A Different Light: The Photography of Sebastião Salgado 2011. Durham and London: Duke University Press

“An excellent study! Parvati Nair simultaneously places the work of Sebastião Salgado within broader contexts and illuminates contemporary debates on aesthetics, ethics, and photodocumentary, with welcome emphasis on perspectives from the Global South. A must-read for all those concerned with photographs as visible evidence.”—Liz Wells, Plymouth University, United Kingdom

‘The Razor’s Edge: Image and Corporeality at Europe’s Borders’, in Tanya Sheehan (ed.). 2018, Photography and Migration, London: Routledge, pp. 83-99

‘Still Photography and Moving Subjects: Migration in the Frame of Hospitality,’ in Nair, Parvati and Bloom, Tendayi (eds)., Migration Across Boundaries (2015), Ashgate

‘The Refuge of Photography: Perspectives on Asylum, Citizenship and Belonging in London’ in Moving Worlds, special issue edited by David Farrier, Autumn 2012.

‘After-Images: Trauma, History and Connection in the Photography of Alfredo Jaar,’ chapter in The Eyes of Gutete Emerita, 2010, edited by Pamela Prado, Santiago de Chile: Dirac Publishers, 63-78

‘Fotografía en torno al Estrecho,’ in Dos siglos de imágenes de Andalucía edited by Alberto Egea, Sevilla, Centro de Estudios Andaluces, 2006

‘The Regard of the Gypsy: Ramón Zabalza's gitano photographs and the visual challenge to the stereotype’ in Prácticas de poder y estrategias de resistencia en la España democrática, edited by Óscar Cornago Bernal, special issue of Iberoamericana, 24.4, 2006

‘Albums of No Return: Ethnicity, Displacement and Recognition in Photographs of Moroccan Immigrants in Spain’ , Journal of Spanish Cultural Studies, 1, March 2000, 59-73

The Family Photo: Inventing Time, Place, and Memory
Family photography, memory, India, Parvati Nair
Parvati NairParvati Nair
Why photography matters
It is no longer the extraordinariness of the image, but rather its familiarity that lends credibility to the representation of how these immigrant women have made new lives in the city. “Migrant Mother”, California, 1936. Wikicommons/ Dorothea Lange. In a world where the selfie has become ubiquitou…
Parvati NairParvati Nair
Photo-reportage’s thwarted potential
Rarely a week goes by when issues around photography are not in the news. This week, the photographs on Facebook of handcuffed and blindfolded Palestinian detainees posted by an ex-Israeli soldier unleashed shockwaves. A few weeks ago, Time magazine’s cover of the Afghan woman stirred up debates tha…
Parvati NairParvati Nair
Photography and nature’s frame
The old adage “a picture is worth a thousand words” needs to be rethought. More importantly, a picture can have the power to move a thousand hearts and change a thousand minds. Often, photographs bring to our eyes what we may have seen many times before, but not noticed. They
Parvati NairParvati Nair