The Kalahari comes alive in his camera, with no details missing. His travels through the Namib desert, through Ethiopia are but a civilisational odyssey through heritage. Tarafdar has journeyed to no fewer than fifty countries around the world. In Borneo, it is the gipsies he makes friends with as he accords them permanence through his portraits of them. There, as you turn the pages, are vibrant pictures of fishermen casting their nets in the river. Wish to see the riotous charms of the mighty Jamuna? Tarafdar will open up his album for you. In an age of development in the guise of modernisation, Tarafdar's camera is a reminder for people that beyond the urban lies an undefiled, nearly uncharted world of beauty.Īnd Tarafdar speaks to you, in a voice betraying fondness born of love, of the interplay of light and shade he has invested the images of his spouse with. And then the camera focuses on sitting birds, birds about to take to the sky, birds busy in their varied forms of natural activity. His focus on the eyes speaks volumes about the emotions defining the sparkle in those eyes.
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The effects of Tarafdar's photography – capturing the pores of the skin on an individual face, the gleaming grains of sand in a desert, the colours on the wings of a sparrow – are a mark of the superior quality underpinning his work. The beauty of dark skin, which he calls Black Beauty, links present to generations that have come before. Observe the tribal portraits his albums are studded with, from Africa. You notice a variety of cultural expressions, of multicultural life, in his photographs. Since he retired from service, indeed from the practice of orofacial surgery under Britain's National Health Service, in 2012, his travels in nature's realm have been injected with renewed vigour. The themes Tarafdar covers on his travels are surgically precise in form, encompassing as they do landscapes and cultural heritage almost everywhere.
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