This Malaysian photographer gives us a glimpse of what goes on behind the scenes of his work. Look out for him in Kuala Lumpur when the World Islamic Economic Forum MOCAfest happens in Kulala Lumpur, Malaysia from November 3–5, 2015.
To sum up his prolific and diverse visual work, Rahman Roslan best describes himself as a photojournalist and documentary photographer. His reportage photography is regularly published by press agencies and newspapers, including in a New York Times story on flight MH370 last March.
Rahman has a deep passion for photographing the human side of life, as he sees it as a way of witnessing history. “At the same time when people share their lives with you, it makes you a better person,” he says.
One of his personal projects is exploring the relationships between religion and culture in Southeast Asia. It’s a project close to his heart; he is currently working on a visual showcase that explores what Islam, a religion he grew up in, personally means to him. This mixed-media photography collection will be exhibited at this year’s MOCAfest, part of the 11th World Islamic Economic Forum held in Kuala Lumpur from November 3–5, 2015.
Aquila Style: Rahman, many of your photographs are black and white. What do you feel this style conveys compared with colour photography?
Rahman Roslan: It’s very simple for me. Colours are too romantic; sometimes they take away the main message of the photographs. When it’s black and white, we [can] focus on the content and the form more than anything else. But if colours are needed to tell the story, then I’ll use it, by all means.
What were your impressions of MOCAfest?
I first heard of MOCAfest through a friend who works at the World Islamic Economic Forum (WIFE). I think the idea of bringing creative people together from different disciplines in a positive environment is always exciting.
MOCAfest is indeed all about bringing artists from a variety of backgrounds together. What value do you see in such creative sessions?
I’ve worked with writers, painters and audio artists before. It’s about learning how ideas and creativity can be produced in many different forms and yet, speaks the same message. I value the knowledge that comes out of these ‘jamming’ sessions. There’s lots of brainstorming involved, which is critical for me to evolve – not only as a photographer, but also as a person.
Some years ago, the photography industry was shaken up with the widespread popularity of digital cameras. How did this affect you and how do you feel the industry has changed in the past 5–10 years?
I am fully digital. When I started photographing, I didn’t see the point of using film, except for the romantic idea of it. Now, after a few years of experimenting and practising, it has become clear to me that these are all just tools crafted by your desires and mission. If you master them, you could have the same impact. But practicality wise, digital technology has enabled photographers to reach a wider audience at lightning speed.
Last year you described as “liberating” your first time shooting a travel piece with a phone. How did this experience differ from your usual style of travel photography?
It was liberating in the sense that I didn’t have to carry heavy gear or lenses with me. No one really paid attention to me as I was just another dude with an iPhone! Normally when I draw my camera, it’s very hard not to be noticed. It’s only after a while that I can start blending in and work. But with a phone, I was able to do it immediately.
You travel a lot for work. Where are you jetting off to next after MOCAfest?
After MOCAfest, I’m planning to attend the Angkor Photo Festival in Cambodia to catch up with friends and colleagues. Then I’m off to India in December for a working trip.
At this year’s MOCAfest you’ll be showcasing a mixed-media photography collection. Could you tell us more about this project, the social drive behind it and how it connects with this year’s theme, “Preservation of Identity”?
Basically the project is built upon my interest in trying to rediscover Islam as a Malaysian Muslim. The project is more like a testimony and a journal of notes of my journey in trying to find ‘answers’ to my many ‘questions’. This is the first chapter of the work.
I guess it’s my way to not only preserve my identity as a Muslim, but also to discover the meaning and context of it.
Interested in the daily life of a photographer? Follow Roslan Rahman on Instagram or his website
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