Photography, like all creative arts represents an outlet of personal expression. The art per se is non-judgmental and a representation of a particular time. Famous street photographer Eric Kim says, ‘as a photographer, I see myself as a sociologist with a camera as my research tool to observe and record the people and world around me’

Many a time’s vision of a creative artist may be contrary to the existing social ethos. Ideas which aspire for a change in social narratives or the ones which tend to promote a global humanism as compared to a parochial view of nationalism may be viewed with scepticism. In such cases artists are under lot of pressure to conform to existing social narratives. Any deviation or open challenge may be severely censured.

The key elements of social narrative promoted in Pakistan in the last few decades are based on a  puritanical concept of religion and nationalism which at times tend to touch the boundaries of  xenophobia and paranoia.

In my experience of working as a photographer with interest in portrait and cultural photography, most of the people tend to assess art not for its technical or artistic values. They just wish that it should be a vehicle to promote their religious / nationalistic sentiments.


A picture showing a Hindu woman bowing before Lord Krishna is immediately objected and declared against monotheistic principles of Islam and thus worthy of being rejected as infidel practice which has nothing to do with our culture of Pakistan. This rigid attitude tends to ignore and excludes a significant percentage of our population.

The word culture is a broad term with multiple layers of meanings. According to Concise Oxford English Dictionary, the word, ‘Culture’ is defined in

  1. The customs, institutions and achievements of a particular nation, people or group
  2. The arts and other manifestations of intellectual achievement regarded collectively.

From these definitions it is obviously that culture is an extremely broad term. This is easily understood by an artist, but general public is probably not so clear on this concept. They tend to confuse religion with culture and think Pakistan is synonymous with Islam.

According to many people any picture which depicts life style of minorities should be excluded from, ‘culture of Pakistan.  They can’t understand that in a multi-cultural and multi-racial society like our country, life style of all these minorities are actually sub units of a bigger whole. A passion to promote a monolithic society abhors beauty of a cultural diversity.


This intolerance is sometimes even extended to picture showing practices of Muslim sects with different views. This shows art and other manifestations of intellectual achievements are being seen through a tunnel vision of religious and sectarian faiths.

Shuttle cocks

In its endeavor to be a social documentary, art tends be objective and non-committal.  Viewers may interpret in different ways depending upon their own set of beliefs and social mores. A picture of women in shuttle cock veils shopping in posh markets may be seen as an indicator of changing social trends where old is rubbing shoulders with the new. However, the image was interpreted as a deliberate attempt to ridicule what viewers thought was our cultural traditions.


Another picture where a woman was seen carrying a 20 Kg sack on her head while in a shuttlecock veil, became controversial. For some it was a wonderful picture showing slice of a culture depicting drudgery of life of ordinary women and their hardships. However some others objected and labelled it as an insult of our society with potential to tarnish its softer image. They thought such pictures must not be displayed on social media as they might project us as a backward society which treats its women so harshly.


In one of my picture, an elderly bearded owner of a boutique was shown trying to cover his face to avoid the offence of being photographed while standing with mannequins wearing sleeveless low neck dress. For some it is a social satire on our confused moral and religious standards. They view it as a serious photography where it becomes more than an art. It achieves the status of a social documentary, a record of our time and its trends.

Umair Ghani commented on this image, ‘Commerce and Art play a tug of war with Faith and provoke greater conflicts and challenges for those who consciously focus on such concerns. These trends affect everyday life and our understanding of it. Some societies have learnt to sustain that shock; others are too fragile to come to terms with this recent awareness’

However the same picture was severely criticized as an intrusion on someone’s personal space and violation of personal belief.  Yet some others critics labelled it as putting religious class under ridicule, projecting them as hypocrites. A conspiracy of so called modern social society where anything related to religion becomes a butt of jokes for so called liberals.


Is documentary photography a violation of privacy? Can anyone claim privacy in a public place?  Laws vary in different countries.  Photography, as always, has lot of grey areas, where ethical concerns are involved. Is showing social hypocrisy in a photograph is a breach of social rights?


The obsession with a projection of a soft progressive image of Pakistan is so overwhelming that any image of poverty or human misery is advised to be pushed under the carpet and pretend that as if it never existed at all.


Similarly naked children sitting on the trash, addicts lying on the pavements, or a physically disabled persons begging around the market are thought embarrassing for national prestige.  However it is a reality of our lives as much as hunger and war.




Such festering social wounds can be healed only when we admit and accept their existence. A denial is nothing but a self-delusion.


Art should not be used for promotion of what state consider as national interests. Rather it should aspire to uphold higher values of humanism irrespective of caste, creed language and race. Recent unrest in Kashmir after killing of Burhan Muzaffer Wani by Indian forces should be seen in the light of human tragedy rather than for point scoring by respective governments.

A sudden popping up of huge posters of Burhan Wani is unusual and would definitely catch the attention of a documentary photographer. He would be curious to know the reasons behind this promotion and attempt to shape a new cult figure and the possible future implications for this policy.  The picture though posted without a personal comment became a cause for heart burn and resulted in outburst of anger and abuse from my followers across the border. Both sides showing indignation, with complains that I was being partial.

These are issues which need to be debated. In the absence of a photography magazine and lack of interest in serious discussions by photography groups, we lack a platform to discuss photography as an art form with an aim to educate and enlighten not only the public but photographers as well with an ultimate aim to develop a tolerant and humane society.

Puzzle of life

Posted: October 10, 2016 in Ramblings of an artist

There was a time when we too, used to be considered human beings. Now this time has come when people come to have a look at us’.

A chill ran down our spine when we heard these words from the old man sitting in front of us, bitterness writ large on his mutilated face, his equally disfigured wife sitting beside him. It was a small stuffy room which felt more oppressive after his words. The walls otherwise bare of any decorations were decked with family photographs.

After a brief silence, the man said again, in a tone full of remorse,’ we are unloved. No one cares for us. Relatives are scared to visit this godforsaken place Clergy calls us accursed and warns others to avoid us if they want to avoid wrath of God’.

Only visitors we receive are people like you who come on a trip to see how we live here’.

We were numb and did not know how to respond. Our initial euphoria to visit leprosy centre seemed to be crushed under tons of humiliation. We felt ashamed as if our study visit as final year students was a beastly act which had deeply offended these lepers living in small dilapidated building far away in outskirts of Faisalabad.

Sensing our embarrassment, the wife tried to step in for our rescue. ‘The situation is not as grave. My husband is too sensitive. Please don’t mind his acerbic remarks. He otherwise has a very kind heart. We used to have a mud house in a small hamlet in Sindh when this curse struck us. We too had a caring family. The truth is that they still love us and keep on writing occasional letters’.

With a wide sweep of her stump of an arm, she pointed towards pictures on the wall. ‘Look at those pictures. This is our whole family. Whenever there is a marriage or childbirth, we are informed with a picture of newcomers. We paste them on here. These albums arranged according to family tree give us a feeling of being in touch with our loved ones. Deaths of our loved ones sadden us and in fact the whole community of lepers mourns the death’.

‘We miss them a lot. We know they love us and must have the same feelings about us. It is just that they are scared of being infected with this illness’. Then she broke out, with tears rolling round her cheeks which she tried to wipe with what used to be fingers. ‘I wish them a life full of happiness. We wish, God protect them from this illness’.

The room suddenly was thick with grief. The man averted his gaze and started looking out of window, probably trying to conceal his emotions.

All of us were quite, not knowing how to behave. Finally after an eerie silence for what seemed an eternity, we decided to slip out of room leaving the couple immersed in their misery without uttering a word of consolation for them.

It was an overcast wintry morning when we were escorted on an academic visit under guidance of our associate professor of medicine. The day had started with feelings of a break from the monotony of daily routine with a promise of sightseeing.

What we saw was beyond our expectations. In our over protected family lives, we had no idea of the extent of human wretchedness, isolation and misery. We had seen poverty and patients without limbs in our hospitals, but these lepers stumbling on their stumps of limbs, disfigured leonine faces, festering skin wounds were too much to absorb. One could just palpate an aura of gloom, dejection and loneliness pervading in the court yard.

We saw few patients who were admitted before partition. No one bothered about them when in 1947, assets were being divided. Their relatives opted for India and left them here. They felt being uprooted, not knowing where they belonged to, hoping that finally their dead bodies would be disposed according to their faiths.

This small community of sick people were allotted rooms and were allowed to do what they choose. They had small patches of land where they would grow vegetables. The life in that compound had developed a rhythm and style of its own.

Some of us had the courage to shake hands with them as well. That seemed pointless bravado at the time but the psychological lift it gave to those poor people—treating them as normal human beings instead of animals as they were used to—was incalculable

On our way back, the whole bus had an ominous hush. Everyone seemed lost in one’s own thoughts. Our teacher too was immersed in his own imaginations. After few minutes, I mustered the courage to ask him, ‘Sir! I wonder what it was. Why there is an untold misery and why we are unable to eradicate this illness and provide these wretched people an honourable living? Sometimes I wonder about the life itself. Is there a meaning to whole conundrum, we call creation’?

After a gap of few minutes, our teacher responded back, ‘No idea son. Probably it is the curse of God. May be they are bearing the cross of some unknown sins committed by their past generations. We should be thankful to God for all his grace and benevolence. That is all I know’.

This whole incidence which occurred almost 35 years back is still etched in my memory.


All those minor details came rushing to my mind when I was on my way to lepers house Rawalpindi. Time had changed; I was now a professor of medicine and was on an academic trip with a small group of house officers. Our aim was to look at the patients with a view to being enlightened at the progress hitherto achieved against this illness.

I was not sure how my own students would behave? Would they be shocked as we were? I had shared some of those details with them in an attempt to prepare for the possible emotional shock.

On a bright spring day, we set off in a small wagon to a congested place in the heart of city. I felt a pleasant surprise when we disembarked from the wagon to see a neat building with a busy outdoor and a clean hospital at its back.

I looked for those miserable creatures of yesteryears but instead found only few patients, all with minor skin lesions and faces brimming with hope of recovery. Dr Christine Schmotzer, medical director of the facility briefed us and with a pride on her face,  mentioned that Pakistan, since 1996 has been declared a leprosy free country, first to achieve this milestone in Asia. The few people admitted were old cases who needed regular check-ups and care.

All this has been possible because of dedication to Dr Ruth Pfau and her team of German nuns who have devoted last 50 years of their lives in service of lepers of this area forsaking their own personal and family lives.

We kept on listening with a sense of unbelief. Does this world is still not devoid of those who have faith in humanism above the barriers of religion, caste, language and colours? With all this rat race of materialism, these nuns seemed other worldly.

Pious faithful, who in order to earn the paradise of God, have made this world a hell for others were understandable for us but who were these creatures and what were their motives? Was there a method in their madness?

These thoughts occupied my mind on our way back. All around me, students, equally impressed and awestruck,  kept on chattering.

Impressive——- Theses ladies are angles in human form——- We are the first in Asia——-I wish they had embraced Islam——–Can’t believe we are free of that nightmare of leprosy——-Would these ladies receive the grace of God in the hereafter? ——I never knew about this hospital though belonging to this area——–But she was graceful, isn’t it?

This incessant chatter kept on humming in the wagon and then all students turned to me. Sir! What do you think? We did not find those monsters you talked about. What is life after all? Is there an absolute truth in all this never ending circle of life and death? Would these ladies be in paradise for their service to humanity, even if they were not faithful?

I looked at their faces, curious to understand the ultimate truth,  questions pouring out in torrents, with an expectation to receive a philosophical answer from their guru.

I listened to all this with patience and after a silence of few minutes said,’ I have no answer to all your quarries. Honestly speaking I am still as clueless to solve the mystery of life as I was many decades ago.  This is all I can say about philosophy of creation. This is all I know’.





’ Army is the only binding force of this nation’. This statement is often repeated ad nauseum on electronic and print media. The claim never analysed or challenged is accepted as a universal truth by all and the sundry. An attempt to analyse or challenge this axiom is seen as being unpatriotic.

It may be true in current socio-political scenario. However it implies instability, a nation with no internal cohesion, just at the brink of collapse where a persistent brute military force is needed to counter centrifugal forces from disintegrating its inner fabric.

According to Webster dictionary, a nation state is defined as’ a form of political organization in which a group of people who share the same history, traditions, or language live in a particular area under one government’

From this definition, it is obvious that a true binding force for a nation is/should be geographical boundaries, a government which is perceived to be legitimate and looking for the welfare of its subjects and last but not the least a common culture, history and heritage with which people are able to identify themselves. Only then they can realize themselves a part of a greater whole with common threads to unite them to shared ideals.

It is important that all sections of society must feel an emotional attachment to it and feel their personal interest in its survival. A deficiency in this regard can’t be compensated by increasing the military might and stoking the flames of jingoism. Such a strategy creates nations not only in a continuous state of conflict against themselves, but also a risk for peace and stability of the whole world.

It must be understood clearly that a stagnant economy, fractured judicial system, serious energy crisis, rapid expansion of youth population demanding jobs, miserable education system and last but not the least extremism and religious intolerance threatening the very existence of society are the real issues.

They demand a paradigm shift from a security state to a welfare state. This situation needs strengthening the civil institutions and a viable government seen alive to the situation.

What is/should be the role of creative artists and writers in this situation?

The creative people have to play an important role to highlight the real issues and educating the masses. Instead of romanticism with a supposed glory of the past, there is a need to focus on the issues and problems of common people. A humanitarian approach, one which discards the differences of religion, sect, race and language ought to be adopted with an aim to minimize mutual friction and bigotry.

A shared history and culture needs to be projected. Ours is multicultural and multi religious society, with its roots in one of the oldest civilization, Dravidian civilization which existed about 6,000 years ago.

An artificial creation of roots which claims a historical heritage in Middle East is not only against the very logic and definition of a nation; it has proved incapable of providing sufficient cohesive force. Instead it has alienated different sections of society and promoted jingoism. Instead of a pride in being sons of this soil, it has led to a search of heroes outside this area. That is why our history books seem full of eulogy for those who attacked and plundered this area. This is nothing but an attempt of creating heroes out of dacoits.

The tilt requires a correction of facts and enlightening the public and here creative artists and writers are important to play the role of torch bearers of knowledge, tolerance and promotion of harmony.

Martin Luther King, Jr. wished, ‘ I have a dream that my four little children will one day live in a nation where they will not be judged by the color of their skin, but by the content of their character’

This can’t be achieved till we are able to achieve the ideal, dreamed by George Bernard Shaw

“You’ll never have a quiet world till you knock the patriotism out of the human race.”

A stage where patriotism should no longer remain the last refuge of a scoundrel


“In order to be open to creativity, one must have the capacity for constructive use of solitude. One must overcome the fear of being alone.” ~Rollo May

There is a common perception that most of the artists are loners or having schizoid personalities.  Is it really so?

Some tasks are best accomplished via solitary pursuits, while others are better suited to team work. The profession of art is one of few where individual creativity is more revered than one’s aptitude for being a “team player’

Even in social life, most of artists appear to keep themselves apart, to the extent of giving an impression of being arrogant and anti-social. They seem disconnected from everyday life. This might be because their perspective of Life itself is usually vastly different, as many creative people are profound thinkers. The depths in which their minds roam at times lead them to solitude. And many of the creative people reach their creative peak when alone.

There’s a correlation between the artistically inclined and the solitary-minded, if only because artistic endeavours of many sorts require one to spend long periods of time alone and absorbed. It’s as much about the relationship between artist and society as it is about personality.

Hemingway mused that happiness in the very intelligent was a rarity. It is true that unfortunate circumstances and harsh conditions can inspire uniquely, and we like to think of artists as tortured souls. This might be because most of the creative people are sensitive with highly developed perceptions. However there are many exceptions to this rule.

I’d say the most essential character trait for success in the arts is an unshakeable work ethic—the very nature of artistic work requires introspection and meditation. This along with being highly sensitive gives an impression of being apart from trodden paths.




Street photography in Pakistan is a vibrant and joyous occupation for a hundred different reasons. It has face blazing criticism, occasional legal and ethical backlashes, besides stirring debates on public television and social media. Most street photography operates on the borderline between intrusion and observation. Even more problematic is the tradition of clandestine photography. The great Walker Evan took a whole series of provocative photographs with a concealed camera on New York subways.

Is street photography, an intrusion on someone’s personal space that is the question? Can anyone claim privacy in a public space? Laws vary in different countries. There is a need to be aware of laws for those interested in documentary photography involving images shot on public places.

Photography, as always, has lot of grey areas, where ethical concerns are involved. Is any image of human misery and poverty an insult to human dignity? Should we present only a happy face of society? An old man dragging a heavy load, a rag picker boy sifting through trash, do these pictures attempt to exploit human misery for self-promotion?  Is showing social hypocrisy in a photograph is a breach of social rights?

Art should not be judgemental, but it is often perceived that way. Sometimes it is the viewers who interpret an image through the haze of their own understanding and that their redemption is to put the ‘blame on the boogie’—the artist. Naked children sitting on the trash, addicts lying on the pavements, or a physically disabled persons begging around the market are reality of our lives as much as hunger and war. It is not something to be pushed under the carpet and pretend that if it does not exist in images, it does not exist at all.

Famous street photographer Eric Kim says, ‘as a photographer, I see myself as a sociologist with a camera as my research tool to observe and record the people and world around me’. It reminds me of Pulitzer Prize winning photojournalist, Stanley Forman and his shot ‘The soiling of old glory’. The picture stirred great emotions when it was posted. A censor on such art would seriously hamper the growth of artistic expression and its potential to create a tolerant and enlightened society.

Umair Ghani once commenting on one of my street images, ‘Commerce and Art play a tug of war with Faith and provoke greater conflicts and challenges for those who consciously focus on such concerns. These trends affect everyday life and our understanding of it. Some societies have learnt to sustain that shock; others are too fragile to come to terms with this recent awareness’.

An elderly bearded owner of a boutique, trying to cover his face to avoid the offence of being photographed while standing with mannequins wearing sleeveless low neck dress is a social satire on our confused moral and religious criteria. Images of women covered in shuttlecock veils shopping in posh markets with explicit advertising contents show challenges presented to prevailing cultural trends in our society. Such images do not stab our cultural façade, but helps us document our bleeding wounds of social confusion and to some extent stitch and heal them. This is serious level of street photography. It is above ridicule or criticism; It is a commentary and interpretation.

Furthermore, street photography is a contested sphere in which all our collective anxieties converge. terrorism, paedophilia, intrusion and surveillance. Even an attempt to capture the culture of marginalized sections of society is seen by some as a potential threat to ideology of Pakistan with a threat of creating fissures in society.

The photography codes of ethics from the US National Press Photographers Association have some solid points and guidelines. Now is the time to address this pressing need to discuss and review those points within our own legal and cultural parameters’

Faith and the buisness

Shuttle cocks


Artists claim to represent the soul of a culture especially those who do portraits and documentary photography. There is no doubt their work is serious. People trust them to be their voice and stand for their problems.
Many a times people open their hearts to us, with a hope, that we would highlight their plight and plead for their rights. In portraits, people trust that either their portraits would be treated with respect.
This is a great onus, the one which requires a bit of sensitivity and responsibility.
An artist is not expected to post a picture of someone in distress and then making the poor soul, a butt of jokes on social media. Documentary photographers take pictures of homeless people, physically disables, migrants, war torn families, transgenders, poor under disgraceful conditions and miserable wrecks on the margins of society.
Would it be called a responsible behavior, if the artists themselves start ridiculing their subjects, making fun of those caught in the whirlwinds of fate?
An artist is expected to have a tender empathetic approach with an aim to draw our attention to human miseries rather than creating a theater of absurd
Similarly sometimes portrait of a lady is posted and one is shocked to read irresponsible comments even from very senior members of photographic community.
This is perturbing especially when we observe even photographer himself joining the mocking crowds and passing chorus of double entendre.
This attitude is non-serious and is totally unacceptable from senior photographers. This not only sets a bad example for the juniors but is also a clear breach of trust with subjects of our photographic art
Many a times target of these teenage bawdiness and innuendos.are educated ladies who are expected to notice these discussions on social media. I wonder what they feel about these respectable members having a good time.
I personally feel this attitude is due to lack of respect for the art itself, lack of knowledge about role of artist in community and last but not the least combined with our social attitude where a female
( especially who comes out of their house) is treated as a source of pleasure for probing eyes of males.


Termite life

Posted: July 30, 2016 in Ramblings of an artist

Life in a cosmopolitan city, has an attraction that one can remain faceless amidst a vast ocean of people, a luxury denied to those from villages and small towns.
Sometimes, I feel like sitting in one corner, watching the teeming life around me, whirling in endless circles . In a pensive mood, I wanna absorb buzz of humanity. The weary faces, tense looks and endless toil to bear the cross of their existence.
Their lives tend to convey a message of triumph of humanity against nature but at the same time I realize that in a blink of an eye, I as well as those around me would be no more,
This has been a fait accompli, for those millions of generations before us and would be for millions more to come after us.
For how long? No one knows.
The life seems like a conveyor belt, slowing inches us toward final destination, crushing and grinding not only individuals but civilizations mercilessly.
The contemplation, humbles me to realize fickleness of life and intrigues me to question, whether there is any method in this madness? Can we make this life more meaningful and if so why and how?
Just sitting, apparently doing nothing, it matters much more than so many hours spent in emotional deprivation in what Wallace Stegner called, “the termite life we have created.”

Termite life