The country's war criminals, many freedom fighters, in front of this scene, the massacre and killings. In this situation, a camera between the people of the city is roaming around. For a moment, think of the scene of a freedom fighter, or a photographer who watched a three-note-rifle hand with a camera and a thief in 1971? Anwar Hossain was able to draw his identity as two identities.
Why Anwar Hossain's photography has covered the charm, realized that in the war of liberation war in 1971, the best achievement of Bengal must be seen in the unexpected and tragic incident. At that time, some Bengali photographer captured the camera during the war photography and I think their names are particularly bright - Niduddin Ahmed and Anwar Hossain. These two photographers are currently dead. A long time ago, Nihuddin Ahmed died and the last joy with Anwar Hossain went to December 1.
After the sudden death of Anwar Hossain, the picture of liberation war taken in different places including social media can be seen, so that everyone can understand it again.
No photographer can be found in any country in the world, who have paid attention to their cameras to photograph their country's independence; Only a few of them have done this on the risk of their lives, Anwar Hossain is one of them.
Due to our writing, Anwar Hossain draws pictures of liberation war, and as a result we will continue to focus on his film. Of course, other photographers may come in other ways.
In 1971, Anwar tried to make garments in the history of our liberation war through one-by-one rocker camera standing at the end of life and death. It was said that the pictures of the Bengali photographer who took pictures of the liberation war, among them, Nayebuddin and Anwari took the battlefield only from different perspectives, adding that Sushma Shankar added art.
Nibududdin was the only river of Bengal to portray the glorious artist and the people. And when Anwar took his first youth camera, then at that time, the diverse people started taking photos of rural Shyam Shyam, East Bengal in Joy Chisti. In this case, his predecessor, Nieuweshin Ahmed, Nawazesh Ahmed or Amanul Huq, but changed the war of liberation. He did not have his own camera. The borrower's camera was first taken with unmanned images. He left the photography-based photograph and took out photograph-based photography. He entered the world of his art, where everything was inevitable. He came from Land Acceptance, Citizens cape. This is the first separation from the predecessor boundary. Made yourself a great talented photographer.
At that tragic moment, the famous figure of the war of liberation, which he took on his talent, experience and his own aesthetic, who knows it is nowhere!
In the year 1973, I saw the war crimes war for the first time. In January of that year, I was given the responsibility to show the pictures of the freedom fighters of different people at the first public meeting of the Freedom Fighters Association. The exhibition of Suhrawardy Udyan was held in Dhaka. At this time nobody was able to collect the best picture of the war of liberation. Anwar Hossain was the only exception. With him, I had direct contact before. When he met him at Kazi Nazrul Islam Room of Bangladesh Engineering College, he took a picture of the exhibition. During the inauguration of the exhibition, he will inaugurate the exhibition of Father of the Nation Bangabandhu Sheikh Mujibur Rahman. He says completely, he came out of the cabin and gave a big black black picture of 30 pictures. On that day, more than one hundred pictures of Bangladesh's liberation war have been published in many newspapers in the country and abroad, which I have seen. But in my own history, pictures of Anwar Hossain were given in the same history, photographs of other photographers were completely different from the different compositions and dimensions. It looked like pictures of others, it's a newspaper tool. And the signs that were found in Anwar's film, the heat of the industry is growing. Make some photo forums a little gray. Due to the limitations of the lens and the camera, the sloppy background was quite complex at that time.
On March 25, Anwar Coloreta Narayan took photographs of the incident, which had to laugh! Some Bengali jawans of East Pakistan Rifles, who were killed at night, took a horrific photo and pressed their hands. The sensational one-eyed camera controls the aperture and speed of sleeping EPR forces, as a member of the victim, he concentrates.
On March 25, Anwar took photographs of the Narayak incident of the Kalarata, which had to be shaken! Some Bengali jawans of East Pakistan Rifles, who were killed in the night, took the pictures of the horror, and the hand shook hands. The breathtaking one-eyed camera controls the aperture and speed of the sleeping EPR forces on the floor, as the members of the victim, he focused on the fact that the whole picture was created,
Again the dogs are dragging the bodies of the dog in the picture, the madness of Pakistan's forces, it becomes monotonous. Anwar was rushed to Rajarbagh Police Line for molestation of these photographs.
This kind of situation is called 'Dissiment Moment', where everything comes in front of the camera, it all comes in the picture. It is almost impossible to control the camera shutter or aperture in this 'disposable moment'. But Anwar has done it very efficiently during the liberation war. He took many more pictures on March 25th. Remember, at the Shahbagh intersection, where the Bangabandhu Medical University, in front of him on the street, one of the people who had been shot in the vehicle, was shot in the mouth, wounded face. Anwar, who watched the scene from outside through the glass, in such a way that he kept that horror image of the war of liberation. Many photos of deaths were seen, but Anwar, who took pictures of the dead during liberation war, should be one of the classical characters.
Our view of the victory of Bangladesh on December 16 in his camera has become 'Iconic'.
Shortly after the victory, on the other side of Buriganga, Dhaka, two members of the Muktibahini were sitting under the canal with arms while wearing lungi-ganzi, Anwar kept their unique moment with grassfalls, forever. Here he is also the creator and artist and a great freedom fighter.
Again the dogs are dragging the bodies of the dog in the picture, the madness of Pakistan's forces, it becomes monotonous. Anwar was rushed to Rajarbagh Police Line for molestation of these photographs.
This kind of situation is called 'Dissiment Moment', where everything comes in front of the camera, it all comes in the picture. It is almost impossible to control the camera shutter or aperture in this 'disposable moment'. But Anwar has done it very efficiently during the liberation war. He took many more pictures on March 25th. Remember, at the Shahbagh intersection, where the Bangabandhu Medical University, in front of him on the street, one of the people who had been shot in the vehicle, was shot in the mouth, wounded face. Anwar, who watched the scene from outside through the glass, in such a way that he kept that horror image of the war of liberation. Many photos of deaths were seen, but Anwar, who took pictures of the dead during liberation war, should be one of the classical characters.
Our view of the victory of Bangladesh on December 16 in his camera has become 'Iconic'.
Shortly after the victory, on the other side of Buriganga, Dhaka, two members of the Muktibahini were sitting under the canal with arms while wearing lungi-ganzi, Anwar kept their unique moment with grassfalls, forever. Here he is also the creator and artist and a great freedom fighter.
After that he pulled the life and art into a long time. He has worked endlessly in photography, worked with architect Louis Kahn, and after completing his studies from the Pune Film Institute of India, he has been able to remember the excellence that he has shown for the photographer. Anwar Hossain, the great photographer of the modern photography movement of Bangladesh. We do not have too much international standard superstar like us. But with great pains, he was neglected in the last years of his life. The society of Bangladesh could not recognize sixteen generations of his work; The state could not tell its credible child to the respect and dignity. In such a situation, I was so shocked, silent; And deeply shocked at his death. In any case, the vacuum of Anwar Hossain is not fulfilled.
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