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Vivid, cinematic and poetic, it’s all about my inner contemplation whenever I take a walk in the rain.

And this time it was a dark gloomy evening when I left home and reached the fairyland of my city Kolkata named Park Street where rain blends with vivid lights and makes the street looks like a lucid dream.

And when it pours I just keep my camera shutter open n let it capture the mood to keep it as the way it is. In my imagination evening rain is an amazing fusion of colours, lights, moods and fairy droplets.

Everything was a crazily beautiful experience for me that evening, either it’s simply a commuter holding an umbrella with his shadow on the middle of the road or simply the play of light n colours on the wet seat of scooter waiting there, either it’s the mysteriously vibrant car found on street in rain or the dreamy watery texture of car glass. I found magic everywhere and later bagged a story to share with you.

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About Jayeeta Ghosh

I’m Jayeeta Ghosh from Kolkata, India, by profession I own a business & by passion, I’m a concept photographer rather I’m immensely passionate about the fine art form of photography. Academically, I studied honors in Botany n later Bioinformatics.

I will not be able to tell, exactly when I realized that my passion is photography, initially it was I felt good doing photography and capturing moments, but later I realized that I need to know it closely, which actually indulged me to take admission into the National Academy of Photography Kolkata, and then after in London Institute of Photography in London.

My images are regularly being published at the magazine of London Institute of Photography, I take images for iStock by Getty images and my images have been published on IG pages of different popular national or international photography communities.

You can find Jayeeta Ghosh on the Web:

Copyrights:
All the pictures in this post are copyrighted Jayeeta Ghosh. Their reproduction, even in part, is forbidden without the explicit approval of the rightful owners.

Photography is almost 200 years old and Photography: Real and Imagined at the National Gallery of Victoria (NGV) can be interpreted as an attempt to make sense of its history.

A huge and dazzling exhibition containing 311 photographs, the basic thesis of this exhibition is that some photographs record an actuality, others are purely a product of the photographer’s imagination, while many are a mixture of the two.

The parameters of the exhibition are determined, in part, by the holdings of the NGV collection and, in part, by the perspective adopted by the curator, the erudite and long-serving senior curator of photography at the NGV, Susan Van Wyk.

Mercifully, the curator has not opted for a linear chronological approach from daguerreotypes to digital, although both are included in the exhibition, but has devised 21 diverse thematic categories, for example light, environment, death, conflict, work, play and consumption.

Australian artists, international context

The categories have porous boundaries. Even with the assistance of the 420-page book catalogue, it is difficult to determine why Michael Riley’s profoundly moving photograph of a dead galah shown against the cracked earth belongs to the environment theme instead of death; why Rosemary Laing’s Welcome to Australia image of a detention camp belongs to movement, instead of being in community, conflict or narrative.

I felt that there was a perceived need to somehow organise the material, and the broad thematic structure allows the viewer to develop some sort of mega-narrative for the show.

There is also evident a desire to create an international context within which to display the work of Australian photographers.

It is indeed a very rich cross-section of Australian photographers assembled in this exhibition. This is not an Anglo-American construct of the history of photography; Australian photographers are presented together with New Zealanders and their Asian contemporaries.

Although the NGV boasts of having the first curatorial department of photography in any gallery in Australia, in the department’s 55-year history there remain serious lacunae in the collection.

For example, Russian constructivist photographers, including Aleksandr Rodchenko, who, as far as I am aware, in the NGV collection is represented by a single small booklet, but looms large in any account of the history of photography as presented by the British, European and American museums. Eastern European photographers are also generally underrepresented.

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Read more:
Friday essay: 10 photography exhibitions that defined Australia

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Key moments, and surprises

This exhibition combines the iconic with the new and the unexpected.

The expected key moments in the history of photography are generally all present with the roll-call of names including Dora Maar, Man Ray, André Kertész, Henri Cartier-Bresson, Dorothea Lange, Eadweard Muybridge, Bill Brandt, Lee Miller and László Moholy-Nagy.

They are all included in the exhibition and are represented through their iconic pieces.

Henri Cartier Bresson’s Juvisy (1938), colloquially known as Sunday on the banks of the Marne, is an intentionally subversive image by this left-wing radical photographer.

This image, made at the height of the Great Depression, shows a victory by France’s popular left-wing government that legislated in 1936 the entitlement for French workers to have two weeks of paid vacation. Here the working class is enjoying a picnic at Juvisy, just to the south of Paris.

At about the same time, Dorothea Lange’s Towards Los Angeles, California (1936) contrasts the anguish of the unemployed trekking in search of work and a billboard advertising the comforts of train travel. An aphorism ascribed to her sums us much of her work:

Bad as it is, the world is potentially full of good photographs. But to be good, photographs have to be full of the world.

Man Ray’s Kiki with African mask (1926) is one of the most famous photographs in the world, also known as Noire et blanche (Black and White). The surrealist artist juxtaposes the elongated face of his Muse and mistress, Kiki (Alice Prin), with her eyes closed with that of a black African ceremonial mask.

The photograph was controversial when it was first published and continues to be controversial to the present day.

There are also numerous modern classics in the exhibition, including Pat Brassington’s Rosa (2014), Polly Borlan’s Untitled (2018), from MORPH series 2018 and Robyn Stacey’s Nothing to see here (2019), that can all be viewed as edging into the realm of the uncanny. Beyond the façade of the familiar, we are invited to enter an unexpected world.

Reinterpreting our world

Photography’s reputation of creating a trustworthy facsimile of the real had long been eroded, even before the creation of digital software. There is an old adage, “paintings sometimes deceive, but photographs always lie” – precisely because there was a perception that they could not lie.

One of the most intriguing works in the exhibition is by the New Zealand-born photographer Patrick Pound, titled Pictures of people who look dead, but (probably) aren’t (2011–14). It is a sprawling installation of mainly found photographs where the audience is invited to create a life and death narrative.

Photography: Real and Imagined reexamines our thinking about the art of photography and explores photography’s ability to recreate and reinterpret our world.

Photography: Real and Imagined is at the Ian Potter Centre, National Gallery of Victoria, Melbourne, until February 4 2024.

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Read more:
Can a photograph change the world?

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Here are the incredible winning photos of the Wildlife Photographer Of The Year 2023. In a stunning victory, a captivating photograph capturing a golden horseshoe crab emerged triumphant among nearly 50,000 entries in the prestigious Wildlife Photographer of the Year competition hosted by the Natural History Museum. Renowned French underwater photographer and marine biologist, Laurent Ballesta, skillfully captured this mesmerizing moment in the Philippines, showcasing the tri-spine horseshoe crab accompanied by a trio of golden trevallies.

This ancient species, safeguarded by its robust shell, holds a remarkable lineage dating back 100 million years but faces imminent threats due to habitat destruction and overfishing. Ballesta embarked on a journey to the protected waters off Pangatalan Island in the Philippines, meticulously documenting these majestic creatures. His dedication and artistry were duly rewarded with this coveted competition win. Notably, this victory marks Ballesta’s second Photographer of the Year title, a rare feat in the competition’s 59-year history, underscoring his exceptional talent and commitment to capturing the natural world’s beauty.

Entries for next year’s Wildlife Photographer of the Year competition, the 60th edition of the renowned photo contest, will open on October 16, 2023. The competition will feature a new special prize and some important rules changes. The full details are available on the Natural History Museum’s website. Entries close on December 7, 2023.

Scroll down and inspire yourself. You can check their website for more information.

You can find more info about Wildlife Photographer of the year:

#1 Wildlife Photographer of the Year Winner: “The ancient mariner” by Laurent Ballesta

A tri-spine horseshoe crab moves slowly over the mud. Its golden protective carapace hides 12 appendages. Above the horseshoe crab, a trio of juvenile golden trevallies are poised to dart down for edible morsels plowed up by its passage. Laurent Ballesta went looking for horseshoe crabs in the protected waters of Pangatalan Island in the Philippines. Marine biologist and photographer Laurent Ballesta has dedicated his life to exploring the oceans and revealing their wonder through art. He has led a series of major expeditions, all involving scientific mysteries and diving challenges, all resulting in unprecedented images. The tri-spine horseshoe crab has survived for more than 100 million years but now faces habitat destruction and overfishing for food and for its blood, used in the development of vaccines. But, in the protected waters off Pangatalan Island, there is hope for its survival.

#2 Young Wildlife Photographer of the Year Winner: “Owls road house” by Carmel Bechler

Carmel Bechler discovered several barn owls in an abandoned concrete building near a busy road. Returning to where he had spotted a barn owl the previous year, Carmel and his father used the family car as a hide. He made the most of the natural light and used long exposure times to capture the light trails of passing traffic. Israel has the densest barn owl population in the world. A national project has provided nesting boxes near agricultural fields, encouraging owls to nest near farmland. Because the owls hunt rodents that eat seeds and crops, this arrangement has reduced the use of pesticides on farms.

#3 Winner, Behaviour: Mammals – “Whales making waves” by Bertie Gregory

#4 Winner, Photojournalist Story Award – “The unprotected” by Karine Aigner

#5 Winner, Animals in their Environment – “Life on the edge” by Amit Eshel

#6 Winner, Wetlands – “The dead river” by Joan de la Malla

#7 Winner, 10 Years and Under – “The wall of wonder” by Vihaan Talya Vikas

#8 Winner, Rising Star Portfolio Award – “Alpine exposure” by Luca Melcarne

#9 Winner, 11-14 Years – “Out of the blue” by Ekaterina Bee

#10 Winner, Photojournalism – “The tourism bulldozer” by Fernando Constantino Martínez Belmar

#11 Winner, Behaviour: Invertebrates – “Lights fantastic” by Sriram Murali

#12 Winner, Behaviour: Amphibians and Reptiles – “The tadpole banquet” by Juan Jesús Gonzalez Ahumada

#13 Winner, Oceans: The Bigger Picture – “Last gasp” by Lennart Verheuvel

#14 Winner, Underwater – “Hippo nursery” by Mike Korostelev

#15 Winner, Behaviour: Birds – “Silence for the snake show” by Hadrien Lalagüe

#16 Winner, Urban Wildlife – “Birds of the midnight sun” by Knut-Sverre Horn

#17 Winner, Plants and Fungi – “Last breath of autumn” by Agorastos Papatsanis

#18 Winner, Animal Portraits – “Face of the forest” by Vishnu Gopal

#19 Winner, Natural Artistry – “The art of courtship” by Rachel Bigsby

#20 Highly Commended, Animal Portraits – “Snow bison” by Max Waugh

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