There are now dedicated platforms for photo books like Offset Projects in Delhi and Editions Jojo, a publishing house, bookstore, library and visual culture platform based in Mumbai. There are small artist-run publishing houses like Mazhi Books by Indu Antony and Red Turtle Photobook by Soumya Sankar Bose. There is the Alkazi Foundation for the Arts, which has been giving grants for photo books since 2020. And of course, the readership is growing too. “There is definitely a huge thirst for photo books in India right now,” says Anshika. She also mentions that one could feel a difference since photographer Sohrab Hura’s self-publishing imprint Ugly Dog Books. It led to a rethink among photographers about considering self-publishing as an approach to work.
Kaamna Patel, photographer and founder of Editions Jojo, believes that the diversity of photobooks we see in India, both in form and content, addressing personal and political issues, is a sign of a healthy ecosystem. “We are rethinking the format to suit our storytelling needs and production capabilities while building an audience, which requires innovating with the resources at our disposal.” She believes that given the lack of dedicated photobook publishers in the country, self-publishing is an empowering solution that also allows for a natural diversification of the pool of material published.
Moreover, it has started to foster a deep sense of community among Indian photographers. “Self-publishing has given me access to the larger community and also to local printers, bookbinders and materials… The best part is the people I work (or have worked) with, the friends I’ve made and the skills I’ve acquired on all the different projects,” adds Kaamna. As a publisher, Anshika also feels that with the help of the community and the “circles of trust” she has built over the years, she has been able to find creative solutions to challenges, especially around distribution and funding.
