I can’t help quoting Guido, the filmmaker, in Federico Fellini’s 8 1/2, ‘ I thought
my ideas were so clear. I wanted to make an honest film. No lies whatsoever.
I thought I had something so simple to tell. Something useful to everybody. A
film that could help bury all those dead things we carry within ourselves. Instead, I’m the one without the courage to bury anything at all. When did I go wrong? I really have nothing to say, but I want to say it all the same.’
Perhaps it is the same dilemma that drives me all the time. I really do not
know how I arrived into photography. Probably what I like about this medium
is its demand for short attention spans, within which one is supposed to make
certain decisions. Besides, the freedom that lies within the constraints of
‘reality’ is something that I have learned to enjoy. I was never really interested
in studio photography or arranged shots. I have always considered the camera as a tool for candid portrayal of situations. For me, a photograph is a fraction in time and space, through which the viewer can try to gauge a picture of the continuum. Hence it becomes as important to choose what not to shoot
as against what to. I choose to identify the moment as significant.
The absence of certain elements makes way for identifying the presence of certain others. It is like understanding that darkness and light cannot exist with or
without each other.
My perception on photography is poised somewhere in between
photojournalism and art, although these are not mutually exclusive sets. Over
the past few years, it has become more oriented towards social communication over the art form, albeit I do not discount the form being the
content. I guess there is a very fuzzy boundary between those two facets of the image. Nevertheless, I always have a problem in categorizing a photograph as art or intending social responsibilities. I prefer to remain equivocal. At the end of it all, I simply wish to bring to the viewer that uncertainty. They should be able to enjoy the miasma. From there, the viewer
should be able to his/her deductions.
At a certain stage, I became aware of the responsibilities of a photographer. I have
come across numerous dispositions, each one apprehensive of their
photograph being taken. One familiar question I face is, ‘ Why do you shoot?’
to which I am yet to find an appropriate answer, for them or for myself. Again,
somebody quips, ‘ You will be shooting us poor people and selling of these
photos to America…’ I usually keep mum. I guess all of us have contributed to a lot of damage to the image of photography or of photographers, especially
in the third world. A social consciousness and compassion towards one’s subjects on the part of the photographer becomes imperative. I strongly
believe that the subject should never be shown in poor light. I try to play my
part in trying to depict the beauty that is; the ubiquitous essence of my
motherland, my people, and the amazing simplicity in their lifestyle. I am
sincerely thankful to all such people. These images would never have come
into being without them. I am deeply indebted to them.
Kaustubh Ray |
At present, I am pursuing post graduate diploma programme in animation film design from the National Institute of Design, Ahmedabad.
Till date, my photographs have been exhibited in several exhibitions nationally as well as internationally. My first solo exhibition of works was organized by Alliance Francaise, Ahmedabad and then in Baroda, India. |
','Image'))
','Image'))
','Image'))
','Image'))
','Image'))
','Image'))
)
','Image'))
','Image'))
','Image'))
','Image'))
','Image'))
','Image'))
','Image'))
','Image'))
下一位艺术家
回到上面
)
)
)