Observation alone falls short; emotions merge with what our eyes perceive. An entire universe resides within the frame of a photograph. At the State Gallery of Art, snapshots revere the core spirit of World Photography Day (August 19). The impending photo exhibition, a veritable ode to the craft, adorns the space with painstaking finesse. A compelling series of landscapes, architectural poignancy, vibrant slices of life, and the teeming mosaic of streets come together in juxtapositions. Frozen moments hanging in the flow of time will transport us to familiar people and places in an instant. The theme is open-ended and remains expansively unbounded.
Delving further, international photographer and curator, Aquin Mathews tells us, “On World Photography Day, we celebrate the essence of the art itself. This day allows us to reveal the remarkable power of images. We capture fleeting moments, a panorama of emotions, and concealed stories. The exhibition will also promote a blend of cultural understanding. It’s a special opportunity to appreciate the rich plethora of human experiences,” adding that the show will feature works of 50 photographers and foster a mélange of artistic comprehension.
Simultaneously, the architectural wonders rise akin to monuments attesting to human aspirations and dexterity in design. They surpass the ordinary, prompting beholders to marvel at the fusion of imaginative foresight and finesse. Vinod Venkapalli quickly seizes the Qutb Sahi Tombs, with a solitary figure in repose, encapsulating the essence of that fleeting moment. Explaining his story, he shares, “Within this frame, I find a beautiful contrast — the backdrop, an intersection of natural elements. This captured instance where the human form converges seamlessly with the silhouetted trees, felt amazing. The thrill was immense; an unexpected gift that revealed itself fully only upon my return, when the image unveiled its details on a larger canvas.” Vinod is on the cusp of a decade dedicated to the art of photography.
“Connecting to the subjects we photograph, is more important than connecting to our families,” adds street photographer, Charles Pritam Makhal. Charles is poised to unearth Genesis, a visual narrative featuring a young lad immersed in the toils of a grocery shop. Shooting amid the bustling milieu of Gariahat, Charles divulges that Calcutta, the City of Joy, also wears the mantle of the City of Lights — each frame pulses with its luminous aura. The photograph takes us to the heart of the story — the boy, a paragon of determination, offers a helping hand to his father, who momentarily seeks reprieve from the demands of the shop. Yet, his face remains untouched by sadness or anger; instead, it radiates confidence. Charles keenly observes, “In the candid shot, I was driven by his poised demeanour. It was an arresting anomaly, for when my lens often captures children, it encounters an awkward smile or a quench. Here, however, the boy stands resolute. His greatest strength was his simplicity.”
Charles reflects that his lens has been guided by the ebb and flow of human existence — the unadulterated essence of life itself, unfiltered and unedited. He seeks to encapsulate the indomitable human spirit. Even in the face of hunger and adversity, there persists a shared semblance — a smile that endures amidst anguish. He uncovers the resilience that courses through the veins, the fight that surges even amid adversity.
Likewise, passionate about photography since childhood and nurturing this ardour for approximately 12 years now, Sai Kiran, hailing from Hyderabad, aimed his lens at the jubilant Bonalu festival in Chappal Bazar. He shares, “Anticipating the festivities, I arrived early, even before the event commenced and the performers applied makeup. My purpose was to comprehensively document the unfolding moments. Establishing a rapport, I created a comfortable environment, fostering a sense of camaraderie. This approach enabled me to infuse a touch of creativity into my work.” Within the context of Bonalu, individuals take to the streets as performers, and the resultant photograph aptly bears the title, Gods on the Street. For Sai as well, an engaging image hinges upon the connection he forges with his subjects. Beyond the technical aspects, it is this human relationship that transforms his work into a potent medium to convey simple stories — as they say, less is more.
Kishore Krishnamoorthy’s photo, A Rainy Night in Tokyo was shot earlier this year on a night drenched in raindrops in the heart of Tokyo. As he was on his way back to a metro station, he saw a trio of office workers, sheltered beneath transparent umbrellas. “The city spoke of an intimate flexibility of life. The transparent umbrellas became portals to a shared moment. Strangers became companions. Photography is all about clicking these fleeting instants and etching them onto the memory,” he adds.
Free entry. August 19. 11 am to 6 pm. At State Gallery of Art, Madhapur. — chokita@newindianexpress.com @PaulChokita