Harvesting by Amin

A rural rice processing place (Haor) just before a storm breaks out in Itna, Kishorganj, Bangladesh. This temporary establishment is built for only the harvesting season which goes 10 – 15 feet under water during rainy season. April, 2007

When I experienced what real luck means. This All happened at Itna, Kishorganj. It was really hard to see the sun when I first landed in Haor & obviously, capturing photos was really out of question. I was watching the beauty and taking some snap shots. But suddenly, around mid day (1 pm) sun came out for a second and I just clicked the camera & the amazing result of it is in front of you. I just love the photo. I still don’t know whether it was my luck or something else. But whatever it is, I am in such a deep love with this photo. Uff! The sky……..it’s just amazing.

Haor is a vast low land and its beauty comes out in the rainy season. It is a challenging job to take a good Haor’s environmental photo in dry season but ‘yes’ I made it up.2008 it took place in Drik calendar.

Muhammad Aminuzzaman, known as Amin, is a Bangladeshi photographer and videographer with a special interest in education, environment and information technologies. Presently, he is a photographer in Drik Picture Library’s studio department, and a tutor at Pathshala, The South Asian Institute of Photography. His work has been exhibited in Bangladesh, Germany, Netherlands and Kuala Lumpur. His Images were published in international publications such as Time Journal of Photography and The Saudi Aramco World.

The advent of digital era and the world of fast-changing software excite Amin. For him it’s all for the betterment of photography, which he believes, would have been in a lack of new ideas otherwise. The digital renaissance has also made him delve into digital photography and cinematography with the DG cam. Amin has also been involved in international documentaries for BBC World as a cameraman.




7 thoughts on “Harvesting by Amin

  1. blade . . . says:

    I really like your picture. Interesting background and foreground you create at the same time color mode its cool! Light is so amazing, I know you are a technically sound photographer………………………..monirul

  2. adnan says:

    It looks so heavenly….the foreground and background….the the cast that coats the total scene…..everything is peaceful…..that feeds eyes and soul….thanks for sharing…

  3. Hasib Z says:

    Its a nice lucky moment, good light… lucky you :). for me its a quotaion from actuality.
    Now I have a question for all the good readers of this journal. How do photographs acquire meaning? for instance when we see photographs of people or places in advance of actually meeting or visiting. what can photographs reveal that would otherwise be imperceptible ?

    Walter Benjamin (a marxist cultural critic), argues that photography draws attention to the “optical unconscious”.

    • blade . . . says:

      I think your Question is more Philosophical and that the answer is not to easy- May be its depend on readers & user who or which community/society/class read your picture at the same time who’s/ whom produce this picture

      I think it’s a big discussion……………………

      I remember one thing, few years ago ( World Press & Pathshal three years programmed, Pleasure of Life 1998 workshop conduct by Chris Boot, Reza Deghati & Travor Davies ) a renowned photographer of National Geographic magazine Reza Deghati asked the basic question ( Portfolio review session) Why you take picture………………………….

      As a photographer we work for News paper/ Magazine/ Agencies/Corporate House/Library/Book…………….many more things ………………monirul

      I think following article would help us to understand the meaning of photography

      What Photography Means
      By Martin Elkort

      I’d like to take a few minutes to talk about what makes a photographer get up day after day and go out into the world to take pictures as well as what makes the world (museums, galleries, collectors and casual viewers) respond to these photographs.

      Photography is a paradox. On one side of our metaphorical photographic coin is the reality of the image, or what we perceive to be the reality. Who can deny that the lampposts of Paris looked exactly like the ones in Eugene Atget’s photographs? A lamppost is a lamppost is a lamppost. As time passes they evolve from gas to electric to mercury vapor, but they are still lampposts, just as they were in Atget’s day. Except that, as time passes, Atget’s lampposts acquire the patina of history, just as his vintage photographs do. His photographs thrill us to this day because now they are not only art, but they have become a time machine to transport our imaginations into the past—the same past inhabited by Voltaire, the very same streets trod by Dumas and the patriots of the Revolution, riding in chains to the guillotine. Did Eugene Atget imagine that is what his photographs would come to represent as he schlepped his heavy view camera and tripod and his plate holders through the deserted streets of his beloved city. Perhaps!

      The other side of the metaphorical photographic coin is the photo as untruth, a manipulated image, a lie. Susan Sontag wrote about this side of the paradox in her book, “On Photography.” A photograph is a slice, a laboratory cross-section cut from the inner/outer movie of our lives, which is most often taken out of context. Diane Arbus’ photograph of a young boy holding a toy hand grenade is terrifying in its implications of a twisted mind. But upon examining the contact sheet, we see that the other images are all of an apparently normal little boy, rather pleasant, playing. Has Arbus served the cause of truth or did she take an odd, accidental pose and use that to represent her inner perception of the outer reality?Or what about the photographer who crops his pictures, tones them, textures them and otherwise manipulates them in the lens and later in the darkroom—is he or she serving the truth or foisting a lie upon us? With due respect for his undoubted genius, was Ansel Adams manipulating the truth when he took a light blue sky and turned it jet black with a red filter? Certainly it made for a better picture—a masterpiece by an undoubted master. But was it the truth?

      For me, what unites these two sides of the coin is the underlying need behind the photographers quest. We take pictures to record history. We take pictures to capture an aesthetic that we find pleasing, a sunset or a pretty flower.But what underlies all of these is a need to reveal a truth –to extract from the minutes of our lives an awareness, an understanding of something that is greater than ourselves. When we look at a picture of a pretty flower, when the photographer is successful, he or she helps us see the perfection in nature, the inexpressible beauty that was created by something we cannot name. When we look at a picture of a screaming child who has just been hit by Napalm, we see the truth of war, lives torn asunder by excruciating pain and fear. Maybe the viewer will become an advocate for peace and attempt to change our world in the ways that he or she knows how. Isn’t this what life is all about, what makes it worth living? We all need more than bread for a complete life. We need meaning and truth and a connection to the world beyond our own bodies.

      For me that connection comes with a camera. The simple answer to why I take pictures is that it makes me happy, gives me a deep and lasting satisfaction, and engages all my skills, training and the innate talent I possess. The Declaration of Independence says we have certain rights, among them: life, liberty, and the pursuit of happiness. And I surely am pursuing happiness with my camera. When I take pictures of children, I’m not trying to capture their cuteness or emerging beauty. I seek to capture the essence of childhood; I see the child as a chrysalis of a future adult. In their childhood innocence they are unaware of danger but filled with the curiosity of discovery and, like me, the photographer, they also pursue happiness. In their case, the pursuit is unconscious. In my case it is with the full knowledge that it is the pursuit itself, and not the reward, which engages my senses and intellect.

      But the deeper reason I take photographs is I am on a search for my own truth. Voltaire’s hero, Candide, goes through life seeking and telling truth to all who ask. So I suppose I am a Candide-ian, a candid cameraman, also seeking the truth, but with a camera. In my photographs, I try to simplify a complex visual world. I try to find in a moment its essence, very much like the poet does with words. But while my photographs appear simple, they are the product of my lifelong training as an artist and my love of a story. I see life as a series of meshed, ongoing stories, all happening at once, a cacophony of existence, glorious and ignoble, repeated and interconnected. Like a magician doing card tricks, the images flash by in an endless array. It is my task to isolate that one moment, to capture that essence when I snap the shutter. When I succeed, I have created something that reaches beyond the paper it was printed on, something greater than the sum of its parts. I have created art.

  4. Shah Sazzad says:

    I think the most difficult part of the image was the (fixed) distance. Notwithstanding Amin Bhai had managed to juxtapose three elements – the clouds, the land, and the river in perfect harmony and also the clouds sort of guide your eyes to the mainland, and suddenly the whole image floats 🙂 in front of your eyes – a pleasing experience.

  5. Shah Sazzad says:

    Hasib Bhai – here the dark clouds beside the moody harmony speaks volume about the story. The indiscernible but apparent waves adds to the “optical unconscious”.

  6. adnan says:

    some days ago, i downloaded lots of photographs that used in national geographic magazine. there, i found the works of Sam Abell, a photographer of natgeo. his photos are like landscape very eye catching, not like the way we do documenting something. amin bhai’s this photo is like that. i am sorry if i compare amin bhai with sam abell………………………

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