Under the dim red light of a darkroom, Jagadish Upadhya is getting ready a tray for the stop bath and fixer to print photographs from an exposed negative film reel.He sets the developed negative on the enlarger, alters the aperture ring and checks the sharpness before masking the frame. He then carefully places the exposed paper in a shallow tray of developer and gently rocks the solution back and forth so the chemicals slowly bring out the image in black and white.Once it appears, Upadhya puts the paper in the stop bath before removing and draining it. He moves the print into a tray of fixer, gently rocking it again, and inspects the print under a white light and washes it thoroughly before hanging it up to dry.All this may look archaic to young Nepalis used to snapping away with their mobile phones, applying filters and posting images on Instagram. But before photos went digital, there were film reels, darkrooms and prints — technology that had not changed since photography was first invented 150 years ago. But analogue photography is staging something of a comeback worldwide, and there are afficionados in Nepal also trying to keep the technique alive.“The entire process of working in the darkroom and playing with chemicals is like cooking,” says Upadhya, who founded Film Foundry, a collective learning and sharing their knowledge of film photography. “I still get fascinated every time I go into the darkroom, I feel like I am in a different realm.”<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230112100136/63bfd5239c7e80680e0d30d7jpeg.jpg" alt="" width="1500" height="1000"/><figcaption>Photos: SUMAN NEPALI</figcaption></figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230112100136/63bfd5279c7e80680e0d30d8jpeg.jpg" alt="" width="1500" height="1000"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230112100136/63bfd52b9c7e80680e0d30d9jpeg.jpg" alt="" width="1500" height="1000"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230112100136/63bfd5309c7e80680e0d30dajpeg.jpg" alt="" width="1500" height="1000">The phone killed the point-and-shoot camera years ago. Even before that, digital cameras were pushing analogue cameras into obsolescence. But as the world of photography becomes more digital-focused, photographers like Upadhya look to conserve its purist form.“Film will never die,” says Upadhya. “It is like reading a book. A tablet may be easier to carry around, but you cannot compare the joy of touching the printed pages. Similarly, there is a different sense of satisfaction in physically holding and seeing photographic prints.”Unlike digital cameras where one can snap away without worrying much about cost, film requires a much more deliberate approach. Each frame costs money to develop and print, and this forces the photographer to be mindful about clicking the shutter button.The nostalgia associated with the film camera and film rolls is what seems to have pushed the growing trend among photographers to time-travel back to the age of analogue.In the mid-2010s, when Rupesh Singh’s family was packing up to move house, he stumbled upon an album filled with black and white photos of his father’s childhood. Being a digital native, he had only seen photographs on phones or computers before, but holding family memories in his hands was a defining moment for Singh, who now teaches photography at Kathmandu University.Read also: <a href="https://www.nepalitimes.com/here-now/making-nepals-history-colourful/">Making Nepal’s history colourful</a>, Kanak Mani Dixit<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230112100136/63bfd5359c7e80680e0d30dbjpeg.jpg" alt="" width="640" height="787"><figcaption> </figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230112100136/63bfd5399c7e80680e0d30dcjpeg.jpg" alt="" width="1690" height="2048"><figcaption> </figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230112100136/63bfd53d9c7e80680e0d30ddjpeg.jpg" alt="" width="1512" height="1132"><figcaption> </figcaption></figure>“The medium is unique. It requires a lot of patience and attention. If you make one mistake when developing it, the print turns out blank. But the anticipation of seeing the end-product is what makes it worthwhile,” Singh explains.When Abishek Shah started his photographic journey, film was the only medium. Photo studios in Kathmandu Valley then were as common as mobile phone shops are today. Over time as things went digital, it became harder to buy film and chemicals. But his love for analogue never faded.“Unlike digital, film has its own restrictions, but that teaches us to do even more, go even further, learning every day. The importance of film can be conveyed in just one word: patience,” says Shah.The joy of developing prints is when he processes photos he took months ago in the darkroom. It is not instantaneous like in mobile or digital photography where you can check the screen immediately after taking a shot.The curiosity about how film cameras work, how an image is formed and how a blank sheet coated in a photosensitive chemical emulsion captures an image of an instant already passed is also what attracted Sanjog Manandhar to film photography.<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230112100136/63bfd5419c7e80680e0d30dejpeg.jpg" alt="" width="940" height="628"><figcaption> </figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230112100136/63bfd5479c7e80680e0d30dfjpeg.jpg" alt="" width="1055" height="1637"><figcaption> </figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230112100136/63bfd54b9c7e80680e0d30e0jpeg.jpg" alt="" width="640" height="980"><figcaption> </figcaption></figure><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230112100136/63bfd54e9c7e80680e0d30e1jpeg.jpg" alt="" width="1509" height="1000"><figcaption> </figcaption></figure>He had an old point-and-shoot camera at home but there was nowhere to buy film rolls since studios had all gone digital. He got some film reels from his brother in Japan and started clicking.“Seeing the mistakes I made after the negatives were developed has made me a better photographer,” says Manandhar, a photojournalist with The Kathmandu Post.In 2019, he founded the Analog Club with Niva Rajbanshi to create a community and a space for photographers to experience the whole process of film photography. One by one they collected films, chemicals, tanks, enlarger, and set up a darkroom. Under the mentorship of Jagadish Upadhya, they taught themselves by trial and error.“Film photography slows me down in the rush of the digital world where we take hundreds of pictures every day. Yet, we lack learning. What is the point of being happy with just one good photo from hundreds you have taken?” says Niva Rajbanshi. “Film photography slowed me down and gave me time to really understand image processing. It made me pause and think about what I am shooting. And ask: why am I shooting this?”For commercial photographer Bibash Maharjan Suwal, the joy of shooting in analogue is not only in taking pictures and developing them, but also archiving.Read also: <a href="https://www.nepalitimes.com/banner/the-way-we-were/">The way we were</a>, Kunda Dixit<figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230112100136/63bfd5559c7e80680e0d30e2jpeg.jpg" alt="" width="1500" height="1000"><figcaption> </figcaption></figure>“I take a lot of photos every day, but I have a fear that one day my hard drive gets corrupted. Films, if stored properly, will last in a physical form for a long time,” says Suwal, who started film photography when in school in India.With film staging a comeback, French photographer Alexandre J Henry came recently to exchange notes with Nepal’s analogue community. Henry says he fell in love with the grain and texture of the analogue prints and started shooting in the format five years ago.“You can have some deeper layers of black and the contrasts are just amazing in film prints, it is unique compared to digital prints,” he says.The renaissance of print has also allowed the photographers to experiment with the medium. At Film Foundry, photographers are testing prints in different mediums including wood, canvas and Nepali paper.Says Abishek Shah: “Back in the days, photos were more for household documentation. People took family portraits, studio portraits, and photos of outings and gatherings as mementos, but now we can be more creative and try something new every day.”_________________<h2>Negative to positive</h2><figure><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230112100136/63bfd5589c7e80680e0d30e3jpeg.jpg" alt="" width="960" height="640"><figcaption> </figcaption></figure>The magic of analogue photography takes place on a strip of plastic coated with a light sensitive emulsion of silver halide, with which the exposed parts react. When processed, the lit bits blacken the silver on the film.<ul><li>After all 24 or 36 exposures are done, the film is rolled back inside the camera with a small pull-out spool. The camera should not be opened until the negative is inside the roll which is then taken to the darkroom to process.</li> <li>Darkroom equipment includes a dark bag, scissors, a daylight developing tank, film reel and chemicals.</li> <li>The negative from the exposed roll is loaded on to the film spool inside the dark bag, and the daylight developing tank which is designed in such a way that light does not contaminate the film while the chemicals are being poured in. The lid on the developing tank is there only to cover the tank in case we require agitation in the developing process.</li> <li>The choice of chemicals depends on whether the film is black-and-white or colour, which brand it is, the speed of the film, or the preference of the photographer. The temperature of the chemicals also has to be taken into account as it can lead to a difference in the developing time and ultimately the final product. Many senior photographers in Kathmandu swear by the D-76 formula by Kodak as the go-to formula for the most.</li></ul><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230112100136/63bfd55c9c7e80680e0d30e4jpeg.jpg" alt="" width="1500" height="1000"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230112100136/63bfd5619c7e80680e0d30e5jpeg.jpg" alt="" width="1500" height="1000"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230112100136/63bfd5679c7e80680e0d30e6jpeg.jpg" alt="" width="1500" height="1000"><img src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20230112100136/63bfd56c9c7e80680e0d30e7jpeg.jpg" alt="" width="1500" height="1000"><ul><li>The film, after remaining in the developer for the specified amount of time, will have thrown away excess emulsion and developed images on it. Diluted developers are usually disposed of after the use, and stock chemicals are retained and replenished for future use.</li> <li>But the film is not yet ready to be out in the light. It needs to be cleansed with fresh water, which should be the same temperature as the developer with the final couple of minutes in the fixer. This will fully desensitise the remaining silver and make the images permanent allowing us to view it in bright light.</li> <li>The image on the film is inverted which is why the film is called a negative. A positive is then obtained by either enlarging the image onto a photographic paper or by scanning and inverting it digitally.</li> <li>The dark room has red light, and some photographers first make a contact print of the negative to see which ones should be enlarged.</li> <li>The exposed photographic paper is first immersed in a developer, and halted with a stop bath. The paper is then immersed in a fixer solution after which it is washed and hung up to dry.</li></ul>Read also: <a href="https://www.nepalitimes.com/banner/portrait-of-a-photographer-in-rural-nepal/">Portrait of a photographer in rural Nepal</a>, Monika Deupala

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Reliving analogue photography

<figure><img width="1400" height="1031" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107141112/636904bc9c7e80680e037d3djpeg.jpg" alt=""/><figcaption>UNDERPASS: It looks like you forgot that there is now a new law that forbids disclosure of the private information of public officials. Vatsyayan in Kantipur, 25 August</figcaption></figure>It has only been two weeks since Nepal’s new Penal Code criminalised photography (Section 295), slapped heavy fines and jail terms for recording conversations (Section 293), and announced strict punishment for sending, receiving or using online data (Section 298). Another privacy-related bill in Parliament will prohibit people from publishing personal information of public officials. But it has already had a <a href="https://www.nepalitimes.com/banner/suppressed/" target="_blank" rel="noopener">chilling effect across the Nepali media</a>.A person who ridiculed the prime minister on Facebook was tracked down and arrested for photo-manipulating the prime minister's photo, which violates Section 295 of the Code. Editors of Nagarik, Annapurna Post and Kantipur were summoned to the Press Council for interrogation.Photojournalist Usha Titikshu was taking a photo of a damaged CCTV camera at an airport recently, when she was stopped. “Don’t you know the new rules about not taking photos?” she was warned.If enacted earlier, the new laws would have forced editors to spike their recent investigative reports on the Chief Justice’s doctored certificates, photos showing collusion between top politicians and medical college owners, and stories of corruption in high places.The Federation of Nepalese Journalists last week issued its Godavari Declaration demanding that the provisions be immediately rescinded. The International Federation of Journalists (IFJ), The Committee to Protect Journalists (CPJ), Reporters without Borders (RSF) and others <a href="https://www.nepalitimes.com/latest/amend-criminal-code-rsf/" target="_blank" rel="noopener">all condemned the move</a>, demanding that Nepal adhere to the international standards and principles of freedom of expression.Although the constitution guarantees press freedom as an inviolable right, the laws try to enforce constitutional provisions protecting a citizen’s right to privacy more strictly, even extending it to public figures.Read also: <a href="https://www.nepalitimes.com/banner/strongman-rule/" target="_blank" rel="noopener">Strongman rule</a>, Om Astha RaiPress adviser to the prime minister and former editor Kundan Aryal admits that a free press is important, but says the Nepali media has failed to self-regulate."Journalists do not rein themselves in, they feel free to make derogatory comments, especially about women. It is necessary to regulate the press,” he told Nepali Times. Such talk has already had a dampening effect, with editors and reporters now more wary of publishing information in the public interest. The fear is that the laws are so broadly defined and open to interpretation, anyone can be hauled over for anything.The crackdowns started coming thick and fast after the Nepal Communist Party government was elected to power in January: it consolidated the surveillance arms of the state in the PMO, proposed restrictions on advocacy through the National Integrity Policy, and banned popular areas for protest. Photographer Chandra Ale of Onlinekhabar recently faced questions when he was at Kalimati vegetable market where traders had locked up government inspectors. “A person asked me if I had permission to take photos. He followed me, and forced me to delete my pictures,” Ale relates.Photojournalist Usha Titikshu thinks there is a systematic plan to gag the media. “Threats to journalists are more common across South Asia, and we have not connected the dots to see that the same is happening in Nepal,” says Titikshu, citing the rape and deaths of journalists in India and <a href="https://www.nepalitimes.com/banner/the-death-of-democracy/" target="_blank" rel="noopener">the arrest of noted Bangladeshi photographer Shahidul Alam</a> who is being mistreated in jail. “We see our own government moving towards similar intolerance in Nepal.”Ujjwal Acharya, South Asia coordinator of IFJ and digital media watcher says: “Today one thinks twice before posting anything on social media. By the looks of it, the government intends to curtail all kinds of expression, especially investigative journalism.”Says Nagarik editor Gunaraj Luintel who answered an unprecedented summon from the Press Council: “It was overstepping its mandate, even asking me to explain a mistake in print to the parties involved. The council is only supposed to promote ethical journalism, but it has become an arm of the government. The aim is to increase censorship in a planned way.”Narayan Wagle, editor of Kantipur, was also summoned by the Press Council for the first time in his 30-year career, and says the it has outlived its usefulness.“The practice in democratic countries is that the government does not monitor the press. The press monitors itself through a code of ethics. But in Nepal, a new law about the Press Council is in the offing, which proves the government wants to further tighten the noose around the press.”Bikas Karki, president of Photo Journalists’ Club, agrees that the government’s real intention is control: “The Constitution has become like the elephant’s tusks, it is there just for show. The laws are the real teeth inside, which bite.”Nepal has gone through censorship before. The Panchayat system banned political parties, and the royal palace strictly controlled the press. In 2005, King Gyanendra tried to take the country back to those dark days. Some say the new Code is even worse than the Panchayat.“There were threats then, but they were verbal or even unspoken,” recalls photojournalist Gopal Chitrakar, who started out at Gorkhapatra during the Pancahayat. “I don’t remember such draconian measures. These new rules are in writing, they are backed by the law. That gives them legitimacy which is more dangerous.” Kundan Aryal reassured us that the Code and laws can always be amended. But this does not convince journalists who say the laws that restrict media freedom are inherently anti-democratic, unconstitutional and remove its check-and-balance function. Laws that are broadly defined are even more dangerous, and can be a path to authoritarianism.Read also: <a href="http://archive.nepalitimes.com/article/nation/varying-press-freedom-in-burma,1261" target="_blank" rel="noopener">Too little, or too much freedom</a>, Kunda Dixit <h4>The right to say the emperor is naked</h4> Satire flourishes best and is most prolific when there are controls on free speech, and Haribansa Acharya should know. He says he performed his most fulfilling and creative skits during the Panchayat.“Saying ‘17 Sal’ out loud was banned, since it was the year of King Mahendra’s coup. So we got away by saying ‘the year between 16 and 18’,” remembers Acharya. “We also called Prime Minister Surya Bahadur Thapa ‘Gham’ instead of Surya. We played cat and mouse with the censors, and it was more fun and creative. Today’s satire seems to lack that art.”Satire, in fact, seems less necessary when there is full freedom, but it is a lifeline during restrictive times. Even during the absolutist Rana and Shah reigns, the royals knew citizens needed to let off a little steam. So, they allowed one day in a year on Gai Jatra (on 27 August this year)when people had freedom to say anything. <figure><img width="1200" height="841" src="https://superdesk-pro-c.s3.amazonaws.com/sd-nepalitimes/20221107141112/636904bf9c7e80680e037d3ejpeg.jpg" alt=""><figcaption> </figcaption></figure>Culture expert Tejeswor Babu Gongah remembers Gai Jatra revelers burning an effigy of the Panchayat, an act that would have people locked up on any other day of the year."Humour is one space where you can raise issues that you cannot elsewhere, therein lies its power to question authority,” he adds.Some have noted that this year’s Gai Jatra seemed subdued, with fewer shows. On social media, there were comments that satirists had already started self-censoring because of the new Criminal Code.Satirist Manoj Gajurel, who has made a career out of lampooning kings, prime ministers and guerrilla commanders, says: “Humour has a social responsibility to carry the people’s message to authority when it refuses to listen to direct communication.”However, an elected government now wants to take away that right of Nepalis to poke fun at power. Section 306 of the Code specifically prohibits ‘satire’ and categorises it under libel, and Section 295 prohibits caricatures.“I feel a great sense of dread,” admits cartoonist Durga Baral, who went underground during the Panchayat but continued to produce cartoons under the pen-name Batsyayan, despite threats."Freedom of expression is our basic right, and if we are not free to speak out, it all gets bottled up inside.”Nepali cartoonists are pushing back. Last week, Rabin Sayami drew a savage cartoon that tore the government to shreds over its callousness in not investigating the Kanchanpur rape case, and killing a protester. It depicted a smiling Pushpa Kamal Dahal and a smug Prime Minister Oli with a smoking gun in his hand (above). The rapist holds a bloody knife, and has his back turned. Two photos of the rape victim and a dead protester hang on the wall.Sayami was warned by friends to be careful, and that he might be sent to jail. He says the cartoon was a test: “To see if we are still a democracy.”Read Also: <a href="https://archive.nepalitimes.com/article/Nepali-Times-Buzz/saparu-the-festival-of-death-and-rebirt,2543" target="_blank" rel="noopener">Saparu</a>, Sonia Awale<a href="http://archive.nepalitimes.com/news.php?id=11225#.W4fAI84zbIU" target="_blank" rel="noopener">Festival of death and satire</a>, Desmond DoigCode wordsWhile Nepal's journalistic community is up in the arms about the latest Criminal Code, lawyer Madhav Basnet says it is not as worrying as perceived, for the following reasons: <ul><li>The 1990 Constitution was the first one to clearly mention the right to privacy.</li><li>Nepal has a long history of laws against slander and libel, even in Jang Bahadur's Muluki Ain of 1853.</li><li>The Criminal Code does not specifically mention any profession like writers, journalists or photojournalists.</li><li>The conduct of journalists is covered by other laws related to the media, which remain unchanged. The Criminal Code mentions that it will not supersede laws relating to specific professions.</li><li>With social media, it is not just journalists and photographers who take photos, collect and disseminate information, but everyone. The Code is only prescribing limits for them.</li><li>The law, however, does apply to journalists if they are not transmitting through the mass media.</li><li>The Criminal Code is not the guarantor of freedom of expression, the Constitution is. That freedom is not without its limits, and the limits are also mentioned in the Constitution. However, nothing can take away that freedom. And if any law seems to infringe upon it, then there are Constitutional remedies.</li></ul>Read also: <a href="https://www.nepalitimes.com/opinion/nepal-has-press-freedom-but-no-freedom-after-press/" target="_blank" rel="noopener">Nepal has press freedom, but no freedom after press</a>, Shashank Shrestha

Gagging the press in installments

Nepal’s month-long cricket carnival ended on a sunny Saturday in Kathmandu with a final game in which the Lumbini Lions dominated the Sudurpaschim Royals with both bat and ball.&nbsp; The Royals were bowled out for an embarrassing 85, thanks to Namibian Ruben Trumplemann’s three wickets for three runs, and captain Rohit Paudel’s hat-trick in the eleventh over. Only opener Ishan Pandey’s 33 run-innings was of any note.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/2025121315120_ced9258f9503a03fe53760d5ff420136ea9cfbaf3001512399ec5cafeef25364.jpg" data-media-id="editor_0" data-image-id="2025121315120_ced9258f9503a03fe53760d5ff420136ea9cfbaf3001512399ec5cafeef25364" data-rendition-name="original" width="1366" height="909" loading="lazy" alt="NPL 2"> </figure>   <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251213141232_0b712b438a97b49747029e4b3884b0eeba8ec0ff0bfbc5fd3d61cbb2002a16c2.jpg" data-media-id="editor_1" data-image-id="20251213141232_0b712b438a97b49747029e4b3884b0eeba8ec0ff0bfbc5fd3d61cbb2002a16c2" data-rendition-name="original" width="1345" height="1000" loading="lazy" alt="NPL 2"> </figure>  The Lions came out with virtually no pressure on them, and Dinesh Adhikari’s 42 off 13 including 27 off the first over bowled by Dipendra Singh Airee won the match. Rohit Paudel came in to finish the match calmly, with 11 overs to spare, scoring two stylish fours and a six before holing out with the Lions on 83.&nbsp; The Lions took comically long to get the final two runs to win the game, losing one more wicket. But it was merely a matter of time, and a single ended the Royal’s misery.&nbsp; As dusk fell, the big fluffy lion mascot was on the field dapping up the Lions as red fireworks went off and Lumbini fans leaped from their seats in the packed stands.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251213141232_ba4c4fde1865c583cf324d253563a0fc96002c31e8381ee85850f71c67515ea9.jpg" data-media-id="editor_2" data-image-id="20251213141232_ba4c4fde1865c583cf324d253563a0fc96002c31e8381ee85850f71c67515ea9" data-rendition-name="original" width="2048" height="1365" loading="lazy" alt="NPL 2"> </figure>  This capped off an incredible run from the Lions who had finished dead last in NPL Season 1, and had only one win and three losses after four games. They won the remaining three, finishing fourth, barely qualifying.&nbsp; This meant that they had to play an eliminator last week against the Kathmandu Gorkhas and then a qualifier against the popular Biratnagar Kings, whose squad included Sandeep Lamichhane, Faf du Plessis, and Martin Guptill. They won both in style. For the Royals, however, this was the second disappointing final in a row after being the best team in the group stage in both seasons of the NPL. National team batsman Binod Bhandari had had an excellent tournament for the Royals, but was in tears at having come this far again and fallen short.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251213141228_a90fd0afaeec366416efe314464d6b1152bd9cca011346b77914c2037b6b156e.jpg" data-media-id="editor_3" data-image-id="20251213141228_a90fd0afaeec366416efe314464d6b1152bd9cca011346b77914c2037b6b156e" data-rendition-name="original" width="2048" height="1366" loading="lazy" alt="NPL 2"> </figure>  Despite the final being disappointingly less action-packed for the neutral viewer, the final marked the second successful execution of the NPL. The addition of seats and floodlights at the TU Cricket Stadium overlooking Kathmandu made evening games possible and improved the experience for fans.&nbsp; The floodlights also made for some gorgeous photography as the sun set behind Chandragiri, illuminating the Himalaya to the north in gradually fading shades of orange.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251205041256_280bea0db1d097c88d478f5ba7197b5e2faa05623ebf9c0438af46d85bdb891e.jpg" data-media-id="editor_4" data-image-id="20251205041256_280bea0db1d097c88d478f5ba7197b5e2faa05623ebf9c0438af46d85bdb891e" data-rendition-name="original" width="1366" height="911" loading="lazy" alt="Cricket carnival NT"> <figcaption>Photo: SUMAN NEPALI</figcaption> </figure>  Adam Rossington’s 323 runs, including a century, and Sandeep Lamichhane’s 17 wickets were the standout individual performances across the tournament in the past month.&nbsp; The tournament brought out characters much loved by the vociferous crowd, including ‘Taklu’ Irish commentator Andrew Leonard who worked in a Dhaka Topi, British presenter Jess Crowe who donned a Sari for the final, and Chitwan Rhinos’ charismatic mascot Mr Gaida who entertained the crowd with enthusiastic nonstop dancing.&nbsp; The tournament was such a draw that the university grounds looked like a carnival with food and merchandise stalls. The capacity 10,000 stadium drew such a crowd that Kathmandu streets were relatively quiet on Saturday with people also watching the game live on tv at home.&nbsp; Kathmandu’s residents were genuinely delighted at being able to talk about <a href="https://nepalitimes.com/here-now/cricket-carnival">a Nepali cricket tournament</a>, and not about the Indian or English Premier Leagues. And while everyone appreciated the cricket no matter who was playing, fans showed up for their provinces in loud numbers.&nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251205041256_e96211da042ec3043940f2feca4cd59dd00351af41a4ca029169871f69f51957.jpg" data-media-id="editor_6" data-image-id="20251205041256_e96211da042ec3043940f2feca4cd59dd00351af41a4ca029169871f69f51957" data-rendition-name="original" width="1366" height="911" loading="lazy" alt="Cricket carnival NT"> <figcaption>Photo: SUMAN NEPALI</figcaption> </figure>  The organisers having proven themselves, future NPLs may need more stadiums in other provinces, even better overseas players.&nbsp; Sambhav Sirohiya of the Kathmandu Media Group ambitiously tweeted that he believes that the league could already become the second most valuable franchise cricket league NEXT SEASON, especially if the government would loosen up its regulations of advertising, especially that of alcohol. Nepali cricketers and fans are now better prepared for the T20 World Cup in India and Sri Lanka in February, with the experience of playing in the NPL and with the access to world-class cricket talent and seeing how they go about excelling at the sport.&nbsp;

Lumbini gets the lion’s share

International Mountain Day on 11 December should inspire celebration, not cynicism. It follows &nbsp;a small but rare diplomatic win: the agreement at COP30 in Belém to hold a dedicated global dialogue on mountains in 2026, and to include mountain-specific indicators in the new climate adaptation framework.&nbsp;
A welcome shift, certainly. But the old narrative lingers — mountains are fragile, disaster-prone, eternally vulnerable. But the uncomfortable truth is that safe and environment-friendly development in the mountains is simply too expensive than anyone wants to admit.
To build a kilometre of two-lane highway in the Tarai costs Rs200 million. That same kilometre on a Himalayan slope with retaining walls, drainage, bioengineering, and landslide protection costs more than Rs1 billion. Add tunnels, viaducts or highways designed for minimum 80km/h speeds and that figure can easily triple.
This pattern repeats across all sectors. A 50MW run-of-river hydropower plant that costs $80 million in low-ling valleys costs four times more in the mountains. The headrace tunnels have to be longer, desanding basins must trap the silt, the access roads cost more than the entire project. And there is no way to prevent the scheme from being washed away by a glacial collapse flood.
Nepal's annual road budget is only Rs150 billion. It is scattered thinly across 753 municipalities, most of them perched on steep, unstable slopes. When resources are inadequate and political cycles are short, the incentives for corruption are predictable &nbsp;— shaving a mountain flank at 70 degrees instead of 45, taking a shortcut on drainage canals, skimping on asphalt thickness, or skipping the Gabion.
In high Nepal, the bulldozer is the engineer. We hang on the prayer that the monsoon will be merciful. July arrives, and reality returns. Mountains fall on roads, flash floods wash away swathes of expensive highways.
The entrance to the Siddhababa Tunnel in Palpa collapses yet again. The Nagdhunga Tunnel faces another landslide delay. The Melamchi headworks go under — again. Each failure costs more to repair than proper engineering would have cost when that infrastructure was built.
We are not just paying once. We the taxpayers are signing up for a subscription to disaster. The real fragility of Nepal’s mountains is of governance, not geology.
This is what the international climate conversation habitually misses. Mountain communities are repeatedly told to ‘respect nature’ and avoid linear infrastructure, often by the same countries proudly announcing new expressways and airports in their own countries.
Mountain people are not anti-development. They want what everyone else wants: electricity that does not flicker, roads that survive the monsoon, schools their children can reach in winter. What they lack is not aspiration, it is the budget required to build things safely that is not stolen by politicians and their crony contractors.
If the world truly wants to protect the Himalaya, Andes or Alps, and the billions who rely on them for water, the answer is not more romantic slogans about fragility of the mountains. It is concessional, patient financing that narrows the gap between cheap and dangerous versus expensive and resilient. And it is transparent government that spends that money wisely.
This means money for tunnels instead of unstable surface cuts. Money for bioengineered slopes instead of naked bulldozer scars. Money for hydropower built for 1-in-100-year floods, not 1-in-25-year budgets.&nbsp;
This is not charity. Mountain infrastructure safeguards global water, carbon, energy and biodiversity systems. It is a global public good, and should be financed as such.&nbsp;
In Syangja, small investments under the Climate Adaptive Equitable Water Management Practices have restored nine community ponds, protected recharge zones and increased dry-season spring flow by about a third. All of this for less than the cost of repairing a single kilometre of poorly built hillside road after the next landslide.
Our experience from the Subnational Governance Programme (SNGP) in some districts of mountains and plains show that when municipalities receive practical guidance backed by scientific research, they can scale these solutions with modest, targeted budgets. Local governments are not the problem — they are the missing link. &nbsp;
The tragedy is not technical incapacity; it is chronic under-financing of the most cost-intensive terrain on earth. Lets stop romanticising mountain poverty on 11 December, International Mountain Day. Let us retire the language of fragility that excuses inaction.
Mountains are not pleading for sympathy. They are demanding fairness: that the true cost of safe development in the world’s steepest geographies be acknowledged and shared. Until that bill is paid, the monsoon will continue to do the accounting, one landslide, one road, one abandoned promise at a time.
Ngamindra Dahal is a water and climate adaptation practitioner based at the Nepal Water Conservation Foundation, Kathmandu.

The Himalaya is not fragile

This is the 76th episode of Diaspora Diaries, a Nepali Times series in collaboration with Migration Lab providing a platform to share experiences of living, working and studying abroad. We did not have a whole lot, but did not grow up in scarcity either. When I was in Grade 7, my father migrated to Malaysia but returned just after 18 days and was heavily in debt. It is the interest and not the principal from loan sharks that ruins borrowers. As we grew up, family expenses rose and my father migrated again to Qatar, determined to make it work this time. I used to watch him via IMO in buildings under construction eating rice out of plastic bags. There was no AC, no oven, no shade. Those images are etched into my memory.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251208081244_3f46ccdd1fab8f85ccce9fc8bec677cb7466a1b9556f36d0f92d19c6478369b6.jpg" data-media-id="editor_0" data-image-id="20251208081244_3f46ccdd1fab8f85ccce9fc8bec677cb7466a1b9556f36d0f92d19c6478369b6" data-rendition-name="original" width="600" height="800" loading="lazy" alt="Diaspora Diaries 76"> <figcaption>Family picture from 2014 sent to Anil's father who was working in Qatar.</figcaption> </figure>  After Grade 10, I was encouraged to take up computers in +2 as I was a bright student. I did not have access to a computer, and the 30 minutes we got weekly at the computer lab was just not enough. My parents could not afford to buy a computer, but a friend had both a desktop and laptop at home.&nbsp; I did his homework in exchange for using his computer. When my father in Qatar, found out he bought me a laptop. Today, a decade later, I am still using it. Maybe I valued the computer more because it was bought with my father’s sweat. The laptop reminds me of how he toiled overseas.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251208081240_2b3dc0b903d0b01caf875b5f50c22053aa28097b405cf14f36c6324a93f5dfef.jpg" data-media-id="editor_1" data-image-id="20251208081240_2b3dc0b903d0b01caf875b5f50c22053aa28097b405cf14f36c6324a93f5dfef" data-rendition-name="original" width="1200" height="1600" loading="lazy" alt="Diaspora Diaries 76"> <figcaption>Anil still uses the laptop his father bought him ten years ago.</figcaption> </figure>  The money he sent home did help with household expenses. My mother did tailoring, although the income was not stable. After my father returned from Qatar, we he bought a three-wheeler which he still uses in Makwanpur. After completing Grade 12, I came to college in Kathmandu to study IT. It cost Rs20,000 a month in tuition, rent and food just to survive. I could not complete my bachelor’s. Although my father kept saying, “Don’t worry, I am here,” he just did not have the money to pay for me. So, I took up a data entry job which helped cover living expenses. The pandemic meant my father could not earn money from his auto-rickshaw. We had no savings and had outstanding loans. Migration was the only way to get us out of the rut. I told my father that both of us should go abroad to earn some money. He could return earlier and I would stay on.&nbsp; My father agreed, and I visited recruiting agencies with both our passports. After reviewing our CVs, they said it was easy to find jobs for my father but not for me, given my educational background and my experience in software. “How can we send you for jobs as a cleaner or security guard?” they asked. I finally found a job in Romania, and decided to have my father stay back because going to Europe would have doubled the cost. My mother and sister came to see me off at Kathmandu airport. It felt just like my father leaving for Qatar many years ago. Perhaps some day, my brother would also leave in a similar manner, I thought.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251208081240_c1a00b70223f048e994e1cab7c0e6cd6944c4a2f3f7740b0a8e76921da9d23f0.jpg" data-media-id="editor_2" data-image-id="20251208081240_c1a00b70223f048e994e1cab7c0e6cd6944c4a2f3f7740b0a8e76921da9d23f0" data-rendition-name="original" width="1200" height="1600" loading="lazy" alt="Diaspora Diaries 76"> <figcaption>Anil's sister hugging him at the airport before he left for Romania.</figcaption> </figure>  In Romania, I work in a factory making car seat belts. It is not physically demanding and it is indoors. Even though I did not share it with my family, the initial period was difficult as I had no experience standing and working for so many hours at a time. Once, when I was tired at work, I wondered how my father managed in Qatar in a much more physically taxing job. Here I was not carrying heavy loads, my work was not outdoors. I was so emotional, I wrote a ghazal in my head. The words “खाडीको तातो घाम” kept repeating in my head. After work, I jotted down the verse in my diary:&nbsp; बुवा, तपाई जस्तो बन्न म सक्दै सक्दिनँ Father, I cannot become like you कति गाह्रो छ, म भन्नै सक्दिनँ I cannot imagine how hard it is म मान्छे हेर्दा मात्रै ठूलो I only look like a grown man बानी अझै बच्चै छ But I am still childish किनकि जता त्यतै जान मन लाग्छ I feel like roaming around जे देख्यो त्यो खान मन लाग्छ Eat whatever I see. न पैसा बच्छ I cannot save. न खाएको कुरा सबै पच्छ The food doesn’t agree with me&nbsp; कहिले काहीँ त मलाई म्याकडोनाल्डको बर्गर पनि पच्दैन Not even a burger at McDonalds तर प्लास्टिकमा पोको परेको त्यो चिसो भात But how did my father eat that cold rice खाडीको त्यो तातो घाममा सेक्दै खाँदा मेरो बुवालाई कसरी पच्छ? Under the hot Gulf sun? मेरो पेटले यस्तो पचाउन सक्दै सक्दैन I would not be able to eat that. बुवा, तपाई जस्तो बन्न म सक्दै सक्दिनँ Father, I cannot be like you. कति गाह्रो छ, म भन्नै सक्दिनँ I cannot say how difficult it is.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251208081240_51eb68a130750f1c79ab1046406a5b940c780ebd87cfff5ff6861d3287bd69c0.jpg" data-media-id="editor_3" data-image-id="20251208081240_51eb68a130750f1c79ab1046406a5b940c780ebd87cfff5ff6861d3287bd69c0" data-rendition-name="original" width="1200" height="1600" loading="lazy" alt="Diaspora Diaries 76"> <figcaption>Anil Gole's diary entry of his ghazal compares his migration with his father’s journey.</figcaption> </figure>  I posted it online, and it went viral. But more importantly, people found the words relatable and engaging. My sister first saw it on Tiktok and shared it with my mother. It moved them to tears while my father kept watching it on repeat, deep in thought. Even though my birth father decided to leave my mother when I was less than a year old, my step father never made me feel the absence of anything. My friend from Grade 6 in Makwanpur, Sharan, introduced me to ghazal. He was six years older because he had to pause his studies during the Maoist conflict. He worked in a brick factory in Kathmandu, saved money, and returned to school. He was very talented and we became friends through the school children’s club.&nbsp; Sharan and I spent most of our time together, sharing meals to save money and even skipping classes. One day, in Grade 9 when our teacher was absent, he wrote a ghazal on the spot and explained the form, the rhyme, the meter. I listened half-heartedly as it was not of interest. We left it at that. Shortly after, Sharan was diagnosed with leukemia and he could not finish exam. Because he was a sharp student, the teachers decided to not hold him back. He died just before Grade 10. I cried. I do not have any pictures of Sharan. He had small ears, and I used to tease him that people with small ears do not live long. That still haunts me. <div class="embed-block"><div style="max-width: 56vh;"><div style="left: 0; width: 100%; height: 0; position: relative; padding-bottom: 177.7778%;"><iframe src="https://cdn.iframe.ly/api/iframe?url=https%3A%2F%2Fyoutube.com%2Fshorts%2FLpizGQWTbMs%3Ffeature%3Dshare&key=87ca3314a9fa775b5c3a7726100694b0" style="top: 0; left: 0; width: 100%; height: 100%; position: absolute; border: 0;" allowfullscreen scrolling="no" allow="accelerometer *; clipboard-write *; encrypted-media *; gyroscope *; picture-in-picture *; web-share *;"></iframe></div></div></div> At the school assembly at the start of the new year, we were asked to share a talent. I did not know what to do, but I wrote a ghazal just as Sharan had taught me and dedicated it to him. Halfway through, I started crying and the principal took me to his office and calmed me down.&nbsp; I do not write much poetry except a few posts on social media here and there. But a video of me reciting went viral on TikTok and that encouraged me to write more. That made me feel validated, and I began writing more about real life experiences. It has been three years in Romania. My brother will also be joining me soon. Things have improved for us financially, but we are not where we want to be. We will get there. When we do, I will resume my studies. I’m interested in programming, especially back-end development and working with databases. It is on hold right now.&nbsp; I do not have big dreams, I just want to make sure my parents get what they deserve. It is okay if I get delayed if my parents are able to access what they had scarified for us when they were of my age. For now, my family is my priority.  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251208081240_9e8d3cad3b505d3ec5adcea94ed05b2ea9de1d2cd8507335eec86c2659a11b34.jpg" data-media-id="editor_5" data-image-id="20251208081240_9e8d3cad3b505d3ec5adcea94ed05b2ea9de1d2cd8507335eec86c2659a11b34" data-rendition-name="original" width="2016" height="1512" loading="lazy" alt="Diaspora Diaries 76"> <figcaption>Anil's family.</figcaption> </figure>

My father’s son

People like myself were too young during the decade of the Maoist War to remember its horrors. We often wonder what life was truly like back then. Perhaps the closest we have come to experiencing a national crisis of that scale – with the protests, violence, curfews, and political maneuvering – was the GenZ movement in September. How did people cope? What did they fear? What was it like in the cities and &nbsp;villages? How was it that the king still held so much power? What motivated the guerrillas? And, how did &nbsp;ordinary people adjust and endure the war? My curiosity about the war that ended 20 years ago &nbsp;was met with a rollercoaster of emotions with Monica Rana’s debut novel, The Paths We Choose. The novel is not a retelling of events from the vantage of leaders, rebels. It is not about the violence, but a carefully curated perspective of ordinary people caught up in it. It is a glimpse into how the war altered or defined their paths. This is the 'People’s War' from the people’s own perspective. Readers are immediately invested into the lives of two central characters, the sister duo, Sumnima and Rita. The elder radiating from the beginning with her brave and cunning aura, and the latter, more timid and obedient, much of her time absorbed in awe of her sister. The writer’s language flows as effortlessly as the sisters’ strides up the hills to steal mangoes from Dhire Dai’s trees, only to race back down to Rato Mato, carrying us through their journey into adolescence. Amidst the rolling hills, mango trees, life is filled with laughter, adventures, and everyday banter, scenes so serene that they carry an unsettling calm that hints at what lies ahead. Village life is not all painted in romantic hues. The stark reality of poverty, subsistence, and contrast with the comfort of city living are never far away. Amidst these reminders, there runs a humbling truth: happiness once rested on small things, not on the material excess that define urban life. As the pages turn, the title begins to resonate: two sisters, once bound by the same bloodline, shared dreams, and the same roof, are caught in the crosshairs of war and forced onto separate paths. One by choice, and the other by necessity. The story unfolds with the seasons: the relentless monsoon rains, the scorching heat of summer, and a liberating winter that carries bittersweet truths. The year is 2001, as the insurgency intensifies. Against this backdrop, the cousins’ lives diverge. Sumnima is drawn into the rebels’ ranks to 'fight for equality and freedom', while Rita is uprooted, carried across distances, and placed in Seto Bangala as a helping hand among the higher-ups, in her family’s desperate attempt to secure her a better life after their village is reduced to a 'ghost city' by violent attacks. There are betrayals and beginnings, high palaces and humble hills, royals and rurals, identity and ideology, loss and lament, distance and discovery. Through upheavals, tears, and struggles, one thing remains constant: both sisters wonder about the other. They care. They long to reconnect. They hold fast to the dream they once shared to open a guesthouse in their village someday. A dream to simply live with no fear. To be free. To be happy. And, to be together. The writing illuminates vital themes: innocent people caught up in strife, the vast chasm of class from royals dining on silver plates to villagers back home hiding their last grain to save it from looters. And discrimination so stark it was as if people carried labels on their foreheads, marked by caste, skin colour, and gender. The sisters eventually reunite, but their journey is not an easy one, and what lies ahead is far from the future either of them once imagined. One might romanticise it as fate, or might recoil at the harsh reality Monica Rana lays bare: it is often the innocent who bear the heaviest burdens of war. Civilians are trapped between warring sides, enduring hunger, displacement, and violence through no fault of their own. Wars continue to rage across the world. Though the novel does not particularly focus on exposing the horrifying depths of war crimes, it remains a timeless reminder of what the Palestinian poet Mahmoud Darwish once said: “The war will end, and leaders will shake hands. The old woman will keep waiting for her martyred son. And those children will keep waiting for their hero father. I don’t know who sold our homeland, but I saw who paid the price.” &nbsp;  <figure> <img src="https://publisher-publish.s3.eu-central-1.amazonaws.com/pb-nepalitimes/swp/asv65r/media/20251213031240_2f7c62e392a430082c1627719e014f82b857118e226299e1590d74503387ae93.jpg" data-media-id="editor_0" data-image-id="20251213031240_2f7c62e392a430082c1627719e014f82b857118e226299e1590d74503387ae93" data-rendition-name="original" width="1136" height="702" loading="lazy" alt="The paths we choose book review"> </figure>

photographers

Reliving analogue photography

Gagging the press in installments

Lumbini gets the lion’s share

The Himalaya is not fragile

My father’s son

The war between people