"Each of the hundred and seventy five photos sits by itself, square and silent, on a white page, without a jot of text to indicate when and where it was taken, or what it depicts."
"In 'Snow,' I spotted armed troops only twice: once in a small, loose coterie ambling near a railway line, and again in an image of a single man attired pudgily in both camo and winterwear."
"Hura kept telling himself that he was only a visitor—that he wasn't on a recce for a future project—but he was struck by how Kashmiris rarely stayed outdoors in the evenings."
"The standard lexicon of documentary photos from Kashmir includes army convoys and barricades, soldiers and protestors, fear and hostility."
Sohrab Hura's volume "Snow" features 175 photographs from Kashmir, presented without text or context. Each image stands alone, emphasizing the region's beauty amidst its ongoing conflict. The first image depicts a man hauling others on a sled during winter's harshest days. Unlike typical documentary styles, armed troops appear infrequently, highlighting a sense of uncertainty among military personnel. Hura began photographing Kashmir in 2015, noting the locals' tendency to retreat indoors after work, reflecting the pervasive atmosphere of fear and tension.
Read at The New Yorker
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