Ajay Dhoke
Naam Kya Hai Tumhra
Naam Kya Hai Tumhra
Ajay Dhoke
Photo by Ajay Dhoke
Photo by Ajay Dhoke
Photo by Ajay Dhoke
Ajay Dhoke, a photographer from Chandrapur, India, explores the unknown through his work, a concept he refers to as "Unodkhi" (आणोळखी) in Marathi, meaning "unknown." Born in 1999, Ajay uses photography as a medium to bridge reality with imagination, capturing the unseen aspects of life and challenging conventional perspectives. His art supports social justice, particularly for tribal and Dalit communities, and is influenced by Chandrapur's rich Buddhist history, Dikshabhumi, and the legacies of the Nagvanshi and Gond dynasties. Ajay’s unique "Unodkhi" approach seeks to evoke curiosity and reflection, presenting reality in a way that encourages viewers to question societal norms. He experiments with diverse forms of expression to create visuals that honor his community’s heritage and inspire conversations on equality. Through his work, Ajay builds an archive that resonates with the journey of discovery, preserving cultural stories while advocating for justice and unity.
Ajay Dhoke, a photographer from Chandrapur, India, explores the unknown through his work, a concept he refers to as "Unodkhi" (आणोळखी) in Marathi, meaning "unknown." Born in 1999, Ajay uses photography as a medium to bridge reality with imagination, capturing the unseen aspects of life and challenging conventional perspectives. His art supports social justice, particularly for tribal and Dalit communities, and is influenced by Chandrapur's rich Buddhist history, Dikshabhumi, and the legacies of the Nagvanshi and Gond dynasties. Ajay’s unique "Unodkhi" approach seeks to evoke curiosity and reflection, presenting reality in a way that encourages viewers to question societal norms. He experiments with diverse forms of expression to create visuals that honor his community’s heritage and inspire conversations on equality. Through his work, Ajay builds an archive that resonates with the journey of discovery, preserving cultural stories while advocating for justice and unity.
Ajay Dhoke, a photographer from Chandrapur, India, explores the unknown through his work, a concept he refers to as "Unodkhi" (आणोळखी) in Marathi, meaning "unknown." Born in 1999, Ajay uses photography as a medium to bridge reality with imagination, capturing the unseen aspects of life and challenging conventional perspectives. His art supports social justice, particularly for tribal and Dalit communities, and is influenced by Chandrapur's rich Buddhist history, Dikshabhumi, and the legacies of the Nagvanshi and Gond dynasties. Ajay’s unique "Unodkhi" approach seeks to evoke curiosity and reflection, presenting reality in a way that encourages viewers to question societal norms. He experiments with diverse forms of expression to create visuals that honor his community’s heritage and inspire conversations on equality. Through his work, Ajay builds an archive that resonates with the journey of discovery, preserving cultural stories while advocating for justice and unity.
I took these photos on the day of Bhim Jayanti on the streets of Pune. Working as the behind-the-scenes photographer for the film Naam Kya Hai Tumhra? brought me back to something essential, something that felt personal and universal all at once.
Written by Shilpa Kamble and directed by Alok Rajwade, the film captures Seema Valmiki’s journey of self-acceptance against a backdrop of caste-based discrimination and societal expectations. Her story, shot alongside the celebration of Bhim Jayanti, meant that my work had to go beyond documenting scenes—I had to capture an experience, a spirit, a way of being that resonates deeply with everyone connected to Babasaheb’s legacy.
Bhim Jayanti is not just a date or a celebration. It’s an identity, a collective breath, a roar that fills the streets of Pune with blue flags, banners, and portraits of Babasaheb. Every corner, every face, and every chant of “Jai Bhim” is alive with energy and emotion. Photographing this day, with its people and their pride, was like stepping into an entirely different realm, one where Babasaheb’s spirit feels as real as the people gathered to celebrate him.
The visual language I aimed to create was all about raw, candid shots—the kind that brings people’s expressions and emotions to the forefront. My lens sought out the faces of young kids dressed in blue scarves, old men and women with eyes full of reverence, and people dancing in unity. Each shot captured Babasaheb’s enduring presence, and through my viewfinder, I felt like I was rediscovering him, seeing him reflected in each person there.
In Naam Kya Hai Tumhra?, Seema’s journey of self-acceptance is marked by her hesitation, her shame, and, ultimately, her liberation.
As a photographer, my job was to capture the character’s quiet transformation and her inner conflict. My goal was to make the BTS photography mirror her emotional journey—from hiding her surname to finally embracing her identity through her connection with the community.
My frames tried to capture her growing sense of belonging. I focused on close-ups that revealed subtle changes in her expression as she stepped out of her shell. From watching the rally at a distance to joining the crowd herself, from averting her gaze to embracing her place among the people, Seema’s journey reflects the personal and collective power that Bhim Jayanti brings to life.
Photographing Bhim Jayanti was a rediscovery of Babasaheb, an exploration of how his message lives on, not in words alone but in people’s lives. His legacy is stitched into every “Jai Bhim” shouted, every blue flag waved, every smile exchanged between strangers celebrating the same hero. I tried to capture these moments honestly—portraits and scenes that tell stories without needing words. In every face, I saw a fragment of Babasaheb, a reminder of why we celebrate him, and why he still matters so much.
For Seema, Bhim Jayanti becomes a turning point. Her journey from feeling ashamed of her surname to feeling proud of her identity was the heartbeat of the story I was trying to capture through my BTS shots. Her story is about coming to terms with her heritage, and her place in a world that wants her to hide. The crowd, the colors, the chants—all of it symbolized the freedom that comes from self-acceptance.
I found my photography style evolving with each click, as if the scenes were teaching me something about Babasaheb. Each person in the rally had their own story, their own reason for being there, and capturing that diversity felt like a privilege. The film’s title, *Naam Kya Hai Tumhra?*, seemed to ask a question that each person in the crowd answered confidently and proudly. They knew who they were, and through my lens, I tried to capture that self-awareness, that pride in their names, their histories.
Photographing Bhim Jayanti wasn’t just about getting good shots. It was a chance to understand, to reflect, to witness the power of Babasaheb’s legacy up close. It was more than a festival; it was a reminder that his vision, courage, and message continue to thrive in the hearts of his followers. In every picture, I hoped to capture the strength, resilience, and unity that Bhim Jayanti represents. I aimed to let each frame speak, to let Babasaheb’s spirit shine through the people who celebrate him with so much love and dedication.
The film Naam Kya Hai Tumhra captures the journey of identity, acceptance, and pride. For me, working on this project was a journey of rediscovering Babasaheb and witnessing his message come alive, in ways big and small. It’s an honor to document these moments and preserve Bhim Jayanti's legacy through my perspective
I took these photos on the day of Bhim Jayanti on the streets of Pune. Working as the behind-the-scenes photographer for the film Naam Kya Hai Tumhra? brought me back to something essential, something that felt personal and universal all at once.
Written by Shilpa Kamble and directed by Alok Rajwade, the film captures Seema Valmiki’s journey of self-acceptance against a backdrop of caste-based discrimination and societal expectations. Her story, shot alongside the celebration of Bhim Jayanti, meant that my work had to go beyond documenting scenes—I had to capture an experience, a spirit, a way of being that resonates deeply with everyone connected to Babasaheb’s legacy.
Bhim Jayanti is not just a date or a celebration. It’s an identity, a collective breath, a roar that fills the streets of Pune with blue flags, banners, and portraits of Babasaheb. Every corner, every face, and every chant of “Jai Bhim” is alive with energy and emotion. Photographing this day, with its people and their pride, was like stepping into an entirely different realm, one where Babasaheb’s spirit feels as real as the people gathered to celebrate him.
The visual language I aimed to create was all about raw, candid shots—the kind that brings people’s expressions and emotions to the forefront. My lens sought out the faces of young kids dressed in blue scarves, old men and women with eyes full of reverence, and people dancing in unity. Each shot captured Babasaheb’s enduring presence, and through my viewfinder, I felt like I was rediscovering him, seeing him reflected in each person there.
In Naam Kya Hai Tumhra?, Seema’s journey of self-acceptance is marked by her hesitation, her shame, and, ultimately, her liberation.
As a photographer, my job was to capture the character’s quiet transformation and her inner conflict. My goal was to make the BTS photography mirror her emotional journey—from hiding her surname to finally embracing her identity through her connection with the community.
My frames tried to capture her growing sense of belonging. I focused on close-ups that revealed subtle changes in her expression as she stepped out of her shell. From watching the rally at a distance to joining the crowd herself, from averting her gaze to embracing her place among the people, Seema’s journey reflects the personal and collective power that Bhim Jayanti brings to life.
Photographing Bhim Jayanti was a rediscovery of Babasaheb, an exploration of how his message lives on, not in words alone but in people’s lives. His legacy is stitched into every “Jai Bhim” shouted, every blue flag waved, every smile exchanged between strangers celebrating the same hero. I tried to capture these moments honestly—portraits and scenes that tell stories without needing words. In every face, I saw a fragment of Babasaheb, a reminder of why we celebrate him, and why he still matters so much.
For Seema, Bhim Jayanti becomes a turning point. Her journey from feeling ashamed of her surname to feeling proud of her identity was the heartbeat of the story I was trying to capture through my BTS shots. Her story is about coming to terms with her heritage, and her place in a world that wants her to hide. The crowd, the colors, the chants—all of it symbolized the freedom that comes from self-acceptance.
I found my photography style evolving with each click, as if the scenes were teaching me something about Babasaheb. Each person in the rally had their own story, their own reason for being there, and capturing that diversity felt like a privilege. The film’s title, *Naam Kya Hai Tumhra?*, seemed to ask a question that each person in the crowd answered confidently and proudly. They knew who they were, and through my lens, I tried to capture that self-awareness, that pride in their names, their histories.
Photographing Bhim Jayanti wasn’t just about getting good shots. It was a chance to understand, to reflect, to witness the power of Babasaheb’s legacy up close. It was more than a festival; it was a reminder that his vision, courage, and message continue to thrive in the hearts of his followers. In every picture, I hoped to capture the strength, resilience, and unity that Bhim Jayanti represents. I aimed to let each frame speak, to let Babasaheb’s spirit shine through the people who celebrate him with so much love and dedication.
The film Naam Kya Hai Tumhra captures the journey of identity, acceptance, and pride. For me, working on this project was a journey of rediscovering Babasaheb and witnessing his message come alive, in ways big and small. It’s an honor to document these moments and preserve Bhim Jayanti's legacy through my perspective
I took these photos on the day of Bhim Jayanti on the streets of Pune. Working as the behind-the-scenes photographer for the film Naam Kya Hai Tumhra? brought me back to something essential, something that felt personal and universal all at once.
Written by Shilpa Kamble and directed by Alok Rajwade, the film captures Seema Valmiki’s journey of self-acceptance against a backdrop of caste-based discrimination and societal expectations. Her story, shot alongside the celebration of Bhim Jayanti, meant that my work had to go beyond documenting scenes—I had to capture an experience, a spirit, a way of being that resonates deeply with everyone connected to Babasaheb’s legacy.
Bhim Jayanti is not just a date or a celebration. It’s an identity, a collective breath, a roar that fills the streets of Pune with blue flags, banners, and portraits of Babasaheb. Every corner, every face, and every chant of “Jai Bhim” is alive with energy and emotion. Photographing this day, with its people and their pride, was like stepping into an entirely different realm, one where Babasaheb’s spirit feels as real as the people gathered to celebrate him.
The visual language I aimed to create was all about raw, candid shots—the kind that brings people’s expressions and emotions to the forefront. My lens sought out the faces of young kids dressed in blue scarves, old men and women with eyes full of reverence, and people dancing in unity. Each shot captured Babasaheb’s enduring presence, and through my viewfinder, I felt like I was rediscovering him, seeing him reflected in each person there.
In Naam Kya Hai Tumhra?, Seema’s journey of self-acceptance is marked by her hesitation, her shame, and, ultimately, her liberation.
As a photographer, my job was to capture the character’s quiet transformation and her inner conflict. My goal was to make the BTS photography mirror her emotional journey—from hiding her surname to finally embracing her identity through her connection with the community.
My frames tried to capture her growing sense of belonging. I focused on close-ups that revealed subtle changes in her expression as she stepped out of her shell. From watching the rally at a distance to joining the crowd herself, from averting her gaze to embracing her place among the people, Seema’s journey reflects the personal and collective power that Bhim Jayanti brings to life.
Photographing Bhim Jayanti was a rediscovery of Babasaheb, an exploration of how his message lives on, not in words alone but in people’s lives. His legacy is stitched into every “Jai Bhim” shouted, every blue flag waved, every smile exchanged between strangers celebrating the same hero. I tried to capture these moments honestly—portraits and scenes that tell stories without needing words. In every face, I saw a fragment of Babasaheb, a reminder of why we celebrate him, and why he still matters so much.
For Seema, Bhim Jayanti becomes a turning point. Her journey from feeling ashamed of her surname to feeling proud of her identity was the heartbeat of the story I was trying to capture through my BTS shots. Her story is about coming to terms with her heritage, and her place in a world that wants her to hide. The crowd, the colors, the chants—all of it symbolized the freedom that comes from self-acceptance.
I found my photography style evolving with each click, as if the scenes were teaching me something about Babasaheb. Each person in the rally had their own story, their own reason for being there, and capturing that diversity felt like a privilege. The film’s title, *Naam Kya Hai Tumhra?*, seemed to ask a question that each person in the crowd answered confidently and proudly. They knew who they were, and through my lens, I tried to capture that self-awareness, that pride in their names, their histories.
Photographing Bhim Jayanti wasn’t just about getting good shots. It was a chance to understand, to reflect, to witness the power of Babasaheb’s legacy up close. It was more than a festival; it was a reminder that his vision, courage, and message continue to thrive in the hearts of his followers. In every picture, I hoped to capture the strength, resilience, and unity that Bhim Jayanti represents. I aimed to let each frame speak, to let Babasaheb’s spirit shine through the people who celebrate him with so much love and dedication.
The film Naam Kya Hai Tumhra captures the journey of identity, acceptance, and pride. For me, working on this project was a journey of rediscovering Babasaheb and witnessing his message come alive, in ways big and small. It’s an honor to document these moments and preserve Bhim Jayanti's legacy through my perspective
