EtP Residency Programme

The first batch of EtP Residency programme commenced on 24th December 2015 and was be completed on 14th January 2016. Five Young South Indian student photographers Lijo Lonappan, Marshall Sebastian, Arjun Ramachandran, Sooryanarayanan Chandrashekaran from St. Joseph’s college of communication, Thrissur and Gautham Ramachandran from SN School of Fine Arts, Hyderabad did their internship with EtP as part of the Residency programme.   EtP Residency Programme is led by contemporary Indian photographer and Project 365 Director Abul Kalam Azad. The student photographers did their individual projects on different topics namely: Aadu Jeevitham (Life of shepherds), Thanga Aachari (Gold smith), Architecture around Girivalam and Chaavukottu (Tamil Funeral Drummers).  To inculcate the interest of the interns, workshops on analogue photography was done. Contemporary French photographer and Project 365 leading photographer Thierry Cardon, who was visiting Tiruvannamalai during this period did a workshop on cyanotype. Introduction to large format analogue camera was done by Abul Kalam Azad and Thierry.

On 26/12/2015 photographers Abul Kalam Azad and Thierry Cardon introduced Large format camera to the resident photographers, followed by a field visit for shooting.

Two days (30, 31st Dec 2015) Cyanotype workshop was organised at the temporary laboratory set at Ekalokam Trust for Photography premises in Tiruvannamalai. Photographer Thierry Cardon, Resource person, EtP led this workshop.


Introduction to analogue photography was done on 3rd and 4th January 2016 as part of the Residency programme. and images show the participating photographers exploring analogue photography.

As part of the residency programme, Indian and International film screenings were organised at Ekalokam Trust for Photography office. During the first movie week ( 22nd Dec to 28th Dec 2015) Agraharathil Kazhuthai by John Abraham, A Separation by Asghar Farhadi, Duvidha by Mani Kaul, La Dolca Vita by Federica Fellini, Rashamon by Akria Kurosawa and Thampu by Aravindan G were screened. During the second movie week (1st Jan 2016 to 5th Jan 2016) Krzysztof Kieślowski’s most famous television series Dekalog 1 to 10 were screened.



Close encounters: 365days myopic view

{ Essay on photography by Arjun Ramachandran, a media student with interests in cinema and photography. 365 days myopic is a smart phone photographic series done by photographer Abul Kalam Azad, as a contribution to Project 365 public photo archive Tiruvannamalai. In this unique, expansive body of work Abul records the everyday life in the ancient town, Tiruvannamalai. Abul is the Director of Project 365, and co-founder of Ekalokam Trust for Photography.}

Since the advent of digital technology and its fast growth, we have been carelessly misplacing or erasing much of the images we produce, “safely” storing them in the long forgotten floppy discs, CD drives, USB drives, old mobile phones, cameras etc. Photography, which is essentially a print, has been stripped of its traditional alchemical quality and longevity, and has almost completely become mere virtual intangible images. While this digitization has undoubtedly democratised the medium and stretched the horizons of thought of its practitioners, the danger is, in an instant, the innumerable casual-yet-valuable images that are being made can be lost forever to our future generations.

Digital recording is, largely, mere magnetisation of a material or optical marks made on a surface. The unwanted and untrue connotation that the word “digital” has acquired is that it is only presentable on a screen; “digital” only really means quantised, non-continuous data. On the basis of this misunderstanding, we have been storing digital images for the purpose of virtual viewing alone and by nature, digital recording is much more vulnerable to damage compared to analogue (read continuous) recording. A stray magnetic field is enough to wipe out a hard disk.

Even though several thousand photographs are being taken every day, by nearly everyone, only a very few provide thoughtful and focused efforts to preserve these photographs like yesteryear epigraphical documentation or other iconographic motifs for the benefit of future generations. This is as much an effect of seeming unnecessity and non-viability as it is of gross negligence. Documents are only valuable for those who see a use for it many years down the line, and not for those who do not intend to pay a second thought to the matter. Smart phone photographs, therefore, seem trivial and replicable for the majority of the authors and as such, irrelevant. These photographs may not be printable in larger formats, may not be commercially viable, but in an archive, they serve well the intended purpose – a visual document of ordinary people and their everyday life in an ancient town.

Abul Kalam Azad has been making smart phone photographs as connecting anecdotes for project 365. He has created several hundred lo-fi images depicting the life and culture of this ancient town, recording routine or chance meetings, casual events or details of his own daily life. Project 365 public photo archives will be locally preserving these images for public access and research. Setting aside his expertise in analogue & experimental photographic works and after traversing through digital, painted, manipulated images, Abul has consciously shifted to smart phone image making in a bid to utilise its nuances.

Smart phone images readily seem to bring in an element of autobiography. The daily events are most often captured through them, almost always in a moment of subconscious composition and judgement. There is a lack of formality or any veil of pretention that a bulky professional camera might induce even though the pretentions and mannerisms of the “real world” remain intact, as the smart phone remains nearly invisible between the subject and the artist. Even in staged portraits captured on smart phones, the posture of the subject becomes much freer. The smart phone becomes something of a non-intervening observer, not affecting the system at all.

The myopic eye of smart phone demands that the photographer has to be within a certain “intimate” distance to take a photograph. There has to be a certain connection between the one who is being photographed and the photographer himself – using a smart phone to create portraits of people means that the photographer is not a mere witness; the one who is photographed often looks straight into the camera and thus, at the photographer. A reflection of the effect of eye contact between the photographer and the subject is captured in the portrait.

This presence of intimacy is what a spectator relates to in these images. As personal spaces become increasingly reserved and physical contact becomes restricted in a wave of conservative urban-elite influence, this welcome intrusion of a nonprofessional-appearing, smart-phone-wielding photographer into touching distances of the subject is a reminder of the extent of simplicity and freedom in human relationships.

Disclaimer: Photographs and text published in this post is copyrighted property of the author. Prior permission is required from the author for republishing and reprinting. For more information, contact Ekalokam Trust for Photography at