Over the past few months, the world of photobooks has been making waves across social media timelines, drawing unprecedented attention to this unique art form. From the launch of Anurag Banerjee’s The Songs of Our People to Aparna Nori’s How to Climb a Tree, Ritesh Uttamchandani’s Where Are You, and Bharat Sikka’s Souvenir Shop, photobooks have captured the imagination of both creators and collectors alike. Srinivas Kuruganti’s Pictures in My Hand of a Boy I Still Resemble recently earned a prestigious nomination in the Aperture Photobook Awards, the world’s most esteemed photobook accolade, further emphasizing the growing significance of photobooks. Meanwhile, the last 50 copies of Kushal Ray’s 2012 Intimacies quickly sold out online, illustrating the surging demand for these artistic endeavors. The eighth edition of the Alkazi Photobook Grant took place this year, following Photo South Asia’s inaugural photobook workshop featuring notable photographers like Tanvi Mishra and publisher Cecile Poimboeuf-Koizumi.
The burgeoning excitement for photobooks begs the question: what differentiates them from traditional photography books, such as coffee table books or monographs? Simply put, a photobook is an art form. Unlike thematic coffee table books or compendiums, photobooks utilize a visual language to weave narratives in the way paintings or sculptures might impact viewers. They employ images, design, and the tangible form of a book to evoke emotions and stories in a manner akin to film or video art, which also utilizes images and editing.
As Kaamna Patel, a Mumbai-based artist and publisher, explains, “A photobook uses images as its vehicle for storytelling. Much like reading words on a page, you can read images in sequence and in relation to each other.” This storytelling aspect makes photobooks a unique art form. Celebrated artist Dayanita Singh, who has published 14 such books, emphasizes, “A really good photobook allows you to create your own story out of it.” Singh’s work, Dream Villa, defied conventional categories by taking viewers on an exploratory visual journey rather than fitting neatly into any one theme or genre.
Beyond personal enjoyment, photobooks are now a favored medium of expression for photographers like Delhi-based Tanvi Mishra, who asserts that only a small fraction of photographers still adhere to the traditional gallery model. The self-publishing route, increasingly popular among photographers, provides creative freedom and direct access to audiences through platforms like social media.
. Srinivas Kuruganti, for instance, self-published his own photobook, selling over half of his 400 copies within a month of its release. “Self-publishing gives me a sense of pride that I could do it on my own,” explains Kuruganti.
Global publishers have also taken note of Indian talent; Abhishek Khedekar’s photobook Tamasha was published by the renowned Marseilles-based Loose Joints. Meanwhile, lens-based artist Aparna Nori underscores the potential for photobooks to reach art appreciators who might not traditionally visit exhibitions. Nori’s project, How to Climb a Tree, exemplifies how photobooks serve as vessels for personal storytelling, capturing her interactions with her son throughout his school years.
Crafting a photobook is not a hastily executed endeavor but a process that can span years. Nori began her project in 2015, refining the narrative arc over time by integrating both imagery and handwritten text into the final book, which took two and a half years to edit. Srinivas Kuruganti, after much deliberation and multiple project iterations, finally completed his photobook in June, after beginning the work five years earlier. This patient process of creation and self-expression empowers artists to convey precisely the stories they wish to tell.
Today, a vibrant community has emerged to bolster photobook artists, helping them navigate the challenges of reaching audiences beyond the traditional art world. Initiatives like the Alkazi Photobook Grant, launched by Rahaab Allana, aim to foster confidence and uniqueness in photobook creation. Bengaluru-based publisher Nihaal Faizal notes the importance of not only making photobooks but planning how to connect them with potential readers. Solutions range from traveling exhibitions to university courses and virtual engagements.
In conclusion, the photobook’s role as a unique storytelling medium is undergoing a renaissance. Whether through tactile pages or immersive online experiences, photobooks are forging new paths in the art world, and the Indian audience stands ready to embrace this remarkable medium in all its compelling forms.
