Meet Altaf Qadri: An Award Winning Photojournalist

WallMag: How did you become a photojournalist?

I grew up amid mass uprising against Indian rule and witnessed many important events & incidents as a teenager. One evening, an Indian Border Security Force personnel raided my neighborhood after separatist rebels attacked their patrol. I was coming from a mosque and that was the first time when I was used as a human shield by the forces. Fortunately, there was no more fire from the rebels and I was let go when my uncle came to my rescue after four hours of detention at gunpoint. Concerned about my safety, the next morning my parents sent me to New Delhi where my sister lived those days. I studied computer engineering but on the back of my mind, there was always photojournalism. This human shield incident made a mark on my psychology and now my primary goal was to make outside world aware of the grass root situation of Kashmir conflict and I wanted to depict the true picture of its people who were suffering from everyday violence. Those days Indian forces would indulge in many atrocities on civilians but unlike the present, there were very few incidents when they would harass or ill-treat journalists. So I thought being a photojournalist would also save me from their wrath. When I finished my studies I wanted to buy a camera but didn’t have money to do so. However, a Malaysian chat friend, Yuhanis Lockman, presented me with my first camera. It was a Nikon F65 film camera. I began to shoot everything and anything. One evening there was a huge fire in a chemical factory in New Delhi, I grabbed a few film rolls and followed the fire brigade vehicles and soon I was there on the spot. I stayed there whole night shooting even though no one would be interested in these pictures the next day. At the break of dawn, I ran out of the films and came back to my apartment with the exposed rolls. Later in the day, I went to the office of The Times of India where I met a senior photographer, Harish Tyagi, who eventually happened to be my boss when he joined the European Pressphoto Agency as Chief Photographer for the Indian sub-continent. I soon realized that the camera can become a witness along with me so I came back to Srinagar after several years of self-exile and began my first assignment as a freelancer in my hometown. Later I joined a local newspaper in the year 2001. I joined the European Pressphoto Agency in May 2003 for which I provided extensive coverage of the conflict in Kashmir till May 2008. I joined "The Associated Press" in September 2008 and moved to the northern Indian city of Amritsar where I lived for four years before moving to New Delhi in 2012.

WallMag: How do you balance that with the demand to “get the shot” for photojournalism? Have you arrived at a situation where you can just go out and make your type of pictures?

It is the incredible power of still images to change the world. This is the only thing that inspires me to stay in this profession. Somebody has said, “photographic images can dig out emotions even the most finely honed prose can't capture”. It’s not possible to convey the emotional impact of the photo in words. I believe merely taking pictures and getting them published in newspapers and magazines is not enough. It should bring about a cso doubt. At times I’ll say, no matter what I have to get this picture, and I rush in and in the process, I realize I crossed the limit but I immediately retreat. When it comes to photographing people in normal circumstances I usually take time and try to make friensds with them before taking pictures. I will spend days with my subjects, make them comfortable with my presence, and then I can capture what and how I want. In a news situation, it is not wise to seek permission because sometimes asking for permission destroys the scene.

WallMag: What is the inspiration that keeps you going?

My achievements in life, regarding photojournalism, include:

2019: Honorable Mention for Feature Story by APME.
2019: Honorable Mention for Feature Single by APME.
2016: Alfred Fred Photography Award on the theme of peace.
2015: Photo Story Of The Year by WE Journalism Awards.
2014: First place in People/Portraiture category from The Atlanta Photojournalism Seminar.
2013: Documentary Award from The Humanity Photo Awards/ UNESCO.
2013: Best Feature Photo Story award by APME.
2013: Silver prize in the General News category from China International Press Photo Contest.
2013: Award of Excellence for International News Picture Story from National Press Photographers Association.
2013: Honorable Mention in Contemporary Issues Stories from World Press Photo.
2012: Third place in the General News category from The Atlanta Photojournalism Seminar.
2011: First place in People in News category from World Press Photo.
2011: Second place in General News category from Media Federation of India.
2011: Finalist in the World Understanding Award category from Pictures of Year International (POYi).
2011: Award of Excellence in General News category from Pictures of Year International (POYi).
2010: Third place in the feature photography from the National Headliner Award.
2008: First place in General News Story category from India Press Photo Contest
2008: Best Published Picture Story category from National Press Photographers Association (NPPA).
2008: The Paola Biocca International Reportage Award from International Journalism Festival, Italy.
2007: Winner of the All Roads Photography Program from the National Geographic Society.
2007: Nominated for the 11th International Festival of Photojournalism, Spain.
2007: Bronze prize in War & Disaster News category from China International Press Photo Contest.
2007: Special Jury Prize at the DAYS JAPAN International Photojournalism Awards.
2007: First Prize in the "One Weeks Work" category by Pictures of Year International (POYi).
2007: Honorable Mention for Nature & Environmental News Story from China International Press Photo Contest.
2006: First prize in Sports Action & Feature category from India Press Photo Contest.
2006: Outstanding Award in Spot News from China International Press Photo Contest.
2006: Outstanding Award in General News from China International Press Photo Contest.
2005: Second prize for International News Pictures Story Category from National Press Photographers Association.
2005: Best Photo Story in General News category from Mumbai Press Photo Contest
2005: Second prize in General News singles category from Mumbai Press Photo Contest.
2005: Third prize in Sports Action singles category from Mumbai Press Photo Contest.
2005: Third prize in People in the News singles category from Mumbai Press Photo Contest.

WallMag: What are your feelings about the digital manipulation of images?

Technology, if used within certain parameters, is bliss but whenever we cross those parameters it becomes an evil. Image manipulation is certainly a big problem in photojournalism these days. Ethics can play a vital role here. A photojournalist must know up to what degree can he manipulate or improve his image. There is nothing wrong as far as we do darkroom techniques on the computer. The raw picture obtained directly from the camera is very flat most of the time so we sometimes do adjustments with tones, colors, and saturation but anything beyond that is image manipulation. One is not supposed to remove or add any information in any frame for sure. Unfortunately, some photojournalists sometimes manipulate images to suit their stories which I am totally against.

WallMag: What’s the key to taking great journalistic or documentary photographs?

Perseverance and anticipation

WallMag: How do you make emotions to flow inside the frames, how difficult is that and how do you achieve it?

It's just like a human connection. You just have to feel the emotions of your subjects, speak to them, understand what they are going through. Your patience and perseverance will be reflected in your photos.

WallMag: Is there any specific camera or lens you use for clicking the photographs for reportage?

Cameras are just a medium and they don’t take pictures, our brains do. But to answer your question, I work a lot with Canon digital EOS models, mostly a 5D Mark III and IV with a 35 mm lens. I also use a 24–70 mm wide-angle zoom and a 70–200mm zoom. I use film cameras for some assignments. I always like to work with available light so I seldom use flash.

WallMag: Can you elaborate upon your photography process? what steps are needed to bring out a good documentary photograph?

The assignments I do are mainly related to regular news, conflict, and war so I do not have any predefined approaches but I can presume the situation on the basis of its nature. I always try to respect the privacy and emotions of my subjects and maintain a line that I always try not to cross. Many a time I think those lines are crossed because photographers have competitors and deadlines, or they think the camera gives them a permit to do whatever and whenever they want. Sometimes I’ll still make the wrong choices, no doubt. At times I’ll say, no matter what I have to get this picture, and I rush in and in the process, I realize I crossed the limit but I immediately retreat. If it becomes necessary to work in such a situation then you’ve got to learn how to invade privacy gently so that your subject is not offended. When it comes to photographing people in normal circumstances I usually take time and try to make friends with them before taking pictures. I will spend days with my subjects, make them comfortable with my presence, and then I can capture what and how I want.

You can follow Altaf Qadri on Instagram to stay updated with his work.

You can also have a look at the Article on Altaf's Journey To Photojournalism.