Frozen In A Pause

Featured

Tags

, , , , , , , , , , , , , , , , , , , , , , , ,

ExhibitionPoster

Between Shades and Shadows

To create a set of compositions in the grains of black of white realms is a rare and unique habit. In the world today photography has moved from its first inhibitions of influential international design movements. If Bauhaus gave us clean sculptural lines of buildings, Henri Cartier Bresson and Irving Penn and many others defined a period in which the look itself would become a signifier of urban modernity and of modern life.

Here in India the relics of S.Paul and Raghubir Singh give us contrasting studies to contemplate upon. Photography means different things to different people. For the commercial photographer Ravi Dhingra it is a kind of oasis when he takes off from assignments and goes in search of quiet corners and explores the shades and shadows of nooks and crannies to create a suite of works that are at once limpid notes on a dulcet tranquil tapestry of time.

Perhaps at the end of the day, it all depends on one’s personality. If you prefer to have more of a goal, structure, and pattern– then working in a project-based mindset may be advantageous to you. However if you consider yourself more of a free spirit and don’t like to work feeling restrained- the natural way of just reacting to what you see may be better for you.

These images are not about the portraits or moods of people but they are about manifestations of people, it’s the things/spaces that are created by people that become subjects of Ravi’s vision.

So when Ravi steps out or into interior spaces he does not just focus all his attention and energy to people. Rather, he looks for elements that might juxtapose each other and make statements about society. This can be manifested through objects of things you find on the ground, urban landscapes, and other messages he might find.

For someone who shoots most of his commercial assignments in colour when asked about his penchant for black and white Ravi states: ” We are surrounded by colours, everything around us is colourful which at times makes our visual experience a bit monotonous. The absence of colours in an image helps in breaking the monotony, the boredom. Colour photographs are too obvious, whereas monochrome ones provide a different perspective with each colour depicting a different shade of grey.”

_DSC4472

Light and Shadow

The act of seeing is at the heart of his language of images. The window is as much a sentinel as the chair that is merely throwing its shadow against a wall. The dancers moving in synchronized rhythm as vital as the pigeons that sit or fly off the wall of the ruins of a fort. The puddles and dark silhouettes of human form as brisk as the silhouette of the wrought iron chair that stands in front of the shutter. Light becomes the fulcrum around which he captures his compositions.In his quest for light and shadow Ravi looks for a visual experience.

Each image tells a story, that starts with a single scene: its like a brief, imagined film clip unspooling through projector light and developing into a story on the screen of his brain. That unfolding scene often begins with an object or image Ravi is drawn to and had captured within and without. I am reminded of the great architect Louis Kahn who presented a treatise on light.  It was the central element in Kahn´s philosophy because he regarded it as a “giver of all presences”: “All material in nature, the mountains and the streams and the air and we, are made of Light which has been spent, and this crumpled mass called material casts a shadow, and the shadow belongs to Light.” For Kahn light is the maker of material, and material’s purpose is to cast a shadow.

As identified by Leonardo da Vinci, we often encounter three types of shadows: Attached shadow, shading and cast shadow. The attached shadow falls on the body itself – like a cantilever roof causing a shadow on the façade. The second type belongs to bright and dark contrasts, which are inherent to the form and depend only on the source of light, e.g. a ball shaped pavilion, which even under a cast sky shows a darker zone in the lower part. The third, cast shadow, could be the result of a high house generating shadow on the street due to the projection of the building outline. These images personify the passion that Dhingra has when he shoots his compositions in the right inclinations of sunlight.

Ravi presents his own rumination on light.
” Some chase light but I prefer to chase shadows. Shadows create volume, add another dimension, and this interplay of light and shadows can make an ordinary object look extraordinary in the photographs. It is all about using the available light for lighting the subject to create shadows.”

_MG_4513

Time of day

Indeed when you look at these images its as if the photographer is out to explore the secrets of shadows during different times of day. Only when you study light in the context of gradations of light and dark do you learn that the dark shadow is a natural part of light, interestingly Ravi never attempts a pure dark space for a formal effect. For him, a glimpse of light elucidates the level of darkness. A good composition in the tones of light and dark should be read like a harmony of spaces in light.

Ravi elucidates: More than the time of day, the desired effect in a photograph is more relevant , a high contrast image will need bright afternoon sunlight whereas early morning or late evening Sun will help in getting long and soft shadows. I also work a lot with light coming through windows, doors and other openings which give a different glow according to the time of the day.”

Between the debates and descriptions of light and dark zones we know that even a space intended to be dark should have just enough light from some mysterious opening to tell us how dark it really is. Each space must be defined by its structure and the character of its natural light. As a result, the light as a source is often hidden behind secondary walls, thus concentrating attention on the effect of the light and not on its origin.

The “mysteriousness” of shadow in photography is also closely linked to evoking silence and awe. For in a composition while darkness evokes the uncertainty of not being able to see, it also inspires deep mystery. Then it is in the hands of the photographer to capture compositions that evoke silence, secret or drama with light and shadow – to create a “treasury of shadows.”

When asked about his thoughts on the power of composition and its impact Ravi provides his insight. ” Composition is the art of photography and very subjective and there are certain laid out rules also for composition. For me simplicity in the frame is the key, I generally avoid including too many elements, a straight forward approach works for me. A balance between various elements is very important in a photograph, the process of inclusion and exclusion help in maintaining the right proportions.”

_DSC4283

In an age where cellphone photography has inundated all visual culture and everyone is trigger happy it isn’t always easy to find a formal set of works. This collection belongs to that category.

Ravi adds his perspective. ” Photography is much more democratic now in the cellphone age and technically these smartphone camera produce decent images. This has made photography more challenging, to create a photograph which not only is good but also different is a tough task.There is nothing called  good or bad photograph, it is all about interesting or boring photograph. The viewer’s attention will still go to a visual which is different from others and yet effective in getting the story across.”

Ravi admires the works of Raghu Rai & Rafique Sayed and finds inspiration from their oeuvre. Among International names Yousuf Karsh is one of his favourites besides the historian and epic colossus of human studies the invincible Sebastio Salgado.

Critical essay by Uma Nair, Art Critic & Curator

BookLaunchPoster

The book is available online on  Amazon and Flipkart

Click here to order Frozen In A Pause

Buy artworks online at Mojarto

Mojarto1

Mojarto2

Coverage in Hindustan Times, HT City, 25th October 2017. Click here to read

Hindustan Times e-Paper - Frames that captured poetic moments - 25 Oct 2017 - Page #40

Click here to view the video by Art Explore 

Coverage in Millennium Post 6th November 2017. Click here to read

MillenniumPost6.11.17

Coverage in The Asian Age dated 9th November 2017. Click here to read the article:

AsianAge

 

 

68842CBC-7CD3-4F87-B27E-F74706AB91F4B904A3BD-B5D8-4597-9BD3-C77C8F6A2D2D0E14BCBD-05FB-47EF-9BDC-5C33BE7E9CE7426713CA-C9E2-462E-968C-4242E46408D1

32BCE42D-0C90-4D15-98A6-F35B19C492EC

Photographs from the Exhibition Opening & Book Launch on 31st October 2017

This slideshow requires JavaScript.

Advertisements

Ramayana

Featured

Tags

, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , ,

Ramayana in Mudras by Kuchipudi exponents Raja and Radha Reddy 6

Click on the photograph above or the link below to view the ebook.

http://www.youblisher.com/p/982885-Ramayana/

Option to download as PDF also available.

Character Portrayal

Rama: Raja Reddy

Sita: Radha Reddy

Ahilya: Kaushalya Reddy

Ravana: Rashmi Vaidyalingam

Lakshmana: Tamal

Hanuman: Stans

Shurpanakha: Yamini Reddy

Jatayu: Bhavana Reddy

Kaikeyi/Garud: Shloka Vaidyalingam

Deer: Mahesh

The Business of Photography

Tags

, , , , , , , , ,

So you have an enquiry for a photography assignment and not sure how to go about it, this post is about my experience as a professional photographer for almost 18 years. This post also tries to answer the calls and messages I receive regularly seeking guidance in respect of professional practices.

The photo shoot enquiries are generally generated by either the client directly or through the agency representing the client which could be an advertising agency, a PR firm or an event management entity.

Dealing with or through agencies is much more simpler as compared to the direct client. The various agencies are already aware of the existing deliverables, the prevailing commercial terms and timelines for an assignment whereas the direct client may not be aware of all these which many a times means educating.

Whether dealing with client directly or through agency first and very important step is to understand the assignment and deliverables. The agency most probably will have the artwork or a clear outline of the proposed photo shoot with number of days allocated for the assignment.

For the direct client, especially the one who is getting a shoot done for the first time, it is essential to be on the same wavelength and frequency. I always insist on reference images which can bring out the concept on client’s mind, this ensures that there is no confusion at the time or after the shoot. It is absolutely essential to inform the client about issues or difficulties which may arise during the actual shoot like some products may require extra time or the desired result will only be possible after intensive post processing. Some assignment will require hiring an extra hand like a stylist, it is always better to let experts in the field to take charge. The logistics also need to be worked out at this time- in studio or at location etc. This clarity will help in avoiding any conflicts and help in long term association.

The payment has two components – the amount and terms.

Amount of assignment charges vary from photographer to photographer but the reason for variation is the experience. An experienced photographer will definitely be able to get more assignment charges as compared to a newer one. Here I am trying to avoid quantifying any amount as some photographers are ready to work at really low figure, almost free, because of competition, opportunity of getting exposure etc. The experienced photographer does not charge for pressing the shutter release button but for the vision. The experience helps in getting better photographs in optimum time due to coordinating better with the team consisting of client, agency, stylist, lighting assistants and other members.

The amount charged can either be on the basis of ‘per day’ or ‘per product’.

If working on ‘per day ‘ basis, numbers of hours in a day need to be explicitly mentioned, generally 8 hrs for full day & 4 hrs for half a day. This means reaching on or before the scheduled time and not making anyone wait. Also it is important to inform about the number of shots possible in a day.

While working on ‘per product’ basis, minimum quantity of products to be shot during the day has to be fixed before the shoot, something similar to ‘cover charges’, the client will have to pay a minimum amount even if the quantity of product is less than what was committed. ‘Per Product’ rate is more applicable for e-commerce based clients which is volume based having similar products being shot under similar setups. The assignments, where compositions are involved like food,interiors etc, working on ‘per day ‘ basis is advisable.

Digital Processing Charges also need to be discussed while negotiating with the client. These can either be built in the photography assignment charges or mentioned separately. During the film days, the clients always paid for the cost of film rolls, processing, printing etc over and above the assignment charges. With digital photography, the photographer need to do extra work which earlier was outsourced. Also if the assignment requires intensive post processing which may mean outsourcing to an editing expert, the charges need to be mentioned clearly.

Terms of delivery and payment are equally important, with new clients I do not block a day without receiving an advance which is generally 25% of the total assignment charges and balance 75% on sharing the high resolution photographs. If the client cancels or postpone without giving adequate notice, the advance is not refundable(emergencies are excluded). A set of low resolution images is shared before actually handing over the final set. With existing clients the terms of payment have evolved over a period of time and are more flexible on account of the comfort level.

A typical estimate/ Proforma Invoice on Photographer’s letterhead ( now-a-days computer generated ) will have the following:

Photography assignment charges

Number of days/Number of products

Digital processing charges

Actual expenses (equipment/studio rental, travel etc if agreed upon)

Taxes (GST)

Terms of delivery and payment

PAN ( Permanent Account Number)

Bank Account Details ( if online payment is being made)

GST(Goods & Services Tax): In case the annual income from profession is less than ₹20 lacs, Registration is not mandatory. An undertaking to this may have to be given to the client.

TDS (Tax Deduction at Source) will be applicable which is currently 10% which can be adjusted while filling the Income Tax Return.

All the discussions, reference images, estimates must be put in writing, preferably through email. There has to be a proper record of everything discussed so that there is no confusion at a later date, verbal commitments can’t be relied upon.

A few things which must be always kept in mind.

Never over-commit, if it not possible to give finished images before a particular time, do not give an early deadline. Same applies for agreeing to click more photographs in a day than possible just because client is insisting. Handing over before time or shooting more than expected will build client’s confidence.

Punctuality and timely delivery hold the key, reaching before the shoot and keeping things ready before the arrival of client create a good impression. And since the hours are pre-defined, the discipline from client’s side will also be there. Also avoid taking frequent breaks, could be as simple as avoiding taking phone calls in between.

Once the assignment charges have been fixed( even lower than what you had in mind), give your best, never compromise on the quality just because the client has not agreed to your quote. You are a party to the agreement and there are no afterthoughts. After the scope of work and terms are decided, re-negotiations are strict no.

It is always better that either the client or representative of agency is present during the shoot, if due to certain reasons it is not possible, work out an arrangement with the client for showing the first shot through mail or message and getting the same approved. At times, the smallest of detail matter, which the client or agency can point out, this will help in setting the flow for rest of the shoot.

Be nice to people working with you. Loosing temper, not speaking politely to team members are not signs of professionalism. A good team will make things easier and shooting floor more lively and happy. Have a control over the situation and an ability to troubleshoot with a smile.

In case, there is a dispute at a later date due to any reason, try to reconcile with the client amicably. A fight may result in forfeiting payment and loosing future business prospects. Offer a re-shoot if there is shortcoming at your end, keep the customer satisfied.

Happy Clicking !

© Ravi Dhingra

The Mob

Tags

, , , , , , , ,

For past few days we wake up to chirping of hundreds of birds, some kind of cacophony. But after a while, it becomes very silent. It has become a regular feature, the noise followed by total silence.

This tree outside our balcony becomes host to a group of visiting birds, they enjoy the hospitality and get busy with their gossip or maybe business plans and at times arguing loudly.

This is somehow not liked by the mob of crows who rule the trees in the vicinity, they come as a gang and make the chirping birds fly away.

But this mob has a Godfather, an eagle who is the ultimate boss, the crows also dread to be in his company. The tree becomes deserted when the eagle makes an entry and silence takes over after chirping & caws.

Smart Photography-13th Anniversary Issue

Tags

, , , , , , , , ,

13 years back, I was trying to establish myself as a professional photographer, photography was undergoing a transition, film was getting phased out and digital technology was taking over. Books and magazines were major sources of information and knowledge.

One magazine which has been on my subscription list since then, which I still read from front cover to back cover without fail every month, a magazine which helped me in expanding my knowledge base, Smart Photography, is celebrating 13 years of existence. And in the 13th Anniversary issue, I am one of the chosen 13 photographers in India from various genres to be featured. Thank you Smart Photography for the honour and wishing you many more years of success.