While I was still in school, the Oil India Limited conducted a survey in Rahmoria, following which they started digging out crude oil from Rahmoria. Just after a few years, it was shut down after protests by the people of Rahmaria. The people of Rahmoria were seeking for a permanent solution for river erosion. The state came digging for oil, but the decades-long problem of the area was not under its purview. Rather, as many local agitations would show, such ventures of resource extractions bring new risks and hazards. Callousness towards the local people and ecology is, indeed, inherent in the very model of extracting the resources. Sometimes the risks turn into disasters of unmanageable proportion. In the last decade, the fire in the Dikol oil field was one such disaster. The inferno that happened in Baghjan area – an ecologically very sensitive area, situated next to Dibru Saikhowa National Park – was even bigger than the inferno in Dikom oil field. I went to Baghjan the very next day of the incident, and several times thereafter. The village was reduced to ashes. The first thought that came into my mind was that the after-effects would linger on, as the state would shrug off its responsibility.
It is the season for bambooshoot in Northeast India. Hundreds of women venture into the forests during these months to forage for the tender shoots. Some are consumed fresh, and a large quantity are fermented and preserved. As condiments, fermented bambooshoot (dried or wet) are generously added to meat, fish, and vegetables.
The Whole Family’ is a photo project that portrays the emotional longing of the family members of the missing. It is an artistic intervention in support of them as they continually ask the authorities about the whereabouts of the enforced disappeared people during the 10 years long People’s War in Nepal.
It is a reenactment to create a complete family photo that portrays the vacuum created by the loss of the family member. This photo project focuses on the emotional loss and shows the current socio-economic situation of the remaining family members.
On 5th August 2020 the Bhartiya Janta Party lived up to its promise of ‘Mandir Vahin Banega’ as India’s Prime Minister laid the foundation stone of a temple at the place of a historical mosque demolished by the same party in 1992 in Ayodhya. While preparations of a grand temple in Ayodhya are on, it must be remembered that just a couple of years back in 2017, the Sardar Sarovar dam was inaugurated by the same Prime Minister with great fanfare in which large number of religious places of the Adivasis, Hindus, Jains and Muslims were drowned in the dam waters permanently.
The pandemic has opened up a whole new, yet familiar backdrop of self speculation through my lens. The images chronicle the mundane setting around my own domestic space, featuring my family of six members and the choices I make to freeze moments for eternity. They have been created alongside many thoughts running through my restless mind during the lockdown appending my state of mind, my political stance, my privileges, my body image, my space, my relationships, my priorities, my future and how we would turn out after all this is over.
PhotoEssay by one of the most important photographers from Khasi Hills
7 Photos by Satish Sharma
Luz Almanza, Jaime Peña and Rocio Campos have more in common than living around the same football field, the site of one of Colombia’s most horrific massacres. On 16 May 1998, all three lost a family member. Their organizing in search of the disappeared and defiance of state impunity is what binds them.
The image she shows me on her laptop shows smears of blood on the floor, discarded clothing and prayer mats at one corner of the corridor. No action. No people. But Sanna Irshad Mattoo, one of Kashmir’s growing bunch of women photo-journalists, conveys the potential of objects and belongings to bear “witness”. The inanimate speaks out of the terrible violence that stains, not just the hospital floor, but, as the hashtgag suggests one that has permeated the soul of Kashmir.
“The Ken is considered to be one of India’s cleaner rivers. It is part of the Ganga basin and meets the Yamuna at Chilla Ghat in Banda District, Uttar Pradesh. To closely understand the Ken, this walk along the Ken was organised by SANDRP – South Asia Network on Dams, Rivers and People from Delhi and Veditum India Foundation from Kolkata. The difficult terrain of the Ken River and the harsh weather required this journey to be undertaken in multiple parts (June 2017, October 2017 and April 2018) and took 33 days to complete this over 600 km journey on foot, where they discussed issues of the river, water, agriculture, the proposed Ken Betwa project and other socio-environmental topics with villagers in over 60 villages.”
Born and brought up in Guwahati, I have a bond as deep as an umbilical cord with the city. Living outside the city and the state for almost fourteen years now, I have been through my academic and creative pursuits in the recent past, trying to explore non-mainstream narratives of Assam. This is a project that I embarked on since 2016 where I am trying to map the cityscape through my camera.
Six freelance photographers document the ‘Bhima Koregaon’ protests on the 3rd of January in Mumbai, representing themselves not as members of the mainstream press who clearly ‘not welcome’, but as people who wanted to document history in the making
Here is a place where it is a matter of pride to be casteist and a matter of pride to be against people who are not your own creed or clan. With relation to the current election, one thing I heard repeated over and over again by the people I met (privileged upper caste) was that Congress is a “Muslim” party and will bring back the riots of the 80s and we have already shown them their place on the other side of the river and we don’t want them back.
Tagging two of his friends, Mizanur Rehman, a young primary school teacher of Naskara Lower Primary School in lower Assam’s Dhubri district, uploaded a photograph in the morning hours of 15th August on his Facebook timeline. The photograph featured an elderly man, a male adolescent, and two toddlers saluting the fluttering Indian flag while murky flood waters rose upto their chest, threatening to engulf their salutations. By afternoon, most people had seen and shared the post, the image itself had been catapulted to the heavenly skies of social-media circulation. Detached from the original context, it moved freely as a lone object.
When we were sitting in the park in Surya Nagar, I had asked him about the title conferred on him by a magazine – The Henri Cartier Bresson of India. I had a feeling that he doesn’t enjoy the title much and he insisted on being called as the S Paul of India, if referred to as anything apart from his name. Most of us would kill to be compared on that scale yet Paul wasn’t.
Witness / Kashmir 1986-2016 / 9 photographers – can never be confused with the old ‘touristy’ coffee table relics of photography I remember, not even by accident.
“Every year, during the Hindu month of Ashaada, the Pochamma Panduga is celebrated in the Pochamma Devi Temple situated in Kamathipura, Mumbai
On this day, members of a Telugu speaking community from Telengana, settled in Mumbai for over a century, congregate here.
They offer sacrifices and prayers to Pochamma Devi.”
Souvid Datta’s work has always been problematic, that is independent of the recent plagiarism charges or the ethics of photographing a trafficked minor being raped. The fact that his work got to travel tells you all you need to know about the nature of what constitutes the photographic industry today.
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
Hindutva imagery and messages from the streets of Mumbai.
The JNU episode hasn’t just questioned the manner in which citizens and students approach politics, but also shady media practices, doctored videos and rabid television presenters.
I met the man decades ago and even then he was manipulating his pictures.
I have watched him rig his pictures when he was shooting chrome film.
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
There is a library, waiting to be touched, everywhere.
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.