POV: The Pehlwani | The Kushti Wrestlers

Photo © Tewfic El-Sawy-All Rights Reserved

Photo © Tewfic El-Sawy-All Rights Reserved

One of the scheduled photo shoots during my recent The Sacred Cities: Varanasi & Vrindavan Photo Expedition-Workshop was at an akhara, which is a Sanskrit word meaning training area for traditional Indian wrestlers, known as pehlwanis. This traditional Indian wrestling is known as kushti, and was developed in the Mughal era by combining native wrestling and Persian techniques.

These two pehlwanis were the most photogenic of the group that was training when we visited early in the morning. The wrestler in the top photographer is yielding a nada,  a heavy round stone attached to the end of a meter-long bamboo stick. This training implement is associated with Hanuman.

The bottom wrestler is using heavy Indian clubs, exercise clubs introduced by the Mughals and originally used in the Near East, especially in Persia and Egypt.

I wasn't thrilled about the quality of light in the akhara, as the area combined extreme harsh sunlight and deep shadows....and most of the background was of unfinished concrete walls. A difficult photo shoot. However, the wrestlers largely compensated for this, especially when they had daubed themselves with soft clay

For some of the wrestlers, the day starts as early as 4 am and their practice lasts into the day. Technically there's no age limit, but some wrestlers can begin their training when they're as young as four years old. To protect themselves from wound infections,  the wrestlers add lime, oil, milk, ghee, camphor, neem leaves, butter milk, and turmeric to the clay on which they practice daily.

Niqita Gupta | Baiga: The Vanishing Tribe

Photo © Niqita Gupta - All Rights Reserved

I came across some members of the Baiga tribals in Chhattisgarh, but they're mostly found in Madhya Pradesh, as well as Uttar Pradesh, and Jharkhand.

The Baiga are known for an almost reclusive culture, as they don't interact with other related tribals in the region, such as the Gonds.  They are totally dependent of the jungle for their survival, believe in a hand-to-mouth existence, have no interest in education, rarely eat outside their community, or associate with others. Following a death in the family, the Baiga just leave the house and build another. The Baiga consider themselves as people of the forest, who can only live on the produce of the forest.

A distinguishing feature of the Baiga tribals is that the women are famous for having tattoos on almost all parts of their body. Both men and women get their hair cut only once in a life time, as they take immense pride in their long hair as a tradition.

Photographer Niqita Gupta features a gallery Baiga: The Vanishing Tribe, and provides us with a brief glimpse into their simple life.

Niqita is based in India and can work worldwide. From the dense tropical forests of Kanha where the Baiga tribe lives, to the private lives of drag queens in London, she strives to work with communities and examine their relationship with each individual. 

Bijoyeta Das | The Last Aryans (Al Jazeera)

Photo © Bijoyeta Das-Courtesy Al Jazeera

"Now we charge $5 from tourists to pose for photos and more to wear traditional clothes and a lot more if you want to shoot videos"- Thinely Aryan, a Brogpa.

The Brogpas (also known as Drogpas) live in Ladakh, as well as in India-administered Kashmir. They claim to be the last of the Aryans. Out of the 5 Brogpa villages in India, two have are open to foreign tourism.  The villages of Dha and Biama are entirely populated by last remaining remnants of the Dards who are considered as last race of Aryans confined to Indus Valley. The Dards practice an ancient pre-Buddhist religion known as Bon-Cho, and have remained in total isolation for over 2000 years until 1947. 

Al Jazeera In Pictures features a gallery of photographs of Brogpas by Bijoyeta Das.

While no one knows for certain if the Brogpas' claim of belonging to an Aryan race have any merit, and whether their origins are true, the tourism industry is endeavoring to capitalize on these claims, and bring tourists to the area. These villages are about 170 km from Leh, so it is a hardy tourist that goes there...but it seems that it's picking up.

According to entries in Wikipedia: In the 19th century, the speakers of the Indo-Persian or Indo-European languages came to be called the "Aryan race", to differentiate them from what came to be called the "Semitic race". By the late 19th century, the notions of an "Aryan race" became closely linked to Nordicism, which meant Northern European racial superiority over all other peoples. 

Bijoyeta Das is a journalist and photographer. She has reported from Bangladesh, India, Nepal, the Philippines, Thailand, Turkey, South Korea and USA and holds a masters degree in Journalism from Northeastern University, USA and a photojournalism postgraduate diploma from Ateneo de Manila University, Philippines.

Tewfic El-Sawy | Interview | Langly

Photo © Tewfic El-Sawy - All Rights Reserved

"I’ve visited India over twenty times over the past 16 years, and every time I visit I discover a new layer. Discovering India is like peeling an onion, one layer at a time reveals another layer, and there are probably millions of layers." 

I was recently interviewed by a staff member of Langly; a manufacturer of camera bags started by Evan Lane, a working photographer and director based out of Los Angeles. The camera bags are said to have been inspired by the life of the freelance photographer, nomadic professionals looking for something to protect their gear and look good doing it.

You can read the full text of the interview here.

I gather the Langly people saw my Exposure website, and liked what they saw...especially the photo essay on the Northwest India, and suggested an India-centric interview.

Langly camera bags was funded through a Kickstarter campaign, and successfully raised $88,000 from the public in summer of 2012. Although Langly bags appear to be fine products, I was not asked to endorse them nor was it suggested that I get remunerated in any way for this interview to appear on its website.

The photograph on this post of this unblinking girl is probably one of my many favorites of India. These three girls were part of a nomadic family in the Rann of Kutch, and sold tribal jewelry. 

The Birth of Color | When Krishna Met Radhe

I'm pleased to feature my photo essay titled The Birth of Color-When Krishna Met Radhe with more than 20 "full-bleed" color photographs of the festival of Holi in Vrindavan and Mathura. I chose to publish this 'sampling' of photographs on Exposure, one of the photo-narrative portals that is designed to give photographers space to publish photo essays. Some of these images and others will also be published on my website.

These photographs were made during my recent The Sacred Cities Photo Expedition-Workshop to Varanasi and Vrindavan. We spent around a week photographing the festivities of Holi in Mathura and Vrindavan and in retrospect, it was one of the most difficult photo expeditions-workshops to operate due to the chaotic nature of the festival, and other factors which I address in more details here.

Part of the title to this photo essay is obviously inspired by the movie When Harry Met Sally...an iconic movie if there was ever one. There's no direct link with the movie's story, but I thought it was a catchy title. In fact, the festival of Holi is based on a number of legends; only one of which is based on the love story between Krishna and Radhe.

Producing an audio-slideshow of Holi is quite difficult because of the disparate events that took place whilst we were there. Particularly difficult is the editing that will have to go into producing a coherent audio track.

Photo © Charlotte Rush-Bailey-All Rights Reserved

Seeing the imagery I returned with, I now think whatever happened to me: getting whacked on the elbow by stick-wielding out-women during one of Holi's 'rituals', getting smothered with color powder or doused with colored water, was really worth the trouble.

Dan Eckstein | Horn Please

Photo © Dan Eckstein-All Rights Reserved

The first time I traveled in India I had the rather unnerving experience of riding in a bus from Jaipur to Jodhpur in pitch darkness. I shall never forget my growing terror in watching an incoming truck blinking its signal light which I thought meant it intended to turn right into the path of my bus.

It was an enormous relief to realize the truckers were doing so to indicate their presence (and the limits of their carriages) to other incoming vehicles.

The Indian truckers usually belong to a certain caste, and are generally treated with contempt by their employers. Their trucks are often decorated with beautiful artwork, colorful gewgaws, religious icons and slogans, making a convoy of such vehicles look like a circus is moving to town. These long-distance lorry drivers transport cargos of freight across the whole of India; tea from Assam, computer parts from Bangalore and exotic flowers and vegetables from the southern states of the country.

Dan Eckstein's project Horn Please documents the trucks, drivers and roadside culture of India.  Having driven 10,000 kilometers over two years to document these truckers, Dan produced "Horn Please: The Decorated Trucks of India"; a book that is to be published by powerHouse Books on December 2nd, 2014.

Dan is is a photographer based in Los Angeles and Brooklyn, who spent four years studying photography at Skidmore College. He assisted Magnum photographer Bruno Barbey in Paris. His work has been widely published and exhibited and he was included in The Collector's Guide to Emerging Art Photography. He was awarded Best Photo Essay in PDN's World In Focus photo contest and included in American Photography 30.

Selvaprakash L. | Vanishing Tribes

Photo © Selva Prakash-All Rights Reserved

On every single trip to India, I am amazed at the Indians' ingenuity in creating and crafting employment and occupational opportunities for themselves...whether it's the punkawallahs waving their flag at Sufi shrines for a few paisas to the young boys who peer in the waters of Haridwar in search of coins donated by the visiting pilgrims.

Most of these "jobs"are slowly disappearing, largely because of India's rapid modernization and socio-economic progress, its modern generation prefers not to follow ancestral trade practices, and the desire to escape caste restrictions. Many ancient practices are fading or have already faded out, while others are currently on their way to become a quaint relic of the past.

What prevents the punkawallah at the Nizzam Uddin shrine being replaced by electric fans? Tradition perhaps...but that too might well change.

Vanishing Tribes by photographer Selva Prakash is a collection of 8 color environmental portraits depicting such transitory trades, ranging from the milkman who delivers milk to homes to the roving knife grinder.

As for the man holding a sort of doll at the end of a pole in the above photograph...I really have no idea what he sells. He seems to have been photographed against the backdrop of a Ferris wheel...so perhaps he's involved in a carnival.

Note: Through the photographers Selvaprakash and Subrata Bose, I learned that this man is a 'Jow Mittai" or candy seller. The red, white, green and yellow strips seen on the pole are gelatinous candy strips popular among rural and semi urban children of India.

I recall the occasional cry of "robabekyah" in the streets of the Cairo suburb of my youth. Most probably extinct now, it announced the man who bought one's old clothes and miscellaneous junk such as empty glass bottles, cans, old shoes, etc. Probably the cry was derived from the Spanish (or Ladino) ropa vieja. Ladino of course, was originally spoken in the former territories of the Ottoman Empire, as Egypt was.

But I digressed.

Selvaprakash L. started his career in photography as a staff photographer for a leading Tamil newspaper. He was Chief Photographer with Dinakaran and DNA, and is now Chief photographer with TIMEOUT, Bangalore. He participated in a number of international photo workshops such as ingapore International Photo Festival 2008 (SIPF), Angkor Photo festival( Projection) 2010 and Photovisa International Photo festival, Russia 2010, Noorderlicht International Photo festival 2011, Delhi Photo Festival 2011 and Lagos Photo Festival 2011 and won numerous international awards.

His photographs have been published in Asian Geo, New Internationalist, and several leading newspapers and magazines in India.

Theyyam: Incarnate Deities | Maptia

I'm very pleased that Theyyam: Incarnate Deities, one of my most colorful photo essays, is now featured on Maptia.

A beautiful way to tell stories about places, Maptia is a new platform designed for thoughtful, inspiring stories that make us want to get out there and explore the world, and each story has its own unique map.

It's different from the crop of photo/storytelling platforms that have recently appeared, inasmuch as it makes easy for people and story tellers to share long-form stories about the places that matter to them, and by creating unique, visual maps of these stories.

In an interview with WIRED some 6 months ago, Maptia's founders indicated that the platform already had a community of 10,000 bloggers, photographers, and writers.

Theyyam is a popular ritual form of worship of North Malabar in the state of Kerala (India), and is essentially a living cult with several thousand-year-old traditions, rituals and customs. 

In his book, Nine Lives, William Dalrymple wrote about the Theyyam. One of the stories, "The Dancer of Kannur", is of one of the Theyyam performers who's quoted as saying:

"...during the theyyam season, from December to February. We give up our jobs and become theyyam artists. For those months, we become gods. Though we are all Dalits (untouchables) even the most bigoted and casteist Namboodiri Brahmins worship us, and queue up to touch our feet."

The Theyyam prepares for his performance by meditating while his make up is applied, which usually takes a few hours. When it's ready and totally dry, he views himself in a hand mirror, and then enters in a sort of a trance, whereupon he walks (aided by assistants) over to the temple's shrine and gradually morphs into the shrine's deity. The Theyyam dances to the accompanying drum beat,  and goes deeper into his trance. At the appropriate time, the Theyyam is seated on a stool and devotees approach him with donations and solicit advice, which he provides in a raspy voice. I was also told that the Theyyams' advice is provided in a mixture of Sanskrit, Old Malayalam and Tamil. Both Theyyams and Kathakali performers use similar eye movements to convey emotions.

Bob Newman | Holi 2014

Bob Newman was a member of my The Sacred Cities Photo Expedition-Workshop last March which saw us photographing in the ancient city of Varanasi, and in the sacred city of Vrindavan during the festival of Holi. He is a first time participant in my expeditions-workshops.

Bob just published his first multimedia project of the photo expedition-workshop, and titled it Holi 2014. The multimedia package features photographs made during the week-plus long festival of Holi in Vrindavan. The sound tracks accompanying the slideshow were also recorded on site by Bob.

The project was completed whilst we were in Vrindavan; a task that was especially difficult in view of the intensity of the photo shoots. Bob earned the award of being the trip's most diligent participant, in having completed in record time two multimedia assignments required from the participants. 

He joined our photo-expedition after attending another workshop in Venice, and then went on to Gujarat for a few days.

Bob is a surgeon with 34 years of experience and practices in urology and surgery.

Northwest India | Tewfic El-Sawy

I've recently published Northwest India on the Exposure platform, with some of the photographs I made during one of my photo expeditions-workshops in a corner of northwest India; a region that is rife with tribal communities.

The Dungarpur-Poshina- Baneshwar-Bhuj region of Southern Rajasthan and of Gujarat‘s Rann of Kutch is sufficiently distant from the mainstream tourist circuit that compelling photographs and great photo-opportunities can be made in the small rural villages scattered in that geographical quadrangle.

I've chosen to feature portraits more than anything else in this gallery; portraits of members of tribal communities such as the Bhils, Banjara,  Gowdia and Garacia, and Rabaris.

I've also chosen to process the digital images using Nik Collection's Analog Efex Pro 2 filters, which gave them an analog look.

The photographs I made in the tiny village of Madhwa (midway between Bhuj and Bhachau) are those that stayed with me the most. The village is home to charcoal makers, living in abject poverty and were rather reclusive... however, when seeing cameras the women of the village quickly changed into their finest and cleanest, and stood with the poise of experienced models the minute when lenses were pointed their way.  Handsome people, with beautiful dark eyes...and yet dealt the harshest of cards in the desolate shrubs of the Kutch.

Anthony Pond | Ganga Aarti

Anthony Pond was a member of my The Sacred Cities Photo Expedition-Workshop a couple of weeks ago during which we photographed the eternal city of Varanasi and the sacred city of Vrindavan during the festival of Holi, and is a second time participant in my expeditions-workshops.

He just completed his first multimedia project of the photo expedition-workshop, and titled it Ganga Aarti. The lovely photographs are of the nightly religious ceremony held on the banks of the Ganges. The aarti is a devotional ritual that uses fire as an offering. It's usually made in the form of a lit lamp, and in the case of the Ganges River, a small "boat" with a candle and flowers is floated down the river. The offering is made to the Goddess Ganga, goddess of the most holy river in India.

Rather than using Soundslides and Audacity. Tony chose to process his photographs in Lightroom and Silver Efex Pro, and built the slideshow movie using Final Cut Pro X. Setting aside the fact that Tony is an aficionado of black and white photography, converting his photographs to monochrome eliminated the difficult lighting conditions that afflicted photography during the ceremony.

Anthony Pond worked for more than two decades in the criminal courts in California as an attorney for the Public Defender’s Office. Now pursuing his passion for travel and photography, he travels repeatedly to South East Asia and India, amongst other places, to capture life, the people and the culture. He has been a frequent contributor to The Travel Photographer blog,

Rickshaw Wallahs | Tewfic El-Sawy

I've just published Rickshaw Wallahs on the Exposure platform, with some of the photographs I made during the Kolkata’s Cult of Durga Photo~Expedition & Workshop which I organized and led in late 2011.

Since the end of the 19th century, hand-pulled rickshaws have been transporting Kolkata residents in its crowded streets. These ‘vehicles’ have remained an integral part of Kolkata’s fabric for more than 100 years. The word ‘rickshaw’ originates from the Japanese word jinrikisha. They were invented in Japan in 1860, and appeared in India a few years later.

Despite protestations, this archaic form of transport continues to be popular, despite ongoing debates regarding ethics and traffic-flow efficiency. During Kolkata's monsoon, the streets flood regularly, and only hand pulled rickshaws can carry people where they need to go. It is also regularly used by housewives for shopping, by small businessmen to carry merchandise, and by families to get their children safely to and from school.

Whilst in Kolkata, I photographed Muhammed, a rickshaw puller and to capture a few frames of him pulling it from a passenger's perspective, I sat on it. 

The sight of Muhammed straining to pull me these few meters upset me, and I asked him to stop, and got down. I suppose there is a difference between the hand-pulled rickshaws such as those in Kolkata and elsewhere, and the bicycle rickshaws in Old Delhi. I have ridden the latter; grudgingly perhaps, but I haven't felt the same way.

Ruben Vicente | Varanasi Ganga Aarti

Ruben Vicente was a member of my The Sacred Cities Photo Expedition-Workshop last month which saw us photographing in the ancient city of Varanasi, and in the sacred city of Vrindavan during the festival of Holi. He is a first time participant in my expeditions-workshops.

Ruben just published his first multimedia project of the photo expedition-workshop, and titled it Varanasi Ganga Aarti. The multimedia features photographs of the nightly religious ceremony, which is held on the banks of the Ganges, on the most popular ghat; Dashashwamedh Ghat.

The aarti is a devotional nightly ritual that uses fire as an offering, usually made in the form of a lit lamp, and in the case of the Ganges River, small "boats" with a candle and flowers is floated down the river. The offering is made to the Goddess Ganga, goddess of the most holy river in India.

Ruben tells us on his own blog that because of the awful artificial light illuminating the ceremony, he decided to convert his photographs to black & white. He recorded the audio on location, and despite the amplification distortion, managed to produce a compelling audio slideshow. I described one of his images of the pandit gesturing with incense sticks as magical...

See if you agree.

Ruben Vicente is travel photographer based in Lisbon who, apart from loving photography, is an IT consultant in the financial industry.

Bijoyeta Das | India's Jewish Tribe

Photo © Bijoyeta Das - All Rights Reserved- Courtesy Al Jazeera

Al Jazeera's In Pictures blog features non-news photo essays, and these occasionally are of ethnic minorities that are infrequently showcased on other similar mass media blogs. It has recently featured "Indian Jewish Tribe Heads Home" about the Bnei Menashe tribe who live in India’s northeastern states of Mizoram and Manipur.

Around 7000 of these Bnei Menashe members claim descent from one of the Lost Tribes of Israel; ten lost tribes refers to the ten of the twelve tribes of ancient Israel that were deported from the Kingdom of Israel after it was conquered by Assyria in about 722 BCE.

Most historians consider the Lost Tribes as nothing but a myth, and DNA studies have found no evidence of any lost tribes. Yet their emigration to Israel is supported and sponsored by a non-profit organization that aims to reconnect "lost and hidden Jews" with the people and state of Israel. Skepticism and debate over their ancestry and faith abound in Israel and India, and view this as nothing more than opportunism, and a desire to improve their living conditions.

Bijoyeta Das is a journalist and photographer. She has reported from Bangladesh, India, Nepal, the Philippines, Thailand, Turkey, South Korea and USA and holds a masters degree in Journalism from Northeastern University, and a photojournalism postgraduate diploma from Ateneo de Manila University.

The Travel Photographer's Favorites of 2014

Photo © Tewfic El-Sawy-All Rights Reserved

I'm perhaps jumping the gun; but anticipating an imminent flurry of "The Best of 2014" articles and posts, I decided to be ahead of the pack and feature my photographs which I view as being my overall favorites of this year. I'm not claiming these are my best. I leave it to others to make that judgement.

No, these are just my own personal favorites just because I like them, and because they remind me of the precise circumstances in which I was while making them...and I can "smell" and "feel" them.

One of these favorites is the one (above) of Flower H'mong women discussing the merits of a traditional skirt being offered for sale at the Bac Ha market in northern Vietnam. I processed it with Color Efex Pro4 software to give it this sort of blurry-glow effect, which I think works well with the dark wooden background.

Photo © Tewfic El-Sawy-All Rights Reserved

Another of my 2014 favorites is a photograph made in the streets of Ha Noi's  Old Quarter. It's shot from the hip (as I often do when doing street photography), and shows two well-to-do affluent Vietnamese women doing their grocery shopping, while an older shopper uses her bicycle to carry her purchases. What made it one of my favorites is the contrast between the styles, the old and the new...the affluent and the less so. But despite the obvious contrast and different social status, both women in the foreground wear the traditional non quai thao conical hats, and shop at the same stores in the old neighborhood's maze of alleys and tiny streets.

Photo © Tewfic El-Sawy-All Rights Reserved

One of the streets of the Hanoi's Old Quarter is lined with traditional restaurants and coffee shops, and I spent a few hours ambling along it for photo opportunities to appear. Again shooting from the hip, I stood next to this woman waiting for the right scene to develop. I used a wide angle lens, and after a cursory look at me, she was oblivious to my presence.

I liked the contrasting scene of the older woman engrossed in a game of Candy Crush (I'm not kidding) on her iPad, while a woman street vendor approaches with a đòn gánh tre (bamboo carrying pole) perched on her shoulders.

Photo © Tewfic El-Sawy-All Rights Reserved

During my photo expedition-workshop to Vietnam in September, we spent a few days in Hoi An; one of my favorite towns in that wonderful country. I had arranged for a dawn photo shoot with a local photographer to photograph the traditional fishermen of Hoi An. We boated to the mouth of the Thu Bon River to photograph these large fishing nets, that are lowered into the water to catch fish during the night. They are slowly raised and lowered by the fishermen using foot-powered winches.

This is one of the many I made when the sun was rising at that photo shoot. I used my least favorite lens (18-135mm Fuji) with my Fuji X-T1, and was pleasantly surprised at its sharpness. The beads of water on the net prove that sharpness.

Photo © Tewfic El-Sawy-All Rights Reserved

While at the Foundry Photojournalism Workshop in La Antigua (Guatemala), I took to its cobblestone streets, and photographed during the annual fiesta of Santiago de los Caballeros de Guatemala.

La Antigua's Parque Central is a magnet for the Maya vendors of traditional textiles, and this one was awaiting the influx of tourists and celebrants to peddle her wares. Her expression is that of resignation but I also saw a glint of hope in her eyes. The Maya face discrimination, isolation and poverty in Guatemala, and selling textiles and trinkets to tourists is often the only way to make a living.

Photo © Tewfic El-Sawy-All Rights Reserved

Just before the parade started for the fiesta of Santiago de los Caballeros de Guatemala, this group of young women stood with their umbrellas deployed, waiting for the signal to march. I liked the way they were standing; anticipating the signal, nervous perhaps to take part in their town's main event... dressed to the nines in the Sunday best, and totally serious. It was not easy to photograph at this time of day, with intervals of bright sun and thick clouds.

Photo © Tewfic El-Sawy-All Rights Reserved

One of the most intense and difficult festival to photograph was India's Holi. Framing the frenetic action during the peaks of that festival, ducking handfuls of colored gulal, and avoiding being doused with water was a challenge, but one that -in retrospect- was not unenjoyable.

This particular photograph was made in the Banke Bihari temple, the "belly of the beast" and epicenter of Holi in Vrinadavan, the sacred city of Krishna. Unseen in this photograph is a stage where the Hindu priests periodically lift a curtain to reveal the deity, and every time the curtain is lifted the crowds go wild with fervor and joy. This sadhu caught a glimpse of the deity, and displayed his emotions by chanting and dancing. He might been also encouraged to overdo it by the presence of my cameras.

Photo © Tewfic El-Sawy-All Rights Reserved

Here's another of my favorites made at the Banke Bihari temple in Vrindavan during Holi showing the degree of faith and spiritual belief that has infused these three women in the presence the deity. Covered with colored powder, they had just made their way through the throngs of devotees and fell to the floor in reverence and supplication.

This photograph is one of many that exemplify the reason I am drawn to religious festivals in order to document the display of human beings' utter absence of artifice when in the presence of what they believe is a higher power.

Photo © Tewfic El-Sawy-All Rights Reserved

During my Sacred Cities photo expedition-workshop, we left the chaos of Holi in Vrindavan for a whole morning, and followed the pilgrims' trail for a few miles to the banks of the Yamuna river. It was there that I captured one of the pilgrims performing a personal puja by scooping water with one hand, and flicking her fingers. One can see the drops of water twirling above her head.

Contrary to what was happening just a few miles away in Vrindavan, this place was peaceful, and not a  sound marred its calm.

Photo © Tewfic El-Sawy-All Rights Reserved

Not only is this photograph one of my favorites for 2014, but it was also made in one of my very favorite places in India; the dargah of Nizzam Uddin in Delhi.

Here again, this photograph was made by shooting from the hip. I was intrigued by the dynamics of this group of Indian Muslims, who had come to the Sufi shrine to seek some sort of spiritual fulfillment, and I captured the moment where the man in the center glared at the woman who is both recoiling and defiant at the same time. I don't know whether the man is her husband, father or a stranger she just sat next to. I don't know if he's rebuking her or whether he's coming on to her.

Whatever it is, it's certainly a story.

Anthony Pond | Spice Wallahs of Khari Baoli

Photo © Anthony Pond-All Rights Reserved

Just off Chandni Chowk Market is Khari Baoli, the core of Asia's largest wholesale spice market. It's here in small wholesale shops that large bags, stuffed to the brim with chili, turmeric, ginger and various other spices are sold. Things have changed little in this market for centuries. Huge sacks of herbs and spices are still brought to the wholesalers on long, narrow barrows pushed by daily laborers from Bihar and Rajasthan. The wholesalers are ninth- or tenth generation spice traders, and are direct descendants of the founders of such establishments which date back to the 17th and 18th centuries.

It was our first stop in Delhi during The Sacred Cities Photo Expedition-Workshop, and Anthony Pond, a second time participant in my expeditions-workshops, photographed the activity in this market, producing Spice Wallas of Khari Baoli, a photo essay of about 29 monochrome images that perfectly capture the bustle and hustle of the frenetic to and fro of this market. The images were converted to black and white with Nik's Silver Efex Pro.

Anthony Pond worked for more than two decades in the criminal courts in California as an attorney for the Public Defender’s Office. Now pursuing his passion for travel and photography, he travels repeatedly to South East Asia and India, amongst other places, to capture life, the people and the culture. He has been a frequent contributor to The Travel Photographer blog,

Mark Hartman | Bole So Nihal...

Photo © Mark Hartman-All Rights Reserved

You must be wondering what does 'Bole So Nihal..." mean? Well, it's part of the traditional greeting used by the followers of the Sikh religion, and a call to action or duty. In Punjabi it essentially means "Whoever utters, shall be fulfilled.")

According to Wikipedia, it's a popular mode of expressing ebullient religious fervor and an integral part of Sikh liturgy. It is said at the end of Sikh prayers and holy congregations.

I was pleased to have been referred by PDN to photographer Mark Hartman's Bole So Nihal wonderful photo essay, consisting of over 30 square color photographs of Nihang Sikhs. He spent most of March and April 2014 in India working on personal projects, which include these terrific photographs.

Sikhism is a monotheistic religion founded during the 15th century in the Punjab region of the Indian subcontinent, by Guru Nanak. Sikhs do not have a gender for God, nor do they believe God takes a human form. All human beings are considered equal regardless of their religion, sex or race.

The Nihang are an armed Sikh order, and their distinctive dress consists of blue robes, bracelets of iron, and steel rings tied in their lofty conical blue turbans, along with the traditional sword carried by all baptized Sikhs.

Mark tells us in the PDN article that he was granted access to the Nihang while traveling in Amirtsar and Anandpursahib in Punjab, and that he decided to photograph them is a posed formal way because he hadn't seen anyone set up on-location portraits of the Nihang Sikhs before.

Mark Hartman is a New York City based photographer. He studied photography at Rochester Institute of Technology. He has shown work his work internationally. His work has been featured and published in Esquire, Monocle, Communication Arts, PDN, CNN, British Journal of Photography and others. In 2012, he was named a photographer to watch by Photo District News.

Khari Baoli | Exposure | Leica M9

I've just published Khari Baoli on the Exposure platform, using a post processing workflow on the photographs by combining Alien Skin Exposure 6 and Color Efex Pro 4. The photographs were made with a Leica M9 with an Elmarit 28mm 2.8.

Old Delhi's Khari Baoli is the largest wholesale spice market of Asia, but it's the small and medieval-looking Gadodia Market that is the subject of this gallery. This small circular courtyard is perpetually crowded with traders, and wholesalers looking for the best and cheapest spices, such as turmeric, ginger, saffron, and pepper. Few people can enter the area without sneezing, coughing and tearing up. The laborers who load the heavy sacks of turmeric and ginger seem immune to the pungent smells that assail the senses.

The market is also up on the first floor, but the dark stairs are sometimes slippery with phlegm spat by the laborers and porters who continually walk up and down carrying the heavy sacks of spices.

The larger Khari Baoli market was established at the time when Fatehpuri Masjid was built in 1650 with the patronage of Fatehpuri Begum, who was one of the wives of the Mughal Emperor Shah Jahan.

As a footnote; my Leica M9 is not artificially weathered. It's weathered for real. See my previous post  regarding the newly announced Leica.

Jean Christian Cottu | Nagaland's Konyak

Photo © Jean-Christian Cottu-All Rights Reserved

The Konyak are a Naga people, living in India's Northeast and in Myanmar. The Konyak tribes had a strong warrior tradition, and were still headhunting until the end of 1960. Recognizable by their intricate facial and body tattoo, the Nagas believed that only with the skulls of their enemies could they could guarantee the fertility of their fields.

While Christian missionaries (and British colonialists) convinced or forced the Nagas to give up the practice, it's said that they still observe these ancient rituals, using wooden heads instead. Most of the Konyaks in Cottu's portraits are in the 80's or over, and in a few years, most if not all of these former headhunters and their wives will be dead. With their death, the living memories of their unique cultural existence will disappear forever.

In his interview with the UK's Daily Mail, Jean-Christian Cottu tells us that he traveled to the Mon district of Nagaland with a portable photo studio and a medium format digital camera to make these portraits. Refreshingly, he also discloses that his photographs were the result of a material exchange between him and his subjects; either in the form of a printed copy of their photographs or a monetary one, in the form of a few hundred rupees, and on some occasions both.

Andy Richter | Kumbh Mela

Photo © Andy Richter-All Rights Reserved

"I wanted to go deeper and connect with the Kumbh from a participant’s point of view. I wanted to see what it was like from the inside, to really experience this massive gathering, and photograph that. It was essential to slow down and spend time with people." -Andy Richter (The Leica Camera Blog)

The Kumbh Mela is the one pilgrimage-festival that seems to really emit a powerful magnetic force, gathering not only Hindu devotees, but all sorts of people including photographers and photojournalists from every corner of the world.  It's one of the world's most extraordinary religious events.

Its main objective is to bathe in the Ganges, as it's said that bathing in sacred rivers during the annual pilgrimage breaks the circle of life & death, and allows Hindus to attain moksha. While attended by millions of authentic pilgrims and devotees, it also attracts an enormous number of charlatans, magicians and fake sadhus who are surrounded by the unwary, the gullible, the curious and naturally, the tourists.

I know this first hand having attended and photographed the 2001 Maha Kumbh Mela in Allahabad, which is reported to have attracted approximately 60 million people, making it the largest gathering in the world at that time.

I am pleased to feature Andy Richter's Maha Kumbh Mela, which was mostly photographed with a Leica M9 with a 35 mm Summilux. One of his essay's photographs shows a mass of pilgrims crossing a pontoon bridge, where I also walked, and I still recall the sensation of being shoulder to shoulder with this moving mass of humanity, giving me the impression I was standing on a flat escalator.

Andy tells a fine story on The Leica Camera Blog, and mentions how he was surrounded by the naked babas bathing in the river...and meeting Alex Webb at the same spot.