The Man Behind Hyderabad’s Biggest Photo Festival
Aquin Matthews on building India’s longest-running carnival of visual narratives from scratch, rooted in access, voice, and community
When photographer and curator Aquin Matthews started the Indian Photo Festival (IPF) a decade ago, it was out of what he calls ‘a simple and urgent need.’ India, he says, lacked institutional platforms for photographers. Despite the enormous talent and passion for photography, there were few places to exhibit work, have it discussed critically, or connect with international networks.
“The idea was to create a festival that used photography to start conversations, challenge perspectives, and give emerging photographers visibility and opportunity,” he explains. “I wanted it to be free, open to all, and rooted in community: a cultural space where both established and new voices could meet.”
What began as a modest initiative has evolved into India’s longest-running international photography festival, and one of South Asia’s most significant visual arts events. Today, IPF showcases work from over 65 countries, featuring leading names in global photography alongside emerging talent from India. “The real progress is in the ecosystem we’ve built,” says the 43-year-old. “Our Open Call allows photographers to exhibit without cost, and our workshops and portfolio reviews are free so that money never becomes a barrier to learning. We also facilitate grants so new work can be produced.”
That sense of inclusivity has been the festival’s hallmark. Every November, Hyderabad turns into a city of images: its galleries, public spaces, and even metro stations transformed by photographs that look at climate change, conflict, identity, and resilience. In a city where designer exhibitions and couture shopping are passed off as culture, this event ensures that people engage with photography and adds a new dimension to its rhythm.
Open and Inclusive
The high points have been many. Matthews recalls with pride when National Geographic came on board as a partner, calling it ‘a strong endorsement of what we were building.’ Hosting global icons in the past such as, Matt Black, Raghu Rai, Reza Deghati, Nick Ut, Andrea Bruce, Gauri Gill, and Newsha Tavakolian has also been unforgettable. But what matters most, he insists, is staying committed to ‘honest, powerful storytelling.’
Running a festival of this scale, however, is no small feat. “The biggest challenge is creating a world-class festival without compromising accessibility,” he admits. IPF is entirely free and open to the public, which means it depends heavily on partnerships, grants, and institutional support. “Sustained fundraising is always tough,” he adds. “And staying relevant at a time when the world is flooded with images: selecting meaningful stories while maintaining quality, takes a lot of work from a very lean team.”
This year’s edition opens with Magnum photographer Newsha Tavakolian, who will deliver the keynote talk “Between Voice and Silence” and lead a workshop on storytelling. “We’re thrilled to have her,” says Matthews. “She embodies the kind of courage and empathy we want to celebrate.”
The festival also revisits the roots of the medium through slow photography. Workshops on analogue processes, including darkroom printing, cyanotype, and gum bichromate techniques, bring back the tactile pleasure of making images by hand. “These methods go back to the nineteenth century,” says the photographer, “and it’s wonderful to see young people connect with them.”
A vibrant line-up
The exhibition line-up is equally rich. Among the highlights are Something Watching You by Ranita Roy, Sudan in Time of War by Giles Clarke, Rain Dogs by Rohit Chawla, and Impermanent Masks by Alessandro Celante. Murky Waters by The Caravan Magazine and M. Palani Kumar, and Frontlines of Dignity, Shredded Skies and Other Love Stories by Marylise Vigneau add further depth. Group showcases by Panos Pictures and Press Trust of India present strong documentary and photojournalistic work.
Through all its growth, IPF has remained firmly people-centric. Matthews hopes that visitors leave with a renewed sense of connection: Not just to the images, but to the world they reveal. “I want people to slow down and experience what photography can really do,” he says. “In a world where we scroll past hundreds of images every day, I want them to stand in front of a photograph and feel something. Photography can still build empathy and change how we see the world.”
As for photographers, his vision is equally clear. “I want IPF to be a place of opportunity and inspiration: a space where artists can learn, connect, and grow,” he says. Looking ahead, Matthews hopes to expand the festival’s grants, artist residencies, and year-round education programmes. But some things, he insists, will never change. “No matter how much we grow, we’ll stay true to what matters most: openness, accessibility, and artistic integrity.”
This year’s festival runs from November 20 to January 4 at State Art Gallery and other locations.
