ShahidulNews

Journeying with Mahasveta Devi

Shahidul Alam — Fri, 03 Feb 2012 14:41:46 +0000

This is a sequel to an earlier film ‘Journeying with Mahasveta Devi’, and the second in the trilogy being made on the Magsasay Award winning writer-activist made by Drik India. The viewed and the viewer, the act and the response, form the basic pattern of this film and closes up further with both the inner-self and the outer-self of Mahasveta Devi.

The film has been selected in the international competitive section at Mumbai International Film Festival 2012.

WB finds graft rampant in govt, NGOs

Shahidul Alam — Fri, 03 Feb 2012 06:14:18 +0000

By David Bergman
The New Age
Thursday, 2 February, 2012

Five non-governmental organisations have admitted to the World Bank that they made corrupt payments to Bangladesh government officials to receive contracts under a bank-funded project.

The admissions are contained in a report of an investigation which the World Bank’s Integrity Vice President conducted into the disbursement to hundreds of NGOs of part of a $53.3 million loan that the bank had given the Bangladesh government to further post-literacy continuing education.

Four of the five NGOs told World Bank investigators that to get a contract under the project, which lasted between 2001 and 2007, they each had to pay at least Tk 100,000 in bribes to government officials, money that was channelled to the officials through intermediaries.

Some NGOs had to pay as much as Tk 600,000 in bribes to obtain a contract, the investigators were told.

The World Bank investigation report also found that almost half of 470 NGOs which government officials had selected to receive a contract ‘were found to be non-compliant with the qualification criteria’ and that at last 61 of the NGOs had falsified their experience certificates.

Iftekhar Zaman, executive director of Transparency International, told New Age, ‘This is a clear testimony to the concern that corruption has become deep and wide. While it cannot be concluded that everyone in the government and the non-government sector is corrupt, it certainly indicates that the win-win game of corrupt transactions is ominously eroding the moral and ethical fabric of society.’

‘This being in the education sector is tantamount to stealing both the present and future of the country,’ he added.

The investigation report has been made public as part of the new 2011 disclosure policy of the Integrity Vice President, the part of the bank which investigates corruption and fraud allegations concerning the use of the bank’s money.

The report does not publish the names of government officials alleged to have taken the money. The names of NGOs barred from bidding for World Bank contracts for a period of three or four years, some of them because of their fraud in this project, however, can be found separately in a database on the World Bank web site.

At least three of the organisations in the database — Samajik Sangha in Dhaka, Development Action Centre in Chuadanga and Bittohin Chasi Somaj Kalyan Sangstha in Pabna — were sanctioned because of fraud on this project.

The report on the World Bank project to fund post-literacy continuing education is the only investigation involving a Bangladesh project that has so far been published by the World Bank.

According to the investigation report, one NGO representative said, ‘All NGOs had to make payments to receive contracts under the project unless the NGO was well connected politically to senior GOB officials.’

A representative of another NGO, not amongst the five who admitted to paying bribes and referred to as F in the report, told the investigators, ‘No NGO, no matter how experienced, could win a contract without a minimum payment of BDT 100,000.’

The person is also quoted as saying that he had been told that ‘officials had to “make money” before contracts would be awarded.’

A representative of another NGO, referred to only as G in the report, told investigators that he knew of one NGO that had paid ‘a total of approximately Tk 2,00,000’ to get a contract while another paid about Tk 6,00,000.

The report said that ‘these two NGOs had [reportedly] made the payments to a number of GOB officials.’

The investigators also found that 202 of the 470 NGOs — 43 per cent of the total — that had been initially selected to participate in the final phases of the project did not satisfy the minimum selection criteria for receiving a contract.

The criteria included that the NGO had to have established premises, two years of experience in working on non-formal education and have trained managerial and technical staff in the area, have a constitution and managing body, and have experience in organising programmes for women and children.

The investigation also found out that at least 61 NGOs had submitted fraudulent experience certificates in their bid submissions.

‘These 61 NGO’s submitted… experience certificates purportedly issued by five established Bangladesh NGOs stating that they had performed work for one of more of [them],’ the report stated.

‘Collectively, the five established NGOs informed [the investigators] that the certificates submitted by at least 61 of the NGOs bidding for contracts under the project has been falsified and that these 61 NGOs had never done [non formal education] work for them,’ it went on to state.

The report states that the office of the Integrity Vice president requested each of the 25 NGOs which went on to receive a contract from the government to show cause why the organisation should not be sanctioned.

Six NGOs replied to the show cause notice by admitting that they had submitted falsified NFE experience certificates. Seven other NGOs replied by denying the stated findings but the World Bank ‘found their explanations and denials inconsistent with the available evidence.’

The remaining 12 NGOs never responded to the show cause notices.

In January, New Age disclosed that Bangladesh topped the list of countries with the highest number of organisations or individuals that had been sanctioned by the World Bank in the last three years.

In October 2011, the World Bank announced that it would not start disbursing the $1.2 million loan it had agreed earlier that year to give the Bangladesh government to fund the construction of the Padma bridge because of concerns about corruption and fraud.

Report on which this article was based

Drik to represent World Association of Newspapers

Shahidul Alam — Thu, 02 Feb 2012 08:20:22 +0000

Chennai, 1 February 2012

For immediate release

WAN-IFRA Appoints Representative in Bangladesh

To take WAN-IFRA services closer to publishers in the country

The World Association of Newspapers and News Publishers (WAN-IFRA) has appointed Drik Picture Library Ltd., the leading picture and news agency of Bangladesh, as its representative in the country, in a move to bring WAN-IFRA’s services closer to local publishers.

As each country in the Indian sub-continent displays unique characteristics and challenges, the representation will help to address the specific needs of Bangladesh’s publishers and will include local media events and training.

“‘We are very happy to appoint Drik Picture Library as our representative in Bangladesh,” said Magdoom Mohamed, Managing Director of WAN-IFRA South Asia. “Our relations with Dr. Shahidul Alam, Managing Director of Drik Picture Library, goes back to more than 8 years and we share some common ideas of what needs to be done to help improve the media industry in Bangladesh. We are confident that this relation will go a long way, and, with Drik’s respected position in the country, it will enable seamless rendering of all WAN-IFRA services to the publishers in the country.”

Dr. Shahidul Alam said: “Drik has found a natural partner in WAN-IFRA, as both are trade organizations with a human right’s mandate. The Newspapers in Education programme is also an area where the mutual interest in media and education of both organisations provide synergy. Drik’s pioneering role in new media and ICT creates a clear path for the partnership to utilise the dynamism in Asian media and propel it to new heights.”

WAN-IFRA already has a publisher member in Bangladesh, The Independent daily newspaper.

This year, WAN-IFRA will organise its twentieth annual South Asian Conference, WAN-IFRA India 2012, on September 26 and 27 at Pune, India. The conference will address the challenges and opportunities for news publishers in the region and provide a direction into the future of the news publishing industry in the region.

WAN-IFRA South Asia, based in Chennai, India, manages services offered to the members and publishers in the South Asian region.

About WAN-IFRA

WAN-IFRA, based in Paris, France, and Darmstadt, Germany, with subsidiaries in Singapore, India, Spain, France and Sweden, is the global organisation of the world’s newspapers and news publishers. It represents more than 18,000 publications, 15,000 online sites and over 3,000 companies in more than 120 countries. Its core mission is to defend and promote press freedom, quality journalism and editorial integrity and the development of prosperous businesses.

For more information, please contact: Magdoom Mohamed, Managing Director, WAN-IFRA South Asia Pvt. Ltd., 54 K B Dasan Rd, SIET Administrative Building, 3^rd Floor, Chennai 600 018, India (T:+91.44.4211 2893 F:+91.44.2435 9744). Email:infoindia@wan-ifra.org (or) Dr.Shahidul Alam, Managing Director, Drik Picture Library Ltd., House No.58, Road 15A, Dhanmondi Residential Area, Dhaka 1209, Bangladesh (T:+880.2.9120 125). Email: office@drik.net

Frank Fournier at Pathshala

Shahidul Alam — Thu, 02 Feb 2012 05:16:58 +0000

Omaira Sanchez (12) is trapped in the debris caused by the eruption of Nevado del Ruíz volcano. After sixty hours she eventually lost consciousness and died of a heart attack. Photo: Frank Fournier

Pathshala, the South Asian Media Academy takes pleasure in inviting you to the presentation of Frank Fournier in Pathshala.

Frank Fournier is a French photographer. He originally studied medicine before becoming a photographer. He moved to New York and became a staff photographer at Contact Press Images in 1982 after joining the office staff in 1977. His portrait of Omayra Sanchez, a 13-year-old trapped under the debris of her home, won the 1986 World Press Photo award.

Frank is currently in Bangladesh to conduct a workshop on international reporting at Sylhet in the north east of Bangladesh. He is one of three international photographers, the others being Greg Marinovic (Kolkata), and Philip Blenkinsop (Kathmandu), who will be lead trainers in workshops involving photographers in Bangladesh (organised by Pathshala), India (organised by Drik India) and Nepal (organised by Photo Circle). Pathshala tutors Munem Wasif (India), Tanzim Ibne Wahab (Nepal) and Debashish Shom (Bangladesh) who along with Per Anders Rosenkvist of Oslo University College (OUC) in Norway, will provide mentoring throught the workshop.

Pathshala has been actively collaborating with OUC for over six years, and students from Bangladesh, Nepal and Norway have been involved in exchanges supported by the Norwegian Ministry of Foreign Affairs.

Frank’s presentation follows talks by David Burnett (December 2011) and Pep Bonet (January 2012) and is part of the regular teaching programme at Pathshala.

The schedule of the presentation:

Date: February 04, 2012
Day: Saturday
Time: 6.00 pm
Venue: Pathshala (Room # 1)

Dhaka 9 to 5

Shahidul Alam — Thu, 02 Feb 2012 00:13:49 +0000

Le reportage de Caroline Gillet :

Reportage on Wahid Adnan and Bangladeshi photojournalism on French Radio.

Dhaka commuters on double decker bus. Photo Wahid Adnan/DrikNews

Le Bangladesh serait le pays où l’on trouve le plus de photojournalistes. Si c’est vrai, c’est en grande partie grâce à Shahidul Alam qui a lancé là-bas une école pour former les jeunes à la photographie. Pour que le Bangladesh se regarde dans les yeux, pour qu’on arrête de le regarder de loin, d’en haut. Pour ne pas laisser aux ONG le monopole de l’image. Rencontre avec Wahid Adnan, un jeune photojournaliste bangladais et avec son professeur, Shahidul Alam. Un reportage de Caroline Gillet

Pour voir les photos de Wahid Adnan – et sa série “Dhaka 9 to 5″:

Wahid Adnan © Wahid Adnan – 2012

If It Bleeds

Shahidul Alam — Wed, 01 Feb 2012 23:54:05 +0000

“Weegee: Murder Is My Business” Through September 2. International Center of Photography, New York.

Weegee’s photographs are as much about Weegee as they are about crime.
By James Polchin

Weegee strikes again
Body of Dominick Didato, Elizabeth Street, New York, August 7, 1936.

In the fall of 1978, the International Center of Photography mounted the first retrospective of Weegee photographs. Reviews of the show were positive, though the reviews often centered on debates about the artfulness of Weegee’s tabloid images. The New York Times critic began with the very conundrum of this tension between art and news photography: “It is always faintly alarming to see the photographs of Weegee on exhibition at a museum or gallery. They were not made for exhibition but to be reproduced in tabloid newspapers.” Despite this beginning, the review affirms Weegee’s importance in American photography, and argues that his work influenced later artists such as Diane Arbus and Garry Winograd.

Just a few months before this retrospective opened, John Berger published his essay “The Uses of Photography.” In the essay, he makes a crucial distinction between private and public photography:

In the private use of photography, the context of the instant recorded is preserved so that the photograph lives in an ongoing continuity. (If you have a photograph of Peter on your wall, you are not likely to forget what Peter means to you.) The public photograph, by contrast, is torn from its context, and becomes a dead object which, exactly because it is dead, lends itself to any arbitrary use.

For Berger, public photographs — these dead objects — float in a stream of images such that the subject of any particular photographed moment or event turns into a generalized reality absent of context. Like much of his writing in this period, Berger’s concerns were directed to the political force and ethical values of photojournalism.

This moment in the late 1970s also saw the publication of Susan Sontag’s collection of essays On Photography. In it, Sontag presents her focused critique that photographs have created a “chronic voyeuristic relationship” to the world around us. There was no better example of this critique than Weegee’s tabloid images of urban street life and crime scenes, all of which appeal to our voyeuristic tendencies. His revival emerged within these new, critical views of our image culture, and discussions of his work have often been enmeshed in these debates. Though his photographs haven’t changed since the 1970s, our relationship to them has.

Weegee: Murder Is My Business engages a different approach to the photographer’s archive. Eschewing concerns about art, the show focuses instead on the self-invention of Weegee amidst the rise of tabloid newspapers in the 1930s and ’40s. In a show whose title contains “murder,” it is not hard to think of his images as dead objects. But in the context of Berger’s ideas, I began to rethink exactly what the word “murder” refers to.

The title echoes Weegee’s eponymous, first gallery show in 1941 at the Photo League, which presented his tabloid photographs of crimes and gang violence. It is tempting to contemplate the many analogies between camera shots and gun shots — a revolver looms overhead in the entrance hall, aimed at a wall-sized photo of Weegee, camera in hand. What is so unsettling — and constantly compelling — about Weegee’s work has little to do with the actual murders he framed, or even how they provoke our chronic voyeurism. In wandering this show, with its focus on Weegee’s self-promoting vitality and the many displays of actual tabloids that published his work and created the aura of Weegee, I began to understand why his work has remained so engaging and debated. His images destroy so many of our sentimental ideas about photography itself.

The show presents a finely curated collection of photographs of the chaos of urban life, from fires to accidents to corpses and, throughout, the crowds of onlookers who revel in the scenes of destruction. Weegee, who made a career photographing the gangland crimes and gruesome tragedies of New Yorkers for the tabloid press in the 1930s and ’40s, had a certain irony about his work, and, as this show makes clear, a way of exploiting our fascination for murder.

Police officer and lodge member looking at blanket-covered body of woman trampled to death in excursion-ship stampede, New York, August 18, 1941

The first gallery recreates the small studio and apartment that Weegee rented at 5 Center Market Place, just across from police headquarters. The disheveled space looks more like an abandoned subway station than a photographer’s studio. The bed is here. The small side table. Shoes at the ready. And above the bed a recreated collage of news clippings and tear sheets of the photographer’s work, yellowed and fragile as so much of the room appears. Near the recreated room hang photographs taken of the actual room, Weegee lying on the bed, cigar in hand, next to a radio and alarm clock. While patrons were clearly intrigued by the studio recreation, it mirrored a kind of mimetic diorama that one might encounter in a Disney-inspired exhibition. While the curators refrained from a wax figure of the photographer, I did wonder if they had fallen too deeply for Weegee’s self-promotion antics.

These photographs were part of Weegee’s consistent self-promotion. He was not the kind of photographer to stay behind the camera. The first gallery, “Photo Detective: Weegee and the Art of Self-Invention,” presents a number of his self-portraits in the studio and at crime scenes, holding his iconic Speed Graphic camera with the large, bulbous flash. These were the cameras that would shoot a blinding light at the subject, the flash hot and intense. The effect was to create brightly lit subjects against a nearly black background, a film noir aura similar to a deer caught in the headlights.

Unidentified photographer, “On the Spot” (1938)

In one self-portrait, Weegee lies on the floor of the paddy wagon, his camera pointing at us as we look inside the car. Clearly taken by someone else (a police officer, perhaps), the image looks more Hollywood publicity photo than crime shot, with Weegee playing the role of both voyeur and criminal.

One intriguing set of photographs show him posing as a criminal in each stage of an arrest. He was hired by the newly launched Life magazine to picture for them the actual police procedure. As his reputation and success grew in the 1930s, he began to stamp his photographs on the back with a circular seal that read “Credit Photo by Weegee The Famous.”

Born Usher Ferllig to a Jewish family in a small village in what was then Austria (and is now part of Ukraine) in 1899, he and the family immigrated to New York 10 years later, settling in the overcrowded immigrant tenements of the Lower East Side. The working-class streets and neighborhoods would eventually be the world he captured for the tabloid press, turning an eye away from the often photographed grander of the city’s rising skyline. His photographs lack the quite certitude of Paul Strand or the lyrical frames of Edward Weston. Weegee’s New York is one of chaos and confusion, of narrow streets and tenement buildings, of people caught in mid-action, recovering from an accident, fainting at the news of a love one killed. These are spectacles of theater, where one murder scene looks similar to another, where the crowd in Hell’s Kitchen nearly mirrors the spectators in Brooklyn.

As his ambitions to be a freelance photographer grew, he took on the moniker Weegee, suggesting both his work in a dark room as the squeegee boy, but, more likely, connoting the a mystical aura of the Ouija board that was gaining popularity in the 1920s for its supposed power of foresight. He was often at a crime scene before the police, a reality made possible by his special police radio. He once claimed that Time magazine paid him by the bullet. His famous 1945 photography book Naked City, which turned him from New York tabloid photographer to a noir poet of the urban chaos, contains a photograph of a receipt from the venerable magazine listing “Two Murders” and the payment of $35.00.

But the bodies of gangland killings are really not what engages us most about Weegee’s “murder” photography. Rather, it’s those photographs of spectators, of those left behind, of family members and neighborhood kids and girlfriends, whose reactions are caught in flat white light in a moment of curiosity or pain. Weegee’s photographs lack a story. They give us a moment, a flash of light with a headline. “At an East Side Murder” captures a standing crowd along the sidewalk opposite from Weegee’s camera.

“At the East Side Murder” (1943)

You notice the few faces staring back at you much more than you notice those straining necks and varied emotions of the onlookers getting a glimpse of the body, which must be quite near Weegee. In these images, with their ambiguous captions, the murder scene becomes a stage upon which Weegee captures the reactions of the audience. He was in love with spectators. Naked City is filled with close-up shots of onlookers in Harlem jazz clubs, in Greenwich Village bars, or in a famous series of photographs of a young girl’s reactions at a Frank Sinatra concert. These spectators illustrate a generalized public. Weegee suggested that the image and the street life blurred into one, writing in the introduction to Naked City, “[A] photograph is a page from life, and that being the case, it must be real.” Like walking through the city, his photos can easily slip between places and even years, for they represent an idea of the city instead of documenting a condition of its being. We can take pleasure in looking, in looking at those others looking. We can be captivated by the “life” that he presents us in all its arresting uncertainty.

Weegee knew that everything becomes theater in the tabloid press. He captioned his images to fit the dramas. “Balcony Seats at a Murder” presents a long shot of two buildings with their residents huddled on the fire escapes and open windows looking down as long-coated police detectives stand around the entrance to the “Italian Café” in Little Italy. The entrance is blocked by the body of man, his legs stretched onto the sidewalk, half hidden from view.

“Girl jumped out of car, and was killed, on Park Ave” (1938)

Consider the most famous of these spectator images, “Their First Murder.” Captured in 1941, the photograph presents a closely framed group of school children pushing and pulling against each other, looking off to the body of Peter Mancuso, gunned down on the sidewalk as he was walking with a newspaper. But we don’t see Peter. We only see the reactions. The faces range from the anguish of the victim’s aunt in the center, to utter glee on the face of a blond boy on the left, to confused concern by two boys in the back. But it’s the girl in the foreground, staring up with knitted brows and projecting a look of concern and contemplation, that unsettles us. Weegee’s photographs often contain someone in the crowd staring back at him — back at us — and reminding us that these photographs are more about the act of looking than the subject we are looking at.

“Their First Murder” was reprinted many times. The exhibition usefully displays its publication in both tabloid press and later in an article in U.S. Camera that noted the photograph was part of the Museum of Modern Art’s “Action Photography” exhibition, where curators called it the “greatest news photograph of the last 10 years.” Throughout, the show makes a careful effort to give context to the publication of Weegee’s work, displaying pages from tabloids and offering touch-screen monitors to explore more precisely his works and history. Soundtracks permeate the galleries. Jazz and polka music mix with the sounds of a passing elevated train and the haunting screams of 1940s police sirens. With the recreation of his studio and the touch-screen displays that playfully present history as an interactive effort, the galleries evoke more a natural history exhibition than a photography show. But such elements underscore how much this show wants to draw viewers back to the era, to give context to these images that so often float about in our visual record of mid-century New York.

The heart of the show is a partial recreation of Weegee’s exhibition at the Photo League in 1941. This strange show-within-a show further invites visitors to imagine the experience of Weegee’s work as it was viewed at the time. The Photo League was a small, progressive group dedicated to social documentary photography. Members turned their cameras toward the destitute and working-class of the city, capturing the specific realties of the margins of the city. While Weegee resisted a political position in his photography — he was keener on profits than political ideas — the Photo League directors appreciated the social diversity and working-class hardships in his images. The centerpiece of that 1941 show was a display of murder photographs, framed on large white boards, with drawings of revolvers in the corners, each dripping with red nail polish that Weegee applied for dramatic affect. Elements of blood and wounds in the photos themselves were also highlighted with red nail polish, turning the images from chiaroscuro to an arresting horror evoking more sensation than artistry.

Eventually, the Photo League’s support faded, for Weegee’s work lacked a documentary stance. But these shows secured for him a reputation beyond tabloid journalism and encouraged him to complete Naked City. It was this book that brought his work to a national audience, with positive reviews in major city newspapers. It also marked the end of his work as a crime journalist of the mean streets of New York. He briefly left New York for Hollywood. He experimented with films and photographic effects, but nothing afterNaked City compares to his work as a photojournalist.

Weegee’s appeal today rests in how his images reflect our contemporary notions of photographs as intangible objects of ephemeral moments. Our photographs are mostly public now, dead objects, as Berger would say, that offer a generalized account of life, found on Flickr pages, online profiles, tabloid websites. Weegee’s scenes of murder and mayhem engage us and haunt us because they fit well with our way of looking: a collage of the strange and surreal, photographs where context is often stripped away, leaving us with images that swirl in the stream of hundreds of other images, each a flash of joy or tragedy echoing other, similar images. A belief in a photograph’s uniqueness evokes a kind of sentimental nostalgia when the digital archive of our lives and the lives around us accumulates with rapid speed. Weegee’s images teach us this. I suspect they feel more contemporary to us then they did in the 1930s and ’40s. Like those haunting faces in the crime scene crowds, which beckon us with their stares, our continuing fascination with Weegee’s murders suggests all that has changed in the simple act of looking. • 27 January 2012

James Polchin teaches writing at NYU and is the founder and editor of the site Writing in Public.

All photographs © Weegee/International Center of Photography.

Eduardo Santiago’s Reviews > Shahidul Alam: My Journey as a Witness

Shahidul Alam — Tue, 31 Jan 2012 19:48:29 +0000

My rating:

Shahidul Alam: My Journey as a Witness
by Shahidul Alam, Rosa Maria Falvo (Editor)

Eduardo Santiago‘s review

Jan 01, 12

Recommended to Eduardo by: Ginger
Painful to read. Troubling… but beautiful and inspiring as well. Alam comes across as deeply bitter, but unlike the rest of us he uses that to make this world a better place. Through his photography, his words, his actions, he brings truths to light. Beauty, too.

This is not a coffee table book. It’s not even mostly a photography book. It’s … autobiography? Geopolitical venting? Self-congratulation? Those but also much more. From my privileged first-world position it’s difficult to understand this book in context, to know where Alam is coming from. It’s easy to accept his perspective, to be temporarily outraged, and ultimately to do nothing because the third world (“Majority World”, as Alam insightfully calls it) is so remote.

Despite that, despite Alam’s occasionally difficult prose, I think this is a book worth reading and absorbing. A perspective that may be new to many of us. A reminder of so much that still needs to be fixed in this world, and that there are people fighting to fix it.

International Conference on Photography of India

Shahidul Alam — Mon, 30 Jan 2012 14:27:34 +0000

International Conference on Photography of India

Inauguration of Exhibitions – Pradyumna Vyas, Director, National Institute of Design

1700 hrs T S Satyan – Recorder of Life, Beauty and Truth, Aquarium | NID & Tasveer
1730 hrs Travelling Light, Foyer | Maria Kapajeva
1745 hrs ‘+91’ Graduate Students Exhibition, Old Canteen | Richa & Soumyadip

1st February 2012
0900 hrs Registration
0930 hrs Inauguration & opening address | Pradyumna Vyas, Director, NID

1000 hrs Session I Photography and Photography Education

1130 hrs Tea Break
1145 hrs Session II Photography and Photography Education

Sunil Gupta Photographer, Curator | India
David Moore Central Saint Martin College of Art& Design | UK
Peter Sramek Ontario College of Art & Design University | Canada
Deepak John Mathew National Institute of Design Ahmedabad

1300 hrs Lunch Break
1400 hrs Session III Connecting the World – Collaborative Projects and Exchanges

Lucida Photographer’s Collective | India
Maria, Peter & Chinar Collaborative Project | India, UK, Canada, Brazil
& Finland
Andrew Bruce & Shilpa Gavane Academic Exchange | NID-UCA
Nayantara Photo Circle | Nepal
Maniyarasan R & Rahul SR History of Indian Photography | NID

1530 hrs Tea Break

1545 hrs Session IV Photography and Practice

2nd February, 2012
0930 hrs Session V Photography and Research

Esa Epstein Sepia Eye | USA
Sabeena Gadihoke Researcher, Jamia University | India
Anusha Yadav Photographer, Researcher | India
Johny ML Art Critic, Curator & Writer | India

1100 hrs Tea Break
1115 hrs Session VI Photography and Dissemination

Abhishek Poddar Gallerist | India
Aditya Arya Photographer, Researcher | India
Radhika Singh Gallerist | India
Prasant Panjiar Photojournalist | India

1300 hrs Lunch Break
1430 hrs City of Photos/Three Women and a Camera (Documentary @ Auditorium)

Inside Out III (Closed session at Board Room exclusively for delegates)
1400 hrs Photography Education in India, UK and USA- Perspectives

1700 hrs Tea Break
1715 hrs Concluding Session (Auditorium)

Speakers Profile

Nayland Blake
Nayland Blake is an artist whose mixed-media work has been variously described as disturbing, provocative, elusive, tormented, sinister, hysterical, brutal, and tender. Among his most famous pieces are a log cabin made of gingerbread squares fitted to a steel frame entitled Feeder 2 (1998). When it went on display at the Tang Teaching Museum and Art Gallery, visitors furtively nibbled off bits and pieces of the cabin’s interior walls, while the smell of the gingerbread filled the gallery.Another well-known work is Starting Over (2000), a video of the artist dancing with taps on his shoes in a bunny suit made to weigh the same as his lover, Philip Horvitz. The suit was so heavy that Blake could hardly move as he took choreographic directions from Horvitz offstage.Gorge (1998) is a video of the artist sitting shirtless being hand fed an enormous amount of food for an hour by a shirtless black man from behind. In 2009, a live version of Gorge was staged in which audience members fed Blake.

Dr. Deepak John Mathew
A design teacher and a practicing photographer lives and works in India. Deepak John Mathew is teaching at the National Institute of Design (NID). He has an experience spanning over 20 years in professional photography, painting and graphics.He holds a master’s degree in Fine Arts (Graphic Arts) from the M.S. University, Vadodara and has a PhD in Design Education from the Center for Advanced Studies in Education, M.S. University, Vadodara. He has been instrumental in designing and developing the dual postgraduate program in Photography Design. He also set up the Photography Design discipline and started an International Postgraduate Certificate Program in Photography at the institute in collaboration with University for the Creative Arts, Farnham, UK. Deepak has curated a number of exhibitions at NID, including those featuring the works of famed photographers such as Henri Cartier-Bresson, Anne Maniglier, and Raghu Rai. He has received many awards including the Commonwealth Fellowship for Photography (2011) and exhibited his works at many international and national exhibitions and has authored several papers. He has written a book called, Principles of Design through Photography. He has also been contributing to various NID publications. He has been invited as visiting faculty, lecturer, external evaluator, mentor, and advisor to various universities and institutes all over the world. Besides photography, Deepak’s interests include history of art, color&form, and illustration.

Sunil Gupta
Born in New Delhi, and growing up watching Bollywood films in all their glorious colour, Sunil Gupta moved to Montreal with his family in the late 1960s, where his interest in photography began to develop. From the mid-1970s he lived in New York, where he studied photography at the New School for Social Research under Lisette Model. At the end of the 1970s, he moved to London to continue his studies at the West Surrey College of Art and Design, Farnham, and the Royal College of Art, London. He was involved in the founding of Autograph (Association of Black Photographers) in London, and he also set up the Organization for Visual Arts (OVA) to promote a greater understanding of questions regarding cultural differences and their incorporation into the sphere of fine art. He works as a photographer, writer and curator out of London and Delhi

Sabeena Gadihoke

Sabeena Gadihoke is Associate Professor of Video and Television Production at the AJK Mass Communication Research Centre at Jamia University in New Delhi and is also an independent documentary filmmaker and cameraperson. Her book Camera Chronicles on India’s first woman press photographer, Homai Vyarawalla was published in 2006. She is currently working on her dissertation on a cultural history of photography in India during 1945-1970.

Radhika Singh
When Radhika Singh set up Fotomedia in 1988, it was the first photo-library in Delhi to store, promote and market photographs. Radhika Singh had no experience in running her own enterprise. What she did have were three degrees — a B.A. in English, an M.A. in Social Work, an M.Phil in Sociology — and stints in modelling and theatre.She has an M.Phil in Sociology, been a model, is active in theatre, has dabbled in social work and is a successful entrepreneur. But for someone with her range of interests, Radhika Singh is a remarkably focussed woman. In less than 10 years, 42-year-old Singh has taken her outfit, Fotomedia, from an oddball little venture to a still-unusual, but profit-making, enterprise.

Neeta Madahar
Neeta Madahar received her MFA from the Museum School at the Boston Museum of Fine Arts in 2003. As a British citizen of Indian descent who has lived and worked in the U.S., Madahar constantly refers to themes of migration and transition throughout her work. Madahar’s thesis project entitled Sustenance gained immediate interest and was shown at the Arles Festival curated by Martin Parr in 2005, followed by shows in Boston, London, and Germany. In this project, Madahar examines the complexities of the domestic environment through her exploration of the various bird species that gather to feed at her home in Framingham, Massachusetts. Using a large-format camera, Madahar juxtaposes contrasting ideas of familiarity and strangeness, belonging and migration, and prolonged routine and repetition.

Karen Knorr

Karen Knorr, an American was born in Frankfurt am Main, Germany and was raised in San Juan Puerto Rico in the 1960s. She finished her education in Paris and London graduating from the University of Westminster in 1980 with a first in Photography and Filmic Art. Karen has taught, and lectured internationally including The Sorbonne,Paris, Goldsmiths College, London,Harvard University and The Art Institute of Chicago in the U.S.After graduating from the University of Westminster in the mid 1970’s, Knorr exhibited photography that addressed debates in cultural studies and film theory concerning the “politics of representation” practices which emerged during the late 1970’s and early 1980’s. Karen Knorr is currently Professor of Photography at the University for the Creative Arts at Farnham, Surrey and lives in London.

Anna Fox
Anna Fox first gained attention for Work Stations: Office Life in London (1988), a study of office culture in Thatcher’s Britain, originally commissioned by Camerawork and The Museum of London. She is best known for Zwarte Piet (1993-8), a series of twenty portraits taken over a five-year period that explore Dutch ‘black-face’ folk traditions associated with Christmas. The images of costumed revellers, posed in the manner reminiscent of seventeenth-century Dutch portraiture, have been widely exhibited internationally. Other projects have included The Village (1992), a multi-media collaboration with the writer Val Williams, examining the experiences of rural women, Country Girls, a collaboration with singer/songwriter Alison Goldfrapp portraying a fairytale nightmare vision of life in the country for young women, and Friendly Fire, which records the leisure activity of paint-balling in the manner of war reportage. More recent publications include Cockroach Diary and My Mother’s Cupboards and My Father’s Words (2000), which deal with autobiographical narratives and were designed as miniature, limited edition books. Her work has been exhibited and published internationally and she is now Professor of Photography at the University College of the Creative Arts, Farnham and has been part of the UCA team who have worked with Dr Deepak John Mathew to develop the PG Diploma in Photography Design at NID.

Annu Palakunnathu Matthew
Annu Palakunnathu Matthew is Professor of Art (Photography) at the University of Rhode Island in Kingston, Rhode Island. Matthew’s recent exhibitions include Sepia International, New York City, the RISD Museum, Newark Art Museum, Newark, NJ, 2009 Guangzhou Biennial of Photography, China, 2006 Noorderlicht Photo Festival in Netherlands and the 2005 Le Mois de la Photo à Montréal Photo Biennale in Canada.Among the list of grants recently supporting Matthew‘s work include the John Gutmann Fellowship, MacColl Johnson Fellowship, Rhode Island State Council of the Arts Fellowship and the American Institute of Indian Studies Creative Arts fellowship. Her work can be found in the collection of the George Eastman House, Fogg Museum, Museum of Fine Arts in Houston, Center for Creative Photography and the RISD Museum among others. Matthew’s work is included in the book BLINK from Phaidon, that according to the publisher celebrates the quality and vision of today’s 100 most exciting international contemporary photographers and the upcoming books The Digital Eye by Sylvia Wolf and Self-Portraits by Susan Bright.

Pablo Bartholomew

Pablo Bartholomew is an independent photographer based in New Delhi, India Represented by Gamma Liaison for over 20 years, he worked as a photojournalist recording societies in conflict and transition. His works have been published in the New York Times, Newsweek, Time, Business Week, National Geographic and GEO, amongst other prestigious magazines and journals. Pablo Bartholomew at the age of 19 won the World Press Photo award for his series on Morphine Addicts in India (1975) and the World Press Photo of the Year for the Bhopal Gas Tragedy(1984).

David Moore
Based in London, David Moore has been a practicing photographer since 1989 after graduating from West Surrey College of Art and Design. His work has been exhibited nationally and internationally, including group shows in 2010 at the Thessaloniki Photo-Biennale and Les Photaumnales in Beauvais, France. The Last Things, a publication and touring solo exhibition, travelled to Wolverhampton Art Gallery, Belfast Exposed, Impressions Gallery Bradford and UH Galleries, Hertfordshire, 2008-09. Moore’s work is held in public and private collections including Nuffield College Collection, Oxford University; the Ranstad Collection, The Netherlands; and, the Ministry of Defence Art Collection, London. David Moore is currently Senior Photography Lecturer at Central Saint Martins College, London.

Abhishek Poddar

Abhishek Poddar is the director of Bangalore based gallery, Tasveer. Dedicated to promoting and showcasing photography in all its forms, Tasveer has created a network of galleries between Bangalore, Delhi, Kolkata, Mumbai and Ahmedabad. Since its inaugural show in October 2006, over 100 exhibitions have been held and the also gallery organizes lectures, workshops and other educational activities, both in India and abroad.
Nandini Valli

Born in 1976, Nandini Valli was raised in Chennai, India where she continues to live. She completed several degrees before entering the field of photography. After an 18 month apprenticeship with a leading commercial photographer in Chennai, Nandini decided to pursue a B.A Honours in Photography from the Arts Institute at Bournemouth, UK (now known as the Arts University College Bournemouth). This is where she realized she was more suited to producing art photography as opposed to commercial photography.

Anusha Yadav

Anusha S. Yadav, born in London, is a Mumbai based Urban Documentary Photographer. She was bought up London and later in Jaipur, Rajasthan India. She graduated in Communication Design from the National Institute of Design in Ahmedabad in 1997. Anusha’s interest in photography began while still at design school. Subsequently, she attended University of Brighton to study photography for a semester.After thirteen years of a successful career in graphic design and advertising, Anusha began working as an independent editorial and documentary photographer in 2006 in India. Since then she has photographed several well known personalities and significant events all over the country.

Johny ML

Johny ML is a Delhi based art critic and curator. With twenty years of experience, JohnyML has done several national and international art projects successfully. Founding editor of www.mattersofart.com and www.artconcerns.com, JohnyML has initiated and executed projects like Finding a Lost Culture and Tradition (FALCAT 2009), Vibrant Gujarat (2009), Video Wednesdays@Gallery Espace (2009), Expressions at Tihar (2009). He has curated several shows and directed documentaries on contemporary artists.

Prasant Panjiar

Prashant Panjiar is a self-taught photographer. A post-graduate in Political Science from Pune University, India, he worked on photographic projects focusing on peasant movements and other social issues through his college and university days. His first self-financed project that received acclaim was his work for a book on banditry in the Chambal region of Central India. As one of India’s senior photojournalists and picture editors, Panjiar is actively involved in guiding young photographers. He is one of the three senior photographers who select and mentor young documentary photographers for National Foundation of India’s fellowship programme. Panjiar served on the jury of the World Press Photo Awards in Amsterdam in 2002, the China International Press Photo Competition in 2005 and the Indian Express Press Photo Awards.

Shahidul Alam

A photographer, writer, curator and activist, Shahidul Alam obtained a PhD in chemistry at London University before switching to photography. He returned to his hometown Dhaka in 1984, where he photographed the democratic struggle to remove General Ershad. A former president of the Bangladesh Photographic Society, Alam set up the award winning Drik agency, the Bangladesh Photographic Institute and Pathshala, the South Asian Institute of Photography, considered one of the finest schools of photography in the world. Director of the Chobi Mela festival and chairman of Majority World agency, Alam’s work has been exhibited in galleries such as MOMA in New York, the Centre Georges Pompidou in Paris, the Royal Albert Hall in London and The Museum of Contemporary Arts in Tehran. He has been a jury member in prestigious international contests, including World Press Photo, which he chaired. An Honorary Fellow of the Bangladesh Photographic Society and the Royal Photographic Society Alam is a visiting professor of Sunderland University in the UK. He recently set up a media academy in Bangladesh.

Vivek Vilasini

Born in 1964, in Trishur, Kerala, Vivek Vilasini trained as a Marine Radio Officer at the All India Marine College in Kochi, and then obtained a Bachelor’s degree in Political Science from Kerala University in 1987 before turning to art and studying sculpture from traditional Indian craftspeople. Vilasini’s work has been exhibited in several solo shows including several editions of ‘Between One Shore and Several Others’ at Birds Gallery, Trivandrum, Arushi Arts, New Delhi, Sumukha Gallery, Bangalore, and the Visual Arts Gallery, ‘In Focus: Contemporary Indian Photography’ at Crimson – The Art Resource, Bangalore, in 2009; ‘Re-Claim/ Re-Cite/ Re-Cycle’ presented by Latitude 28 at Travancore Art Gallery, New Delhi, in 2009; ‘Metamorphosis: Change and Continuity in Indian Contemporary Art’ at PAC Gallery, Phyllis Weston-Annie Bolling Gallery and the Krohn Conservatory, Cincinnati, in 2009; ‘Bapu’ at Saffronart, Mumbai, in 2009; and ‘Who Knew Mr. Gandhi?’ at Aicon Gallery, London, in 2008. The artist lives and works in Bangalore.

Peter Sramek

Peter Sramek studied photography at the Massachusetts Institute of Technology under Minor White and has taught at the Ontario College of Art & Design University in Toronto since 1976, currently serving as Chair of Photography. In 1978, he became a founding member of Gallery 44 Centre for Contemporary Photography in Toronto, one of Canada’s leading artist-run centres. His work incorporates silver photography, digital imaging, handmade books and video installation. Represented by the Stephen Bulger Gallery, he is included in collections such as the Canadian Museum of Contemporary Photography, National Library of Canada, Musée Carnavalet (Paris), MOMA (NYC), Art Gallery of Hamilton, Toronto Archives and Art Gallery of Greater Victoria. Recent solo exhibitions include the French Institute of Prague and Gallery 345 (Toronto). Sramek’s black and white silver photography currently explores European historical sites and incorporates rephotographic strategies, working from historical archives. His handbound artist’s books are in various collections, notably the National Library of Canada and the Museum of Modern Art in New York. He is currently recipient of a Google Research Award to develop an online/mobile presentation of his rephotographs of Paris street views made after photographs by Charles Marville between 1865 and 1877.

Magi Viljanen

Artist and photographer Magi Viljanen has created a long and respective career as an art and commercial photographer. Her photography original and stand out from the mainstream in a refreshing way. As a photographer Viljanen is unprejudiced and has chosen challenging themes many times during her career. Bravely she has tried different methods and materials in her works. “I think art is meant to move something in a person, and at its best art affects those things that people may have become numb to. I don’t see myself as a subjective artist but as a part of something common, and that is way I work. I am a documentary photographer and I think that art that makes a statement is important.” The work of Magi Viljanen is easy to approach and touching in its way to show the truth and representation of life. All the viewers can integrate with some aspect in her pictures. Her works brings the reality of others in front of us allowing us to see true stories from this world.

Lucida

Lucida is an independent photographers’ collective based out of New Delhi. It aims to develop and support a range of independent and critical photographic practices that focus on research and education. Lucida endeavors to influence photographic thinking through a design oriented approach in photography services.

Esa Epstein

Esa Epstein established sepia EYE in September 2009 which is dedicated to showing a spectrum of modern and contemporary photography and video work from Asia., During her tenure as the Executive Director and Curator of SEPIA International and The Alkazi Collection (1995-2009), Esa Epstein has published eight titles on modern and contemporary photography including: Atul Bhalla: Yamuna Walk (sepiaEYE & UW Press, 2011), Jungjin Lee: Wind, essays by Eugenia Parry and Vicki Goldberg (Aperture/SEPIA, 2009); Ketaki Sheth: Bombay Mix, preface by Suketu Mehta (Dewi Lewis/SEPIA, 2007); and Vivan Sundaram: Re-take of Amrita, essays by Vivan Sundaram and Wu Hung (SEPIA, 2006). In her former position, Esa Epstein has helped build an impressive collection of Indian photography and, along the way, has offered her expertise to both private and public collections. Esa Epstein continues to offer institutional planning and arts management through sepia EYE.

Maniyarasan R

He is a freelance professional photographer with a Bachelors degree in Architecture from the SPA New Delhi, and a Masters in Photography Design from NID Ahmedabad, where he worked as an Associate Faculty after his post graduation. He strongly believes that every challenge presents itself with a bundle of opportunities, if only we have the creativity, innovation and an eye for detail. His main interest apart from architectural and heritage documentation lies in capturing the essence of pure human emotions, and the sanctity and joy of weddings- moments that bind people together. Through his visual documentation, he has been on a constant endeavour to capture the context of ‘life’ in relationship to time, space and emotions. Besides, he was nominated as the ‘Wedding photographer of the year’ for two consecutive years, conducted by Better Photography and Kodak for the years 2010 and 2011.

Rahul S Ravi

Rahul S Ravi completed his Master’s in Photography Design from the National Institute of Design (NID), which is internationally acclaimed as one of the foremost multi-disciplinary institutions in the field of design education and research. A literature graduate and a graphic designer by profession, he was a passionate practicing photographer before joining the course at NID. A humanist eye drives his photography and his documentation has a conceptual approach to it. His photographic projects try to bring in focus socio-cultural issues that have been at times overlooked by the mass media. These very qualities in his work “Indian Jewish identity” made him the Second Indian to win the prestigious Tierney fellowship. He is currently working as a Teaching Associate in Photography Design at National Institute of Design (NID) Ahmedabad.

Maria Kapajeva

First time Maria visited India as an exchange student coming to NID and returned later as a visiting lecturer and coordinator. Together with her personal project about Indian young women, Maria will present the results of two collaborative international projects such as Collective Body and Travelling Light show. Maria Kapajeva is Estonian photographer based in the UK who works for Photography course of University for the Creative Arts (Farnham, UK) and at the same time studies at University of Westminster (MA Photographic Studies course).

NayanTara Gurung Kakshapati

NayanTara Gurung Kakshapati graduated from Mt Holyoke College, Massachusetts with a degree in International Relations and Studio Art. She went on to the SALT Institute of Documentary Studies, Portland, ME to study Documentary Photography.

NayanTara came back home to Nepal in 2006 and began working as a freelance photographer and multimedia producer. Her work focuses on intimately documenting her country- ‘the New Nepal’- and its dynamic transformation from the world’s last Hindu monarchy to a new democratic republic.

In 2007, NayanTara co founded photo.circle; a photography collective that has created a platform for emerging and professional photographers in Nepal.

We

Shahidul Alam — Sun, 29 Jan 2012 03:37:51 +0000

We!

The children are reduced to bones
And skin. Their tiny bodies
Have heads appearing far too large
And eyes that cry for help.

But there’s no shortage yet of guns
And bullets — or of bombs.

And soon enough, you hear them come –
The jets that scream through skies
And drop the rain that’s so obscene
That voices then fall still.

******

The drones that fly like sightless birds,
The tanks that roll through streets,
The men who fire on passers by,
Who buys and pays these?

We!

******

The men who shout out, “Allah!”
And the ones who wear the star,
Alike are paid from coffers deep,
Yes, deep enough for war.

For all of this takes money, money,
All of this needs wealth.
And some may bomb with IED’s
While others bomb with Stealth,
But those who have the money, money,
Sit and pull the strings,
As puppets wage the battles fierce,
While entertainer sings.

******

And whence came all this money, money,
Whence came all this wealth?
And who has worked to wealth create,
While risking precious health?

Who is it, who buys the stuff?
Who fills the tank with gas?
Who labors every day and yet
Has not enough of cash?

Who gazes at the check and sees
Deductions that are large?
Who tries to pay the rent or bank
And does that wealth enlarge?

Who pays for wars that have no end,
By financing the banks?
Who dies in foreign lands in vain,
From having joined the ranks?

Who votes for those who send to die
The men and women still?
Who does not vote — and so promotes
The ones who wreak what’s ill?

******

The children are reduced to bones
And skin. Their tiny bodies
Have heads appearing far too large
And eyes that cry for help.

But there’s no shortage yet of guns
And bullets — or of bombs.

And soon enough, you hear them come –
The jets that scream through skies
And drop their rain that’s so obscene
That voices then fall still.

The drones that fly like sightless birds,
The tanks that roll through streets,
The men who fire on passers by,
Who buys and pays these?

We!

Babui / Arjun
2012 January 28th, Sat.
Brooklyn

Upcoming photo contests and residencies

Shahidul Alam — Sat, 28 Jan 2012 04:04:29 +0000

Dear friends of photographyONLY ONE WEEK LEFT

DANISH DIGITAL 2012 will close for registration of entries on 4 February.

DANISH DIGITAL 2012 is an international salon of photography organanised by Fotoklubben Negativ, Roskilde, Denmark, under patronage of FIAP (2012/007) and under PSA recognition. Further, DANISH DIGITAL 2012 is recognised by Society of Danish Photography and by United Photographers International (UPI).

There are three sections – monochrome, colour and nature.Altogether there are 75 prizes to be won! For full conditions of entry and for entering DANISH DIGITAL 2012, please visit www.danishdigital.dk.

Looking forward to receiving your entries.

Best regards

Exhibition Committee

DANISH DIGITAL 2012

OPPORTUNITY

Culture Lab & ISIS Arts Residency Programme

Call for Applications

Deadline: 17.02.2012

Culture Lab and ISIS Arts are excited to be launching their second joint, open call for a Resident in 2012. Proposals are invited from practitioners and researchers from across the spectrum of creative art, design and technology to undertake research in Culture Lab for a minimum of 3 weeks between 1 April – 14 December 2012.

Nortd, Lasersaur, (Culture Lab and ISIS Arts residency artists 2011)

An interest in one of the following topics is desirable but applications are also invited from candidates with other interests:

- Data Visualisation / Interactive Visualisation

- New Ways of Interaction and Communication

- Audiovisual and Sound Interfaces/ Biofeedback Applications

- Digital Fabrication

- Social, Cultural and Ethical Practice of Emerging Technologies

You would have use of Culture Lab’s research facilities and equipment, a fee of £2500 (to include travel, accommodation and materials).

Based at Newcastle University, Culture Lab http://culturelab.ncl.ac.uk, is:

- A centre for creative inquiry in the broadest sense of the term

- A world class research facility for experimentation in interactive media

- A university resource to incubate and facilitate interdisciplinary activity

- A leader in the region’s cultural ecology, providing knowledge for a digital society.

Based in Newcastle City Centre, ISIS Arts is an artist led, visual and media arts organisation, which runs an international programme of commissions, residencies and events. ISIS Arts’ core ethos is to support artists to facilitate international and inter-cultural exchange and to engage as wide an audience as possible in dialogue with artists and artworks. Actively seeking out and engaging with artists of all backgrounds and cultures to produce work that explores identity and challenges prejudice, creating projects of international relevance and local significance.

What we will provide:

- Access to Culture Lab’s highly sought after research facilities which range from an 8-camera motion capture system to a professional standard recording studio and Digital Fabrication Lab. Access to ISIS

Arts studio spaces for visiting artists

- Integration into Culture Lab’s community of research staff and students, and ISIS Art’s regional community of artists and practitioners

- A budget of up to £2500 to offset costs of production, living expenses, travel and accommodation

How To Apply

Please submit, via email, to Sarah Greenhalgh (Sarah.Greenhalgh@newcastle.ac.uk) the following:

- A project proposal (up to 2-sides of A4), detailing residency activities and proposed work plan for minimum 3-week period (which can be consecutive or non-consecutive weeks). Include in this document how the residency will further the artistic/research direction you have proposed, as well as a description of a proposed format for public presentation at the end of the residency.

- A budget detailing your proposed use of up to £2500 residency grant.

- Work sample, submitted via a link to a website (Please do not submit attachments via email).

- The dates you would prefer to undertake the residency.

- A curriculum vitae, outlining recent work, exhibition, performance and research activities.

For full details about this opportunity and how to apply please visit the ISIS Arts website: http://www.isisarts.org.uk/opportunities

Dear All and one!

Google+ is only a few months old, but the photography community is already thriving on it. More than 3.4 billion photos have been uploaded to the platform in the first 100 days from far-away places to up-close faces. Seven days left for Google Photography Prize submissions!

Some great prizes to be won:

10 finalists chosen by a jury of renowned photographers will show their work at Saatchi Gallery, London for two months in 2012.

Categories: Me; Food; Travel; Fashion; Action; Street; Sport; Night; Sound/Silence; Point-of-view

How to submit photos?

1. Submit your photos to Google+

2. Fill out the submission form at: http://www.google.com/landing/photographyprize/submission.html

Wish you best of luck!

Abdullah Al Razwan (Nabin)
Programme Coordinator
Pathshala South Asian Media Academy

The $15,000 Arnold Newman Prize for New Directions in Photographic Portraiture.
Adobe presents the Breakthrough Photography Award to celebrate artists creating compelling works through digital imaging. An award of $1,000 prize and Adobe® Creative Suite® 5.5 Master Collection will be given to the winner.
The Marty Forscher Fellowship Fund cash award to one professional and one student winner.
The Sony Emerging Photographer Award to one emerging photographer who will receive a Sony camera and a $1,000 cash prize.
Ten winners will receive a Nielsen Photo Group membership which includes; subscriptions to PDN and Rangefi nder magazines, a PDN PhotoPlus Expo Gold Expo Pass, a PhotoServe portfolio and discounts on WPPI and PDN contests.
PDN Editor’s Choice Award: one winner will receive a full-page self promotion ad in an upcoming issue of PDN.

ShahidulNews

Journeying with Mahasveta Devi

WB finds graft rampant in govt, NGOs

Drik to represent World Association of Newspapers

Frank Fournier at Pathshala

Dhaka 9 to 5

Le reportage de Caroline Gillet :

If It Bleeds

Weegee strikes again Body of Dominick Didato, Elizabeth Street, New York, August 7, 1936.

Eduardo Santiago’s Reviews > Shahidul Alam: My Journey as a Witness

International Conference on Photography of India

International Conference on Photography of India

We

Upcoming photo contests and residencies

Weegee strikes again
Body of Dominick Didato, Elizabeth Street, New York, August 7, 1936.