The formal aim of social documentary was initially to keep records, but by the 1930s, it evolved to enlighten and educate. Photographers gathered images to develop a ‘picture story’—a sequence of images that visually narrated incidents, with minimal text descriptions for context. These photo stories were powerful, capturing the world “in motion,” and representing people and their range of emotions—whether smiling, crying, angry, or vulnerable in moments as ordinary as any other in their daily lives.
From a very young age, Gazi Shahabuddin was a voracious reader. He would read whatever he could lay his hands on.
The formal aim of social documentary was initially to keep records, but by the 1930s, it evolved to enlighten and educate. Photographers gathered images to develop a ‘picture story’—a sequence of images that visually narrated incidents, with minimal text descriptions for context. These photo stories were powerful, capturing the world “in motion,” and representing people and their range of emotions—whether smiling, crying, angry, or vulnerable in moments as ordinary as any other in their daily lives.
From a very young age, Gazi Shahabuddin was a voracious reader. He would read whatever he could lay his hands on.
