Given the recent attempts, by authoritarian forces which I have been critical of, to undermine my credibility, I feel the reasons why I take photographs need to be tabled.
They say photography liberated painting from the need to be representational, freeing it of the task to show things as they are. Less than two centuries from the birth of photography, we need to consider whether photography needs to be liberated from itself. What photography excels at, its phenomenal ability to record the visible, is perhaps its Achilles heel. Not for doing it badly, as many practitioners do it phenomenally well, but because of the weight that bears down upon its shoulders. The burden of trust, rather than the erosion of it, lies at the centre of the drama, for drama is what it is. If the world is a stage then the photographer is the scribe, the choreographer, and sometimes the script writer, but rarely the one directing the play.
Ironically, it is the entity that is blamed for the demise of truthful photography, the digital sleight of hand, which is perhaps the true liberator. What photography did for painting, the computer has done for photography. Not by replacing it, but by removing the mask. Photography, like any other medium, is what its proponent makes it to be. Its fidelity makes it neither more honest nor more ethical. Those attributes continue to reside with the author, both the one with the camera and the other author, the one who sits at the editorial table. The photographer selects the frame, the editor selects the frame within which this inner frame exists. The selection of the image, the cropping, the juxtaposition with text or graphic or advert or headline, the sequencing, the timing and the hierarchy within the news pyramid, makes the photographic image the putty with which the truth is massaged. Its unintended veracity, the very tool, which others in the news-chain exploit with abandon. Continue reading “Liberating the Liberator”
Urvashi Butalia writes about the times she met and worked with the Bangladeshi photojournalist, who was granted bail by the High Court in Dhaka after 102 days of detention.
I cannot now remember when I first met Shahidul Alam, but I think it was some twenty or more years ago when both of us served on the board of an organisation called Panos South Asia. My first impression of him was of a somewhat large, bearded man who spoke with an accent I could not place. It did not take long – perhaps a few hours – for this to change and for the warm, affectionate and caring human being to emerge.
To me, Shahidul came across that time as the best kind of nationalist. He loved – he still does – his country Bangladesh. His stint abroad – I never actually knew where he has studied or spent any time – had actually left this feeling much stronger in him. He told all of us about Drik, the photo agency that showcased photographers from the global South and that fiercely protected their rights and their work, refusing to accept that simply because they belonged to the South, their value was any the less. Drik charged for their photos as did international agencies, and why not, was Shahidul’s question. Continue reading “‘The Shahidul Alam I Know Is Gentle’”
By Mahfuz Anam: The Daily Star
Who is this man whose arrest has sparked outrage and condemnation from global bodies and media, including Amnesty International, Committee to Protect Journalists (CPJ), PEN International, SAMDEN (South Asia Media Defenders Network) and publications such as the Guardian, The Washington Post and many South Asian media?
He is one of the most respected photographers in the world. Very few Bangladeshi of his profession has reached his present global stature. His pictures have been published in almost all the global newspapers and magazines in the world. He is among that elite corps of global photographers who is regularly hired by the most renowned global publications to do assignments in various parts of the world. The Guardian (London) while carrying news of his arrest (Aug 6) wrote “his photographs have been published in every major western media outlet, including The New York Times, Time Magazine and National Geographic in a career that has spanned four decades.” Only those in the world of professional photography can really appreciate the honour and prestige of getting published in the media of such renown. Continue reading “Justice for Shahidul Alam”
This year brought no shortage of other examples. Bangladeshi photographer Shahidul Alam was jailed for more than 100 days for making “false” and “provocative” statements after criticizing Prime Minister Sheikh Hasina in an interview about mass protests in Dhaka Continue reading “The Guardians: Time Magazine Person of the Year 2018”
On the night of 5 August, a couple of dozen men turned up at the photographer Shahidul Alam’s house in Dhaka. They dragged him from his apartment, bound and screaming, smashing surveillance cameras on the way out. Alam’s partner, Rahnuma Ahmed, was with a neighbour, so she could not react in time. By the time anyone fully realised what was going on, Alam had been thrown into a white van and driven off into the night’s darkness.
The following is an excerpt from “The Man Who Saw Too Much: Why the Bangladesh government fears Shahidul Alam,” by Kaamil Ahmed, published in The Caravan’s latest issue, alongside Alam’s visual account of Bangladesh’s extrajudicial killings. Subscribe now to read in full. Continue reading “Shifting the Lens”
At a time when our entire education system is in crisis, the quality of education is in question and the values that student?s inculcate is a source of fear.?A student of?Pathshala South Asian Media Institute,?in response to questions about the validity of the very certificate he has obtained, talks passionately about the institution?s pedagogic model and how he has been transformed by it.
by Mahtab Nafis?
A letter to whom it may concern
BEFORE joining Pathshala, I had studied in nine schools and one university (all certified) in this country. But never before had I found an environment similar to the one at Pathshala. South Asian Media Institute, founded by Shahidul Alam. Forget about competing, none of them are even light years close.
From a very early age I had sincere doubts and disagreements with the ?socially accepted? and ?certified? educational systems. For, all I had seen was a bunch of sheep-like people following a curriculum given by a governing body or authority without assessing, questioning or having an opinion on the teaching method or the materials. It seemed that people blindly followed the dictum ?this is how things are?, an attitude which I could never accept. Everywhere, I saw teachers give students instructions or orders to follow a rigid structure, to memorise, to cover the syllabus. Even those studying in a creative field had teachers who would promote and indoctrinate a particular pattern of thinking or school of thought. This basically means that you are thinking other people?s thoughts and are being conditioned in someone else?s mental shadow. Continue reading “On the ?uncertified? Pathshala”