Bidyudipta Chanda: Interview & Portfolio

I: Hi Bidyudipta, thank you for the honor of interviewing you today; I am glad I could better understand you and your work!

B: Thank you so much, Isha, for inviting me. It's my absolute pleasure.

I: Of course, happy to have you and your time! So to get started, I first want to mention that I love your photography- the different styles, the narratives, the settings, etc. Despite my adoration, however, I would appreciate your elaboration upon these things in relation to your two published pieces [Abyssal Bonds & The Double Image].

B: The Double Image holds a special place for me. In Indian culture, Saraswati is the goddess of education and her picture hangs in the background. In front, an elderly woman contrasts herself against this backdrop, symbolizing mortality juxtaposed with divinity, and highlighting the contrast of age and stature. Abyssal Bonds again captures a tender moment between a mother and daughter on the beach. 

I: Was it interesting to see your piece Abyssal Bonds used as the cover for “Motherhood, Martyrs, Misfits,” and did you feel that it was a worthy fit to represent this issue? I know  I did, but I would like to know your thoughts.

B: I was absolutely elated when you let me know your decision. This being my first magazine publication as a photographer, it holds a special place in my heart. Other than that, I think the poignancy, along with the color and grain in the photograph fits perfectly with the overarching theme of the magazine and particularly resonates with this issue. A great choice from the editors, I must say.

I: Do you often take film-style photographs such as Abyssal Bonds, or was it a new endeavor?

B: I really like shooting these old-school, grainy, and grungy photographs, particularly when the subject matter demands such a visual style. I actually used a digital Fujifilm camera for this photograph that comes preloaded with Fuji’s famous ‘film recipes’, which helped me achieve this look.

I: Now I will lean into a hypothetical- if you could create a hypothetical story behind this photograph [Abyssal Bonds], what would it be? I am curious to hear the take of the creator rather than the consumer/viewer.

B: Visiting beaches was especially special to me when I was a kid. There are so many questions in a child's mind when they first encounter such marvels of the natural world - where does the water come from, how are waves formed, why does the sand shift under our feet as a wave withdraws, etc. Children learn so much about the physical world through trial and error. I like to think this photograph captures one of those moments, a child's first visit to the beach, filled with curiosity and discovery, guided by the comforting presence of their mother.

I: Thank you for sharing, that was lovely! Now, let’s move on to my potentially favorite piece on this issue, The Double Image. I am guessing its title was influenced by the Anne Sexton poem, and I was wondering, did you decide the title of this piece after you took it, or was it always the intent of your actions to photograph something reflective of this poem [“The Double Image”]?

B: The title came much later after I took the photograph. When I was curating a set of images to submit to the Looking Glass Review, this one stood out as a perfect fit for the magazine and this issue. I had read Anne Sexton's poem a few months earlier, and the connection between the image and the poem suddenly became apparent to me, leading to the title.

I: Quoted directly from “The Double Image,” by Anne Sexton, which line or stanza do you feel best represented the entirety of your photograph- or is that too difficult to say?

B: I think the entire poem, especially the title, resonates with my photograph. In the poem, if I'm not mistaken, Sexton talks about three generations of women and how the narrator is caught in a cycle of resemblance, inheriting human conditions, both good and bad, from their parents, especially daughters from their mothers. After reading the poem, I realized that this photograph was one of the many ways I could pay tribute to it. The photograph is literally a double image, juxtaposing two generations of women. In Indian culture, we also refer to goddesses as 'mothers,' which adds another layer of analogy to the poem.

I: Now I could see the ‘double image’ myself clearly in this photograph, with my Indian heritage lending a hand, and if I am correct, it would be the human subject of this photo, the mother, in the foreground, but also the goddess featured in a painting, otherwise referred to as a mother, in the background? Correct me if I am wrong, and if I am not, I would love to know more about the rare and profound image being captured!

B: You literally took the words right out of my mouth! :) This is exactly what I had in mind when naming the photograph. The concept of daughters resembling their mothers is one we often discuss, especially in films and pop culture. Does every daughter want to resemble her mother? Maybe not. But do they inevitably do so? Perhaps yes. What are your thoughts on this?

I: I think that as a human, we are inevitably shaped by the people we are surrounded with, especially those who we possess a close, even if not healthy relationship with- however, there is of course nuance in the dynamics of a mother and daughter, with the latter maybe retaining some of her base, individualized traits. I’d love to talk more about this with you! As an individual, and I ask this with the intent of getting to know the person behind these works, what are your passions, and hobbies, whether they reside in creative fields or not?

B: Photography is a big part of my life. I’m currently not in any day job, having been in one for the last six years. I want to dedicate my entire time to photography, leaning more towards the documentary format of the medium. Besides photography, I really love reading. I make sure to dedicate at least 30 minutes a day to reading, often much more. I also enjoy listening to stories from other people. When I’m not at home, you’ll find me in places with a lot of people, especially chai shops in India, sitting and chatting with random people and learning about their lives. These conversations often inspire new story ideas that I hope to explore through my photography projects in the future.

I: Where do you draw most of your inspiration from? Is it your childhood, various or specific experiences, exposure to certain things, people, etc.? Feel free to elaborate as much or as little as you want on any of the topics I touched on in the previous sentence.

B: Films are a major source of my inspiration. Whatever knowledge I have about visual language, storytelling techniques, lighting, and so on, I've picked up from watching films. Additionally, books, news, and the work of other famous photographers also inspire me. My girlfriend plays a significant role as well. Sometimes, our deep conversations at 4 AM led me to projects I’d never envisioned before. Everything and everyone around me inspires my work.

I: What is your favorite thing about creating, and what do you hope to gain from these endeavors; is it personal, or the complete opposite?

B: For documentary or journalistic projects, my aim is often rooted in social care. Currently, I'm planning a project that explores the lost art of puppet dance in West Bengal and India. Through this project, I want to understand the state of puppetry and the lives of the people involved, especially since such organic art forms are being sidelined in modern society to make way for more commercial art. I also hope my photographs evoke emotions in viewers, prompting them to think about a different world. Evoking empathy is a cornerstone of my work.

I: Do you think that your life would change drastically, subtly, or not at all if you lived in a place other than your home, India- would you ever want to?

B: I believe it would change drastically. My worldview would be entirely different if I had been born in another country or even a different state in India or a different section of society. Countless conditions have shaped who I am today, and any variation in these conditions would have made me a slightly different person. I love traveling to different places and experiencing various cultures, which I do whenever possible. However, for the essence of my work, I feel I must always tap into my past, my heritage, my ancestry, my country, and my culture. For me, understanding the past and learning from it is essential to creating a better future.