Over recent months, a notable surge in the popularity of photobooks has captivated audiences on social media platforms. This phenomenon is not just a passing trend; it’s a testament to the unique storytelling capabilities inherent in photobooks, illustrated by the releases of notable works by artists such as Anurag Banerjee’s “The Songs of Our People,” Aparna Nori’s “How to Climb a Tree,” Ritesh Uttamchandani’s “Where are you,” and Bharat Sikka’s “Souvenir Shop.” Additionally, Srinivas Kuruganti’s “Pictures in my Hand of a Boy I still Resemble” garnered attention when it was shortlisted in September for the prestigious Aperture Photobook Awards, which are considered the world’s most prominent awards in this genre. The limited edition of Kushal Ray’s 2012 book “Intimacies” saw its last 50 copies sell out within days following a promotional campaign online.
The Alkazi Photobook Grant celebrated its eighth edition this year, building on the foundation laid by workshops such as Photo South Asia’s first photobook workshop earlier in April, which featured notable contributors like image expert Tanvi Mishra and publisher Cecile Poimboeuf-Koizumi. The widespread excitement surrounding photobooks prompts an intriguing question: Why this sudden fascination? What separates these books from the more traditional photography books, often seen as mere coffee table adornments or monographs?
The distinction lies in their conceptual approach, according to artist Kaamna Patel, who founded Editions Jojo in Mumbai. Patel notes that a photobook operates as more than a simple collection of images or visual narratives. Instead, these books articulate stories much like traditional art forms, impacting the audience in ways comparable to paintings, sculptures, or installations. Despite utilizing mediums such as paper and print to encapsulate visuals, a photobook’s structured sequence of images enables it to express narratives as effectively as a novel. This distinct form of artistic expression invites a dynamic reading experience where images are understood chronologically and relationally.
Dayanita Singh, a pioneer in the field with 14 published photobooks to her credit, elaborates on the storytelling power inherent in this medium. For Singh, each photobook acts as a visual narrative or diary, allowing readers to concoct personal interpretations of its contents. Her groundbreaking work has expanded the scope of what photobooks can achieve, transforming them from static objects into dynamic, interactive art experiences.
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My own journey into the world of photobooks began in 2010 with Singh’s “Dream Villa,” a slim, hardbound collection of vivid nocturnal landscapes. Initially perplexing, the book defied categorization and compelled me to view it not merely as a series of disparate images, but as a coherent artistic journey. It was not until the Indian Photo Festival went online in 2020, offering a digital exploration of photobooks through Editions Jojo, that the depth and narrative potential of this medium truly revealed itself to me.
Photobooks are not just stepping stones to gallery exhibitions—an aspiration that many photographers traditionally pursued. As Delhi-based imagist Tanvi Mishra points out, a small percentage of photographers now employ the conventional gallery model, turning instead to photobooks as the ultimate medium for their artistic visions. With self-publishing booming, artists are increasingly bypassing the gatekeeping of the art world, finding autonomy and a direct connection with audiences through platforms like Instagram.
Srinivas Kuruganti exemplifies this shift, having self-published under Marigold Books and harnessed social media to promote his work, achieving notable sales success. Meanwhile, different strategies to present photobooks are being explored, from projects like the mechanically-immersive exhibitions curated by Abhishek Khedekar, to layering personal narratives within the book framework, as demonstrated by Aparna Nori’s deeply personal work “How to Climb a Tree.”
Nori’s journey began in 2015, capturing moments during visits to her son at boarding school, which evolved into an emotional dialogue enriched by visual metaphors. Photobooks such as these mark a revolution in how stories are crafted and experienced, allowing creators and audiences alike to explore new dimensions of visual engagement and narrative depth.
India’s photobook scene has benefited from international influences while fostering unique trajectories that reflect its own cultural contexts. With dedicated efforts to cultivate and expand this burgeoning community, such as Rahaab Allana’s establishment of the Alkazi Photobook Grant in 2016, photobooks are no longer just a niche but a thriving artistic landscape. Through innovative approaches, including traveling exhibitions and virtual showcases, the photobook is reviving how stories of images are told, engaging a growing audience eagerly anticipating the next chapter in this vibrant field.
