Imkong Walling
Photography has come a long way, evolving from the primary function of getting simple portraits and record-keeping, to an art form that has the power to provoke mass emotion. It can elicit smile, laughter, sympathy, nostalgia, awareness and ignite passions in equal measure, all by manipulating light.
It is amazing— therapeutic as a hobby, impactful as a medium of expression. Take landscape and culture photography, for instance. The vibe of otherwise mundane scenes and routine of life generates an immersive experience, stirring in the beholder a longing to travel. Such is the power of the art that it has become indispensable to mass communications.
With the internet and social media, pictures have become an exceptionally handy tool and no less so in Nagaland, where one of the developmental thrust areas has been tourism.
Imagine promotional photographs of landscapes, say, bird’s-eye view of Kohima, Mokokchung or Dimapur— three places from the state of which pictures hits the internet frequently. Further, imagine panoramic nighttime photographs of the same places, of which there are aplenty. Thanks to lighting and the effects of photography, they look alluringly breathtaking.
Now, place this against the prospects of tourism. They have potential to draw attention, inducing a visitor into wondering about the inhabitants, cityscapes and leisure spots they offer.
This is without stating the dangers of high expectations, which though occurs, and can be awkward. Some years back, there was a comment on a social media group by one individual from outside the state. Probably never been to Nagaland, he was drawn to a nighttime picture of the main square of a certain hill town. It was a long-exposure with a good dose of effects, producing a stunning image of the square and connecting roads with sparkling trails of light. It is not known whether he eventually visited the place, but going by the comment, he seemed to assume it was the ideal, well-planned hill town with a healthy nightlife.
While the reality down on the streets, Dimapur included, presents an altogether different picture. Buildings right on the brink of narrow roads, haphazardly parked vehicles, poor drainage, garbage strewn by the roadsides and hardly a semblance of nightlife is what greets visitors.
Pictures speak louder than words, they say, but it can sometimes be misleading. Such images, while alluring, also projects a false notion of affluence.
It however does not imply that one should stop producing such pictures; rather, it calls for tidying up the handful of urban sprawls into well organised, visit-worthy towns reflecting the picture-perfect imagery projected by promotional media.
The writer is a Principal Correspondent at The Morung Express. Comments can be sent to imkongwalls@gmail.com
