A four-day photography exhibition has begun at ULAB, organized under the guidance of artist Gazi Nafis Ahmed. The exhibition, titled `Breaking Free: Stories of Hope and Hustle’, features the works of the university’s students. The students have discussed various aspects of the photography exhibition.
What did you learn about photography and storytelling through this course? What made this faculty set this course apart from the rest?
Naveen Islam Toree: Personally, in the span of the three months in this course, I felt like I went from being an infant to a young adult in photography. Everything I thought I knew about it, completely changed from the very first class I attended. Rather than the theoretical approach, I learned more from the practical assignments. Incorporating the theoretical topics into my pictures and creating a balance between both of these things helped me shape my storytelling abilities.
My faculty member, Mr. Gazi Nafis Ahmed, was an incredible mentor who ensured that we did not walk out learning basic things to pass the course. His passion for teaching us and making sure we were doing something of substance set this course apart from the rest.
Did Gazi Nafis Ahmed have an impact on you? What and How is it?
Naveen Islam Toree: Nafis sir obviously had a great effect on us. Throughout the course, he guided us without ever discouraging us or berating us in any way. He highlighted our capabilities and gently gave constructive criticism so that we can improve as much as possible. Besides, his own passion for photography and the life he has led inspired me to pursue a career in the creative field.
What did you learn from Gazi Nafis Ahmed?
Khadijatul Kubra : Gazi Nafis Ahmed sir is an amazing artist and also a very amazing faculty. He started from the history of photography, and taught us DSLR functions very carefully. He taught us how to interact with the subjects very carefully and respectfully.
Did his teaching go beyond Photography? How?
Khadijatul Kubra: His teaching went far beyond photography—it became a lesson in empathy, connection, and perspective. He taught us that photography isn’t just about capturing moments; it’s about understanding them.
He emphasized the importance of getting down to the subject’s level, both physically and emotionally. “See the world from their eyes,” he would say, urging us to focus on the subject’s gaze, where stories are often hidden.
Are you able to go out of your comfort zone and open up and connect with people and gain their access to be your participants and their life?
Khadijatul Kubra: I wasn’t initially able to step out of my comfort zone and connect with people to gain their trust and access to their lives. However, I learned this invaluable skill during the photography trip led by Nafis Sir. He taught us how to approach subjects, start meaningful conversations, and build a rapport that allowed them to open up.
How has your work as a photographer during this semester’s course shaped your worldview?
Khadijatul Kubra: Before doing the Photography course, I was just a person with ordinary eyes, seeing the world without much thought. By the end of the course, I began to see everyday moments as potential frames full of meaning. I used to focus solely on landscapes, but now I’ve learned how to photograph people and environments with respect, always seeking their consent. This shift has not only improved my skills but also deepened my understanding of storytelling through photography.
What role do you think your photography plays in driving social or political change?
Khadijatul Kubra: My photography focuses on the “Poverty Trap,” capturing the struggles and hardships faced by those trapped in cycles of poverty. Many may not realize how deeply they are affected, but through my work, I aim to shed light on their lives. By revealing these stories, I hope to inspire awareness and understanding, encouraging societal and political change to address their challenges.
Have you faced ethical dilemmas? How did you handle them?
Ragib Anjum: Yes, many times, I did have doubts if I was getting into the personal space of a person. How did I handle it? I always asked for permission and gave them the right to choose what they would like to talk about. I respected privacy.
What role does composition and lighting play in storytelling?
Ragib Anjum: Composition and lighting are the language of photography. They drive the viewer’s eye and enable the creation of mood. Once, soft natural light underscored peace, adding great depth to this scene.
What lessons have you learned from your subjects?
Ragib Anjum: I recognized that every individual has some story to narrate. These people whom I photograph taught me hard times, being nice, and holding onto hope. These lessons remain within me and impact how I envision the world.
did your experiences on the trip help you overcome those challenges further?
Juairia Akter Hanna: Our faculty arranged a field trip for us to learn more about photography. It is true that I was a little nervous at first, as I have never done anything like this before in my life. But when I started to interact with people and listened to their stories, it became easier and also interesting. This trip has made me more flexible and comfortable. I would like to thank my faculty Gazi Nafis who helped us to get out of our comfort zone and to bring out the best from us.
Proggha Paramita Roy: Though we knew photography is an art but never realised it’s depth untill nafis sir opened our inner eye for photography. Storytelling can actually change everything. A simple picture can be magical by just storytelling and different point of view. He was very friendly with us and made us feel he’s one of us. Also the trip was unforgettable.
What was your process for capturing a narrative in a single frame?
Jannatul Mawa: I took a picture of my helping hand Kalpana’s daughter. In that picture, she was holding a small glitter bottle and she was really happy. Well here is the picture
I made sure the background was blurred and framed the picture so that it would highlight her face, her expression, and the minor details.
How did you navigate the power dynamics between you as the photographer and your subjects or let’s say participants?
Jannatul Mawa: I was conscious of the power dynamic between myself as the photographer and the subject or people I photographed. I tried to build trust by showing respect towards them. I took time getting to know people before I captured them. I would listen to their stories first and make sure they felt comfortable with me. My main target was to make sure that they did not feel uncomfortable at all.
What did you gain by going on the trip?
Saleha Ahmed Shahira: I gained less but very impactful lessons from this tour. Since it was in Old Dhaka, close to my home, I didn’t face much difficulty communicating with people. I could easily talk in their accent, laugh, and take photos. The people there were very cooperative—some even called me over to take their pictures. At first, I also struggled with exposure, but Sir helped me fix it. Then, I struggled a lot with ISO settings that day. Some subjects were in the shade and when I clicked them with low ISO, I saw just black on the screen. So, I had to increase the ISO. Meanwhile, others were in direct sunlight, requiring me to lower it again. Balancing these adjustments taught me a lot about handling light and adapting quickly to different conditions.
Gazi Nafis Ahmed is an internationally renowned artist working with photography and video. His work has been exhibited worldwide including solo at Bengal Gallery of Fine arts and La Biennale di Venezia among others. His works are in the important global private art collections. He is an honorary fellow at Columbia University in New York.
