IT was almost two decades ago when I first stepped into the world of photojournalism. Back then, I was working for a national daily, and the term street photography wasn’t used as commonly as it is now.
In those days, between assignments, we were often asked to keep an eye out for interesting visuals. These weren’t meant to make headlines—they were fillers, offbeat images to print when an advertisement or a story fell through. Sometimes, it was about matching the mood of a weather report—a foggy morning, a sudden downpour or a biting cold snap. Other times, it was about showing life in areas under curfew, where human resilience carried on quietly behind the headlines.
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