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CALL FOR ENTRY Chobi Mela X International Festival of Photography, 2019


Chobi Mela X
International Festival of Photography, 2019

No heaven, no hell, no ever after, do I care for when I’m gone
Peace here I seek, in this sand and soil, this place where I was born
As oceans deep, as deserts wide, as forests and fences loom
As children die, as lovers sigh, no cross, no epitaph, no tomb
As bullets whiz by, as shrapnel shard, as hate pours from above
As blue skies curse, the wounded I nurse, as spite replaces love
It is home I long, as I boundaries cross, a shelter that I seek
A world for us all, white brown short tall, the boisterous and the meek
If my bosom is raised, or my beard is long, or I sleep with the ‘wrong’ kind
If my politics isn’t yours, nor my country of birth, a terrorist you will find
You return my boat to the cruel sea, back to the wars you wrought
Walls you will raise, to keep me at bay, my children in danger fraught
I love the land I was born in, the tree that gave me shade
My broken home, my shattered dreams, slain lover that goodbye bade
My slanted eyes, my dread lock hair, my tongue though strange may be
I bleed red blood, as flows in your vein, Is there a place in your heart for me?
-Shahidul Alam



WORKSHOPS in Nepal by Annu Palakunnathu Matthew

Organised by Photo Circle 3 – 6 December 2012 

Old photographs remind us of our past and where we have come from and the silent stories that these photographs insinuate. Participants will reconsider notions of perception of memory and identity as they relate to history and photography?s presumed veracity. To create work, participants will explore existing photo archives, their own family photographs, film footage and objects related to their families in order to create work related to their identity and perceived memories. The workshop?s primary focus will be related to photography but participants can use this as a springboard for creating work in other media such as collages, stop motion animations, videos and installations, sound installations, oral histories, etc. Discussions and slide shows will be conducted in the mornings and students are expected to work on their projects in the afternoons. This workshop is for anyone- writers, musicians, housewives, photographers- who would like to explore the way memory can be shaped and reshaped.

The Making of PAPA

Book launch

V2_ is pleased to host the book launch of ?The Making of PAPA? – Participating Artists Press Agency, by Lino Hellings. With live demonstration by the editors: Hans Aarsman, Lino Hellings and Nienke Terpsma.

Book launch: The Making of PAPA
A few years ago Lino Hellings, artist and sociologist, set out into the world with the idea of establishing an international artists? press agency with a loosely affiliated network of photographers. PAPA ? participating artists? press agency ? is the result. The News PAPA gathers is about how people cope in life. How do you do that?
The editors (Hans Aarsman, Lino Hellings, and Nienke Terpsma) and V2_ invite you for the book presentation of The Making of PAPA. The book combines a DIY manual, an introduction to the cities in which PAPA has operated so far, visual essays by a mix of photographers and a text on the bottom-up creation of PAPA, and its first adventures.
Hans Aarsman, Lino Hellings and Nienke Terpsma will give some live demonstrations on ?How do you do that??.
At the launch you can buy the book at a reduced price of ? 25,-

The Making of PAPA

By Lino Hellings
Editors: Hans Aarsman, Nienke Terpsma, Lino Hellings.
Book design: Nienke Terpsma
Text editing (Dutch): Rob van Maanen
Translation: Gerard Forde
Lithography: Sebastiaan Hanekroot for Colour & Books
ISBN 978 94 6083 066 2
Post editions Rotterdam/the Netherlands
Drik Dhaka/Bangladesh
Price ? 30.00 (at the launch ? 25.00)
Paperback / 364 p /17 x 24 cm

A liar may take photographs

Photo Tampering throughout History

In 1909 Lewis Hine spoke at a social work conference on the subject of photography and social reform:?

The picture is a symbol that brings one immediately into close touch with reality. In fact, it is often more effective than the reality would have been, because, in the picture, the non-essential and conflicting interests have been eliminated.
The average person believes implicitly that the photograph cannot falsify. Of course, you and I know that this unbounded faith in the integrity of the photograph is often rudely shaken, for, while photographs may not lie, liars may photograph.
Editor: Today, liars may become presidents, lawmakers and generals, and all use sophisticated spin techniques, relying largely on photography for deception; to gain power, amass profits and lead us to war. It is vital therefore, that learning this language becomes part of our basic education.
Though photo manipulation has become more common in the age of digital cameras and image editing software, it actually dates back almost as far as the invention of photography. Gathered below is an overview of some of the more notable instances of photo manipulation in history. For recent years, an exhaustive inventory of every photo manipulation would be nearly impossible, so we focus here on the instances that have been most controversial or notorious, or ones that raise the most interesting ethical questions.

c1860 Lincoln

This nearly iconic portrait (in the form of a lithograph) of U.S. President Abraham Lincoln is a composite of Lincoln?s head and the Southern politician John Calhoun?s body.

This print (Library of Congress, Prints & Photographs Division) appears to be of General Ulysses S. Grant in front of his troops at City Point, Virginia, during the American Civil War. Some very nice detective work by researchers at the Library of Congress revealed that this print is a composite of three separate prints: (1) the head in this photo is taken from a portrait of Grant; (2) the horse and body are those of Major General Alexander M. McCook; and (3) the background is of Confederate prisoners captured at the battle of Fisher?s Hill, VA.

In this photo by famed photographer Mathew Brady, General Sherman is seen posing with his Generals. General Francis P. Blair (far right) was added to the original photograph. The photo on the left is another image from the same sitting, at which General Blair was not in attendance.

Mohammad Ali Salim

Remembering the BPS (Bangladesh Photographic Society) Days

Mohammad Ali Salim was awarded several distinctions including: EFIAP/s (Excellence FIAP Silver) distinction from The International Federation of Photographic Art, EPSA (Excellence PSA) from Photographic Society of America, AIIPC (Associate of India International Photographic Council), and ABPS (Associate of the Bangladesh Photographic Society).
Salim was born in 1959 and has been photographing since 1972. He received his diploma in Professional Photography from the New York Institute of Photography in 1995. Salim?s work has been shown around the world including solo exhibitions in Australia, Bangladesh, Italy, India and the United Sates.
He had numerous acceptances in FIAP approved and PSA recognized international salons throughout 56 countries. Salim received 135 international awards including Grand prize, 3 PSA Gold, CPI Gold,? Asahi Shimbun Gold, FSS Gold, Janez? Puhar Silver, 4 ? ICity Trophy Monte Sant’Angelo silver,PSA Bronze,? Algarve Mammal, Norga Medal and FIAP/PSA HM.
Salim had many publications including work featured in ?The World and I? magazine published in Washington D.C.,”Where Three Dreams Cross” – 150 years of photography from India, Pakistan, Bangladesh; Published by Whitechapel Gallery, London; and works published in several countries including Australia, Canada, Japan, and the United Kingdom.