“A man going quietly about his business all day long expends far more muscular energy than an athlete who lifts a huge weight once a day. This has been proved physiologically, and so the social sum total of everybody’s little everyday efforts, especially when added together, doubtless releases far more energy into the world than do rare heroic feats. This total even makes the single heroic feat look positively minuscule, like a grain of sand on a mountaintop with a megalomaniac sense of its own importance.”
R. Musil, The Man Without Qualities
In an age when video journalism is increasinly paramount and printing is arguably no longer necessary, how do you feel the still image is still pertinent to documentary or news work?
Video journalism serves it’s purpose and is growing as it is easier to create and distribute, but photos haven’t lost their power in this new environment. A single strong image can be viewed and summarize a situation in seconds. In our fast paced world there will always be a place for the still frame.
Do you think documentary and art photography are important for the development of photo journalism? Is there enough of that going on in Egypt (with the Cairo Image Collective, for example) to create a photographic culture?
As a photojournalist I often steal style from art and commercial photography. We must be aware of their modern visual language in our work to stay relevant and interesting. But even though the internet has broken down barriers it can be impossible to find many documentary or art photo books in Cairo. While in the west you can pick up a thick fashion magazine at almost any store and get inspired by the commercial portraiture it takes conscious effort for photographers to suss out inspiration in Egypt.
زبالة أمم متحدة لتشغيل لاجئين
حصمة، رمل، جرافة
سيارات سيارات سيارات
مطاعم مطاعم مطاعم
A user experience/product designer by trade, I am a self-taught contemporary Indian artist and photographer, actively seeking multi-dimensional conditions and emotions through my photographs. Initially photography was a newfound medium into which to channel my creative energy alongside painting. I have been engaged in street photography since 2013, capturing moments from the streets without any predefined purpose or set agenda.
The distant hills appear with their smooth reptilian undulations.
The infinitely crystalline transparencies reveal themselves in dim splendor. The shadows hold night in their tangles, and the city begins to shed its idle veils, rendering visible its cupolas and its ancient towers illuminated by a soft golden light.
The houses reveal faces with empty eyes among the verdure, and the grasses, poppies and vines dance entertainingly to the sound of the breeze from the sun.
The shadows are lifting and vanishing languidly, while in the air there is a piping of ocarinas and reed-flutes produced by the birds.
In the distance there are confusions of mist and heliotrope among the poplar groves, and now and then, in the dawn freshness, is heard a distant bleating in the key of F.