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INTERVIEW

June 29, 2025

STREETS OF KOLKATA

Photography by Ayanava Sil
Interview by Melanie Meggs

On the street, where chaos and calm constantly collide, Ayanava Sil finds his sanctuary. A photographer based in Kolkata, Ayanava explores the social landscape of his home city with observational patience. His approach is shaped by his experience as a self-taught artist, working in the margins of a fast-paced professional life. What distinguishes Ayanava’s work is not only its compositional discipline, but its sociocultural depth. His photographs invite us to look beyond the surface, capturing the street not as scenery, but as a space of layered human experience.

There is often an emerging tension in Ayanava’s photography between presence and absence – people in motion, glimpsed through windows, reflected in rain-slicked streets, suspended between shadow and light, or the hushed remain of spaces echoing with someone just departed. He frequently uses leading lines and framing devices like windows, arches, or doorways to invite the viewer directly into the scene, allowing the photograph to speak for itself. These visual metaphors deepen the documentary quality of the work, aligning it more with humanist photography than street photography.

He also demonstrates a refined command of natural light, often using it to isolate subjects or heighten compositional contrasts. His color palette is rich but never oversaturated, drawing attention to tonal harmony and texture. When working in black and white, his attention to tonal gradation enhances the emotional weight of his subjects and foregrounds structure over distraction.

This has earned Ayanava both national and international recognition, with his work featured in exhibitions and photography forums around the world. One of the high points of his career came when renowned street photographer Joel Meyerowitz praised one of his photos, calling it “the kind of picture I felt I could live with.”— a statement that captures the lasting and relatable quality of Ayanava’s work.

His role as curator of the Streets of Calcutta Instagram platform expands his photographic practice into one of community storytelling. Rather than using the platform solely to showcase his own work, Ayanava curates it as a living archive of Kolkata’s street life, shaped by many voices. It’s a gesture that reflects his belief in photography not only as personal expression but as shared memory and civic engagement.

In this conversation, Ayanava Sil shares his reflections on navigating the streets of Kolkata with a camera, the ethics of photographing strangers, and how sustained attention to public life can reveal deeper emotional and social truths. His work offers thoughtful inquiry into how we move, wait, relate, and exist — together and alone — in shared spaces.

“Street photography has been a truly transformative journey for me. It has helped me discover so much about myself, not just as a photographer, but as a human being. Through this process, I have grown personally on a deeper level.

It has taught me patience. I have learned to wait for the right moment, to accept that not every shot will be perfect and to keep trying even when things don’t go as planned. It has also made me more resilient, helping me deal with disappointment and stay open to new experiences. This practice has made me less judgmental and far more empathetic. It has nurtured a deeper sense of tolerance and compassion, both on the streets and in my personal life.

Ultimately, street photography has helped me grow into a more thoughtful version of myself. It continues to shape how I connect with others and with myself on a daily basis, making me a better and more aware person than I was before I picked up the camera. It is not just about documenting life, it is about learning, understanding and connecting in ways I never imagined.”

IN CONVERSATION WITH AYANAVA SIL

THE PICTORIAL LIST: Welcome to The List Ayanava! Can you recall the moment or experience that first sparked your interest in photography? What drew you to pick up a camera in the first place?

AYANAVA: Honestly, I never had a strong interest in photography at the beginning. It all began with a curiosity about the camera itself. I was fascinated by how this little device worked and what kind of images it could create. Over time, that curiosity turned into genuine interest.

Like in many households, I was the one always handed the camera during family gatherings and celebrations. I didn’t think much of it back then, I just tried to capture moments as they happened. No fancy techniques, no artistic plans. I just tried to frame memories as they happened, keeping things natural and real.

But when people started appreciating those photos, something clicked. That quiet joy of capturing real moments drew me back to the camera again and again. And once that spark was lit, there was no turning back.

TPL: As a self-taught photographer, what were your first learning resources or influences? Did you follow specific photographers, books, or platforms that shaped your vision?

AYANAVA: As my curiosity about the camera grew, so did my interest in photography. I wanted to understand how cameras really worked, so I began exploring the settings on my own and turned to YouTube for guidance and to learn the technical side of photography. That is when I discovered DigitalRev TV around 2012, a channel that opened the door to a world I didn’t even know existed—street photography.

Before that, I had no idea what street photography was. I never imagined I would enjoy walking around the streets just to take photos. Back then, Kai Wong was the host of the channel and he had this funny, witty style of reviewing cameras while roaming the streets of Hong Kong and capturing candid moments. Those images intrigued me, I was mesmerized by the raw emotion and storytelling in those images. I found myself hooked on his videos, watching one after another and before I knew it, I was stepping into the world of street photography myself.

But the real turning point came when I stumbled upon the work of Soumya Shankar Ghosal, a street photographer from Kolkata. His photos struck a deep chord within me. What made it special was that his photographs were taken on the very streets I knew so well, the same streets I walked every day. That local connection really hit me. It felt unreal that such powerful images could come from such familiar places. His work inspired me deeply and made me see my own city in a new light.

Over time, I also learned from legendary photographers like Henri Cartier-Bresson, Raghubir Singh, and Alex Webb. Their mastery of composition, use of color, and talent for layering scenes taught me to see the streets from a different perspective. Beyond these big names, I found inspiration in the work of local photographers too, people whose talent often goes unnoticed but whose passion and creativity speaks volume. In the end, it’s been a mix of inspiration from others and my own hands-on experience that has shaped my vision as a photographer.

TPL: What were some of the biggest challenges you faced in the beginning — technically, creatively, or personally — and how did you work through them?

AYANAVA: In the beginning, the biggest challenges I faced were more creative and personal. Creatively, I often struggled with what to photograph and what to leave out. I didn’t know how to choose characters, how to approach a scene or how to tell if a moment had the potential to become a strong story. I also didn’t know how to anticipate what was coming next, which is really important in street photography.

On a personal level, being an introvert, it felt awkward and uncomfortable to step out into the streets and take photos of strangers. I was very conscious of people noticing me or questioning what I was doing. It made me hesitant and challenging at first.

But I worked through these challenges simply by going out regularly and practicing, I learned how to blend into the crowd, how to observe without being noticed, how to approach a scene naturally and how to sense when a moment might turn into a meaningful image. And in the end, I didn’t give up and that quiet hunger for those one or two meaningful photographs I could bring home each time is what still drives me today. Looking back, I see that every challenge was a lesson in disguise. Making mistakes, experimenting and pushing myself out of my comfort zone helped me grow as a photographer.

TPL: At what point did photography shift from a hobby to something more vital — a way of seeing, or even a necessity in your life?

AYANAVA: As I began to enjoy the process more, I found myself becoming deeply attached to it. Photography slowly turned into something much bigger than a hobby; it became an essential part of my life and a new way of seeing the world. The real shift happened when I started noticing small details that others often overlooked, moments of light on a wall, a fleeting expression or the quiet beauty of everyday life. I began to search for potential frames everywhere, even when I didn’t have a camera with me.

Balancing a completely different professional career with a heavily involved personal passion can be overwhelming. In those moments, photography becomes my stress buster. It is my creative escape, a way to stay connected to a world beyond spreadsheets and emails.

It brings me calm and clarity in the middle of life’s chaos. Without even realizing it, photography became the force that keeps me grounded, inspires me and helps me keep going. I feel incredibly grateful to have it as a steady companion on my journey and it’s the one thing I have stuck with for the longest time. It feels less like a choice and more like something I was always meant to do.

TPL: There’s a quiet tension in your work between visibility and invisibility. How intentional is this theme, and how do you cultivate that mood through framing or timing?

AYANAVA: That quiet tension between visibility and invisibility is very intentional in my work. I often shoot with what I call an “anticipating mind”, I try to sense what is about to unfold, rather than just reacting to what is already in front of me. I don’t always want everything in the frame to be clear or obvious. I want viewers to pause, to look again and to discover something for themselves.

I always try to freeze those moments that might have gone unnoticed if I hadn’t been there. To capture them, I rely heavily on clean composition and timing. I often wait in those in-between moments, when things feel slightly off or unresolved. I let the scene settle, wait for the characters to fall into place and allow the moment to mature. That’s where the magic happens and that is the moment when I press the shutter and make the image.

I also tend to choose subjects or scenes that resonate with me or catch me by surprise. I am drawn to quiet thoughtful moments, perhaps because I see a part of myself in them. Whether it’s a lone figure in a crowd, a still moment in a chaotic scene, or a poetic play of light. My photographs are ultimately a reflection of who I am. They offer a glimpse into how I see and experience life.

Photography brings me calm and clarity in the middle of life’s chaos.

TPL: How does the pace and texture of urban life in Kolkata shape your visual narratives, both in form and content? How do you navigate ethical representation when working within your own cultural context?

AYANAVA: For me, Kolkata isn’t just a city, it’s home. I was born and raised here and over the years it has become like an old friend, growing and evolving with me. There is something magical about the way life unfolds in Kolkata, the vibrant chaos, the sudden silences, the never-ending festivals and the countless stories hidden in the everyday.

Kolkata is a city of contrasts, slow and fast, loud and quiet, old and new, all existing at the same time. These layers shape the way I see the world and deeply influence both the form and content of my work. Whether it is children playing cricket in a narrow lane, the early morning rush at the flower market or the soft golden light over the Ganga. The city has taught me to see beauty in the ordinary. It has shaped not only my photography but also who I am as a person.

When it comes to ethical representation, I always try to approach my subjects with honesty and respect. I have always avoided showing poverty or pain as just an “interesting frame.” Instead, I focus on capturing the warmth, dignity, culture and quiet beauty of everyday life. Through my images, I want to show the world not just how Kolkata looks, but how it feels.

TPL: Do you see your work as a form of cultural preservation, especially in a rapidly changing urban environment?

AYANAVA: I don’t know if I can officially call it “Cultural Preservation” but yes, over time, I have realized that my photographs are quietly preserving pieces of the past. As I have been shooting for years, I have seen buildings disappear, places change completely, and certain traditions or rituals fade away. Some of the things I captured no longer exist today.

Looking back at those photos now, I feel like they have become quiet witnesses to the changes around us. They hold memories of a city that is constantly evolving. Even though it was not my original intention, but my work has ended up documenting moments, places and cultural details that may soon be forgotten.

In this way, photography becomes more than just capturing the present, it is also about holding on to what is slipping away. Photography lets me freeze time, not just for myself but for anyone who looks at my images in the future. And that, I think, is a special kind of preservation.

TPL: Have there been moments when you chose not to take a photograph — either out of respect or discomfort — and why?

AYANAVA: Yes, there have definitely been moments when I chose not to take a photograph, and I believe those moments are just as important as the ones I do capture. I think it is important to recognize when not to click, even if the scene feels tempting or visually striking. If someone tells me not to take their picture, I always respect their choice. I simply smile, nod and walk away.

Photography, for me, is not about invading someone’s space. If I ever feel that taking a photo might make someone uncomfortable, I step back. I often put myself in the subject’s position and ask myself if I would want to be photographed in the same scenario. That helps me make one of the most powerful decisions a photographer can make — to not press the shutter.

In the end, being a photographer is not just about capturing images, it is also about being sensitive to people and their surroundings. Respect and empathy are just as important as creativity and technique.

TPL: Can you walk us through what’s typically in your photography bag? Are there tools or objects you never leave behind, even if they’re not technical? Anything on your WishList?

AYANAVA: I like to keep my photography setup simple. What you will find in my bag is a mix of essentials and little comforts. Of course, I always have my camera, usually just one body, the Fujifilm X-T200 with the 15–45mm kit lens, a water bottle and without fail, my umbrella. That umbrella feels like a loyal companion, protecting me from unpredictable weather, whether it is sudden rain or harsh sunlight. I never leave home without it.

On some days, I don’t carry a bag at all. I just grab my OnePlus 12 mobile phone and step out, it has now become my primary camera for daily shooting. I actually love shooting with my phone, it is light, fast and doesn’t draw attention. Modern phones are powerful enough to capture incredible images and they give me the creative freedom to shoot quickly and discreetly, blending seamlessly into my surroundings and capturing life as it happens. As for my wishlist, I do hope to own a Sony mirrorless camera sometime in the near future.

TPL: Where do you imagine yourself creatively in the next 3 to 5 years? Is there something you want to achieve in this time frame?

AYANAVA: To be honest, I have never been someone who makes strict creative plans. I have always preferred to go with the flow. Even now, I don’t have a clear idea of what I will do next. Due to professional commitments, I am living in a different city and haven’t been shooting as much as I used to. But even when I am not actively photographing, I make it a point to revisit my old archives. Looking through my past work is deeply rewarding, it helps me reflect, learn from past mistakes and discover new ways to grow.

Looking ahead, what I hope to focus on, though I am not sure how much I will be able to achieve—is developing my long-term photography projects. I have been photographing for over a decade and have built a body of work around certain themes and stories. What I truly want now is to bring those moments together and shape them into thoughtful, well-connected visual stories.

It is a challenging process that demands patience and self-reflection, but it is a journey I am genuinely excited to take. If I can turn those scattered moments into something meaningful, that would feel like a real achievement.

TPL: When you are not working or out exploring the streets creating your photography, what else could we find Ayanava doing?

AYANAVA: When I am not working or out with my camera, I enjoy doing a mix of things that help me relax and recharge. Music is a big part of my day; I love listening to different genres depending on my mood. I am also a big fan of larger-than-life movies, especially those that immerses you in a whole new world.

I enjoy long walks, not always with the goal of taking photos but simply to observe life around me. I also love exploring new food spots, trying different local dishes and sometimes revisiting the same place just for the comfort of a favorite meal.

Another thing I often do is go back and look through my older photos. It’s a great way to reflect on how far I have come and sometimes, it even sparks new ideas. And of course, when all else fails, there’s nothing better than a good nap.

In a way, even when I am not actively photographing, I am still observing and still visualizing. That’s just who I am, with a camera or without.

In speaking with Ayanava Sil, it becomes clear that his photography is not just a visual practice, but a quiet philosophy of living. His photographs are shaped by a deep attentiveness to the everyday rhythms of Kolkata, where fleeting gestures, fractured light, and quiet encounters speak volumes about human connection and urban life. More than documentation, Ayanava’s work invites us to slow down and reconsider the ordinary — to witness rather than consume.

What makes his voice particularly resonant is its honesty. He does not position himself as a master observer, but as a fellow participant, moving through the city with humility, instinct, and an openness to what may unfold. His photographs don’t just depict Kolkata; they convey its pulse, its memory, and its evolving narrative. And as Ayanava looks to the future with quiet commitment to long-form storytelling, it’s evident that his work will continue to offer both intimacy and insight — not only into the streets he photographs, but into the soul of the photographer himself.

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