Keeping the art of wooden camera alive
October 23, 2015 Leave a comment
Syed Zafar Mehdi
A colorful, makeshift tent is pitched on the roadside in Herat (http://en.wikipedia.org/wiki/Herat). A tall, lanky man lifts the curtains and greets three boys, neatly dressed in traditional Afghan attire. The man is 34-year-old Sibgat Ullah, who has been working as box camera photographer for 10 years, a practice he learned from his father. On a normal day, 20 to 30 customers flock to his roadside studio to get photographs clicked at affordable price.
At a time when professional photographers have become finicky about picture quality, mega pixel resolution and superb optics, paying scrupulous attention to detail; here in Afghanistan, they still do it the old-fashioned way.
Locally known as ‘kamra-e-faoree’ (http://en.wikipedia.org/wiki/Kamra-e-faoree), Afghanistan is perhaps the only place in the world where the box camera is still used by photographers. For Sibgat Ullah, it’s a source of livelihood and a legacy of his forefathers. “It is a part of our landscape, our culture, our history,” says the photographer, with glint in his eyes.
The dilapidated studio, in the makeshift tent, was shut for many years because of the ban (http://www.afghanistannewscenter.com/news/2001/march/mar27m2001.html) imposed on photography by Taliban. All the camera studios were closed down, and equipments were either destroyed or kept hidden. In 2003, a few years after Taliban regime was overthrown, Sibgat Ullah took over from his father to keep alive the tradition. “It was not just about business and money, it was about the family tradition,” he says, with a hint of pride.
Locally known as ‘kamra-e-faoree’, Afghanistan is perhaps the only place in the world where the box camera is still used by photographers
These makeshift tents dot the roads in many provinces across Afghanistan, including Heart (http://en.wikipedia.org/wiki/Herat), Mazar e Sharif (http://en.wikipedia.org/wiki/Mazar-i-Sharif) and capital city Kabul. Though these box cameras are in danger of becoming extinct, for hundreds of photographers, it is the only source of their livelihood. “Earlier, we used to have tremendous rush at the studio but now the business has taken a dip. Still, it’s decent enough to survive and sustain,” says Mohammad Raheem Khan, 45-year-old box camera photographer from Mazar e Sharif.
Box camera is a box-shaped wooden camera, which uses no film but can effectively capture and develop an image. It acts both as a camera and a darkroom. The lenses of kamra-e-faoree, which means ‘instant camera’ in local Dari language, are shutter less, working only with natural light. To click the picture, the photographer swiftly moves the cap of lens with one hand to expose the paper to natural light. He then replaces the shutter and pops in his arm to access the camera’s interior, which also acts as darkroom. He develops a paper negative of the image inside the dark box and shoots the negative film to make it positive, ready as a finished image.
The art of karma-e-faoree has passed through generations in Afghanistan, except for some dark years during Taliban rule.
“It is a complicated process for beginners, but we have been doing it for decades so we understand the nitty-gritty of the art. It is effortless and affordable,” says Raheem Khan. The art of karma-e-faoree has passed through generations in Afghanistan, except for some dark years during Taliban rule.
The origins of the box camera are not clear. According to historians, the practice (http://www.afghanboxcamera.com/abcp_about_photographyinafghanistan.htm) of kamra-e-faoree came to Afghanistan from the Indian sub-continent during the reign of King Zahir Shah (http://en.wikipedia.org/wiki/Mohammed_Zahir_Shah). The number of box camera photographers in Kabul rapidly mushroomed in 1950s, which was attributed to the governmental drive to issue national identity cards with photographs, called tazkira (http://moi.gov.af/en/page/5749). In the years that followed, photographs began to be used for school cards, driving licenses, government documents, legal documents etc. But, the use of photographs for national identity cards (tazkira) was instrumental in giving fillip to the industry of box camera photography in Afghanistan. Many new box camera photographers were trained across the country after a nationwide contract was doled out for national identity card photographs. According to veteran photographers here, a civil servant named Afandi bagged the lucrative contract and he played a key role in training box camera photographers in the country in 1950s.
Even though the practice of kamra-e-faoree has become less popular with the advent of new technology, the photographers here believe it is here to stay. “We will keep it alive, because it is about our culture and history,” says Sibgat Ullah, as he greets more customers at his roadside tent.
(First published in Afghan Zariza)
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