ANY IMAGE IS A DOCUMENT

The capacity to see, the facility, the sense of seeing, Drishti is not the sum total of sensory perception. In a film camera the light changes the chemistry of the emulsion; in a digital sensor some electronic / electrical changes take place. To generate an image which is discernible, telling its story, needs some processing. An alchemy of conversion into something tangible, which could be understood, which will evoke some responses in us. With us the process begins in the eyes that culminates in something meaningful in our heart and head. The RAW image is worked over by our experiences, cultural, environmental and emotional conditioning. Then only it can tell its story in a very succinct, purposeful, perceptive way.

Any image is a document. It is an interpretation of the reality limited by our capacity to sense. To create and see any such visual document needs some education, training, guidance. To see more than what is obvious, to get the Drishti needs a helping hand of an experienced teacher, a pathfinder, a guru. As John Burger told us, each potent image shows us the past, present and future. It contains the contexts, references, and knowledge beyond its borders. What is not seen, which is cut out, cropped, also tells about the social taboos, cultural restraints, training and education, caste, creed and country boundaries, the enveloping religious influences, beliefs and fears.

Samyak Dristi becomes more essential in today’s cataclysmic, perpetual flood of visual data. To glean tiny bits of knowledge embedded in this overwhelming tide requires Neer Khir Vivek, a capacity to separate milk from water. To discern a true sense of value, meaning, worthiness and truth. It is essential to educate people to create relevant content as well as to open the eyes to really SEE the content, meaning, the realities, the all important messages, valuable lessons and the whole universe in its full capacity. The artist’s interpretations, if understood and imbibed, could galvanize us into some kind of awakening, some emotional transformation, an awareness about values, our role in this scheme of the world, the need of our contribution, compassion and help to those who need it. Beginning at the microcosm of our home, we could expand to a global scale, watching, perceiving the meaning and reacting to make this world a better, congenial, and interconnected, joyous entity. To learn to see is the beginning of the end of suffering. It gives purpose, meaning to the pain, and shows ways of helping.

Three excellent photographers presented in this issue showcase different paths explored through photography. the documentation of social misconduct through electronic media, recording of disasters to mitigate them in a more purposeful way and photography as an art form for the solace of the soul. All these fields are relevant in normal times as well as today’s difficult times.

The discomforts of us all and especially of the children in these pandemic times are a great concern. It is going to leave an indelible mark on the young minds. We attempt to understand this through photo essays and try to reduce the adverse impact by inculcating stronger social values.

A need to discuss the role of a photographer; still or video, as well as other artists and the impact of art as a tool of transformation, as a catalyst to inspire the society to act against suffering is discussed here. This dialogue needs to be taken further for the change we expect in the social scenario.

Guest Editor ­– Anirudha Cheoolkar

We recently lost one of our Founding members, Nilesh Gawde, due to this setback we couldn’t catch pace with this issue and weren’t able to release it sooner. We dedicate this issue to Nilesh and pray for his peaceful journey to heaven. .

We are also extremely thankful to Pallavi Borkar & Kirty Marodia for their persistent efforts and hard work for bringing this issue together during these tough times.