All language subtitles for 2026-08-29-19-44-45

Proceed?

Yes. Okay, go ahead.

So, we have the negative person, Shintu.

Shintu, you are from Assam, right?

Yes, yes.

What is the present scenario, the flat
scenario in Assam right now?

It's fine right now.

Okay, it's fine. Okay.

So, yes.

Can you come on camera please so that we
can see you?

This is the first time probably all of
us meeting.

Thank you.

Thank you. Yeah, Sintu, go ahead.

My story is all about one-shot community
of Arunachal Pradesh.

And I am documenting this community

from last two years.

Their traditional tattoos, hunting
practices, and

the way they live, their

lifestyle.

and everything.

I also have photographs from their
festivals also.

But in this competition I didn't submit
the festival photos because the

main festival of one show community is
called Orya festival and I feel this

festival is becoming more commercialized
nowadays.

So that's why I submit all those
photographs without festival

photos.

So the first photograph is a house. I
started the series with a photograph of

a traditional one-store house.

I wanted to introduce the place before
introducing the people.

The houses and the surroundings give the
viewer a sense of whatever, where the

story is taking place and how people
live in that environment.

The second the second photograph so
shown or shown omen getting harvest

basket I Wanted to bring the viewers
into the daily work.

I like the fact that they were not
posing for me they were simply doing

something that was part of the normal
day and And the third and the third

photograph of a grandmother carrying a
baby

while walking with green.

This was a very simple moment but for me
it shows many things together

like work, family, different generation.

I like these kinds of moments because
they happen naturally and don't need to

be created for the camera.

Then I include the photograph of the
bamboo classroom.

I felt this was important because I
didn't want to show the one-show

community only through their traditional
life. The school represents the younger

generation and some of the changes
happening in the community.

It shows that their life is not frozen
in the past.

And the fifth photograph shows a hunter
with a gun and a bird.

hunting was one of the things that first
made me curious about the one show

community while i visited in some of the
communities i

visited hunting is still connected with
their way of life and i wanted to

document it as something i observed
there without trying to make it look uh

heroic or dramatic so after that i
include the photograph of the woman

I wanted to show another part of the
everyday life and traditional skill.

Weaving shows work, patience and
knowledge that has been passed

down through generations.

The next two photographs focus on
traditional tattoos.

The tattoos are one of the first things
that attracted me to this community.

They are connected with their identity
and history, but I didn't want to

photograph only the tattoo itself.

I wanted to show the people behind the
traditions as well.

In the photograph of the tattooed woman,
I didn't ask her to remove

her clothes or pose in the way.

her son came and asked her to show the
tattoo because he wanted me to document

them properly and after he explained
that this was how she had traditionally

lived earlier and that in that context
uh it was not uh unusual from them

unusual for them uh i understand that uh
that time have changed and people

don't necessarily live in the same way
today for me The important part of the

photograph was documenting the tattoo
and history connected to them, not the

nudity itself.

And the next photograph is the portrait
of the elderly tattooed woman. I

included it because I wanted to move
from showing the tattoo to showing the

person himself.

Her face is an expression telling
another part of the story.

The tetu is the part of her identity but
she is more than the tetu.

The ninth photograph shows a young boy
carrying a hunted animal.

I included this because it connects the
practice of hunting with the younger

generations.

It shows how children grow up around
these activities and learn from the

people around them. I didn't include it
to shock the viewer.

It is simply something I experienced and
uh felt was important important to the

story finally i end with the photograph
of the child carrying another child

while elderly they took couple in the
background this is probably

sorry uh

this is probably my favorite photograph
from the series there are different

generation in one frame the older
generation in the background and the

children in from front for me it creates
a connection between the past present

and future so so i don't believe these
10 photographs can

represent the entire one so community
they are only my personal experience and

my observation of the people and places
i was able to spend time with thank

you yeah thank you i just want to know
one question so i mean this

is not very clear to me before i move to
the judge what is your specific story is

there any specific story you have from
the project this is all about their

daily life daily lifestyle of one so
community okay thank you now go let's

move to the jury

I think I have some community-centric
questions, which I think is the concern

or the kind of area of interest and
attention for me.

How long was your engagement with the
community?

What was the process of access?

It is an ongoing project.

uh it's been two years from uh
documenting this tribe actually i am i

am documenting the entire northeast from
last four four five years and this one

so community is one of them okay um

so there was a very interesting anecdote
that he said that the

son of the mother wanted

You document, can you hear me well?

Sorry?

Can you hear me well?

Yes, yes, yes.

There was an interesting anecdote that
you said about the son wanting to

document the mother's tattoos, which led
me to the question that in a

project like this, how do you ensure
content?

uh dignity of representation and also
this aspect of giving back to the

communities it is important sorry i
can't hear you properly no question

okay in your internet because the
internet

problem probably yes yes okay i'll try
again can you hear me now

yes yes okay perfect So my first
question, I was

talking about the anecdote that you
shared with us. Yeah?

Can you hear me?

Yes, please.

Yeah. The anecdote that you shared of
the son wanting to die,

right? So from that, there is a kind of
engagement with the community, which is

very clear.

My question is that, I think it's
two-part, the question is, how do you

ensure consent, you know, dignity of
representation?

And also, how do you give to the
community, or if it is an important part

of your process?

Because that's my central question when
you are talking, you're documenting any

Indigenous community.

Shintu, can you understand the question?

Yes, yes.

Okay.

You there?

You have any answer? I mean, you can...

It's an open question.

I can type it for you if you did not
hear.

You need to give me more than that.

You need to tell me what your answer is
or did you not hear the question

properly?

Yes, I didn't hear the question
properly. Some words are breaking.

Okay. I'm going to type the question.

okay okay so during that time can you
shift to olivia

lolo yeah yeah yes olivia i was
wondering if you you

you choose this community um or or the
the it was a coincidence or you

documented this kind of indigenous
community to find them

actually i'm so interested in this kind
of community because in northeast india

there are lots of uh communities tribal
communities and there are uh some

friends some college friends in
arunachal pradesh and i connect with

them and then got some information about
this one show community and after

hearing uh about about the cultures and
their lifestyle i'm so interested in uh

interesting about documenting their life
so after that i am

engaged with this community okay okay
and um do you share with them i mean

you involve them in the in the process
or you stay silent somewhere in the in

the back do you spend time with them
talk with them yes i spend i spend time

with them this project is uh is all
about 10 days spending

with them okay so this project is 10
days of work with them yes yes yes

okay okay right these 10 images
specifically this one yes

yes yes okay okay and did you show the
photos to the community yeah yeah and

what did they say do they want to
continue with you yes yes they're so

happy to

Because these villages are very remote
villages and they don't use to eat

cameras. So after I entered their
village with camera, they become so

happy and curious about to like, you
know.

They have lots of energy.

They look at the camera.

Yeah, yeah.

All right, good. Thank you.

Thank you. I just am very intrigued in
one thing. So you go to them, right?

You take their photograph.

I mean, do you think of giving them
something? I mean, anything.

Do you give something or like you just
go take photograph and come back? I

mean, is there any cultural exchange,
any financial exchange or something like

that? I mean, I'm just curious.

Do you give them money or something like
what?

How do you give them back something?

Some people ask money.

and i give them but not not more they're
asking about 50 to 100 rupees

like that and and they're they're happy
because i am

connected with some young young people
young students also so they

understand about the process because uh
i tell them i want to document your

community for future generation because
there are some

festivals, there are some rituals which
are slowly disappearing.

So I want to document them and I try to
understand the process

why I want to document these festivals
and the lifestyle.

So they understand.

Amar Prabhakar, this is one question
from your part, right? One part question

of yours.

Yeah, I am just putting my question and
i can sort of you can hear

from lolo also then if there is anything
follow up i can sort of ask now let's go

to lolo hi lolo hi i don't have a
question thank you

okay thank you so yeah

since you can see that

so do you do you ask them before
photograph these people

yes i asked them

i took some permission i mean while i am
going to uh shoot the tattoo community

people then i took some permission from
them otherwise the landscape

and the festivals it i i think uh it
didn't No need to take some permission

because festivals are openly celebrated
because there are lots of photographers

present here to document festivals and
all. But if I am going deep to document

the community, then I took permission
from them.

I have a question.

Yes, Lolo, please.

Do you work with...

How do you say, forms that are asking
for people to sign and

give away their rights to showcase their
work?

Agreement forms?

No, no.

No, you don't work with that?

No. I don't. In some part of India, I
mean, again, it's not that

very much.

popularized and there are a lot of
slight unethical practices are there,

what people do.

I mean, I don't comment on that much. I
have a lot of problem with that. Okay,

Amarnath, I mean, did he answer your
questions?

It's not really important that he
answers the question.

I think it's also, I can also, I've been
into thought, so I know that it might,

take some time to sort of process it.
But it's very important. I feel that I

can also hear references in what both my
jury panel members are

pointing at.

So I'm not, I'm okay with not getting
the answer because that's not important.

The question is, I just wanted to open
it up.

Yeah, probably you're talking about
ethics. The ethics code, right?

I think that is the central concern.

Yes.

I mean, we are also working with a
lineage of colonial photography, looking

at the energy in a sort of sense, and
the later spaces like National

Geographic sort of work.

So, for me, I also don't see that...

one person's work or one person's act
but as a consortium that is discussing

the property and the subject is an
indigenous subject i think that was the

most important uh question i think the
other question i had i think she too

already answered that this is the 10-day
engagement um yeah so that was how long

was the engagement

And maybe the third question is that do
you also think about the writing that

accompanies the photographs to do? And
if that is the case, what is the nature

of that writing?

Like in ideally, there is no... Can you
hear me?

Yes, yes.

Ideally, there is no format.

how would you show that work so do the
images

accompany any writings into actually i'm
planning to uh

make a book about northeast india so

but not now uh it took some time because
there are lots of uh things to document

Amanat, I just want to conclude in that
way, like I have also some understanding

that probably a lot of people do not
know all this part of documentation,

right? I mean, people end up with only
photographing and then put it into

Instagram and that's all.

Yeah. So what is documentary, the real
form of documentary?

unearthed for a lot of people so the
ethical part the writing part probably

even in past when i have asked few
people about these things these

questions i'm just sharing my own
understanding so i mean they they stay

blank or something like that they don't
have any concrete answer on that even

the ethical part you ask they don't even
know that we have to ask them or they

don't even consider in their concern how
do them return back to those people whom

I am going to and I am photographing.

So probably this is a part which is
lagging in the form of academics,

photographic academics, which should be
incorporated.

Well, again, this is my own
understanding what I said, I shared with

you.

I know that these spaces that you are
visiting and these interactions with

these people can be transformative and
I'm looking forward to your work which

is sort of more expanded than we are
seeing right now.

Thank you, Sintu.

Thank you.

So let's move to our next participant
who will be the one.

Ayon, okay.

Hi, Ayon.

You there?

are you there yeah am i audible yes you
are can you can you yeah yeah go ahead

please

Can I start now?

Yes. Ritika, can you scroll out of it?

Yeah. Move up, please. Yeah. Thank you.
Yeah. Please go on.

First of all, thank you.

Thank you very much for selecting my
project for the final round.

Thank you, the jury members and the team
members of INDPC.

So the title of this project.

I took from one of the poems by
Palestinian poet Muhammad Darwish.

So the title is on this land there are
regions to live.

I am doing this work from the end of
2022.

It's kind of nearly four years now.

So the place is situated, the Ajutta
hill is situated in Purulia district

in West Bengal.

Pajodha hill region is basically a
tourist spot for

to the maximum people and I also knew
the hills as a

tourist destination I visited twice as a
school student and

for the beauty and the distance from
home kind of things but in 2022

While I was working on an assignment for
the Caravan Magazine.

So I was there with a journalist. I was
doing the photo and video works.

And then the place kind of represented
to me in

a different way. It came to me in a
different meaning.

I came to know about some scenario which
were going and till going

there. So the scenario was kind of
striking to me.

And since then I have returned
repeatedly

to the place, staying in the villages
with the villagers.

And till now I stay there for a long
period of time.

dividing time with that place and my
home.

I have spent time with the elders, heard
stories of Marangguru, the deity,

Jamsim Binti, the creation story of the
community, the Santal community, and the

animals of the forest.

And I began reading the Santali
mythology.

alongside this conversation with the
elder members of the community.

So, Azadir became more than a landscape
I had visited earlier.

It became a place of relationship,
memory, work, belief and the

ongoing resistance, the ongoing
struggle.

So, the project is saved by the
uncertainty created by

dam construction, the Hydel project dam
construction in and around this

landscape and by the possibility that
villages, forests, river systems may be

altered or submerged.

Yet this word I can say that not only
about the laws, the impending laws, it

asks what it means to continue living in
a place

when The future of the place is planned
elsewhere.

I also grew up in a village, but that
doesn't make any position the same

as that of the people I photograph.

But it helps me recognize that land can
hold more than property or scenery.

So there is childhood, labor, ritual,
fear, ancestors and belonging.

attached to a place so the central
question this project asks when

land is imagined as future
infrastructure what counts as evidence

that life already exists there whose
memory remains visible and who is

allowed to keep the record so i am going
with this central question

For me, evidence is not only the
photograph itself, it's the combination

of forms. So I am working in this
project with many forms.

It gradually came to this place.

At first, I just started about
documenting the place, but sometimes I

went to the place without the camera
just for staying there to talk with the

elders and the other

members of the community, the eldest
women of the community, the village.

So, this evidence for me is the

combination of forms.

A portrait alone can be dismissed as
just an image, but when I place it

alongside oral testimony, family
photographs, and even camera footage of

the same forest.

The villagers depends on. Together they
build kind of evidence that's harder to

erase.

Also the anthotype prints, there is one
collage of the anthotype prints.

So these prints work differently.

They are fragile, made from plant
pigments, from the medicinal plant

pigments from the landscape.

uh from the river and location and uh
they fade over time this this is uh the

beautiful thing about this amphotype
process so it kind of fade over time so

i use this fragility uh deliberately
because uh official service and

engineering reports project is kind of
uh permanent and certainly about the

land's future

They try to portray these reports and
kind of things about the land's future.

But while my materials admit
uncertainty, the contrast itself is part

of the evidence. It says this land's
future is not settled and neither is the

record of it.

So on the memory question, whose memory
remains visible?

I made choices about those memories
becoming visible and I don't pretend

that it's neutral.

I spent time with elders first because
stories like the deity Marangguru and

the Jaheer Khan and the Jamshim Binti
creation story, so these carry the

deepest layer of how this land is
understood, not just as forest and

hills, but as ancestry and belief.

But I was conscious that focusing only
on elders kind of grief, presenting the

community as belonging to the past. So I
also photograph present day life,

the farming, the gathering, daily
routine, the cockfights, the village

fairs, to show that this isn't a memory
that already lost.

It's memory that's still being lived and
passed on.

I know I haven't captured every voice,
especially younger residents, whose

relationship to these stories may be
more distant.

And that's a limitation I am aware of,
rather than one I have fully resolved.

And who is allowed to keep the record?

So here I am kind of... One more minute.
Okay, okay. So I am just

ending this part.

i am kind of very uncomfortable when
this question arrives to me so honestly

i am an outsider with a camera even
though i grew up in a village but that

doesn't justify this so but it doesn't
make my position the

same as the santali family side
photograph official bodies keep their

record through service and damn project
documentation and that record tends to

erase the very relationship my work
tries to show.

I don't think my photographs replace or
overwrite that, but they exist as a, you

can say, counter-archive or alternative
archive.

And insistent that live exists here, on
terms the official record doesn't

recognize. What I try to do practically
is spend real time in the villages, seek

consent at each stage. I wait for long
times to click on images,

or kind of these things and um yeah and
i don't think that um

fully answers who is allowed to keep the
record question but uh it's how i

try to keep my own practice honest
inside the question so yeah uh i think

that's all thank you so amarnath yes you
have a question

Shravan, you're on mute. We can go to
Q&A session after the jury comments,

right? So, Amarnath.

Hi. Thank you for your presentation.

Can you hear me?

Yeah, I can hear you.

The thing is that I am so audible to
myself, so I cannot hear. I don't know

if other people are hearing.

I enjoyed your presentation and the way
you were kind of describing the project.

um i have some questions about specific
images and then a kind of larger

question yeah the third image would seem
to be a kind of

um overlay uh yeah you can say yeah yeah
or photo montage

yeah uh uh say again please

is it a dinosaur

No, actually this is a screenshot of the
trap camera footage which I

placed on one of my landscape photos.

So, can I also say the reasons behind
this process

or it's okay?

Is it a dinosaur or not? No, I got my
answer.

that it's actually a trap cam uh
photograph overlay digitally on a

landscape photograph that you've made
right okay yeah perfect um i just want

you to talk about the anthotypes and the
typology of that which is

really interesting but i want you to
know what's the logic behind uh

the anthotypes okay uh so uh uh

Two years ago, while I was talking with
Shombu Tudu, Shombu Tudu is a

priest and a Koviraj of the Borilohar
village where I used to stay.

So while talking with him in the
evening, then he started telling me

about the medicinal value of the plants
of the area.

So which may be uh maybe which may be uh
gone if the band the

dam will build there so then then the
next morning i went to the

forest with him and he started showing
me the small plants the big plants the

roots which are useful to their
community and they are depending on

those things for a very long time and uh
this kind of

So while I started studying about
photography history, there is a book

called British Algae by Anna Atkins who
was a botanist and a photographer who

just archived the botanical elements
with the cyanotype process.

So this kind of made me think about if I
can just

start it, archive these medicinal plants
with that way.

But I don't want to use cyanotype
process because in cyanotype process

there are kind of some, as my background
is in chemistry, so I know that there

is, there are kind of chemical waste
there in the cyanotype process. So I

didn't want to use this process. Then I
think about alternative process. Then I

became know about this anthotype which
is very much environmental friendly.

And there is also a thing that this
print feeds over time.

So this is kind of very metaphoric, you
can say to me.

So this plan may not be there after 10
years.

This knowledge also may be not there
after 10 years because the generational

gap is also there and the land
alienation is also there happening

through dam building, through resort
kind of thing.

So that's why I started thinking. So
what I started doing that I...

made some prints and then after six
months or seven months I started

seeing the prints. They are gradually
fading.

So this fades kind of connecting with
the existing problem with the landscape

and the community.

So that's why I am trying to archive
this.

did you follow that with just you had
paid the other types i i made the prints

on a four seat uh the fabriano kind of
paper and then i uh when

uh at the first stage i scan this with
my phone and then after six or seven

months i scan again the prints and then
uh did this collage kind of uh showing

the continuous fading of the images here
I got an answer. Last question is

regarding the text and the image.

Okay.

So, the oral story and the mythological
stories are very important

for my mind. Can I ask a question,
please?

Oh, sorry.

I wanted to know about the origin of
that story. And second, your choice of

language.

What is the community's language?

No, it's not the community's language,
obviously.

The story is actually the oral stories
from the landscape.

But yeah, after you asking me this
question, it will be better if I can

write in the local language so that they
can also understand the image.

But yeah, this language is obviously
not.

It's just for my understanding.

I'm curious that the text, the English

text, the short story that we see is
actually a translation that you have

made from the local folklore?

No, local folklore not. But I heard this
story from one of the elders.

uh from uh village and what language
what language that was that was

bengali language in another dialect but
bengali language here okay thank you

thank you thank you olivia uh yeah hello
um i had

exactly the same question So I have
already the answer.

But I'm not sure I understood.

If you just explain in like two
sentences the ontotype, why did you

choose to add it in your series?

I'm not sure I understood.

That's why.

If I can, I have to express in two
sentences,

then I can say that.

I choose the anthotype process to make
an archive

of a fading knowledge and a

fading indigenous knowledge and for the

fading nature of the prints. This is the
two

main reasons.

Yeah, okay.

Right. I understood.

Okay. Thank you.

Thank you. Lolo, you there?

Yes, I'm here, but I don't have a
question.

You don't have a question. Okay. Thank
you. Shravan, you had a question.

Shravan, can you be quick? Because we
have one more question.

Yes, yes.

I just had a question.

Do they speak in Alchiki as well, which
is a language?

Alchiki is actually the written form.

And Olchiki also actually kind of there
is Olchiki actually from

the Odisha Santali communities, the
origin of the Olchiki. But the other

Santal communities, it's kind of there
is a tendency to not kind of follow the

scriptures. Some follow, some didn't
follow.

Okay, okay. Thank you.

Okay. Thank you. Thank you, Ayan.

Thank you. So now we have our last
participant, Orun. Hi, Orun. You there?

Orun, you there?

Yes.

Yes, hi.

So that's just out of context question.

So are you organizing very recently, I
mean,

residency program okay

go

ahead please

thank you yeah now your time starts yeah
can i speak now everyone here yes

because they are running out of time
okay

the uh the project called traces okay

uh as a photographer i carry a lot of
memory with uh i have some

childhood memory with the land with the
festival with the daily habits like that

so that's how i started the project
around 24.

first i planning to do with the uh with
the flame because i like the flames and

i want to keep it uh some archival
images okay not look like a digital

image i plan to do that uh like archival
images later i learned about uh the mile

print method in last year 2025 end i
think december or now on november or

december

that time i learned about gamma oil
printing method so after that i check my

editing image i choose to do the comma
oil sometimes i i try to find what

can i do with the gamma imprint then i
carry the images like around 20 or 50

images with the gamma oil print there is
a lot of story to tell to me okay

not everyone it's like a it's tell to
story first of all to me when i connect

the images it's like uh the festivals
their memory the memory with the

landscape and that um and in the
childhood time i see

the one of your one of the beautiful art
i discovered in my childhood i

see the one of person bring the beer you
see that images

Once upon a time, Indians, instead of
drinking beer with their

master, they do some circus things for
their daily routines.

So I quite... That time I don't have a
camera because I'm a small boy, like

something like that.

Then I grew up, there is no certain
culture now, but I see some unusual

things, like elephants, horses.

So, I can prove them with this project.

Yes. So, this is all about your project,
right? So, I'll go and move to jury.

Avanath?

Hi, Arun. Can you hear me?

Yeah, yeah, yeah. I can hear.

Yeah. Thank you for your project and
your presentation.

I wanted to know more about

The community?

The locality?

No, no, no. It's not a single community
or single locality. It's all around the

Tamil Nadu.

All around the Tamil Nadu land and the
festival. Not single land.

It's around the Tamil Nadu land.

It's a lot of cultural land.

One thing is hill land. One thing is sea
land.

One thing is crabs land.

So I bring all the images, like not a
single community or not a single

location. The project doesn't need a
single location.

Okay.

Because I want to do all the location
bring to the core memory of stuff.

Yeah.

Okay. That's very clear.

My second question is that could you
walk us through a little bit of your

methodology? Because we as

people who appreciate your work. Amar,

can you repeat the question?

Yes. Can you take us through your
methodology in terms of, do you shoot

digital first and then you sort of turn
them into gum oil prints?

What is your, I mean, I'm just curious
about you photographing and how that

transforms into a historical process.

No, no.

i didn't shoot a digital for this
process it's all i think one or two

images only digital remaining all the
film film only okay the project needs

the digital that's why i choose only two
images in the digital i everything is a

film when i do the i like to do the
alternative things i try to find i

try to learn so when i in 2023 i i
selected for the residency called the

masculinity studio in delhi where i'd uh
i learned about uh film developing and

silver delton fronting process the same
lab they described about the gum oil

print i have a they have a gum oil print
book it's a lovely book so i carry that

book with them uh i read that book how
the process will go Then after that I am

going to do some other work. I started a
lab previously.

I started a lab with silvertail printing
process.

After 2025,

I just curiously about to put a YouTube
videos how to do gamal print.

There is one Japanese artist, I forget
the name. Just you put a name in gamal

print, the first video is called then
that is Japan's photographer.

I saw that video because a lot of people
told me that Gamayal is a very different

project. You can't do it without help or
something like that. Then I saw the

video.

Okay, we can try.

But we can't do it.

Then after that, with the help of
YouTube and obviously, Chrome and ZagGPT

helped. That time, I learned about
Gamayal.

Then, in my...

i live in the small place i don't have
the digital negatives so i asked a

question some of people do who do the
gamma printer they said they in local

printing shop there is one sheet called
the osp sheets yeah but the

ohp sheet not carry because the gamma
will print need a image with a

good things not every minute not every
image we can do that

Okay. So, that whole issue I went
through.

Then I collected the local chart.

Then I tried to find what can I do.

Then I will do the altmos.

Okay. Thanks. Thanks.

Those are the kind of things that I
wanted to know.

My last question is that when in this
process, and this is my reading of your

work, that why so many things very
effectively?

it also, and it's not a demerit, but it
also hides many things from us. Have you

thought about this?

Like, let's say the image and its
context as opposed to

the descriptive quality of images is
taken over by a kind of

material quality of the model.

Right? So, have you thought or do you
have any comments on this?

For example, as opposed to a digital
format or

even a 35mm Tmax

black and white exposure, the
information that

the image gives us is less.

Many things are obscured by the process,
by the stroke, by the brush stroke,

right? You have to actually, sort of
like painting, sort of develop the

image. Have you thought that?

Now I understand that. Yeah, yeah, yeah.
I want to the same or play the method.

It's like a... It's not like a
photograph. It's not like a printing.

It's like a... I want to like a
painting.

Not like a certain painting. But it
looks like a painting.

If someone sees the prints, oh, it's not
a printing or a photograph. It's like

a... it's like a painting yeah yeah i
know that yeah i want to carry that and

and do you work with different sizes or
this is all uh one aspect no no right

now i have only a4 faces in my place you
know i go to some other places now they

have a different different size but
right now my place will have only a4

space control so i can do all the
printers they are like a4 size yeah okay

thank you so much thank you thank you

From my side, I understood the project
very well. For me, everything is clear.

It's beautiful.

It's very good. Thank you.

So I don't have more questions.

I wanted to know how do you plan on
showing the work?

Definitely installation only. I can't
bury the book from my print.

A book?

No, no. I can't carry the book with the
Gamal print. I want to show the

exhibition way, installation.

Oh, okay.

I didn't carry the book like a Gamal
print, this type of book. I can't carry.

So I want to do the installation only,
like exhibition.

Okay. Alright. And what size are the
images, if I may ask?

It's all images in A4 sizes.

A4.

A4. Yeah.

A4. Okay. All right. Yeah, yeah, wait.
I'll show the one after me. Wait.

You

have

one handy with you, Arun?

Yeah, yeah, yeah.

Ah.

Okay.

Okay. And do you see them as that size
or do you think you can see them bigger?

Can you increase the size?

He's on mute. You are on mute.

You are on mute.

Oh.

Hello.

Yes, we can hear you.

Can you see them in a bigger size format
or do you only... Yeah, I can do, but in

my place, I don't have that facility in
my place. Okay.

I can do it. I can do.

Okay.

Thank you, Arun. Thank you. Thank you.

Jury, I just want a concluding remark
from each of you. If there is any,

Amarnath, Alizian, Lolo, because we have
all of our presentations done.

So let's start with Amarnath.