About Orissa

Situated on the coast along the Bay of Bengal, Orissa stands for its ancient glory and modern endeavour. Endowed with nature's bounty, a 482 km stretch of coastline with virgin beaches, serpentine rivers, mighty waterfalls, forest-clad blue hills of Eastern Ghats with rich wild life, Orissa is dotted with exquisite temples, historic monuments as well as pieces of modern engineering feat. The land, while retaining its pristine glory, also offers the visitors modern amenities.


Its lush green countryside and fertile plains, tiny hamlets fringed with palm, coconut trees and mango groves offer the charm of rural beauty while the urban pockets, the four cities in particular, with the splendour of modern technology provide the amenities necessary for a comfortable stay. This wonderful land of fascinating beauty boasts of colourful festivals round the year. Orissa is also the land of unique handicrafts and other excellent artefacts.

Orissa has a long tradition of art and architecture. The early monuments date back to the 300 B.C. The remnant of an Ashokan pillar, turned into a Siva Lingam and enshrined in the Bhaskaresvara temple at Bhubaneswar and the lion capital of an Ashokan pillar, presently in the State Museum, speak volumes of Orissa's past glory. The rock-cut caves of Khandagiri and Udaygiri and the inscriptions recording Kharavela's short but eventful reign during the first century B.C.

Orissa is also known for her exquisite handicrafts. Silver filigree work of Cuttack and the famous applique work of Pipili deserve special mention. Pattachitra, a form of folk painting of Orissa, is a unique craft. Brass and bell metalware, particularly vases and candle stands, are beautiful and longlasting. The blackstone bowls and plates of Nilagiri and Khiching and multi-coloured stone statues are other attractions. Silk and cotton handloom products, especially saris are simply bewitching. The Sambalpuri saris and Maniabandhi patas are matchless in their texture and designs.

Diti Kotecha: Shekhawati

I occasionally, usually by accident, come across work of such fresh creativity and imagination that it figuratively stops me in my tracks.

To me, the work of Diti Kotecha, a photographer based in Mumbai who describes herself as a documentary and travel photographer, graphic designer, cat lover and collector of knick-knacks, qualifies as one of those "stop-in-the-tracks". Her website is not gallery extensive, but it's one that I encourage you to visit and look around.

My favorite multimedia gallery (unfortunately limited in number of images) is the one Diti titles "antique remains". Her images were made in the Shekhawati region of Rajasthan, and some are of the wonderful havelis in the small town of Mandawa.

The ruling clan in the area were the Marwaris, who built large mansions in Shekhawati and Marwar, which were called havelis. Artists were commissioned to paint the buildings with frescoes depicting Hindu lore and current events of the time. Unfortunately, and despite the havelis being on the tourist circuit, most are largely dilapidated, and some even abandoned.

Diti's blog Yesterday Was Dramatic, Today's OK is also an interesting insight in her photographic style. I'd wager that Diti will go far in her chosen career.

Gong Cave in Pacitan

Beyond The Frame: Vedic Master

©Tewfic El-Sawy-All Rights Reserved
I'm resuscitating the Beyond The Frame feature on The Travel Photographer blog, which today shows-off one of my favorite photographs from my February photo-expedition in Kerala. One of photo shoots was inside an ancient Vedic 'gurukul' (or training/boarding school, and very similar to the Buddhist monasteries for novitiates), where we were treated to a demonstration of this way of teaching sacred Vedic scriptures.

It is an ancient Indian educational system, which is currently being rejuvenated with the assistance of the Indian government. The young boys who populate the Vedic school usually belong to a caste of Keralan Brahmins, and are responsible to carry on the age-old tradition of chanting Vedas during religious rituals or functions. The chanting is learned by practice, and nothing is written down.

The rhythm of the Vedic chants is followed by the young boys' moving their bodies in cadence to the verses, which reminded me how the Buddhist novices recite their mantras, or how the Islamic students recite the Qur'an at their madrasas.

The photograph is of one of the Vedic masters keeping a watchful eye over the youths, while they're chanting the verses.

Canon G10 & VII Agency

Here's an entertaining advert for Canon's G10 featuring some of the VII Photo agency founding members: John Stanmeyer, Gary Knight, Antonin Kratochvil, Ron Haviv, Joachin Ladefoged and Marcus Bleasdale (seemingly the only member with no beard).

Technically, the advert is flashy and very well made, however the tips offered by both Gary and Antonin seem to be targeted at an audience who, despite the VII info, may not really know who they are...except that they're working photographers peddling a Canon camera.

Since the ensuing debate on this advert on the internets will also be entertaining, I have no intention of commenting any further, except as I already have.

Brent Foster: Varanasi

Varanasi, India : Holy Waters - Images by Brent Foster

Brent Foster is a photojournalist producing still, video, and multimedia content who is based in Delhi, India since January 2009. He was a staff visual journalist for the Los Angeles Times before deciding to give freelancing a try.

Not content in being an accomplished photographer and multimedia producer, Brent also authors an interesting bog titled Visual Journalist. The above slideshow is of his photographs made during a few days spent in Varanasi. You may want to view the photographs in the large screen format.

I wish it'd had some audio!

My own gallery of Varanasi photographs is City of Shiva

The Travel Photographer's Face-Lift

Many of my readers will have noticed that The Travel Photographer blog has undergone somewhat of a face-lift. Its original anthracite background with a lighter grey logo was over 2 years old, and I felt it was time for a freshening up. After all, I started this anthracite/grey color scheme in January 2007!

Over the past few months, I stealthily increased the size of the photographs appearing in my posts, and while I'm a proponent of the "larger is good" concept, I don't want to increase them further...at least for now.

I hope this white background works well...as well as the anthracite color did for so long.

My Work: Theyyams, Incarnate Deities

One of the most personally rewarding photo~expeditions I organized and led was the Theyyams of Malabar this last February. There are many reasons for this; the synergy between the 9 photographers in the group worked exceptionally well, the pace of the photo expedition was just right, and I fulfilled the ambition of photographing the Theyyam ceremonies over the 5 days we spent in northern Kerala.

To the people of northern Kerala, rituals are enormously important. Theyyam, a word that derives from daivam, meaning "god," is practiced mostly within the so-called "lower" castes of that region. To call it a ceremony would not quite be the word for it, and to name it ritual would only be half right. It is 2000-year-old theatrical performance in which an artist becomes divine and is in incarnated with that deity’s power. The gods and goddesses of Theyyam are not inanimate idols; they are incarnated in the bodies of the artists/performers.

The preliminary ritual is called Thottam, and takes place in the temple's shrine. It is then and only then that the artist receives the deity’s spirit. The deity’s makeup is called "body writing" and is said to have magical and medicinal properties. During the Theyyam the deity converses directly with the devotees, giving blessings, receiving homage and donations, and dispensing advice.

For my new gallery, visit Theyyams: Incarnate Deities

For another interesting post on the background of Theyyam on my blog, go here.

If you missed the verdict on the Theyyam of Malabar photo~expedition, go here and here.

Checking a schedule on the phone

Last week we did some oral practice about talking on the phone and checking information while on tour. Here you will find a role-play conversation between a tour guide (Miriam) and a hotel receptionist (Antonio).

The tour guide has the following information: arrive 13.00 (later than booked), non-smoking section, 16 pax, 2 vegetarian, no children.

The receptionist has this information: arrive 12.30, non-smoking section, 18 pax, no vegetarian meals booked, no children/high chairs.

Thanks Antonio and Miriam for your cooperation in class.

Taylor Davidson: India, Close & Afar

©Taylor Davidson-All Rights Reserved
Taylor Davidson is a documentary photographer focused on the role of business and people in their environment, and according to the map of India on Taylor Davidson's website, he visited about 25 cities in the subcontinent; from Dharmasala in Himachal Pradesh at the foothills of the Himalayas to Trivandrum in Kerala at its southernmost tip. He traveled across India over two months, and writes this about his experience:

"And, it's nearly impossible to keep your senses closed off. Life invades you, crashes into you, ignores and welcomes you, eventually permeating into your skin, your head, your heart."

What more is there to say about India? Not much...Taylor summarized it pretty well.

Taylor divided his images of India into two sections: the Afar gallery and the Close gallery. He judiciously chose to show off his images in a large (and satisfying) format, and you won't regret exploring his website for more of his galleries.

He recently published a book of 90 of his best photographs of India that is avaialble from the Blurb Bookstore here.

Alex Espinosa: Criancas de Nordeste

©Alex Espinosa-All Rights Reserved
Alex Espinosa is a Mexican photographer and photojournalist, who traveled in Latin America from 2000-2006 to document daily life and the humanitarian efforts made to improve lives of children. The documentary project was sponsored by CETYS University, San Diego State University and the University of Baja California.

His work was exhibited in Mexico, Uruguay, Brazil, Argentina, Chile, Ecuador and the United States, and was published in Obras, Expansion, Ambientes, Escala, Vinum and International GEO.

Alex is also an alum of the Foundry Photojournalism Workshop in Mexico City.

Criancas de Nordeste is a photo essay dealing with poverty in Brazil, where official statistics show that about 32 million people live under the poverty line. Particulalry in the northeast of the country, this statistic is exacerbated by the fact that many poor families have 7 children or more, and depend on a monthly salary equivalent to $14.

Alex Espinosa's website also has galleries of La Santa Muerte, Migrants and Patagonia, among others.

Marantz-PMD 620

I just published an article on Photocrati providing my impressions of the Marantz-PMD 620, a small hand-held audio recorder, which I needed badly to replace my aging M-Audio MicroTrack I that was beginning to act erratically.

I’m not an audio engineer, so my take on the quality of my various recordings should be viewed as that of a photographer who records ambient sound to accompany slideshows...no more and no less. There’s no question in my mind that the PMD620 is an excellent “point and shoot” audio recorder, small enough to be carried as an accessory, and well capable of capturing sounds in sufficient quality to provide lovely sound tracks for my multimedia productions.

For the rest of my impressions, drop by Photocrati.

English For Tourism Vocabulary

Just a few weeks ago I saw a programme which I find ideal to present vocabulary in a way that is clear and easy to remember. Here there are some examples I created. I hope you find them useful! There is a trial version, click here to know more about it.

Farzana Wahidy: Burqa

At the age of 24, Farzana Wahidy has been a photographer for Agence France-Presse and the Associated Press. She was born in Afghanistan but now resides in the United States. The National Geographic All Roads Film Festival recently recognized her work by awarding her seed money and equipment to assist in her field work.

In an interview, she said:

" I wasn’t at all interested in photography before. I wanted to be a journalist. I thought I could travel around as a journalist. I wanted to tell the world about the situation in Afghanistan. Above all, I wanted to be free and independent. I always had to work to support my family. One day, I found out about these film and photojournalism courses and I applied. I was 17 -- I thought they wouldn’t accept me because I was too young. So I changed the date of birth in my passport. Two weeks later I found out I had been accepted."

Farzana was initially trained at Aina Photo Agency (founded by Reza), and her work in Afghanistan is remarkable. It underscores how many indigenous photographers and photojournalists are often better storytellers than non-indigenous professionals, and gives the photographs an imprimatur of authenticity..

Ad For Canon 5D II Video

Here is a 200-second promotional video from Canon for the 5D Mark II that essentially showcases the various Canon lenses that can be used to produce such a video. The ad's soundtrack is annoying, but what is most annoying is that I have yet to be able to produce a half decent video with mine.

Video-making is not as easy as one would think, especially when engrossed in making still photographs, then switching to video mode as an afterthought, or just to record a few moments of video. It takes a different mindset, focus, training and resolve...and a tripod would be useful.