India Art Fair. Feb 1-4, 2024. New Delhi
Say Hello if around.
Booth: F6, Gallery: Wonderwall
Acquired Stardust
Claire Keane
"I'm Dorothy Gale from Kansas"

tannertan36
hello vonnie


JVL
dirt enthusiast
Game of Thrones Daily

â
$LAYYYTER
Stranger Things
will byers stan first human second
noise dept.
Monterey Bay Aquarium
Misplaced Lens Cap

@theartofmadeline
Xuebing Du

if i look back, i am lost

seen from Indonesia
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seen from Japan

seen from Malaysia

seen from United States
seen from Indonesia
seen from United States
seen from United States

seen from United States
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seen from Germany
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seen from Australia

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@uditkulshrestha
India Art Fair. Feb 1-4, 2024. New Delhi
Say Hello if around.
Booth: F6, Gallery: Wonderwall

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Come, Goa.
ÂŠď¸ Udit Kulshrestha | 2025
A Jewellery campaign photographed on assignment from earlier this year which involved the Brand Vidyuta from Jaipur using authentic Indigenous Women from the Protected & Vulnerable Dongria Kanda tribe in the Niyamgiri hills in #Odisha
The project involved scouting the #indigenous women in Southern Odisha, some from Naxal geographies, during Peak Christmas and New Years in 2023. The scouting involved travelling over 3,500 kms from Bhubaneswar over 12 days supported locally by Chitr Sanstha (www.chitr.org) as part of their Odisha outreach program, where food distribution was also carried out in over 30 villages that the 5 member team visited.
With support from tribal authorities and councils, district administration and state authorities in Odisha, the #Indigenous women along with family members and tribal authorities travelled to Jaipur for the photo shoot and experienced sightseeing, shopping in the Culturally rich Jaipur. Most were travelling outside their district for the first time enabling the members of the tribe to have a lived experience of Rajasthan culture, urban life and bespoke handcrafted #jewellery firsthand.
Vidyuta is a Neo-ethnic #luxury jewelry brand that is bespoke and handcrafted, making each piece unique.
Since these images were for outdoors and Premium Jewellery exhibitions primarily that have been carried out in London, Dubai & #Delhi earlier this year, these were photographed with a 100 mp Medium format system by #Fujifilm, photographed over 2 days on the outskirts of Jaipur.
The background was sets made in the way the #DongriyaKanda tribe decorate their mud huts by Burning Rubber Tyre and painting this paste on mud walls. Certain Traditional cultural clothing motifs very unique to the Dongriya Kanda were adopted and embroidered in the blouses and certain jewelry pieces.
Team:
Brand: Vidyuta, Jaipur
Photography, Research & Ideation: Udit Kulshrestha
Assistants: Vicky Singh | Mohit Saini
Retouching : Manoj Raj
Lighting : Muskaan Lights
Set Design: Vidyuta Team
Styling: Janvi Kanwat
Makeup: Aliyah Khan
Legal: Avesh Chaudhary
Production Support: Dusmanta Sahoo | Adarsh NC (Felis) | Anil | Chitr Sanstha
Design: Collectives
Support: District Administration, Rayagada | TKDA, Niyamgiri | SCST Museum, Odisha | Tribal Min, Odisha & Delhi.
Image Coprights : Udit Kulshrestha | All Rights Reserved
Last 2 days to Submit to SIPA. Submit now. India needs more representation in photography globally esp when it has so much talent.
#Repost @sienawards
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Udit Kulshrestha hails from an Armed Forces family with a rich artistic lineage. As an assignment photographer specializing in Leadership Portraiture and Photojournalism, his work has been showcased in prominent publications such as Time, BBC, Financial Times, The Wall Street Journal, Bloomberg, Zeit, Gotenberg Post, Caravan, Femina, Fortune, Vanity Fair, The Print, Hindu, HT, and Forbes, among others.
Currently, Udit is immersed in exploring the unseen geographies of North East India. He is dedicated to documenting the stories of Indigenous tribes from Assam and Arunachal, focusing on themes related to land, people, and culture in conflict-ridden areas. Additionally, he leverages the medium of photography to craft contemporary art objects and installations.
A recipient of prestigious photography awards and grants, Uditâs prints and photographic creations are integral parts of several international and Indian photography collections. He is also the author of âDarwaze,â a photo book capturing his early years of visual exploration. Udit is based in Agra and New Delhi and serves as a Photography patron. Furthermore, he is the co-founder of @chitrsanstha, a non-profit foundation dedicated to photography.
See the JURY PANEL here: https://sipacontest.com/jury
Click here to ENTER SIPA 2024: https://sipacontest.com
#sienawards #sienainternationalphotoawards #jurysipa2024 #uditkulshrestha

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The Flatiron' by Edward Steichen realised an auction record for the artist with a price realized of $11.84 million, almost 5x the artistâs previous auction record
âŠ#photography #art #edwardsteichen
âThe conquest of the earth, which mostly means the taking it away from those who have a different complexion or slightly flatter nose than ourselves, is not a pretty thing when you look into it too much. What redeems it is the idea onlyâ
~ Joseph Conrad (Heart of Darkness)
Street Scene, Agra, India
One doesnât need to lose oneâs humanity or rob someone of basic dignity to make a photograph to raise awareness of any kind.Â
 When in doubt, donât cross that line. Listen to that instinct. https://blog.photoshelter.com/2017/05/the-ambiguity-of-pressing-the-shutter-ethics-in-photojournalism/
Daunting to evaluate a #photography grant. This should be interesting.

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Pen drives have an uncanny superpower to go missing when you need them. They often find new owners too.
#photographerslife
A photographic print from Darjeeling that hangs in my studio of Edmund Hillary & Tenzing Norgay with Mount Everest in the background dated 1953.
On this day, in a British expedition, the Everest Summit had been climbed.
Interestingly, Tenzing Norgaysâ birth anniversary coincidences with the Everest annex as is visible in the photograph that dates the signature to today.
We are all apprentices in a craft where no one ever becomes a master. ~ Ernest Hemingway
#quotes
Varanasi
Photo: ÂŠď¸ Udit Kulahrestha | All Rights Reserved

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As a photographer, I have always been interested in how things are made. I have been fascinated by how raw materials are skilfully transformed in the hands of expert craftsmen to form products of great beauty and utility. In India, other than entirely handmade products, crafts are also produced in a semi-industrialised manner in factories. With the central government promoting âMake in Indiaâ, I wanted to go behind the scenes to document how that vision is unfolding at ground zero. I was curious to explore âsmellâ as an often overlooked sensory subject. In India, olfactory gratification is crafted at an industrial scale at Kannauj, in Uttar Pradesh, which is where I headed. Perfume making has a long history in India. The Mahajanapada kingdom of Gandhara (in present-day Peshawar) took its name from the root word âgandhaâ, meaning aroma, because the region was once renowned for its perfume makers, who made fragrances from aromatic herbs, flowers and spices. Kannauj was the ancient capital of powerful empires in North India and perfume making here go back to the time of Emperor Harshavardhan (r. 606â47 CE). Traders in Kannauj also evoke a story about Mughal Empress Nur Jahan: when she emerged from a hammam (Turkish bath) smelling of roses, a court physician investigated the cause and discovered hot water had an aroma dispersion effect, and he subsequently designed the traditional pot/vat called deg. This story is surely apocryphal, but a similar process had indeed been developed much earlier by the Persian polymath Avicenna (Ibn Sena), in the late ninth or early tenth century, when he used steam distillation to produce essential oils from roses. Most perfume shops in Kannauj are concentrated around Safdarganj, Subzi Mandi Road and Farsh Street, in the heart of the city. I met Mr Shakti Vinay Shukla, Director at the Fragrance and Flavour Development Centre (FFDC), who explained to me the dynamics of the modern perfume industry. FFDC was established by the government in 1991, and it is involved in a variety of activities to promote and scale up the perfume industry in Kannauj. At FFDC, I realised how ubiquitous fragrances are in our daily lives. The perfume industry at Kannauj produce fragrances used in a range of home products, such as shampoos, toothpaste, detergents, hair oil, talcum powder, soap, room freshener, etc., and flavours used in food and beverages, such as ice-cream, chewing gum, sherbet, soft drinks, confectionary products, etc. With the passing of time, usage in other products like snuff, pan masala, etc., came about. According to Mr Shukla, the perfume business was badly hit by the gutkha ban, as 95 per cent of the domestic usage was in creating various gutkha flavours. A new emerging market includes products related to aromatherapy, but it still hasnât found its foot in Kannauj, with oils used for aromatherapy accounting to less than 0.5 per cent volume in usage. Regardless of the increasing range of new applications, Kannauj is renowned specifically for ittar (also pronounced attar or itr) making. The delicate whiff of ittar is like an aromatic signature, which lingers long after a person has exited a space. In earlier days, perfumers crafted custom-made fragrances according to the personality and preferences of a client. Composing a perfume is a complex science and integrates in-depth knowledge of subjects like organic chemistry, botany and pharmacy. A perfumer who is briefed with designing a new perfume approaches the composition like a musical piece, with top, middle and base notes. It takes years of apprenticeship for a perfumer to develop a keen sense of smell and to capture the âexperienceâ of a smell. Due to its complexity and exactness, perfumers pass down formulas as a closely guarded secret through generations in the same family. Some families in Kannauj claim to have been in the perfume-making industry for 30 generations! The perfume industry uses various types of herbs and flowers (jasmine, lavender, rose, clove, pandanus) as the main base for extracting essential oils. Essential oils can also be extracted from a wide variety of natural substances like bark (cinnamon, cassia), berries (juniper, allspice), leaves (basil, eucalyptus, pine, rosemary, vetiver, lemon grass), peel (lemon, lime, orange, tangerine), resin (frankincense, labdanum, myrrh), rhizome (ginger), seeds (nutmeg, flax) and wood (agarwood, camphor, rosewood, sandalwood). Some of these are sourced locally, and the rest are imported from other states. Earlier ittars were also made of animal extract like musk (musk deer, civet) and ambergris (sperm whale), though these have been replaced by synthetic alternatives, since many of these animals are now protected species. I visited Pragati Aroma Factory to experience the hydro-distillation process. The process itself is rather straightforward but the factory environment was fascinating with its interplay of light, shadows and human labour. The first step involves plucking and sorting of flowers, usually done early in the morning. The flowers must be distilled the same day, before the natural fragrance fades away. They are poured into copper vats (degs), which are sealed with a kind of smooth black mud. A kamani (plate) is added on top of the deg and locked by a wooden log (phaniya) to tightly seal the lid. Each deg is permanently fixed over an open furnace fired with dung cakes or wood. During steaming, fumes (bhap) pass through bamboo pipes (chonga) and are condensed in pots (bhapkas) that are water cooled. No electricity is used in the factory and the hot and humid environment makes it a very oppressive place to work. The extreme temperatures in the furnaces heated up my cameras, causing them to malfunction and difficult to hold at times. Subsequently, after six to eight hours of leaving the degs overnight, they are opened. The bhapkas are removed from the sinks and the distilled liquid is collected and slow heated in a second set of degs till all the residual moisture evaporates and only pure oil is left behind. The entire distillation process is eco-friendly, and there is minimal wastage. The waste inside the deg is collected and recycled for making agarbatti and dhoop. Next, the oil collected from the bhakpas is aged in specially made flasks called kuppis. The kuppis are made of goat or camel leather. The leather absorbs any extra moisture, allowing water to evaporate and only ittar, in its truest scent, to remain. The aging period can last from one to 10 years, depending on the botanicals used and the results desired. The oil is then tested and categorised. Ittars are classified based on their perceived effect on the body. âWarmâ ittars such as musk, amber and kesar (saffron) are used in winter, as they are believed to increase body temperature. Likewise, âcoolâ ittars such as rose, jasmine, khus (vetiver), kewra (pandanus) and mogra (jasmine) are used in summer, for their perceived cooling effect on the body. Unlike modern deodorants and body sprays, the perfumes made in Kannauj do not use any alcohol and have no side effects on the skin. Pricing is dependent, first and foremost, on the type of base oil. Though renowned for its sandalwood perfumes, currently only 1 per cent of manufacturers in Kannauj use sandalwood base. Sandalwood usage has dwindled due to government restrictions on logging, and the growing popularity of synthetic base (liquid paraffin). Each formula has a unique base cost and an additional bottling cost. Designer bottling can raise the final cost significantly, depending on size, material and design. The bottling, packaging and branding is done in-house. Surprisingly, of the total oil produce, only 5 per cent is sold in India, 20 per cent is used for making dhoop, agarbatti, and in other functional and cosmetic usage, and the significant majority, around 75 per cent, is exported, mainly to countries in the Middle-East. Unfortunately, modern Kannauj has retained no visual memory of its glorious history. The only continuity with its past is through the memory of smell, and that has remained unchanged for centuries. During my visit, I also realised that the perfume industry at Kannauj sustains symbiotic industries like kuppi making and ittardan (glass bottles for selling ittar) manufacturing. These are distinct craft forms in themselves. Changes in the demand and supply of one affects the rest. In the future, I would love to return to Kannauj again to document these industries individually.
The Art of Perfumery from India