The Indian Photo Festival goes digital this yr, and can start with a dialog between grasp lensmen Raghu Rai and Sebastiao Salgado on November 12
The sixth version of the Indian Photo Festival (IPF), which has been held in Hyderabad yearly since 2015, takes on a digital hue this yr. During the month-long pageant from November 12 to December 13, print exhibitions might be on show alongside the outer walkway of the Kasu Brahmananda Reddy National Park, Hyderabad, and multimedia exhibitions on the State Gallery of Art, Hyderabad. Artist Talk classes, workshops and masterclasses might be on-line (for particulars and to register, examine www.indianphotofest.com).
The IPF line-up
- Workshops: Editing workshop with Dominique Hildebrand, editor, National Geographic; documenting human rights points with sensitivity by Smita Sharma; artwork of journey images by Abhishek Hajela
- Exhibitions: Among the various exhibitions, look out for photographs by Harsha Vadlamani, Adam Wiseman and Siegfried Hansen. Documenting the COVID-19 pandemic are T Narayan, Nihal Shanigram and Adnan Abidi.
- Artist Talks: Habiba Nowrose, Adnan Abidi, Siegfried Hansen, Marcus Cederberg, Adam Wiseman, T Narayan, Vinod Venkapalli, Indrajit Khambe, Ishan Tankha, Gauri Gill, Kamna Patel, Aun Raza, Paula Bronstein, and others.
- Detailed schedule on www.indianphotofest.com
Festival curator Aquin Mathew concedes that whereas he, like many different images fanatics, will miss the personalised method of interacting with nationally and internationally reputed photographers in the course of the pageant, the digital version allows aspiring and rising photographers from different cities to tune in: “The registrations are open. Those who want to get their work evaluated can register and get portfolio reviews done by photographers from National Geographic.”
All eyes on this
On November 12, eight pm, septuagenarian grasp photographers Raghu Rai and Sebastiao Salgado might be in dialog. It took the IPF three years of persuasion to get the Brazilian photographer on board.
Speaking over cellphone, Rai describes Salgado as “a sensitive gentleman and a great human being, not just an excellent photographer of our times”.
The 2014 documentary biography movie The Salt of The Earth, which received the particular prize on the 2014 Cannes Film Festival’s ‘Un Certain Regard’ part, encapsulates Sebastio’s work throughout continents.
Rai’s affiliation with the Brazilian photographer goes again to the 1980s when the images mission ‘Workers of the World’ introduced Salgado to India. Salgado has stayed with Rai for every week, and the duo mentioned life and work.
In 2019, Rai was the recipient of the primary version of Académie des beaux-arts Photography Award — William Klein. “I was in Kashmir on work when I got a call from the Academie informing me that I was among the 16 shortlisted photographers. I was told that the jury will screen my portfolios. However, two hours later Salgado, who was on the jury, called to tell me that I won the award,” remembers Rai.
Rai travelled to Paris to obtain the award. In his deal with on the occasion, jury member Salgado said that he had seen images of India taken by him within the late 1960s when he was an economist and had been eager to do images. “‘This is the kind of photographer I would like to become’ Salgado said, talking about my work. He sounded so humble, genuine,” remembers Rai.
During the IPF session, Rai and Salgado will speak in regards to the altering tendencies in images and why younger photographers have to take a meditative method to capturing photographs moderately than search instantaneous gratification.
There might be insights into images from their respective careers that span greater than 5 many years. The session may even focus on Salgado’s work as an environmentalist. Salgado and his spouse Lelia undertook reforestation on their family-owned farmland Instituto Terra in Brazil. The sustained reforestation drive has reportedly helped flip 600 hectares of pasture land right into a biodiverse forest space. “I want to know what this farmland and the people who work there, mean to him,” says Rai.
Stark, poignant captures
Bangladesh photographer Abir Abdullah will lead an Artist Talk session on November 16, eight pm, together with a three-day masterclass. As principal of Pathshala South Asian Media Institute, he had begun conducting on-line lessons for the photojournalism course when the pandemic set in. “The online masterclass is designed in a way that it gives students the scope to do research, peer discussions and reviews along with the main presentation,” he says.
Abir is thought for documentary images, which he phrases because the “core genre to expressing my statements about the world and especially marginalised people and their stories”. He will focus on documentary images as a possible device to coach, inform and make folks conscious of the lives of others.
Abir’s photographs have captured many a disaster, together with the aftermath of the collapse of the eight-storeyed Rana Plaza the place hundreds of staff have been engaged in garment manufacturing. The pictorial tales in black and white are a telling assertion of the situations through which the workers tried to earn a dwelling. “Black white gives an abstract impression of a difficult scene or situation.”
Abir prefers to relate delicate tales in black and white: “Black white gives an abstract impression of a difficult scene or situation; black and white also lasts longer in the memory of the readers,” he causes.