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Showing posts with label India. Show all posts
Showing posts with label India. Show all posts

Saturday, 5 January 2013

DANGER ZONE


 Disasters, natural and otherwise
“It’s a recipe for disaster when your country has an obesity epidemic and a skinny jean fad.”
Anon.



Volcano
Everybody knows about Vesuvius blowing its stack in AD79 and burying Pompeii under lava. In 1944 a smaller eruption wiped out several towns in the foothills and killed 28 people. It also destroyed or damaged 88 US aircraft at a nearby base, which in military terms was a catastrophe. Planes still airworthy were sent up to photograph the eruption. This photo was probably taken after the eruption but while Vesuvius quietly smouldered away. 



Volcano
Mount Asama on Honshu Island blows up so frequently no one bats an eyelid if a chunk of molten lava lands near their feet. In fact there is a museum near the base full of cute and furry Japanese characters ready to explain the science of vulcanology in their high-pitched electronic voices. This stereocard is copyright 1904 but the photograph could have been taken in any year back to 1899, when Asama had an annual eruption. Before then it was approximately every five years. The man on the left is described as ‘an English friend of the photographer’s’. He is carrying a large stereographic camera. Back then, the only way to really understand volcanic eruptions was to get as close as possible to the vent, and a relatively moderate example like Asama was considered safe. The big risk everyone up there faced was suffocation by sulphuric fumes. The actual photographer of this image isn’t named but presumably everyone got back to ground level as there are several stereographs available from the series of close up scenes of Asama.



Fire
In 1909 Nampa was a middling sized railroad town in Idaho. On July 4 that year a fire that started in a warehouse gutted the town centre and destroyed 60 buildings. Lee Jellum was a well known Nevada photographer so it would be fortuitous that he happened to be in Idaho that day. Of course, he may not have been but merely licensed this image from the photographer and applied his name to it. Whatever the case the scene is full of detail. We can see a fire truck in the far background with men feeding a hose and the workers in their bib and brace overalls who have come out to watch the drama. Of special interest is the woman just behind the crowd who appears to be sitting on a chair near the sidewalk. You couldn’t call it entertainment; some of these people were watching their livelihoods go up in flames, but it was a spectacle and she has taken a front row seat so to speak.



Flood
Disaster scenes are one of the features that distinguish early American real photo postcards. The photographers really regarded it as their job to record the big news stories of the day and while that may have mostly been town parades or the school’s annual theatre performance sometimes it did involve news that reached the outside world. In other countries it seems postcard photographers thought more money was to be made out of charming views. Only occasionally do you see the calamities the Americans recorded as though they were news photographers. On March 30, 1912, the Platte and Elkhorn Rivers broke their banks. The waters in some parts were said to rise thirty feet and the town was almost literally washed away. There are several photos from the aftermath in Nebraska’s archives, possibly taken by the one photographer though it is just as likely that numerous people grabbed their cameras and went out to record the scenes.



Tornado
There is a documentary about the Pryor Tornado of 1942 on YouTube. Witnesses describe the sudden rise in air pressure followed by a loud bang. One woman recounts how she was taken to a hospital and left for dead in a room. Fifty two were actually killed from what was a particularly powerful and acute twister. It ripped apart the main street but left houses only metres away intact. Martial law was declared. The aftermath of the tornado was one of the most thoroughly documented local disasters at the time. Apart from photographs there was extensive news footage, detailing the destruction that occurred over just a few blocks.



Blizzard
Blizzards happen every year and most of the time so long as you are indoors you are safe - most of the time, because a blizzard can knock out electricity and make access impossible. Occasionally, as happened in Iran in 1972, the snow is so heavy it buries homes and people freeze to death; 4000 in that case. In this scene we have a rotary snowplough attached to a locomotive. Not surprisingly, the inventor of the rotary plough was a Canadian; well why would a Hawaiian invent one? They are still used in Canada and Alaska though they must have been much more impressive in the age of steam when the train belched clouds of white vapour in the air as it rammed tons of snow off the tracks. What you’d get was a photo like this; a cross between J. M. W Turner’s Rain Steam and Speed and Kasemir Malevich’s White on White. 



War
As museum staff around the world are well aware, the centenary of the beginning of World War 1 is almost upon us and commemorative exhibitions have already been planned down to the least significant artifact. This photograph was taken in France around the time of the war but does it show an actual scene or simply some military exercises? If it is only a scene from some exercises it has the blurred intensity of actual war. The figures in the background are over-exposed but they appear to be dissolving under the cannon smoke.



Famine
The caption reads: ‘Long queues of sickly and starving people waiting for assistance’. It comes from a wallet of 20 miniature snapshots showing scenes of India and sits alongside images of the Taj Mahal and the Red Fort. If India’s starving weren’t considered a tourist attraction in the 1950s they had come to represent the country with the same immediacy as the landmark buildings. Every traveller who returned from India with a book in mind described the magnificent temple architecture, the mystical allure and the extreme poverty. One effect was to inure outsiders so Indian famines were thought to be as cyclical and inevitable as the seasons. Whoever published these miniature albums might have assumed customers wanted an authentic photo of India’s poor. Looking closely, it is clear the people are lining up for something but it isn’t necessarily for welfare. They could just as well be buying bread off a street vendor.



Forced relocation

On the back of this postcard it reads: “S.S Sakarya/ Selanik Rihtimi/ Aralik 1923”, which translates as “SS Sakarya, Thessaloniki pier, December 1923”.  The battle of Sakarya was a turning point in the war between Turkey and Greece that had ended a year earlier and led to the establishment of the Turkish Republic. In July 1923 the Treaty of Lausanne was signed between Turkey, Greece, Britain, France, Italy, Romania and Japan. It laid out the peace terms including the borders of the new Turkish state. Part of the treaty included the notorious Convention Concerning the Exchange of Greek and Turkish Populations signed between Greece and Turkey. It was agreed that Greeks living in Turkey and Turks living in Greece would be repatriated. This was supposed to keep the peace. What actually happened was that more than 1.5 million non-Muslims were expelled from Turkey, which received about 500 000 Greek Turks in return. Not that Turkey was the only ruthlessly opportunistic party involved. The League of Nations was behind the deal and like the later UN, once the treaty was signed it stood back and watched the disaster unfold. Most of the Greek families expelled had been living in Turkey for generations and while Greece might have been a homeland of the mind it was no more a part of peoples’ personal experience than distant America. The refugees who arrived in Piraeus were called Turks and treated accordingly. The refugees who arrived in Constantinople were suspected of being secret Christians. You can still see the legacy today in Istanbul. There are hundreds of ruined properties in the city centre that legally still belong to expelled families.

 

VIEW THE GALLERY HERE
DANGER ZONE

Sunday, 8 May 2011

PASSAGE TO INDIA

A 1930s snapshot album from India

At the third glass his eyes got brighter, and he began to talk … of strange scenes and doughty deeds, of wars and plagues and strange peoples …
… “I’d like to go to India myself,” said the old man, “just to look round a bit, you know.”
“Better where you are,” said the sergeant major, shaking his head. He put down the empty glass, and sighing softly, shook it again.

W. W Jacobs; The Monkey’s Paw



Something happened to India in the 1860s. It had always been strange to the western imagination but now it became a land of occult mystery; at least it did in popular fiction. Once it had been a blighted land, mostly used as a device to conveniently kill off secondary characters, now army officers were returning with talismans or strange powers they’d picked up (stolen, more usually) from some distant temple. Think of Wilkie Collins’ The Moonstone, W. W Jacobs’ The Monkey’s Paw and quite a few of the Sherlock Holmes stories. In 1879 Helena Blavatsky met Alfred Percy Sinnett, editor of the Pioneer newspaper in India, and moved the headquarters of the Theosophical Society to Bombay. Four years later Sir Richard Burton published the first translation of the Kama Sutra. The three of them gave an intellectual credibility to the idea of the mysterious east that made the most ludicrous story of ancient curses feasible. Photography also had a part to play in this transformation; the camera brought the country to life in ways that confirmed the wildest tales, and Darwin was also important. For a lot of people the theory of natural selection didn’t destroy religion so much as make it, the western version, trite and uninteresting. Rather than embracing atheism they looked for alternative religious ideas, of which India had a multitude. Cholera and restless natives were still dangerous but now India was also the home of snake charmers and other magicians and just possibly secrets of inner wisdom long lost in the west.



These photographs come from a small, yellow album and were most likely taken in the 1930s. They appear to be a mix of the owner’s personal snapshots and others bought in souvenir albums, though which is which is sometimes hard to tell. Throughout the album the owner has written descriptions in painstaking calligraphy and on a couple of pages added deft sketches of local types wearing fezzes and turbans. The skill in this work suggests he or she might have been a draughtsman for an engineering or architectural company, or even a journalist since at that time the ability to knock off a quick sketch was still valued by newspapers. One page has two photographs of British people – two of them officers - relaxing at Ootacamund, a hill station and resort in Tamil Nadu. A woman is in one of the photographs and there is no reason to think this wasn’t her work in the album.



Whoever put the album together, it was obviously intended to be more other than a collection of holiday snaps. It has something in common with the Gaumont or Burton travel films of the era;  ‘impressions of India’, if you like, with sequences of scenes showing the architecture, the people, the land and so on. Most of us can probably recognize this India from old novels and films like Kim and The Man who would be King. It was the India that was so thoroughly distilled in the European consciousness it is impossible to be rid of even now when India means Bollywood and economic statistics.


It is said that every stereotype has a grain of truth to it, or as David Cronenberg put it more bluntly; ‘every stereotype is true’. This album could be seen as a collection of stereotypes but if you think that you also have to ask whether the photographer went out in search of or happened upon them by chance, and if it is the second does that make them more authentic? Obviously, like any snapshot album, this one involved some judicious editing beforehand but photographs have a way of making a case in ways the written word can never match.  ‘This is the India of our imagination’, the album’s creator is saying; ‘and I have the proof it is real’.


VIEW THE GALLERY HERE
PASSAGE TO INDIA

Sunday, 4 July 2010

WIDE WORLD


Four panoramic photographs taken in India

“I knew the wild riders and the vacant land were about to vanish forever … The more I looked, the more the panorama unfolded.”
Frederic Remington


 “The heavy bullock guns/ Sorry you can’t see the whole of the gun teams. Those with only six bullocks are (indecipherable)”

The panoramic cameras invented in the 1850s depended on two concepts paradoxical to photography. One was that in order to compress space perspective had to be excessively distorted, which was counter-intuitive to the premise that photographs should reflect reality. The other was in the process of compressing details to fit the frame photographers discovered that some of the most striking images looked almost empty. The landscape dominated by a vast sky looked much more impressive than a crowded streetscape. Panoramic cameras weren’t designed to record facts but space, which for the era was about as abstract and elusive as time. 

 “The cavalry just after the final charge/ 9th Lancers in middle”

Most 19th century panoramic cameras relied on a lens that rotated or scanned a field of vision from 120 to 150 degrees. Given the slow exposure times – anything from a few seconds to a few minutes – that the film plate was exposed, this made anything that moved faster than a stone almost impossible to photograph but also raised the metaphysical possibility that a person photographed at one side of the frame might have time to run behind the photographer to stand at the other side, so appear twice in the same shot and participate in a photograph that considered time and space in unison. Perhaps someone tried this idea; photographers were obliged to be highly imaginative, but for the most part panoramic cameras were used as tools for hard science rather than metaphysics.

 “Native infantry going passed (sic) in enactor(?) columns. 31st Punjabis are near side. That is a brother of Colonel Dennys on horseback. He is CO of 31st Punjabis”

These four panoramic photographs were taken at a military parade in India. The regiments named were all formed in the 1850s and the costumes of the Europeans suggest the 1880s. The Colonel Dennys referred to on the back of the third photograph may be the Lieutenant Colonel Charles Dennys mentioned in a register of British officers serving in India who was stationed in the Punjab between 1874 and 1882. Given the four photographs are fragile albumen prints that date range seems viable. It also fits with a technical innovation that would have made these photographs impossible to take a few years earlier. The dry plate process invented in 1871 and on the market by 1875 not only saved photographers the time involved in preparing plates, loading, exposing and then developing them, it also shortened exposure times, making a large tableau of people and animals in motion possible.  

 “16th Bengal Lancers Note Imayut (?) Khan on horseback just to the right of those two ladies in foreground”

What about the photographer? The inscriptions on the back of each print are personal; “Sorry you can’t see the whole of the gun teams”, but they also suggest the recipient was informed about the various regiments and military identities. Presumably the photographer served in the military; not only because he knows the regiments and particular officers but because the military frequently employed panoramic photography to survey terrain. The organic quality of the images, the way for example the troops on parade in the third photograph are framed in sharp perspective demonstrate he understood the panoramic camera well enough to exploit its virtues. That took technical expertise. Not only would he have to view the world through his camera as upside down and back to front but bowed out and in sharp distortion, almost a mathematical series of arcs and triangles.

Note: Photographic historian John Hannavy pointed out that these photographs appeared to be gelatine bromide prints, which were not produced in the 1870s. Further research revealed a W E B Dennys was the commanding officer of the 31st Punjabis between 1903 and 1907. 


detail from first photograph