happens when these influencers lose the audience's trust? What happens if promotion on twitter becomes the sole reserve of all those who couldn't trend organically? What happens if your brand is inadvertently associated with undesirable 'partners'?. These are mostly rhetorical question to consider, with the general answer being: have a Plan B. The area of who an artist is associated with on Twitter is murky. From getting hacked, to fan accounts being able to peddle information despite not being official mouthpieces, then fans poking and prodding other artists in search of their next serving of beef... an artist's name can get dragged through the most with or without their knowledge. In light of this; the next question to consider is whether this form of promotion is sustainable for your particular brand.
Your possible fans might feel the need to download your work out of curiosity, or a sense of FOMO but... it has to be backed up by you delivering on your promise. My belief in my trusted influencers doesn't reduce the need for a quality product from an artist they're representing. I trust them... not necessarily the artist yet. The ultimate moment of truth is when your prospective fans first listen to your song after reading how it's “a banger, a smash, lit" AND being inundated by fire flame emojis on their TL. If the music doesn't add up to any of these adjectives... you could've possibly lost a potential fan. And... congratulations you've played yourself (Dj Khaled Voice)!
Although most rappers feel as though having haters is a sign of progress: there is now sufficient research that suggests that even non-talented or unsuccessful people have haters too. - Source: The Free Mixtape Center For Struggle Rappers 2015 Annual Report
It simply isn't a barometer for how well you're coming along.The power of these haters though, is that if they feel duped, they will remember your brand as one that over-promised and under-delivered. They will remember forever, and they will share this insight. And if Twitter has shown us anything... it's easier to trend when your ' haters' unite against you. That is why it is essential that the product match the amount of effort made to push it. The music has to be good, even better than before Twitter; because next week I'll be fanboying over a new track my favourite influencer is pushing. The fact is Promo Twitter is a nifty tool worth exploiting, and with the percentages of unemployed youth across the continent it provides artists, listeners and promoters tangible benefits... honestly anything that alleviates the youth's struggle is a bonus.
Just one thing though... as a rapper consider whether your product is worth the love it will inevitably get online through these campaigns. Is it good enough to be remembered when next week's track floats down our TLs? And also remember: the online hype is half the job; you still have to convert the new curious ears into active supporters of your artistry. And pay your promoters please!
#RapShootr | Snapping From Taiwan To SA with Daniel Toro
Words By Phil Chard
#Rapshootr’s a series of interviews with photographers who engage different elements of hip hop culture throughout the African continent with their practice. Some already have their own platforms while others are igniting their own fire beneath the radar of an international gaze.
In this edition of #RapShootr we speak to the Taiwanese photographer Daniel Toro who has been collecting some pretty incredible shots of the South African music scene since relocating from the East Asian nation. All image captions by Daniel Toro.
How did you start in photography?
I love music so much! About 7 years ago I went to a music festival in Taiwan and I fell in love with a British rock & roll band that was touring around Taiwan and attended many of their performances in the clubs. It was at one of those clubs that I had searched for their photos and came across Danny Chu the resident photographer for that club. I eventually met him and he taught me my initial photographic skills, at present I still always learning via her photographic artwork. The rest is practice and learning all the time
What inspires you?
I get inspired by people. I get inspired by the 'moments' of people. For me it is to capture a specific moment or an emotion of a person/performer or a feeling that the person may be processing. Once people see the moments of them that are captured in the photograph it fuels my inspiration more to record more of these moments. That moment captured can be carried through with them their whole life. I remember I walked into a salon of someone I didn't know but I saw she had a developed a photos she found on a website of her and her fiance. I took that photograph. The fact that her fiance doesn't like taking photos yet they both love that photo and that was the photo she decided to put on her business wall inspires me to do more.
Milkee & Oriigenelle were performing at Hipnotik 2016. Milkee was posing a sexy dance and Oriigenelle was acting like “No No”, seems like matching to the song and especially the light on Oriigenelle face, and made this photo completed.
What equipment do you use?
Nikon D800 [with these lenses]
24-70 f2.8
70-200 f2.8
14-24 f2.8
Most of your shots are very vibrant with lots of colour and saturation.. What drew you to that style?
My photography is my artwork. Photography is just like a painting. For me, I like colourful stuff. So my artwork will be full of colour and will be deep with emotion. Mind you that I do take some black and white photos which will still be full of depth. Whilst I am photographing I take particular notice to atmospheric lighting, or my synthetic lighting. This lighting influences my work a lot. The job of a photographer is not just to press a button. A photographer has to immerse oneself into the environment, feel the frequency in order to channel the emotions into the photo.
Has social media helped you spread your work?
Social media definitely has helped my work locally even world widely. As I do like to work with people and those emotions, the people viewing my artwork will be the ones giving meaning to the photograph through my lens. But that means people do need to view those photos. But it is a lot of fun for the people to see their faces on my photos.
Riky Rick Makhado was performing at Waves JHB Edition, it’s not always happen in an event, especially in a music concert, when a artist jump into the crowd and sing and dance with them. Not easy to capture the moment due to too many people surrounding you even push you, but the result is amazing. It’s always worthy to try to capture from different angle, then you will know what you love and develop your own style.
What piece of advice (technical or philosophical) would you like to share with fellow photographers?
There is no shortcut. You have to practice all the time, it's a culmination of many experiences whether photographing or training your eye. Then practice your skill to emote that into a visual piece of artwork. Its not as easy as people think it is. Develop your style to be true to what your inner soul sees. Everyone has their own style and don’t let what others say influence or deter you. So that finding your own style is very important as a photographer and this is also my mentor Danny Chu Photography taught me.