How to turn a photographic body of work into a book? This workshop will explore the stages of creating a photobook – from conceptualising to editing/sequencing the images, from designing to selecting formats and size, printing and binding of the photobook.

Imparted by the Japanese bookmaker Yumi Goto (reminders-project.org) and the award-winning Mexico-based Argentinian photographer Mariela Sancari.

Workshop duration: Feb 17th  – 19h  (Fri, Sat, Sun), and Feb 23th – 26th (Thur, Fri, Sat, Sun) from 10 am to 6 pm: total 7 days.


©Christophe Prebois

Christophe Prebois & Caroline Molloy

Moving places

Caroline Molloy is an artist, academic and writer. This body of work -entitled Untouched Copy- is a visual and anthropological research that looks at the construction behind the colonial studio photograph.

Between 2008 and 2011, Molloy documented photographic studios around the Fort Kochi area with the aim of understanding the fantasy worlds recreated for the sitters.

In his own way, Christophe Prebois has been conducting a similar exercise in Rajasthan. Over several decades, the Paris-based visual artist, collector and fashion designer has been visiting the state’s small town photography studios and has become fascinated by their backdrops.

By comparing backdrops from Rajasthan and Kerala, a pattern starts to emerge: sitters seem to be fond of these dreamscapes precisely because they represent an escape from the studio location, bringing to the fore the crucial relationship between photography and travel – whether real or imaged.

We invite you to take pictures of yourself in front of these backdrops, and thereby give them a new life. Please upload your portraits, and tag us on Facebook and Instagram on @JaipurPhoto, and we will feature the best on our page!


Rajesh Vora

Everyday Baroque


Rajesh Vora became fascinated with the everyday sculptural objects that adorn rooftops of homes in the Punjab hinterland and, since 2013, has travelled over 6,000 km to photograph them.

Erected above the houses that NRIs (Non-Resident Indians) started building in late 1970s, this vernacular craft has continued growing in scale and imagination to now become an integral part of village landscapes.

Battle tanks, weight lifters, heroes, footballs and footballers, lotuses, animals, the ubiquitous Maruti cars and -the most important of them all- the airplanes, rise from the canopy of houses to make a dramatic skyline in an otherwise sedate landscape.

These icons of aspiration, often entwined with the personal histories of their long distance owners, express an idiosyncratic aesthetic, very distinct from the domestic architecture of the region.

Vora often uses the typology as a means to reinforce the zeal with which certain objects are coveted by the NRI. What unfolds is a colourful narrative, sans nostalgia, filled with humour, celebration and remembrance.

This exhibition was presented in New Delhi in February 2016 and is brought to you by Photoink


Pablo Bartholomew

Memento Mori


In 1986, Pablo Bartholomew was commissioned by National Geographic to photograph the monumental effort of fifteen thousand Bangladeshi men who had to physically close the mouth of the Feni River to control flooding and to create a freshwater reservoir for irrigation.  The largest dam in the country was thus built over a seven-hour intertidal marathon.

More than twenty years later, the photographer/archivist discovered that an equally determined army of termites had been feeding on his Kodachrome slides, pushing those documents into the realm of the abstract and, by doing so, altering the way we receive them today.

Memento Mori is Bartholomew’s attempt at resurrecting the corpses of his images, albeit fully conscious of their irreversible state of mutation. By enlarging and presenting these ruins, he exposes the futility of human attempt at preservation through a visual meditation on the fragility of material things and our own selves.

The works presented here were previously exhibited at the Dhaka Art Summit in February 2016 and in New Delhi’s Nature Morte in September 2016.




The Indo-Swiss architectural firm INCH Architects + Planners is collaborating with JaipurPhoto 2017 to design a modular Swiss pavilion for exhibiting large prints outdoors. 
How can a contemporary architectural intervention work as a site of photographic display? How can cutting-edge design be applied to low-cost materials and the modular format? Can temporary architecture be both site specific yet open to re-use? These were some of the questions we asked the principals of the the Bangalore-based studio. And they have come up with an incredible structure that also creates a dialogue with our main venue: the Jawahar Kala Kendra, a building that Charles Correa designed precisely as a response to the unique grid that characterises Jaipur. 
JaipurPhoto hopes that each year, an architect or an industrial designer will make this type of unique contribution to the festival.
Thank you Ambica Ganesh and Juerg Grunder from INCH Architects + PlannersDo not miss Flurina Rothenberger's exhibition in the Swiss Pavilion.
The installation has been generously supported by the Embassy of Switzerland to India, and we are pleased to announce that student-volunteers from the Pearl Academy in Jaipur will participate in the mounting and dismantling of the pavilion.



Akshay Mahajan (India)

The Begums of Bhopal


This fable reads, in antiquity a devastating drought threatened the city of Bhopal. The Begum of Bhopal called on her people to invoke the rain. The city's Kinnars took out a procession from the masjid to the temple of a local goddess carrying saplings of millet on their heads. And as they danced, the rain gods obliged. Since then, every August, a procession of Kinnars travels from a mosque to a temple to invoke rain. 

Before we go further, let me address a point of etymology: the words Hijra and Kinnar both derive from Arabic, the former means “transitory” and the latter “point of intersection”. These are two of the many names for traditional transgender communities in South Asia. 

Now to one of the scenes at hand: Rukshana Begum poses in a performative manner for the camera in response to an old painted backdrop I installed at Peer Gate, a busy street square in the old city of Bhopal. "Call me ‘Roxy’, my friends call me Roxy", she says, slowly unfolding her colour coordinated umbrella and using it as a prop. Rukshana is part of the Budwara deyaar, one of two surviving gharanas (communes) where she lives with fellow Kinnars. These gharaanas were once centres of Hindustani classical music and dance. Today, the community has been forced to beg for money at weddings instead of dancing at them. Nevertheless, elements of performance and past acceptance shine through Roxy's ghoomars, all in the hope of some precipitation. 

Text by Akshay Mahajan