Babu Ahmed: Since my childhood I was very aware of my own ancestors, who were "zamindars" at Bardhaman (West Bengal). I had seen some of their buildings and remnants of furniture, and was fascinated by what I had seen. Having studied their lives, I realized that they had struck terror in the hearts over, whom they had held sway. I myself never wanted to be a part of this set up but, however, I was obsessed by their lifestyle. As a Bangladeshi, I've studied Muslim Mogul architecture on the whole.

TDS: Have you studied the history of Bangladeshi architecture?

BA: I have done considerable research on this. As a Masters student of Bangla at DU in the early 90s, I was also simultaneously inclined towards history. Just as I studied Tagore for my literature, so I've studied history to finally reach this goal of doing photography on Mogul Muslim architecture. The Mogul edifices form the composite whole of my present exhibit.

TDS: Can you give a brief introduction to the Mogul rule in Bangladesh?

BA: Sher-e-Afghan came to Bangladesh as Emperor Akbar's emissary in 1576 representing the monarch whose seat was in Delhi. Researching on the ancient Bangladeshi culture, specially Mogul monuments, I found the architectural structures, sculpture and painting absolutely unique, to say a few words. I have a private collection of books on the subject projected in my exhibit. My display consists of two parts: the architectural background, and the historical element.

TDS: How far do you think your exhibit will help in preserving our Mogul Muslim heritage. Will this stir up the relevant authorities to take some steps in preservation of our cultural past?

BA: Our government has always had a lackadaisical and laissez-faire attitude to our heritage. If it were in Paris e.g. they would have preserved every monument in every possible and probable manner. We have preserved history only in the pages of our books and some bot mots. I've personally taken a decision that I'll make an archive of my own, where there will be adequate photographic record of our Mogul Muslim past, and I've already called it "Traditional Photo Gallery." I've worked towards this end for the past 16 years. Slowly but gradually I hope to wake up the concerned authorities. I plan to reach out to one and all in Bangladesh if not much beyond. I believe that Bangladesh itself is a museum with a lot to learn and see from.

TDS: What, in your opinion, is the cause of this shameful neglect of the Mogul past in our country -- is it due to lack of aesthetic sensibility or inadequate social awareness. Will your exposition eventually help to remove this rampant insensitiveness in some positive way?

BA: Our mental level has not reached the necessary adequate level. We're involved in politics e.g. but we're not quite often sure of our goals. I must take steps to remedy of our malady of malaise. Despite the financial constraints I've got to work towards my ultimate goal of preservation of the past -- the proofs of the past which are doubtless gems of astronomical value. I only hope that some foreign NGO or some government agency, such as the Shilpakala Academy or the National Museum, will hopefully come to aid me eventually by this venture.

TDS: Who have been your patrons for this particular display?

BA: Aziz Khan and Bijoy Kumar Sirse of "The Summit Group" have helped me in every way that they could.

TDS: Will you be limiting yourself to Moghul monuments in future?

BA: I hope to work on the subjects of churches, temples and pagodas in my future attempts.

TDS: How many photos does this display contain and what was your last solo photo exhibit about?

BA: I've included 28 photos in the recent exhibit in colour, while the last one was called "A glimpse of Bangladeshi heritage", with a hundred photos on mosques, temples, sculptures, etc.

TDS: What camera have you used for your work?

BA: I've used Nikon FM-3, Nikon F-100 and Nikon F-90X, naturally with colour film rolls.

TDS: What problems were you faced while carrying out your work, such as lack of funds, bad weather, neglect of domestic duties?

BA: My first hurdle was the financial one, which is still not over, as my final work is not finished. Next was the lack of necessary documentation to guide me in my work: there weren't ample historical information; I've had to scour the country to get assistance to guide me in my project. The local museums, libraries and the Archeology Dept, DU, were not adequate. I feel that the correct history of our past has yet to be recorded properly. Again I have had to ignore my home in my quest.

TDS: What are your photographic qualifications and did any photographer inspire or influence your work?

BA: My first teacher in photography was the famous portrait photographer Nasir Ali Mamun. I did my diploma in photography in 1985 from the Begart Institute. I've had training on the spot from the PIB (Press Institute of Bangladesh) for 1992-1996.

I got further training for six months at a private university in Hong Kong in 1994. As Anwar Hussain lives overseas I've not been able to get much guidance from him. However, Dr Shahidul Alam of "Drik" has helped me on various occasions and in many ways.

TDS: A photographer of "Prothom Alo", who else has egged you on, specially on the home front?

BA: My mother Halima Khatun always encouraged me from the outset. My guru NA Mamun was my next inspiration. My wife, Nazli Chowdury -- we got married this year -- who works at the Bengal Art and Research Institute, now lends me all her support.