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Di Sturco’s contemporaries, he said, typically view the river through an exoticized or religious lens – the Ganges is considered holy by Hindus, who personify it as a goddess. He instead chose to document the impact of environmental decay along its length.

“The Ganges is the perfect metaphor for all the issues we’re talking about, like climate change, pollution, industrialization and rising sea (levels),” he explained in a phone interview. “Everything is happening around the Ganges.

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In 2014, the country’s prime minister, Narendra Modi, pledged more than200 billion rupees($2.8 billion) of government funds to clean up one of the world’s most polluted rivers by 2020, although the effectiveness of his “Clean Ganges” initiative remains a matter offierce debate.

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“All the present problems we face come from a single-minded fast-forward adoption of the failed Western model of development,” she said on the phone from Delhi.

“We know forests are the ultimate reservoirs of water … If you have good forests, you’ll have streams. But what do we want? Dams. Because dam-building … is high-cost, generates massive profits and creates massive kickbacks.”

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His photos all share a hazy, otherworldly aesthetic. But this visual consistency wasn’t produced through heavy editing. Instead, the photographer only selected images (from 800,000 he captured along the Ganges) that had been taken in the morning, when the sunlight often appeared golden in the smog.

By luring viewers with beauty, rather than distress, he hopes to create a new “aesthetic of pollution.”

“We’re saturated with images (of) plastic bottles in the sea,” he said. “We need to create a new way to show this problem. What I want to do is make a beautiful picture, with beautiful light, so people actually stop and look.

“Then, if you take a bit of time and look (closely) at the picture, you see that there’s a second level to it.”

Di Sturco aims to entice, not shock, though the essays in his book speak in more bellicose terms. Shiva goes so far as to assert that “a war has been declared on our sacred mother Ganga.”

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“I don’t want to tell people what they’re seeing,” said Di Sturco, who sees the project as visual art, not reportage. “People see different things in different pictures, and I really want that.

“I don’t believe pictures can change anything.” he added. “But for me it’s good to put stuff out there and see the reaction.”

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“The subject of the story is the river,” the photographer explained. “I take photos of it as if I were taking photos of a person. Of course there are people around, but … they are part of the landscape, part of something bigger.”

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