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The Art of Photography

2021-09-23T12:04:04+05:30

Crows: Photographing the Familiar | Abul Kalam Azad

Photographs can make familiar objects, places, and people more familiar. Everyday mundane encounters and banal objects, when photographed, instill an interest in its viewer to observe the ignored. For, when we look at familiar objects, again and again, it reveals something or the other that was not seen during the first instance.

2021-09-22T10:46:58+05:30

Interview with Nick Oza

Nick Oza is a staff photojournalist at the Arizona Republic where he covers community and national issues like immigration, gang violence, mental health, and refugees. His 20+ years of experience behind the camera have taken him to places like Iraq, India, Benin, Mexico, Guatemala and all over North America. Recently he is working on Politics and Immigration crisis. He is driven by curiosity, compassion and a deep desire to tell the stories of the people he documents. His multimedia work has been honored with an Emmy Award and his documentary photos have received honors from Pictures of the Year International and NPPA's Best of Photojournalism. He was also awarded the Pulitzer Prize for Public Service as part of the Biloxi Sun Herald's coverage of Hurricane Katrina.

2021-08-23T13:35:42+05:30

கூழாங்கல் பதித்த தாயத்து | ஒளியெழுத்து

கூழாங்கல் பதித்த தாயத்து, சமகால புகைப்படமும் கவிதையும் சிறப்பு நெடுவரிசை, கவிதைகள் முத்துராசா குமார், புகைப்படம் அபுல் கலாம் ஆசாத்

2021-09-12T14:58:37+05:30

Huge and Historic: On the First Cochin Carnival

After my father’s demise, I stumbled upon a few negatives he had preserved along with some valuable documents. It was amidst this, I found a few strips of the negatives of the Carnival Parade 1985 (The First Cochin Carnival), the culminating event of the year-long Beach Festival (1984-85). The origin of the Cochin Carnival is a lot more straightforward than what is being popularly narrated today. It began as a celebration of the UN Declaration of 1985 as the International Youth Year. Such a remarkable cultural event was made possible in Kochi thanks to its rich cosmopolitan history.

2021-08-11T19:23:10+05:30

Microhistories of Unsung Heroes

Of all the artists I met at Kalapeedam, Chicku was closest to me, as there were many things common between us. Chicku was also a drop-out, self-taught, and nomadic. By nature, he was timid and tranquil. Most of his works were surrealistic animal and plant forms. For his study, we spent several days trekking and exploring the forests and mountainous regions of South India. A wonderful painter with unmatchable skill and capability, Chicku brought out his artistic expression with a lot of rebellion and originality.

2021-08-11T19:33:41+05:30

A Canvas of Motions

Young photographer Arun Inham's A Canvas in Motion combines photography, theatre, and performance, is one of those projects that fall within the scope of now-trending experimental and conceptual photography practices. This body of work was done during the pandemic lockdown period. Confined within a small space, he interestingly stages objects and stitches them together as an image. These works were showcased at the Images of Encounter online group exhibition, which would be Arun Inham's first show. 

2021-08-11T20:54:01+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.

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)

2021-09-23T12:04:04+05:30

Crows: Photographing the Familiar | Abul Kalam Azad

Photographs can make familiar objects, places, and people more familiar. Everyday mundane encounters and banal objects, when photographed, instill an interest in its viewer to observe the ignored. For, when we look at familiar objects, again and again, it reveals something or the other that was not seen during the first instance.

2021-09-12T14:58:37+05:30

Huge and Historic: On the First Cochin Carnival

After my father’s demise, I stumbled upon a few negatives he had preserved along with some valuable documents. It was amidst this, I found a few strips of the negatives of the Carnival Parade 1985 (The First Cochin Carnival), the culminating event of the year-long Beach Festival (1984-85). The origin of the Cochin Carnival is a lot more straightforward than what is being popularly narrated today. It began as a celebration of the UN Declaration of 1985 as the International Youth Year. Such a remarkable cultural event was made possible in Kochi thanks to its rich cosmopolitan history.

2021-08-11T19:23:10+05:30

Microhistories of Unsung Heroes

Of all the artists I met at Kalapeedam, Chicku was closest to me, as there were many things common between us. Chicku was also a drop-out, self-taught, and nomadic. By nature, he was timid and tranquil. Most of his works were surrealistic animal and plant forms. For his study, we spent several days trekking and exploring the forests and mountainous regions of South India. A wonderful painter with unmatchable skill and capability, Chicku brought out his artistic expression with a lot of rebellion and originality.

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

2021-07-28T13:17:47+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.

2021-07-28T13:20:11+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.

2021-07-28T13:36:14+05:30

ഹരിദ്വാറിലെ ശാന്തിതീരം

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

2021-07-28T13:37:08+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

2021-08-11T19:27:37+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.

2021-08-11T19:27:43+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).

2021-08-11T19:28:04+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.

2021-08-11T19:28:26+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.

2021-08-11T19:28:47+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.

2021-08-11T19:28:53+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

Looking or shooting? A pe(e)p toy by Ray-ban and Facebook to click as you see

Ray-ban Stories sunglasses are built in partnership with Facebook and Ray-Ban’s parent company EssilorLuxottica and are the first product to be produced as a result of a multi-year partnership between the two companies. Ray-Ban Stories will be available in 20 different combinations in classic Ray-Ban styles — Wayfarer, Wayfarer Large, Round, and Meteor — and five colors with a range of lenses including clear, sun, transition, and prescription. Ray-Ban Stories features dual integrated 5-megapixel cameras that are designed to let the wearer capture everyday moments as they happen from a first-person perspective. The dual 5MP camera gives new depth and dimension to the content. It takes high-resolution photos (2592×1944 pixels) and quality video (1184×1184 pixels at 30 frames per second). Camera automatically adjusts to the light around for high-quality captures. One can also attend to calls, listen to music via blue tooth while on the go.

A pause amid the rush | Digital Online Show of Project 365 Tiruvannamalai

The premiere show of Project 365 Tiruvannamalai was shown at the famous Victoria Memorial Hall, Kolkata, in 2019. Now, a small selection from this whopping collection has now travelled across the continent and is being exhibited at the Magnet Galleries, Melbourne, Australia. Titled, Elements and Fragments, the show was opened to publich on 15th July 2021, however, due to the pandemic third wave lockdown measures, the gallery had to remain shut. In a remarkable effort, the Magnet Galleries have transformed the show into a fully digital 360° format. On World Photography Day, the digital show was unveiled to the public.

Underwater Photography: No Under Estimating It | Susannah Snowden-Smith

On a bright Sunday morning, PhotoMail caught up with the chief documentary photographer on the Godavaya excavation, Susannah Snowden-Smith. What followed was an interesting revelation of the nuances of underwater photography. Living her dream of underwater photography, which she had started thinking about when she was 11 years old, Susannah reached out to a renowned archeologist as early as in her tenth grade. And in a matter of few years, she was on her first 120 feet underwater excavation assignment close to Sedana island Sadana Island in Red Sea, documenting an eighteenth-century ship wreck.

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

2021-08-11T19:09:18+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.

2021-08-11T19:09:50+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.

2021-08-11T19:10:22+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.

2021-08-11T19:11:50+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

2021-08-11T19:27:04+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.

2021-08-11T19:27:10+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

2021-08-11T19:34:06+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.

2021-08-11T19:35:45+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.

2021-08-11T19:37:20+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.

2021-08-11T19:39:30+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.

2021-08-11T19:42:11+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.

2021-08-11T20:48:01+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.

2021-08-11T20:49:30+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.

2021-08-11T20:57:56+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

2021-08-11T19:48:18+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?

2021-08-11T19:48:18+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.

2021-08-11T19:48:18+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.

2021-08-11T19:50:03+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

2021-09-22T10:46:58+05:30

Interview with Nick Oza

Nick Oza is a staff photojournalist at the Arizona Republic where he covers community and national issues like immigration, gang violence, mental health, and refugees. His 20+ years of experience behind the camera have taken him to places like Iraq, India, Benin, Mexico, Guatemala and all over North America. Recently he is working on Politics and Immigration crisis. He is driven by curiosity, compassion and a deep desire to tell the stories of the people he documents. His multimedia work has been honored with an Emmy Award and his documentary photos have received honors from Pictures of the Year International and NPPA's Best of Photojournalism. He was also awarded the Pulitzer Prize for Public Service as part of the Biloxi Sun Herald's coverage of Hurricane Katrina.

2021-08-11T17:11:24+05:30

Interview With Pulavar N. Thyagarajan

Pulavar N Thiagarajan is a poet, writer, political activist and amateur photographer. Thiagarajan was brought up in Poompukar, and has completed his matriculation in Poompukar, and further pursued a course under Madras University. Thiagarajan learnt English and Tamil from school, and developed each through personal reading and study. He soon joined the Tamil Manila Congress (TMC), and fondly remembers meeting Gandhi at Mayavaram (presently Mayiladuthurai). He was active in the freedom struggle and continued to work with the Congress after Independence. A noted poet and writer, the most significant book that he has published is Poompukar Varalatru Yechangal, which is an academic book on the history of Poompukar. His journey in photography began in the 1940s and he has photographed the town and nearby areas, focussing on the temples, temple art, gatherings and landscapes. Ekalokam Trust for Photography, a non-profit organisation dedicated to protecting and promoting contemporary photography, is presently archiving the analogue photographs made by N Thiagarajan.

2021-08-11T17:11:40+05:30

Interview with Punalur Rajan

Punalur Rajan is a now-retired photographer who was one of the first photographers in Kerala who popularized the social documentary genre. Rajan is most recognized for his portraits of litterateurs, politicians and cine-personalities. Rajan’s photography can be described as being an offshoot of the same thought that produced Sunil Janah. The Communist Party was an integral driving force in both of their careers and in their photographic practice. A reflection of Sunil Janah’s impact in the national level can be seen in the influence of Rajan in a regional level. Photographing notable personalities, especially literary icons, was a trend that was and continues to be widespread in Kerala, supported by the many weekly and daily publications that wanted these photographs. Such images were largely attempted by journalistic photographers, rather than studio photographers, despite portraiture not being an area of specialization for most of them. Rajan’s skill in portraiture is what set him apart from the other photographers who have indulged in this genre over the years. 

2021-08-11T17:11:48+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.

2021-08-11T17:12:02+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.

தமிழ் 

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

2021-07-28T13:03:14+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.

2021-07-28T13:06:13+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.

2021-09-23T11:11:44+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.

2021-09-23T11:11:30+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.

2021-09-23T11:13:16+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.

2021-09-23T11:08:52+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.

2021-09-23T11:08:23+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.

2021-09-23T11:15:01+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

2021-09-23T10:55:43+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.

2021-09-23T07:54:09+05:30

ഇന്ത്യൻ ഫോട്ടോഗ്രഫി: ചില ചിതറിയ ചിന്തകൾ

അദ്ദേഹം തന്റെ ഈ പുസ്തകത്തിൽ അവതരിപ്പിച്ച ഫോട്ടോഗ്രാഫുകൾ ഇന്ത്യൻ ഭൂതകാലത്തെ ആഘോഷിക്കുന്നതും, കൊളോണിയൽ സാന്നിധ്യത്തെയും അവരുടെ നിർമിതികളെയും കേവലം ഒരു ചരിത്ര നിമിഷമായി പ്രാന്തവൽക്കരിക്കുന്നതുമായിരുന്നു. ഇന്ത്യൻ ഫോട്ടോഗ്രഫിയുടെ കൊളോണിയൽ കാഴ്ചകളെ അബ്ബാസ് അലി സമൃദ്ധമായി അട്ടമറിച്ചു. ഈ ബ്രേക്ക്‌ ആണ് കൊളോണിയൽ അനന്തര ഇന്ത്യൻ ഫോട്ടോഗ്രഫി തനത് നിലകളിൽ പിന്തുടർന്നത്. അങ്ങിനെ മറ്റെല്ലാ ഡിസ്‌സിപ്ലിൻ എന്ന പോലെ, ഫോട്ടോഗ്രഫി അതിന്റെ ദേശീയ സമര പാരമ്പര്യത്തിലേക്ക് തിരിഞ്ഞു. ദാദാ ഭായ് നവറോജിയിലൂടെ ഇന്ത്യൻ സമ്പദ്‌ശാസ്ത്രം ഉണ്ടായി വന്ന പോലെ, ഇന്ത്യൻ ഫോട്ടോഗ്രഫിയുടെ ഭഗത്സിങ് ആയിരുന്നു അബ്ബാസ് അലി എന്നു പറയാം.

2021-09-23T10:45:40+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).

2021-09-23T10:52:23+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.

2021-09-23T10:51:55+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.

2021-07-28T15:44:17+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.

2021-09-23T10:51:30+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.

2021-09-23T10:50:51+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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