The vibrant and the insipid

photographs at the exhibition

Dr Noazesh Ahmed aptly pointed out the makings of a skilled photographer: "Basic education on the art form (photography) at institutes is necessary. However, one must have a keen eye and see the 'extra ordinary' in the ordinary."

Diversity and individuality are evident in the works by the young photographers. Certain patterns and traits become apparent as one follows several works by each of the photographers.

Shampa Ahmed's works feature the mystique of nature. Anneshan by Shampa shows an indigenous young woman dressed in red, with a small basket on her head. Mayabrikhkho, another work by her, features a pine tree. Technically, it's just a regular pine tree like any other. But the clear azure sky in the background and radiating light gives the pine tree an enigmatic appeal.

Tawhiduzzamana Jitu's photographs seem to have the appearance of abstract arts. The interesting approach is displayed in the photograph titled Bimurto Jibon, where the photographer has closely framed part of a tree trunk; patterns of mold create a facade of a painting.

Ashiq Alam's Ananto Jatra shows cables on electric poles stretching to infinity. Jibon Chakro, another work by him features a youngster chasing a wheel on a village meadow; intense yellow of the mustard field next to him adds to the verve.

Sohail Rana's Shanti looks at pigeons resting on sacks through a peephole. Trishnarto, another photograph by him shows ducks on a spring, having a sip of water.

Badrul Alam Rial's photographs highlight the sense of touch. Sparsho by him shows a hand reaching for the rain outside and getting wet while Sparsho 1 features a finger going for the flame of a candle in a dark room.

AS Ahmed Shantu's Bhangon captures a river eroding land. An elderly man sitting alarmingly close to the water, watches the process in a jaded manner.

Atiqur Rahman's Shudhdho featuring a child smiling at the viewer becomes the manifestation of 'purity'. Jalbalok, another work by him, shows a young boy gleefully swimming in a pond. He looks at ease with just his head emerging from the water -- as if the mythical tales of mermen (aquatic creatures who are part human) just came true.

Khandokar Jannatul Ferdaus' Abisranto Aporanho displays labourers slogging in the dusk. One cannot really see their faces; they almost look like shadows in the fainting light. Agroni, also by Ferdaus, shows a shriveled elderly man supporting himself with a lathi at the Shaheed Minar.

The exhibition will continue till May 8 and will wrap up with the screening of a documentary film, Folk festival by Shahiduzzaman Badal.