The recently concluded exhibition City Obscura brought forth the works of three young photographers who have dared to look at urban photography with an unaffected eye. The show’s title alludes to the camera obscura, which was the earliest visual instrument for photographic work. The works of this exhibition have made an effort to re-

examine the common places and aspects of the city and portray them in a new light. Right from major cities like London and New York to small and unknown nooks and crannies have been points of inspiration for these photographers.
A striking aspect of City Obscura is that it highlights both aspects of photography — one that portrays realism and the other that’s very “modern” and unrestrictive in its outlook. While the former brings out the core essence in each subject, the latter resorts to digital makeup that renders a whole new meaning, which is often different from the original subject. Freeing himself from the standard limitations of photography is Surya Mattu, a UK-based photographer, showcasing his works in India for the first time. Describing himself as a “nerd”, he says, “I love technology and the ways I can blend it with photography. I think a direct photograph doesn’t always convey what I really want to say. So I feel the need to colour it and give it some element that’s very ‘me’. Sometimes I feel that there’s so much going on in a single snapshot, so I shouldn’t restrict it to the obvious. That’s the reason my photographs leave a lot to interpretation.”
Surya’s works do have a quirky air about them. The one that instantly catches the eye is Amritsar. The feet and the crowd of people below them looks surreal at first glance. And one might be surprised to know that it’s Surya’s perception of the Wagah border during the change of guards — the feet symbolise the army while the crowd below cheers them. The multi-coloured truck on the other hand, celebrates a glorified image of India. “I’ve always felt that the essence of this vehicle is lost in the rush of our daily lives. So I decided to give it a very striking imagery,” says Surya.
While Surya challenges the norms of realism in his works, Farah Gherda makes it the hero in hers. Although she mostly delves in black and white, her flair with colour manages to impress too. She experiments with angles and compositions, but sticks to the key essence of each photograph without attempting to distort reality. The two most stunning works in her collection are the ones that show the weaver and the colours of Holi. The former is breathtaking in its perspective while the flurry of colours in the latter looks almost surreal.
“I have tried to capture a moment in flower with the Holi that’s celebrated in Vrindavan. My photos blur the boundaries between the urban and the pastoral,” says Farah. The use of daylight and the way she incorporates it into the “black and white” form is worth a mention. She too, at times, walks the quirky and random road, which can be seen in the restroom shot. “I shot that in Kolkata when I stumbled upon an old rundown house. The composition was too interesting to not capture,” she says.
Eeshit Narain’s works are all about texture and pattern. He captures his subjects up close, especially objects as seen in the Pipes. The Deonar dumping ground photo manages to capture the moment beautifully despite the drab and unaesthetic surroundings.