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Journey of the lens
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Shibu Arakkal's photographs are testimony to his love for the backpack and the camera
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One of the grand forts of Rajasthan captured by Shibu.
TRAVEL PHOTOGRAPHY has its own unique charm and magic. Unfortunately, like many other aspects of photography, the power of travel photography has not been tapped by its practitioners who are content with capturing eye-catching images. An expert travel photographer seldom depends on the clichéd imagery of monuments or landscapes, but attempts to either re-interpret them through his lens, or look for some unexplored facets. For instance, documenting that moment of joy of a pawn-chewing bangle-seller in Agra is more interesting than a hackneyed image of the Taj.
"Backpacking through Europe at 22 was my graduation into the real world," says Shibu Arakkal, who is currently holding a solo exhibition of his travel photography titled Been There. "I would be much less of a person if I hadn't travelled... From having been robbed by a couple of burly blokes at knifepoint in London to nearly having my cameras stolen in Brussels, from having gone through a month-long journey of Rajasthan with barely Rs. 2,000 to swaying in the wind on the tip of the Eiffel Tower, from driving a buggy on the grand prix track in Macau to sailing through the land of Zorba the Greek, I can say with great contentment that the journey thus far has been most colourful."
Shibu's love for travel is evident in his choice of pictures shot in different parts of the world over the years. About 10 of the 20 photographs on display are images of Rajasthan, while the rest are images of Rome, Hampi, London, Hong Kong, Macau, Florence, and Dubai. Among the eye catching Rajasthan images are the well-composed picture of an open window in a fort, and dazzlingly sunlit palaces along the rippling waterfront. Hard rock formation at Hampi with its reflection in placid waters and a panoramic view of Florence also impress by the moods they create.
Inanimate objects such as a ceiling fan (Macau, 2000), a set of rifles arranged neatly (Rajasthan, 2000) and a surreal image of Chinese letters (Hong Kong) arouse curiosity. In contrast, some pictures of the forts of Rajasthan and night images shot in Dubai and Hampi look stolid and undistinguished.
The young photographer, who has a yearning to see more, seems to be on the right track, though he has a long way to go. The show at Galerie Arakkal concludes on April 3.
ATHREYA
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