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Photographers

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by leading authors from around the world

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The Art of Photography

2021-07-21T11:44:28+05:30

The Burden (and freedom) of Photography 

Though photographs could be widely disseminated, unlike the real trophies they did not provide incontrovertible proof of masculine prowess: it was possible, after all, to have oneself photographed next to a dead tiger, and pretend that one had been the heroic agent of that death. Yet, over time, as the impression became widespread that hunting was perhaps not the most indelible marker of masculinity, it was suggested that it required greater courage and masculine prowess to draw up close to big cats and other wild animals, and shoot the camera at close range (pp. 130-32). Susan Sontag has described the camera as a “sublimation of the gun”, and Ryan reminds us that the vocabulary of picture-taking – “loading’, ‘aiming’, ”shooting’ – has been largely derived from hunting.

2021-06-10T13:03:14+05:30

Christian Tamil Couples

Unlike the rest of South India, where Christians have a history of about 2,000 years, this temple town has seen only three generations of Christians that constitutes roughly about 2.7% of the total population. A majority of them are first or second-generation Tamil Christians and they are yet to completely convert from their traditional practices and lifestyle.

2021-07-21T14:24:23+05:30

Astad Deboo, a photo tribute to the dance maestro

The artist community from around the world is deeply shocked by dance maestro Astad Deboo's sudden demise. Tributes have been pouring in. He has been a source of inspiration for many. Astad was also a good friend and mentor, always reachable and welcoming. A photographer mentioned that the last message he had received from Astad a week ago was a note of thank you. "Thank you for Photographing me all these years", Astad had said in that personal message. In fact, it is our privilege that we get to see these remarkable photographic visuals. Each one of us is indebted to these known and unknown photographers for these living pictures. As we mourn the loss of India's cultural treasure, PhotoMail brings together select photographs of Astad Deboo. Astad Deboo will live forever, in loving memory.

2021-07-21T12:07:02+05:30

Dilli Chalo: Ready for the long haul

As part of the ‘Dilli Chalo’ protest called on November 26 and 27, lakhs of farmers, laborers, and small traders decided to march from Punjab, Haryana, western Uttar Pradesh, Madhya Pradesh, and other states towards Delhi. During their attempt to reach Delhi, the farmers faced warlike resistance from the Indian government at two inter-state borders. Protesters occupied several miles of highway with their tractors and trolleys.

Digital Moon and Analogue Nights

In this
Autobiographical memoir
Indian photographer
Abul Kalam Azad
discusses his versatile journey as a
photo-artist

Drawing parallels to the socio-political
context, personal history, and art
Abul Kalam Azad
doubles as a chronicler of our time
The acclaimed pieces were originally
published in the popular Malayalam journal
Deshabhimani for a period of
over a year (2019 – 2020)

2021-05-12T13:42:52+05:30

Hitchhiking Days

Most of the Indian photographers learned from their foreign masters and hence, their styles continued to dominate Indian photography. They were either voyeuristic visual trophies that professed, “I had been there, seen that, met him”, or a tool that propagated “top-down let’s-look-at-the-suffering” sort of charity or propaganda of the photographer/client.

2021-05-12T13:48:40+05:30

Mattancherry: My Cosmopolitan Hometown

Mattancherry has been a microcosm of authentic cosmopolitanism, many ethnicities and faiths coexisting together, with its beautiful contrasts and combinations. I grew up there, in one of its small boroughs called Kochangadi. This Muslim dominated waterfront settlement had – and still has – a few Jewish, Ezhava and Christian families. Apart from a synagogue and a few churches, there are several small and big mosques that belong to different ethnic groups or factions of Muslims.

2021-05-12T13:49:23+05:30

Sepia Tinted Memory

Our family name is Pattanam, an acronym for the Tamil word Patthanathukarar (which means ‘hailing from a port town’). We could have been from one of the earliest seaports of Tamilakam (the region corresponding to the present South India) such as Kaveripoompatanam (Chola Port Pukar) or Kayalpattanam (Pandyan Port Korkai). Trading took my forefathers to different parts of Tamilakam and they eventually settled in Mattancherry.

ജലബിന്ദുക്കളുടെ മോക്ഷയാത്ര

ഹിമാലയന്‍ മഞ്ഞുപാടങ്ങളില്‍
നിന്നൊഴുകി ചരിത്രമുറങ്ങുന്ന
ജനപഥങ്ങളെ തഴുകി
ബംഗാള്‍ ഉള്‍ക്കടലിന്‍റെ
ആഴങ്ങളില്‍ അലിയുന്നത് വരെയുള്ള
ഗംഗയുടെ യാത്രയെ
നാല് മാസത്തോളം
സൈക്കിളിലും, കാൽനടയായും
ജോയൽ കെ. പയസ്
അനുഗമിച്ചതിന്റെ
എഴുത്തും ചിത്രങ്ങളും

2021-06-05T15:17:18+05:30

ബ്രിജ്ഘാട്ടിലെ ചൂടുകാറ്റ്

‘തീർത്ഥാടക നഗരിയായ അനുപ്ശഹറിലേക്ക് സ്വാഗതം’ എന്നെഴുതി വെച്ചിട്ടുള്ള ഒരു വലിയ കമാനം ഞങ്ങളുടെ മുൻപിൽ തലയുയർത്തി നിന്നു. മുഗൾ ചക്രവർത്തിയായ ജഹാംഗീറിന്റെ ഭരണകാലത്ത് അനുപ് റായ് എന്ന രാജാവാണ് ഈ പട്ടണം സ്ഥാപിച്ചത് എന്നാണ് പറയപ്പെടുന്നത്.

2021-06-06T10:34:47+05:30

രണ്ട് പുതിയ ചങ്ങാതിമാർ

ഇരുട്ട് വീഴും മുൻപേ ഹൈവേയിൽ എത്താനായിരുന്നു ഞങ്ങളുടെ പദ്ധതി. എല്ലാ കണക്കുകൂട്ടലുകളും തെറ്റിച്ചുകൊണ്ട് അഞ്ചുമണി ആയപ്പോഴേക്കും വെളിച്ചം കുറയാൻ തുടങ്ങി. വല്ലപ്പോഴും കടന്നുപോകുന്ന വാഹനങ്ങളും, ഒറ്റപ്പെട്ട ചില ഗ്രാമങ്ങളും മാത്രമേ വഴിയിൽ കണ്ടുള്ളൂ. കാലിൽ വേദന കൂടിക്കൂടി വന്നതുകൊണ്ട് സൈക്കിൾ വേഗത്തിൽ ചവിട്ടാനും കഴിയുന്നില്ല. ഓരോ കിലോമീറ്ററും പിന്നിടാൻ വേണ്ട സമയം കൂടിവന്നു.

2021-06-05T15:17:37+05:30

ഹരിദ്വാറിലെ ശാന്തിതീരം

ഹരിദ്വാറിലെ ഘാട്ടുകൾക്കും ആചാരങ്ങൾക്കും വലിയ മാറ്റമൊന്നും വന്നിട്ടില്ല. ഗുരുവിന്റെ സ്മരണയിൽ ഗുരുദ്വാര നാനക്-വാര (Gurudwara Nanakwara) എന്ന വലിയൊരു സിഖ് ആരാധനാലയം ഇവിടെ ഉയർന്നു വന്നിരിക്കുകയാണ്.

2021-06-05T15:17:55+05:30

യോഗാനഗരിയിലെ ബീറ്റിൽസ് താളങ്ങൾ

സംസ്കാരത്തിന്റെ സംരക്ഷകർ എന്നു സ്വയം വിശേഷിപ്പിക്കുന്ന ചിലർക്ക് വേറെ ചില ‘പ്രശ്നങ്ങളാണ്’ ഉയർത്തിക്കാട്ടാനുള്ളത് വിദേശ വിനോദ സഞ്ചാരികൾ അസന്മാർഗിക പ്രവർത്തികളിൽ ഏർപ്പെടുന്നു എന്നും, ഋഷികേശിന്റെ ‘പവിത്രത’ നഷ്ടപ്പെടുത്തുന്നു എന്നും ആരോപിച്ച് വിശ്വഹിന്ദു പരിഷദ് രംഗത്തുവന്നത് ഒരു ഉദാഹരണമാണ്.

Metabolism of Culture

Tulsi Swarna Lakshmi
presents a socio-anthropological
reading of Photographer Abul Kalam Azad’s
Men of Pukar photo-series
which is the third part of his
ongoing five-part series
titled, Story of Love, Desire & Agony
that creates meta-conceptual
parallel visuals of Classical Tamil
epic tragedy Cilappathikaram

In Metabolism of culture (MoC)
the author seeks to understand
the origins of “Culture” and the
multi-fold assimilation and manifestation
of identity, territory, and gender

2021-05-12T14:19:34+05:30

Manigramam, Prehistoric Merchant Guild of Tamil Legacy

The existence of Manigramam (Manikkiramam) in Pukar, in this context, is an important surviving evidence of our shared lineage. As literary sources attest, Pukar was one of the gateways through which the Afro-Arabian traders entered Southern India. This simple board points to three thousand and odd years of cultural exchange that happened across borders.

2021-05-12T14:23:19+05:30

Sacred Thread, Hierarchal hegemony and identity

Controversy surrounds the origin of Brahmin clans, which is divided into ‘gotras’, and as such mutually opposing thoughts and evidences – both scriptural and historical – are put forth by the differing factions. As far as South India is concerned, the Tamil Brahmins and their Vedic ideas started spreading during the period when Buddhism and Jainism was gaining popularity (around 5th century BCE).

2021-05-12T14:24:40+05:30

Palmyra, Caste system in India

In South India, coconut palm and palmyra tapping was practiced by the indigenous population who, later during the process of class/caste consolidation, were called the Shanars (Channars). These early settlers considered Palmyra as the single most miraculous tree and were the largest consumers of its products. Scaling a Palmyra, which can grow up to 100 feet, is a rather specialized job done by the men.

2021-05-12T14:25:31+05:30

Parathavar, Etymology of Naval Force

The life of fishermen has a certain rhythm and the timings are in tune with nature – the weather, the water current, the movement and the life cycle of fishes. They all go and return at different times - the modern day ‘nine to five routine’ is not applicable here. For example, the crab catchers usually go during the late evening to spread their nets. They would go back again in the early morning to collect their catch.

2021-05-12T14:26:06+05:30

Cauvery, River Valley Civlisation

River Cauvery - the lifeline of South India – that traverses through all the four states and Puducherry Union territory is personified as a goddess/woman. Several rituals, along her course, have been practiced since pre-historic times. The most important amongst them are the ones conducted at the mouth where the river merges with the infinite ocean – the end of a journey often analogized with the journey of a human life.

2021-05-12T14:28:11+05:30

Stucco Sculpture, Pre-hisoric Memories and Conflict

As the tradition dictates, this stucco sculpture is not ‘signed’ by anybody either, even though it is not that old. Stucco techniques have been known to sculptors for millennia. Some historians opine that the pyramids were plastered white. The Greeks and Romans are known to have used stucco in constructions and sculptures. It must be during this period that Sangam era Tamils (the predecessors of modern south Indians) learned this technique, through maritime traders.

Art News

Photo Mail online magazine
brings out special news about
Photography and allied art forms
National/International Photography
Exhibitions, Technique, Product updates
Opportunities
as well as featured reports and
Events

In a first, the Kerala Lalithakala Akademi has opened its exhibition grant to photographers. One recipient Devarajan Devan’s Poojyam opens today at Kozhikode

One of the first Lalithakala Akademi exhibition grant recipients is young photographer Devarajan Devan. He says he became a photographer by chance, some five years ago. But once he has gotten into it, there is no looking back. He is basically a commercial event photographer with an interest in street photography, a well-trodden path introduced by the likes of Henri-Cartier Bresson. The show from the grant, Poojyam (Zero) is opening today, 8th February at Lalithakala Akademi Kozhikode. This would be Devarajan’s first photography exhibition. Here is an exclusive interview with Devarajan Devan, taken by Rahul Menon. 

Moon Light

Emerging Indian Photographer
Biju Ibrahim has versatile interests and
a restless zeal to create images,
be it still or moving

A chronicler at heart, he is open and
curious to observe and
document the versatility of
India’s diverse lifestyle, ritual, and landscape
In Moon Light, Biju Ibrahim shares a slice of
his journeys and experiences as
moving image anecdotes

Zoom In

PhotoMail constructively and
Critically zooms into
The life and work of photographers
Its art and techniques
Contemporary theory
Aesthetics, material philosophy and
Sociology

2021-04-10T05:05:59+05:30

Mallaahs, the boatmen of Gangetic geography, A Photo Art series by Shibu Arakkal

Review of Mallahs, the boat of Gangetic geography, photographic series of Shibu Arakkal. For several hundred years these boatmen on the Ganga and the Yamuna have handed down their oars from father to son. I was intensely drawn to the purpose of their lives, to carry people back and forth on these rivers. Almost married to their boats, these men. To live almost all of their lives on these wooden vessels, going about their worldly chores and belonging to a tribe of menfolk, they pride themselves on being the real caretakers of these mystical rivers. Almost as if they are born on these boats and just as possibly may breath their last on it, the Mallaah men live lives removed from their families and children.

2021-04-10T07:04:57+05:30

In search of the lost home

Across the world there are ongoing attempts to construct a ‘people’s history’ through photographs. Memory Projects, they are fondly called, focus mainly on the pre-digital era when photography was not as common as today. Bengali photographer Anandarup Goswami’s photography series ‘A Home of No Return’, though not directly linked with any memory project, shows certain resemblances with the latter’s style, and yet carries its own soul. A Home of No Return visually narrates the past and the present through a mixture of faded and fresh photographs.

2021-04-10T14:31:04+05:30

Homomorphism II

The LGBTQ community has found for itself public spaces in urban regions. We will wait and see what they want to tell the world from that space. After all, solidarity with the cause does not mean solidarity with the acts, and it is time for the community to begin to act convincingly. This exhibition is a good starting point, and further on, there is a desperate need for clarity on the part of the activist-artists.

2021-04-13T15:10:07+05:30

Elements and Fragments, Uncovering Narratives of a Temple Town

Inasmuch, every photographer that ever visited Tiruvannamalai never took notice about anything other than Ramana and the Annamalaiyar temple – their eyes glossing over everything else and their focus devoted entirely to the two ‘divine’ icons. But, there remains a Tiruvannamalai beyond, which has gone unnoticed and undocumented – invisible to the colonial gaze that is pre-occupied with its exotic fairy tales, and underwhelming for the photojournalist due to its perceived mundane-ness.

Panorama

Photo Mail presents
A panoramic view of
The art of photography’s Interaction and
Interrelation with other
Art mediums such as literature
Architecture, and
Other visual media

2021-05-12T14:03:59+05:30

A Sense of Dislocation

Indian photography hasn’t seen many such explorations that interact and intersect with other media such as light art. But this has started to change in the last couple of years, with a few photographers trying to do light painting; and it is in this context that Joyel K Pious and Gaurav Rachamalla’s collaborative photo project becomes striking. Although this style is popular in the west, this collaborative project stands tall and distinctive amidst the usual Indian street and documentary photographs. It probes the philosophical underpinnings that are intrinsic to the medium itself as well as pose several questions related to urbanisation.

2021-06-10T11:33:06+05:30

On Ajith Nedumangad’s Photographs

It is the sheer absurdity of the sculptures created and photographed by Ajith that hits the viewer right from the off – juxtapositions (reminiscent of the Dadaists and Surrealists) in which materials and the forms they are used to create are often in conflict with each other and, at other times, are self-referential in a darkly humorous manner.

Focus

Photo Mail focuses on
Contemporary photography
Practitioners, their works, and
Its aesthetics
In the broader context of
Photographic theory and
Philosophy

2021-05-14T18:40:04+05:30

The Long Walk to Home: A Critical Reading

During the corona pandemic lockdown, India saw its migrant workers walk in an ardent will to reach the safety of their homes… History repeats itself, they say. Well, not exactly the same situation, but during Indian’s partition, thousands of Muslims and Hindus had to cross over – in search of a new home in unknown terrain. Seen through the photographic eyes of Margaret Bourke-White and Sunil Janah – the horrifying events of Indian Partition 1947 comes alive – once again in the Corona days – much more violent, cruel, and gruesome. It is a stark reminder that even after 70 and odd years of independence, India still has not healed itself of poverty, inequality, and oppression.

2021-07-21T12:21:37+05:30

Indian Photography’s (Conceptual) Poverty and Reality

Alessio Mamo’s series of photographs titled ‘Dreaming Food’ was shot in Uttar Pradesh and Madhya Pradesh in 2011, in which he tried to illustrate the contrast in the manner food was wasted in the West “especially at Christmas time”, and the widespread poverty that he saw in parts of India. The series was exhibited in Delhi Photography Festival in 2013, but when he posted images from the series during his takeover of World Press Photo’s Instagram handle as one of its awardees of 2018, a public debate erupted around the nature of his work and its political correctness. WPP has since issued a statement in which it clarifies the guidelines for its Instagram takeover, which is a benefit given to its award winners. But Indian print and online media subsequently took up the issue and it has been given wide coverage, with experts, photographers, and commentators weighing in from all sides. Now that all the arguments for and against have been brought out, PhotoMail takes a look at this issue in the broader context of poverty representation in India.

2021-07-21T12:52:20+05:30

Bollywood Ecstasy by Jai Singh

For about half its life, the Indian film industry has been dominated by Bollywood, at least in terms of presence in society, popularity and scale of productions. Bombay took over as the major center of film production in India from Calcutta, and gave birth to the Bollywood – the name itself is a clear homage to the ideal it aspired to. Bollywood has since dictated the imagination of the majority of the middle class of the country, directly and indirectly; and in this aspect, the presence of the still photographer in the set is often underestimated.

2021-07-21T12:43:37+05:30

The Real Aesthetic: Documentary Noise

The idea of ‘documentary’ goes to the heart of the invention of photography. Historically distinct from painting, the iconic-index-symbol structure of photographs quickly impressed with its capacity to ‘document’ things, a function which today, in an age of photo-copiers and electronic machines that reproduce instantly, is so obvious that it seems banal to even mention it here.

2021-07-21T13:08:32+05:30

Of Wines and Vines by Anila Gill

This series of Vineyard workers started taking shape when photographer Anila joined the team of grape-pickers of her neighbour and friend winemaker Pascal Potaire (Les Capriades) in September 2013. She had recently settled in the country side of Central France and, after months spent indoors, she felt exhilarated by the contact with nature in the Vineyard. She had to be up early and start the hard physical labour, which had rhythmic stretch, bend, stretch and bend movements... the feet and hand touching the soil. The amazing body and mind energy it created, as well as the bounding between the members of this motley crew of various marginal backgrounds, inspired Anila to capture and document the synergy. As she was also working, the remaining moments for the photographic project were left to the poses. Thus, after progressing slowly and painfully between the ranks, the relieved standing pauses of the Vineyard workers. A global village of grounded, yet often uprooted workers has come into light, as she learned that the vines, in their wild form, are not meant to creep on the ground but to grow free and entangled, in the forests and jungles.

2021-07-21T14:09:32+05:30

Paradigms of Perception: Between the Visual and the Optic

Even when a photograph looks unmediated, without human intervention in the realisation of its image and hence signifying authorial absence, the absence itself is a construction. It is a construction at the interface between factuality and artifice or between simulacrum and point of view; and it is not an empirically given precondition of perception. In many of Ramu’s images, as in the Calgary pictures, the rigorously composed optic array within the frame and the randomness which it suggests of the physical disarray outside the frame (both of which are bound by a causal symmetry) create a subtle dualism.

2021-07-21T13:47:12+05:30

Making an Inclusive Mountain

This is the essence of Project 365: each photographer creating according to his or her own desires, yet all working toward a common goal. The mix of approaches is the project’s strength. Variant perspectives give the wider view: from Jiby Charles’ exploratons of the areas ecology, to Dinesh Khanna’s obsession with vibrant colour and how those colours manifest in the faiths and lives of everyday people. M.K. Iqbal is making an intimate study of Tiru’s small Muslim population, while Leo James runs a parallel body of work lovingly portraying the even smaller population of Christians. R. R. Srinivasan is creating an intense “Archeological Mapping of Tiruvannamalai”. Srinivasan’s ambitious approach includes not only photographs, but detailed references to historical texts and written descriptions that read like an archeologist’s probing analysis of each and every image.

2021-07-21T13:46:07+05:30

Anup Mathew Thomas’ Nurses: Presence and Absence of Nurses

Anup Mathew Thomas gives a sense of non-commitment as he does not intent to divulge the personal narratives of these nurses. This series, in a sense stands opposite to what Parthiv Shah had done in his path breaking project titled ‘Figures, Facts, Feelings: Direct Diasporic Dialogue’ (2000). In this project, Parthiv had approached around thirty four Indian people who had settled in the UK for more than three decades. He asked them twenty questions pertaining to their lives. The answers were juxtaposed with the images of these people taken by Parthiv in the locations that they liked most in their habitats.

Memory

Photo Mail remembers
Photographers and
Their contribution
As well as tunes into
The historical perspectives that
Influence contemporary
Photographic practice and
Its aesthetics

2021-07-21T14:28:11+05:30

Remembering Punalur Rajan

Punalur Rajan was an enigma – a mystery that requires further unfolding. He was an important person in the history of contemporary Kerala. In the time to come, we will be forced to look back to his photographs – for his contribution is something that knows no bounds. He will live through the slices of history he has left behind. No words could ever fully represent the politics and ideology to which he dedicated his life. I leave my pranaams to this remarkable person with the question – what are we going to do now?

2021-07-21T14:39:29+05:30

The Meaning of Photography and, therefore, of Victor George

Victor George looked for meaning in rain, not formal beauty or abstraction. Instances of abstraction are sporadically seen in his photographs – such as a massive raincloud which looks like a wash of purple-grey – but are always marred by a concrete, meaningful, identifiable figure – in the aforementioned case, a flying bird occupies the centre of attention of the image, and discernible clouds are seen in the background, giving the image concreteness.

2021-07-21T14:37:03+05:30

Zachariah D’Cruz and the Act of Photographing a Progressive Travancore

Zachariah D’Cruz is not an oft-mentioned name in the context of Indian photography, and his images circulate in India, especially Kerala, without his name being mentioned as the author. It is easiest to describe him as a government photographer of the Travancore kingdom, whose most popular and most visible work today consists of a collection of 76 images titled “Album of South Indian Views”, which was gifted to Lord Curzon1 on his visit to Travancore, and which is now in the possession of the British Library.

2021-07-21T15:39:54+05:30

Representations of an Ethos: Razak Kottakkal

Razak Kottakal’s photographs of Basheer is almost as famous as Basheer himself; anybody who is familiar to a minimum extent with Modern Malayalam literature would have encountered at least a few of Razak’s portraits of literary figures, without knowing the name of the photographer – mostly because the photographer is considered secondary to the subject in such cases. Different aspects of Razak’s life have entered public record, through interviews of his contemporaries, family, colleagues, and subjects. Yet, for all the wealth of information that such records provide, they are hard reminders that photographers are barely understood beyond superficial labels.

Face to Face

Photo Mail publishes
Exclusive interviews
With photographers
Academicians and artists
From related visual
Arts practice

2021-07-21T11:53:21+05:30

Interview with Selvaprakash Lakshmanan

Selvaprakash Lakshmanan is an independent photographer based in Bangalore. He earned his Masters in Communication from Manonmaniam Sundaranar University, Tirunelveli (2000 - 2002). In the year 2002, he started his career in photography as a staff photographer for Dinamalar, a leading Tamil newspaper and has later worked with Dinakaran, DNA and Time Out Magazine. His photographs have been published in leading National and International newspapers and magazines and exhibited in photo festivals. In this exclusive interview, he is sharing his work life and thoughts on photography.

2021-06-10T13:14:16+05:30

Interview with Ramesh Varma

Ramesh Varma is a noted stage actor and director. He is also a Kathakali performer and has acted in lead roles in few Malayalam cinemas. An alumnus of Maharaja’s College, Ernakulam, and School of Drama, Thrissur, he is currently a lecturer in the theatre department in Sree Sankaracharya University, Kalady. His theatre works are notable for their focus on regional aesthetics and forms, with due importance being given to innovation and contemporary thought. He takes keen interest in photography, and has been practicing it diligently for the past six years. The numerous and varied photographs taken during his ‘Morning Walk’, a series of black and white images, are indeed theatrical, in the truest sense. Ramesh Varma has worked as a curator in ITFoK. In this exclusive interview by Arjun Ramachandran / Photo Mail, Ramesh Varma talks about aesthetics, the direction, and the future of theatre, while touching on the personal and the political facets of expression in different media.

2021-06-10T13:14:26+05:30

Interview with Fowzia Fathima

Fowzia Fathima is a cinematographer, who graduated from the Film and Television Institute of India, Pune. She is well-regarded as a teacher, having taught in various institutes including the Satyajit Ray Film and Television Institute. She has recently come into further prominence for pioneering the Indian Women Cinematographers’ Collective – a first of its kind effort in uniting women cinematographers across the Indian film industry.

2021-06-10T13:15:02+05:30

Interview with Thierry Cardon

Thierry Cardon is a French photographer born in Zaire. He spent his teenage years in Morocco before studying in Paris School of Fine Arts. He now lives in Blois, where he devotes himself to his librarian job, his art therapist's activities at a psychiatric hospital for children, and to photography. A dedicated printmaker and an educator, Thierry conducts workshops for young and aspiring photographers. He has published several photo-book and has exhibited in art galleries and other spaces in France. He works with traditional techniques, has mastered different chemical printmaking processes, and admits to consciously taking a slow route towards the end result, comparing it to meditation. Thierry uses digital technology only minimally, stressing that knowledge of traditional techniques is crucial to gaining flexibility and escaping the narrow avenues offered by commercially popular methods and prints. He was part of Ekalokam Trust for Photography's Project 365 Tiruvannamalai Public Photo-art Project done in 2014 - 2015.

தமிழ் 

போட்டோ மெயில்
தமிழ் பக்கத்தில்
சமகால புகைப்படக்கலை
அதன் வரலாறு, அழகியல்
நுட்பங்கள், விமர்சனம், மற்றும்
மொழிமாற்றப்பட்ட
கட்டுரைகள் பிரசுரிக்கப்படும்

2021-06-06T17:41:42+05:30

ஒசரக் கூனிச்சி

சமகால புகைப்படமும் கவிதையும் சிறப்பு நெடுவரிசை. கவிதைகள் முத்துராசா குமார். புகைப்படம்அபுல் கலாம் ஆசாத்,

2021-06-05T15:07:30+05:30

கருப்பு நிலமும், மனிதர்களும் | பாலமுருகன்

இந்திய வரைபடத்தில் புதிதாக உதயமான ஒரு மாநிலத்தில் கால் வைக்க போகிறோம் என்றதுமே அதற்கான முன்திட்டமிடல் ஆரம்பமானது. பயணம் தொடங்கியது. ராஞ்சி விமான நிலையத்தில் இருந்து நான்கு மணி நேர சாலைப்பயணம். ஜார்கண்ட் என்ற சொல்லுக்கு காடுகளை கொண்ட நிலப்பரப்பு என்பது பொருள். அந்த பெயருக்கு எந்த குறைவும் இல்லாமல் வழி நெடுக அடர்ந்த காடுகளை காண முடிந்தது. தூத்துக்குடி துறைமுகத்தில் நிலக்கரியை கப்பலில் இருந்து இறக்குமதி செய்வதை பார்த்த எனக்கு நிலக்கரி மலையை வெட்டி போடப்பட்டிருந்த சாலையில் பயணித்த போது சிலிர்ப்பாக இருந்தது.

2021-06-04T15:57:36+05:30

நானொரு உடுக்கையாடி

சமகால புகைப்படமும் கவிதையும் சிறப்பு நெடுவரிசை. புகைப்படம் அபுல் கலாம் ஆசாத். கவிதைகள் முத்துராசா குமார்.

2021-06-04T12:40:27+05:30

தென்னிந்தியாவைப் படம் பிடித்த முதல் புகைப்படக் கலைஞர்

காலவரிசைப் படி எல்லாவற்றையும் ஆராயும் போது, கேப்டன் லின்னேயஸ் ட்ரைப் தான் தமிழகத்தை முதன்முதலில் புகைப்படம் எடுத்துள்ளார் என்று அறிய முடிகிறது. இந்தியாவிலேயே புகைப்பட ஸ்டுடியோவும், தொழிற்கலைப் பள்ளியும் முதலில் சென்னையில் தான் தொடங்கப்பட்டது. மதராஸ் ராஜதானியின் தலைநகராக இருந்த சென்னையில் மே மாதம் 1850ல் தொழிற்கலைப் பள்ளி அலெக்ஸாண்டர் ஹண்டரினால் தொடங்கப்பட்டது. அப்போது புகைப்படக்கலை முக்கியப் பாடமாகவும் இருந்தது. ஹண்டர் மற்றும் எலியட் ஆகியோர் மாணவர்களுடன் சென்று, தமிழகத்தின் முக்கிய ஊர்கள் அனைத்தையும் புகைப்படங்களாக எடுத்தனர்.

2021-06-04T17:14:47+05:30

துயரத்தின் பிம்பங்கள்

போர் புகைப்படங்களின் முரண்பாடு, இதன் மூலம் அம்பலமாகிறது. அது “அனுசரணையை” ஏற்படுத்துவதற்காக பிரசரிக்கப்படுகிறது என பெரும்பான்மையோரால் கருதப்படுகிறது. அதன் மிகவும் தீவிரமான உதாரணங்கள் – மெக்கலினின் பெரும்பான்மையான புகைப்படங்களில் உள்ளது போல – அதிகப்பட்சமான அனுசரணையை ஏற்படுத்த மிகவும் துயரமான தருணத்தை காண்பிக்கும். அத்தகைய தருணங்கள், புகைப்படம் எடுத்தாலும், எடுக்காவிட்டாலும், சாதாரண தருணங்களிலிருந்து தொடர்பற்ற நிலையிலிருக்கும். அவை தாமாகவே தனித்து நிற்கும்.

2021-06-04T13:19:38+05:30

ஹென்ரி கார்தியெ பிரெஸ்ஸோன் – ‘இந்த நூற்றாண்டின் கண்’

பிரெஸ்ஸோன் ஒரு மகத்தானப் புகைப்படக்கலைஞர், அதேவேளையில் அவர் மகத்தான உருவப்படப் புகைப்படக்கலைஞரும் கூட, ஏனெனில் உருவப்படப் புகைப்படக் கலைஞராக இருப்பவர்கள், மகத்தான புகைப்படக்கலைஞர்களாக இருப்பதில்லை. நாற்பதாண்டுகால புகைப்படப் பயணத்தில், ‘பத்திரிக்கைப்படக்கலை’ (Photo Journalism) என்பதை முழு அர்த்தத்துடன் செயல்படுத்திக் காட்டியவர் பிரெஸ்ஸோன். இன்னும் சொல்லப்போனால் அப்பதத்தினை புனர்மாற்றம் செய்து புதுமையாகக் கண்டுபிடித்தவர் என்றே சொல்லலாம்.

2021-06-04T13:24:15+05:30

ஜான் ஐசக் – மரணித்துப் போன வண்ணங்கள், பிறகொரு வண்ணத்துப்பூச்சி

புகைப்படக்கலைஞர் ஜான் ஐசக் பொறுத்த வரையில் புகைப் படங்களைவிட மனித மாண்பே முக்கியம். அவருடைய புகைப்பட அனுபவங்களில், ஆப்பிரிக்கப் பழங்குடி மக்களிடையே வேலை செய்யும்போது, ஒரு சிறு தெருவழியாக அவர் சென்று கொண்டிருக்கிறார். செல்லும் வழியில் ஒரு காட்சி, தெரு முனையில் ஓர் இளம்பெண் முழுநிர்வாணமாக, ஒரு குழந்தையைப் பெற்றெடுத்தபடி, அதன் தொப்புள் கொடிகூட வெட்டப்படவில்லை, ரத்த வெள்ளத்தில் குழந்தையின் அழுகுரலோடு அக்காட்சி விரிந்து கிடக்கிறது.

2021-06-04T14:33:49+05:30

ஆந்த்ரே கெர்தஸ் – ‘உலகை முதலில் புதிதாகப் பார்த்தார்’

அவருடைய படைப்புகள் எல்லாவற்றையும் உதறிக்கொண்டு எளிமையான புகைப்படங்களாகவே இருந்தன. வெறுமனே புகைப்படக்கலைஞராக மட்டுமல்லாமல், ஓர் ஓவியராக, கவிஞராக, நகைச்சுவையாளராக அவர் இருந்தார். புகைப்படக்கலையில் ஓவியத்தின் பாதிப்பை இவரின் படங்களில் உணரலாம். குறிப்பாக சிதைக்கப்பட்ட நிர்வாண உருவங்கள், அசையாப் பொருட்களின் சித்திரங்கள் இவருடைய ஓவிய ஆர்வத்தை வெளிப்படுத்தின. இரு வேறு காட்சிகளை இணைப்பதும், ஒரே புகைப்படத்தில் பல்வேறு புகைப்பட அனுபவங்கள் பின்னப்பட்டிருப்பதும் இவரிடமே தொடங்குகிறது.

2021-06-04T14:58:00+05:30

கோமாளிக்கு ஓர் அவசரக் கடிதம்…

வசீகரக் கோமாளிகளே, நீண்ட காலமாய் உங்களில் ஒருவனாக ஆகிவிடவேண்டுமென்ற எனது கனவு மெல்ல மறைந்து போகும் அபாயம் எனக்குள் நிகழ்ந்து கொண்டிருக்கிறது. உங்கள் மேல் உள்ள காதல் துளிகளை உங்களிடம் நான் சொல்ல வரும்போதெல்லாம், ஒன்று நீங்கள் குட்டையாயிருக்கிறீர்கள் அல்லது மிக உயரமாயிருக்கிறீர்கள். நீங்கள் அண்ணாந்து பார்ப்பதையும் குனிந்து பார்ப்பதையும் நானும் விரும்பவில்லை.

2021-06-04T17:04:22+05:30

பேசாத கல்லும், விளையாட்டுப் பொம்மையும்

கையில் கேமராவுடன் அலையும் சூபியாக மாறிய ராவுத்தரே அபுல். அவரது முன்னோர் எவ்வாறு மக்களிடம் பேசினரோ அவ்வண்ணமே தமிழ் பேசுகிறார். ஆனால், ஆசாத் எந்தவொரு மொழியிலும் பேசவில்லை என்று தான் நான் எண்ணுகிறேன். அவர் புகைப்படங்களின் மொழியினை பேசுகிறார். உலகில் அறியப்பட்ட, மற்றும் அறியப்படாத எந்த மொழியையும் பேசும் ஆற்றல் கொண்ட புன்னகைக்கும் புகைப்படக்கலைஞனே அபுல் கலாம் ஆசாத்.

മലയാളം

ഫോട്ടോ മെയിൽ
മലയാളം പേജിൽ
സമകാലിക ഫോട്ടോഗ്രാഫി
അതിന്റെ ചരിത്രം, സൗന്ദര്യശാസ്ത്രം
ടെക്നിക്കുകൾ, വിമർശനം, കൂടാതെ
വിവർത്തനം ചെയ്‌തു
ലേഖനങ്ങൾ പ്രസിദ്ധീകരിക്കും

2021-06-10T14:27:09+05:30

ചെമ്പിട്ട പള്ളിയും അന്ത്റുപ്പാപ്പയും

“മലബാരിക്ക് ഈമാനില്ല, കോടാലിക്ക് ഉറയില്ല : എന്ന ആപ്തവാക്യങ്ങൾ ഉറപ്പായും അതിലുണ്ടാകും. അത് അന്ത്റുവിന്റെ മാനിഫെസ്റ്റൊ ആയിരിക്കാം. അക്കാലത്തേ ഞാൻ എഴുതിത്തുടങ്ങിയിരുന്നത് കൊണ്ട് ഒരു ബുദ്ധിജീവിയാണെന്ന് ധരിച്ചിട്ടുണ്ടാവാം മൂപ്പർ.

2021-06-06T12:29:51+05:30

വോയറിസവും പോർട്രേച്ചറും ഡേവിഡ് ബെയ്റ്റ്

പോർട്രെയ്റ്റ് ഫോട്ടോഗ്രാഫിയെ ആസ്പദമാക്കി നിരവധി ലേഖനങ്ങൾ വരുന്നുണ്ടെങ്കിലും, എന്തു കൊണ്ട് പോർട്രെയ്റ്റ് ഫോട്ടോഗ്രാഫി ഇത്രയും ജനപ്രിയമായി എന്ന് ആരും ചോദിച്ചു കാണാറില്ല. പകരം നമുക്ക് കിട്ടുന്നത് പോർട്രെയ്റ്റ് ഫോട്ടോഗ്രാഫി ജനപ്രിയമായത് എങ്ങനെ എന്ന ചോദ്യത്തിനുള്ള ഉത്തരങ്ങൾ ആണ്. മുകളിൽ വിവരിച്ച പ്രോസസ്സുകളെക്കാൾ ഉപരി പ്രവർത്തനം ആകുന്ന ഒന്നാണ് ഫോട്ടോഗ്രാഫി യുടെ ഇന്റിമസി (intimacy).

2021-06-06T12:54:41+05:30

ചലച്ചിത്ര വിചാരങ്ങളിലെ ദെലേസിയന്‍ ക്ലോസപ്പുകള്‍

ചലച്ചിത്രകലയിലെ സുപ്രധാനമായ ഒരു ആവിഷ്കാര ഉപാധിയാണ് ക്ലോസ് അപ്പ് ( closeup) അഥവാ സമീപദൃശ്യം. സമീപസ്ഥമായ ചിത്രീകരണം വഴി വിശാലവും സവിസ്തരവുമായ കാഴ്ച ലഭ്യമാക്കുകയാണ് ക്ലോസ് അപ്പ് ഷോട്ടുകള്‍ ചെയ്യുന്നത്. ആവിഷ്കാരത്തിന്‍റെ ഫലപ്രാപ്തിക്കായി പശ്ചാത്തലത്തില്‍ വരുന്ന ഏതൊന്നിനെയും ക്ലോസ് അപ്പുകള്‍കൊണ്ട് ചിത്രീകരിക്കാമെന്നിരിക്കിലും പൊതുവെ കഥാപാത്രങ്ങളുടെ മുഖങ്ങളാണ് സമീപദൃശ്യങ്ങളായി ചലച്ചിത്രങ്ങളില്‍ കടന്നുവരാറുള്ളത്.

2021-06-06T13:26:15+05:30

ഛായാ ബിംബ കലയിലെ ഗുഹാചിത്രങ്ങളുടെ പെരുമാള്‍ രംഗമൊഴിഞ്ഞു

പല വേദികളിലായുള്ള അനേകം പ്രഭാഷണങ്ങളില്‍ ടി.എന്‍.എ. പെരുമാള്‍ (1932 – 8 February 2017) ആദിമമനുഷ്യനുമായി നമ്മളെ ഇണക്കുന്ന ഒരു പ്രവൃത്തിയായിട്ടാണ് പ്രകൃതി ഛായാ ബിംബങ്ങളെടുക്കുന്നതിനെ ക്കുറിച്ച് പ്രതിപാദിച്ചിരുന്നത്. ഗുഹാമനുഷ്യന്‍, അവന്‍ വസിച്ചിരുന്ന ഗുഹയുടെ ചുവരുകളില്‍ ഒരു പുണ്യകര്‍മ്മം പോലെ വരച്ച മൃഗങ്ങളുടെ ചിത്രങ്ങളാണ് താന്‍ മറ്റൊരു കാലത്ത് വേറൊരു രീതിയില്‍ മെനയുന്നതെന്ന് പെരുമാള്‍ വിശ്വസിച്ചിരുന്നു. ആദിമമനുഷ്യന് പ്രകൃതിയേകിയ വിസ്മയതിന്റെ മായികഭാവം, തന്‍റെ വാഴ്വിന്റെ അസ്തമനദശയിലും പെരുമാളിന് ലഭിച്ചിരുന്നു. അദ്ദേഹ മെടുത്ത ചിത്രങ്ങള്‍ ഇത് പ്രകടമാക്കുകയും ചെയ്യുന്നുണ്ട്.

2021-06-06T14:14:51+05:30

സെല്ഫി കാലത്തെ പടമെടുപ്പുകള്‍

അകലെനിന്നു ഹിമാലയ സാനുക്കള്‍ കാണുന്നതു പോലെയാവില്ല അടുത്തുനിന്നു കാണുമ്പോള്‍. വസ്തുവിനെ ഏറ്റവും അടുത്തുനിന്നു നോക്കിക്കാണാന്‍ ശ്രമിക്കുന്നുവെന്നതാണ് ഉദയാ ഹ്യു വിന്റെ ‘മരപരമ്പര’ യിലെ ഫോട്ടോഗ്രാഫുകളെ വ്യത്യസ്തമാക്കുന്നത്. അവയില്‍ ഫോട്ടോഷോപ്പ് പോലെയുള്ള യാതൊരു കൈകടത്തലും നടത്തുന്നില്ല. വാസ്തവത്തില്‍ അത് സമ്പർദായക ഫോട്ടോഗ്രഫി തന്നെയാണ്. പക്ഷേ, കാമറയുടെ വീക്ഷണകേന്ദ്രീകരണം ആണ് അതിനു അമൂര്‍ത്തകലയുടെ പ്രതീതി ജനിപ്പിക്കുന്നത്. സൂം, എന്‍ലാര്‍ജ്‌മെന്റ് തുടങ്ങിയ ടെക്‌നിക്കുകളാണ് ഇവിടെ ഫോട്ടോഗ്രാഫര്‍ ഉപയോഗിക്കുന്നത്.

2021-06-06T14:34:41+05:30

‘ഞാൻ’ എന്ന മേഖലയിലെ ബലരേഖകൾ ‘ക്ലിക്ക് ‘ എന്ന വിമോചകശബ്ദം

ഒരിക്കൽ മിടുക്കനായ ഒരു ഫോട്ടോഗ്രഫർ ബാർത്തിന്റെ പടമെടുത്തു . ആയിടെ അനുഭവിച്ച ഒരു മരണദു :ഖത്തിന്റെ തീവ്രവ്യഥ, അയാളെടുത്ത ഛായയിൽ തനിക്ക് വായിക്കാനാവുന്നുണ്ടെന്നു ബാർത്ത് വിശ്വസിച്ചു. ഒരു തവണത്തേക്ക് ഫോട്ടോഗ്രഫ് ‘എന്നെ എന്നിലേക്ക് തന്നെ വീണ്ടെടുത്തെന്ന് ‘ കരുതി. പക്ഷെ, അധികം വൈകാതെ, ഒരു പത്രികയുടെ മുഖത്താളിൽ പ്രിന്റ്‌ ചെയ്ത് ഇതേ ഫോട്ടോഗ്രഫ് ബാർഥു് കാണാനിടയായി. ഭയാനകമാംവിധം ബാഹ്യവത്ക്കരിക്കപ്പെട്ട ഒരു മുഖഭാവമല്ലാതെ, മറ്റൊന്നും ബാർത്തിന്റെതായി ആ ചിത്രത്തിൽ ഉണ്ടായിരുന്നില്ല. തന്റെ ഭാഷയെക്കുറിച്ച് _ അത് എത്രമാത്രം കുടിലവും അകറ്റി നിർത്തുന്നതുമാണെന്ന് – രചയിതാക്കൾ നല്കാൻ ഉദ്ദേശിച്ച അതേ പ്രതിഛായയിൽ.

2021-06-06T14:24:17+05:30

മരണത്തിന്റെ ഛായാഗ്രഹണം

Camera Lucida എഴുതിത്തീർന്ന് ഏതാനും ദിവസങ്ങൾക്കകം ബാർഥ് ഒരു റോഡപകടത്തിൽ പെട്ടു. പാരീസിലെ തിരക്കേറിയ തെരുവ് മുറിച്ച് കടക്കാനുളള ശ്രമത്തിൽ, ഒരു അലക്ക്കമ്പനിയുടെ വാഹനം അദ്ദേഹത്തെ ഇടിച്ചു വീഴ്ത്തി. ആശുപത്രിയിൽ പ്രവേശിപ്പിച്ചെങ്കിലും ബാർഥ് ഒരു മാസത്തിനകം മരിച്ചു. അന്ത്യദിനങ്ങളിൽ, ജീവിക്കാനുളള ഇച്ഛ നഷ്ടപ്പെട്ട ഒരാളായിട്ടാണ്, ചുറ്റുമുളളവർക്ക് ബാർഥ് കാണപ്പെട്ടത്. അദ്ദേഹത്തിന്റെ എഴുത്ത് മേശയിൽ സെ്റ്റൻഡാലിനെക്കുറിച്ച് തുടങ്ങിവെച്ച ഒരു പഠനം കിടപ്പുണ്ടായിരുന്നു. ആ ലേഖനത്തിന് ബാർഥ് നല്കിയ ശീർഷകം: ‘സ്‌നേഹിക്കുന്നവയെക്കുറിച്ച് പറയുന്നതിൽ ഓരാൾ എല്ലായ്‌പോഴും പരാജയപ്പെടുന്നു.’

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