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Dhaka Day by Day

Little Ache for the Artistic

by Fayza Haq
The Bangladesh Photographic Society had its annual exhibit, with unparalleled fanfare and pomp, recently, at the Alliance Francaise. Although the walls of the gallery were duly decorated with endless photographs with varied themes done by numerous photographers yet one felt that enough had not bten accomplished from the artistic point of
One is only too aware that our local shutterbuggers do not have the capital to go in for reels of films and experiment. In the West and the Mr Mal the attuaHon ts quite different. One is also conscious of the fact that the camera operators have little time to pause and think over artistic compositions, after their hectic Jobs at newspapers, magazines and advertising agencies.
What one saw at the expose was not necessarily universal or timeless Often the pictures were scenes from the recent political turmoil in December and little else. While one does not undermine or brush aside this theme one felt a photographer had to depict more than what one witnesses tn newspapers every day to win medals and lonourabie mentions.
Some of the photographers were simply out to please the eye with the obviously decorative or stir the emotions by the maudlin and the sentimental. There were hardly any entrees which an average thinker, with some notion of composition and focusing of the camera, could not have captured himself. This, however, is not to say that the exhibit was not welcomed.
"Age" by Shoyeb Faruql. which won a gold medal, in the colour section, depicted a grandfather resting with a couple of teenagers. The composition tn green and brown was not unattractive, but one failed to find anything profound n either the theme or the technique. It was a good. clear picture, but had little experimentation or any artistic or nouveau
rtaza Toufiqul Islam's "Struggle" which had won a silver medal, again in the colour division, depicted men at work making wheels for carts. The blue and white effect of the smoke against the brown skin of the labourers was a fairly good piece of work
It never ends" by Enamul Karim Nlrjahr. which won tl>e bronze medal had the shadow of a photographer with his equipment at work Jhe composition was interesting but nothing
overwhelming. In fact the mass of the brown of road bored some viewers.
The gold medal in black and white entrees had been bagged by Abdul Hamid Kotwal's "Rest". It delinated someone resting on a mat. with the hands and feet folded in repose. While the theme and composition was welcomed the photo was nothing to write home about or get excited over.
Mohammed Kamaluddin's "Griefstricken" had a silver medal to flaunt. The subject was certainly serious and contemporary. It presented a woman lamenting at the roadside scene where a martyr had been recently killed. Sure, it delineated political struggle and human suffering, but numerous other entrees
in the exhibition did the same and they were passed by unsung.
Mohammed Wasimuzzaman's Joy". which won an honourable mention, was a collage of celebrating University students during the recent turmoil. The smiling face superimposed on the Jubiliating students made some attempt at experimentation. Salim Hasan's "Peace" too won an honourable mention, and it brought in an actual dove sitting on a placard with the peace sign of a dove, it appeared static.
Mohammed Ghofam Mustafa's "Storm" was another acclaimed piece. It showed an old man struggling with his umbrella and a basket of eatables. The surrounding trees brought tn the effect of the storm to some degree. Once again one failed to go into ecstasies over it.
Abu Nasser Siddiqui's "Dreamland" which brought in street urchins contemplating on a film poster pleased the mind, as did Saluddin Azezee's entree showing half clad boys playing with spectacle frames. The Joie de vivre in the face of the poor children reminded you that money cannot buy you love nor happiness. Akhtaruzzaman's "Untitled' showed naked boys enjoying themselves at some public park. Ratan Kumar's "In the light and Shade" was a careful play of shadows.- Ashfaq Amin's "Rest" and Rozarto’s "Walting" were also both laudable entrees.
Even though there were limitations in the expose yet it must have fascinated many viewers who had come to the gallery merely to please themselves with some picturesque scenes. The timing of the Ramzan, however, cut down the flow of the photo enthusiasts.