Written by: Mahnoor Fatima
Posted on: November 19, 2019 | 
| 中文
(Left) Quaid-e-Azam Muhammad Ali Jinnah in 1943 and Ms. Fatima Jinnah in 1952 (Right)
Photography and art enthusiasts gathered together at Tanzara Art Gallery yesterday, to celebrate the life and work of famous photographer Zaidi’s & Co. Ltd. ‘Dastak’ was just one of the exhibitions which kicked off Islamabad Art Fest (IAF), but it is the first time that Zaidi’s has had a photography exhibition open to the public. Spanning from the 1930’s to the early 2000s, the exhibition combined the history of photographic techniques, with that of Pakistan, all wrapped up in the personal narrative of one family.
Ms. Noshi Qadir, owner and curator of Tanzara, explained that this exhibition came about through the generosity of Mr. Zaidi, and the enthusiasm of the co-curator, Mr. Irfan Sheikh. “It’s extremely important [to have this exhibition]. Just like old music is being revived by Coke Studio, there are kids who don’t know about black and white photography, and a lot of the history and technique that goes behind [it].”
While the younger generation is not as familiar with Zaidi’s Photographers, it has been a hallmark of vintage Pakistani photography and art. Located amongst the famous white colonial architecture of Mall Road in Lahore, Zaidi’s photographer’s was the go-to place for excellent quality portraits. Youlin spoke to Mr. Shahid Zaidi, the third generation photographer, and current owner of Zaidi’s, who was present for the opening of the exhibition.
Zaidi's Photographers on Mall Road, Lahore
Mr. Zaidi began his story by showing Zaidi’s oldest photograph, a family portrait from 1907, with his father as a young child. Zaidi’s began in 1904, when Mr. Zaidi’s grandfather, along with his brother, got a portrait painting degree from the Mayo School of Arts (now known as the National College of Arts). After helping his father establish a successful business in Allahabad, India, Mr. Zaidi’s father, Syed M Ali Zaidi arrived in Pakistan to fulfill Pakistan’s need for professional photographers, who could shoot leaders and dignitaries. Mr. Zaidi officially took charge of the studio in the 1960’s, and hoped to pass on the family business to his son (when his son was not busy baking delicious cakes for Lahore’s now well-established Masoom’s Bakers).
The photographs do not just capture people long gone, but also bear witness to the changes in tastes and lifestyles with the progression of time. Most of the figures in the portraits are wealthy aristocrats, government officials or writers. Although he doesn’t give anything away, Mr. Zaidi revealed that each portrait has its own story, that stays between him and the client.
(Left) Maharaj Ghulam Hussain Kathak in 1991 and Ustad Fateh Ali Khan in 1992 (Right)
Mr. Zaidi no longer believes in a prepping process. “As soon as somebody walks through the door, by now I know what they want and how I would go about photographing it. And it’s just an instinct now. When I started out, I’d sit and talk to people, and interview them…not anymore, I don’t have the time. I know where this person is going to come together with his self [sic].”
One can tell that the Quaid, Fatima Jinnah, as well as Mr. and Begum Liaquat Ali Khan have a special place in Zaidi Photographer’s hearts, as they came to sit for their portraits. Similarly, Mayo School art teachers feature prominently in his pieces, as forward-looking individuals deeply devoted to their craft. “When we started off, we were radical [for our time],” Mr. Zaidi explained, pointing to a portrait of Mrs. Altaf Qadir and another of Colin David. “These portraits have expressions [sic], and in the old time, expressions were considered as taboo.”
Mr. &. Mrs. Nawab Liaquat Ali Khan in 1948
Mr. Zaidi’s eyes light up when talking about his experiments with color photography. He eagerly points to a portrait of Mr. Rollo, a friend and mentor. It was the efforts of Mr. Rollo and the head of Kodak in London in the 60’s, that Zaidi’s Photographer began to experiment with color photography. Mr. Zaidi smiles fondly, as he points out his mentors, who sit amidst colored backgrounds. In fact, Mr. Zaidi himself painted the backdrop of his mentor, Mrs. Anna Molka Ahmed’s backdrop. There is an expression of tenderness in her face, as her student was taking her photograph.
(Left) Mrs. Anna Molka Ahmed and Mr. S Rollo in 2003 (Right)
When asked about society’s transition to digital cameras, Mr. Zaidi admits that the shift comes with advantages and drawbacks. For Mr. Zaidi, photography is a deeply technical field, that requires the photographer to be versatile and well-versed in their craft. Nowadays, he explains, the automatic features of the camera do half the work. But he believes that, each era is entitled to their form of expression and style.
Sir Francis Mudie in 1949
What is different about Zaidi’s Photographer is that, while some pictures have formal settings, many others feature the subjects relaxing, smiling, as if joking with the photographer. And Mr. Zaidi’s trademark feature is that, in the photos he has shot, the subject is always making eye contact with the viewer. This is different from his father’s portraits, in which the subjects are enveloped in their world, forever preserved in time. Mr. Zaidi’s subjects study the viewer as much as the viewer inspects the picture.
Group Captain Cecil Chaudhry in 2003
Currently, Zaidi’s Photographers are in the process of converting all their negatives to digital, so as to create an easily accessible database for anyone who requires it. With 500,000 photographs taken over the years, they have only managed 7-8 years’ worth of photos. Their dream is to properly preserve and index the portraits of all their clients, so that people can access their ancestor’s precious memories.
The Pakistan Cricket Team in 1949
One can still catch the exhibition at Tanzara Gallery in Saidpur Village, as a part of IAF, which is on till 30th November. For more pictures, please check the gallery here.
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