“A magical box” Haji Mirzaman whispered. His eyes twinkled. He held a weathered wooden box camera. This wasn’t just any camera. This was a kamra-e-faoree. An instant camera. A piece of Kabul’s living history.
Haji Mirzaman is a legend. For over 55 years he captured Kabul’s soul. He used this remarkable box camera. He took black and white portraits. They were for passports and identity cards. He worked on a sidewalk in downtown Kabul. His “magic box” produced prints in minutes. He’s seen empires rise and fall. His camera has witnessed it all. It survived wars. It survived invasions. It even survived a Taliban ban on photography.
His cousin Gul Afghan taught him. Gul Afghan had learned from the master Ahmadin Taufiq. Ahmadin Taufiq had pigeons. Lots and lots of pigeons. Apparently 150 000 Afghanis worth. Haji Mirzaman remembers it all. He smiles remembering the rose garden. He cherishes the photo of Ahmadin. He kisses it exuberantly.
The kamra-e-faoree is more than a camera. It’s a darkroom. It’s a testament to resourcefulness. Haji Mirzaman shows us how it works. Photographic paper goes inside. Then developing liquid. He briefly removes the lens cover. A negative appears instantly. He reaches inside through a lightproof funnel. The negative is processed. A print emerges. A few minutes later a photo is ready. Pure magic.
His four sons all learned photography from him. They all started so small they had to stand on chairs. His sons Farhad and Farit have their own studios. Fardin is a professional photojournalist. His youngest son Farshad works with him. They are carrying on the tradition.
Haji Mirzaman stopped using his kamra-e-faoree daily a year ago. Digital cameras took over. Yet his old box camera remains outside his studio. It advertises his business. It’s a powerful symbol. A reminder of a bygone era. It stands proudly as a reminder of Kabul’s resilience. It’s a symbol of a time when artistry and ingenuity thrived even amidst chaos. It’s a reminder that sometimes the simplest tools create the most lasting images. Haji Mirzaman’s legacy continues. His kamra-e-faoree is not just a camera. It’s a story. It’s a testament to Kabul’s enduring spirit. It’s a story waiting to be discovered.