This preference drives my interest in documenting political and anthropological stories through a camera lens. Every photograph contains a thesis that is intended to be felt rather than read in a sequence.

Alas, the medium of film photography is inextricably linked to the Anthropocene.

While film production utilises only a small fraction—roughly 2%—of the global demand for silver, the industry remains extractive. In contrast, sectors like AI technology, electric vehicle manufacturing, and solar energy consume the vast majority of this resource. Most silver extraction occurs in the Global South, with Mexico and Peru leading, followed by China. Australia also plays a significant role; notably, between 60% and 80% of Australian silver mining is conducted on lands subject to active claims by Traditional Owners or established Native Title rights.

So, while I tell a story that problematises the extractive processes of gastro-colonialism—showcasing India as a place grappling with the latter while also displaying the hope of a more holistic way of living and nourishing human and other sentient beings, and the critical natural world, by shifting away from industrial agricultural practices towards indigenous and community-led land management, food sovereignty, and the preservation of deeply nutrient-dense, sustainable food—I must acknowledge that the photographic medium I use to express these stories also plays its part in extractive practices.