Pedro Moretti likes to use medium format and 35mm film cameras to document what he calls a “contemporary ethnography:” pictures of the protests, mostly in black and white, which he develops himself.
A photographer and teacher, he’s been out on the streets, every day, for the past 134 days, capturing moments from the “periphery of conflict” for the future, that quieter side of protests less visible than the violent repression.
He selected some highlights from his work, a look back on the streets, the painted walls, the pavement stained, the lives lost.
They are in no particular order.
We must go on.
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