For long, Kashmiris have been captivated by the power of photography. But why? Why have so many of the world’s greatest geniuses with the camera produced some of their best work in Kashmir? Is it the unique tragicomedy of spectacular natural beauty and a gruesome conflict that has consumed generations? Why are there so many good photojournalists and photographers in Kashmir and why is their number on the rise?
#instaessay to scoop about Steve McCurry – RAIOT was there – taking pictures and talking about it
When I started observing your photographs a few days ago, I stood witness to this very manifestation of dissent, and sensed an inchoate breeding of camaraderie—an unsettling urge to respond—taking shape between us. I did not resist. I kept writing, thinking that I was writing directly to you: a peripatetic nomad. But to this very moment, I do not know you. When I call you a nomad, I am trying to describe your photographs—the itinerant obliqueness, an almost euphoric derangement of your frame. I wrote as if I was corresponding with a boundless romantic, myself being one in the first place. You narrated stories to me through your images; I responded with words.
Ditch the DSLR, get a mirrorless / Ditch the mirrorless, get a P&S / Ditch the P&S, just use your phone.
One of the most interesting photographers of Shillong, i.e. one who has something to say rather than something to show, is an anonymous eye behind a 5megapixel mobile camera.
Photographer and archivist Aditya Arya was at the book launch of India by Steve McCurry’s and some questions went unanswered
Resisting the cliches which pass off as photographs of #Shillong and #Meghalaya – जिम माउलांग plods on with his low pixel mobile vision.
Only aspect of this work that depicts matriliny and what it does to girls lies in the context behind the pictures. Without that background, this is, sad to say, a blatant exhibitionism of the girls of the village, culminating in a series that doesn’t quite capture the empowered status of these girls but antithetically subjugates them to the desired outcome of the viewer who in this case is Karolin Klüppel.