Indie POOL Magazine, Issue 94, June 2018
What took you from the stock market to photography?
I picked up photography as a hobby in college. I had my point-and-shoot on me all the time and took pictures of everything, but never considered it as a career option. I started working in the stock market and 2 years into it I knew it wasn’t for me. I had to reassess what I wanted to do with my life and instinctively gravitated towards photography. I didn’t even have to think about it. I invested in a camera and started doing portraits of people at work and shooting on my commute to work every day. Eventually I started to share my work with some friends and family and got good feedback from them. That’s when I thought of giving it a shot. I then went on to study photography at Halmmark Institute of Photography in Massachusetts.
What was that experience like?
Hallmark was a very important time for me. Besides all the general technical skills, the environment and the space that the school provided was very inspiring. There was so much learning and experimenting and I got to explore all the different aspects of photography. I was constantly being challenged to push forward and raise the bar for myself. I wish I could find the same kind of motivation and enthusiasm now. There were times there’d be a snow storm outside and we’d go out and shoot and edit until morning, even sleep at school!
The one thing about going to any kind of art school is that it puts these blinkers in your head which go off every time there’s a scene that check’s off all the rules; everything becomes systematic and I was not shooting for myself anymore. It took me a long time to unlearn that and shoot on my instinct again. I think that was the most liberating feeling for me as a photographer.
What type of photography do you lean towards?
I shoot a lot of fashion but wouldn’t call myself a fashion photographer as such. Fashion allows me to explore the kind of photography I like, which is moody and intimate, where I can create a character and invite viewers in for an almost voyeuristic perspective.
I really enjoy shooting portraits but don’t explore it as much as I’d like to. I also love shooting landscapes – I’m drawn to shapes and patterns and the structure of things. To recognise an order of things presented in front you you makes my brain smile.
How do you prepare for a shoot?
I start with a basic concept of what I intend to do after which I let it air for a few days. I’ve realised most of my ideas hot me when I’m doing the most mundane things like driving or cleaning my room, and I’ve come to trust that and roll with it. Then it’s putting together a team – I prefer my crew to be very small, sometimes its just me and the model. After that I sit down to draw out a rough mood board. I usually end up going for multiple recces to find a place that I connect with. Once we have location and logistics figured out, we’re good to go.
Have you ever had an epiphany shot?
I haven’t had epiphany shots as such but there have been shoot where I realised that something changed in the way I saw, as modest as it might have been, but in that moment I knew there was growth and that is a very exciting feeling, and what propels me to keep going.
Which have been your most memorable projects?
The shoot that we did with Kalki was very memorable. Vrinda, the stylist, got in touch with me and briefed me on the concept and I was very excited to be part of it. It was inspired by the character Cate Blanchett plays in the movie Carol. Kalki plays a woman who is not afraid of being alone and vulnerable and comes to realise her own strength, and no one could have played it better than her. It was an all-girl team and I think all of us resonated with the character in some way so it was special.
What are the pros and cons of freelancing?
I think the cons would have to be finding a steady stream of work and when you’re just starting out you might have to do work you don’t necessarily enjoy.But the number one pro for me would have to be that I can take a holiday whenever I want. I love to travel and being your own boss is really something I wouldn’t give up for anything. Another pro would be that you get to work with a different set of creatives each time and it’s always interesting to see the kind of results you end up with.
How, in your opinion, does professional photography stand apart when everyone today is a photographer?
This is a bit ironic but sometimes, you can’t even tell if the photo was taken by a professional or an amateur – that’s the standard of visual complacency we have reached. Having said that though, if you have a strong voice that really stands out, it doesn’t matter if you’re a professional or a hobbyist because listen. And I do agree, everyone is a photographer these days, and it’s upto those people in the position to make decisions in magazines and advertising agencies to push boundaries and recognise the ones that make an effort – that seems to be lacking. There is so much talent in this country but people get hired based on client lists and social circles and other irrelevant criteria, which is disappointing.
What would you tell enthusiasts keen on pursuing photography as a career?
Go out and keep shooting. Find your voice because in an industry which is so saturated, you want to be heard above all the noise. Look at the work of old masters and really learn from it. And don’t be disheartned if something doesn’t work out – you can’t please everyone!
Inspiro India Magazine, October 2017
Tell us something about yourself and how did you start creating?
Well, I worked with my father in the stock market for 2 years before I decided I wanted to pursue photography. I’d always carry my point and shoot camera around when I was in college, taking pictures of the most ordinary things. So I bought a DSLR and started shooting portraits of my dad’s employees and taking pictures on my commute to work every day. I got good feedback from family and friends and decided this is what I wanted to do. At some point in 2010, I got my first commercial job which was a real eye opener because that’s when I realised that this is not easy! Then I went on to study it in Massachusetts at Hallmark institute of Photography and I think that’s where it all really started for me.
Can you talk a bit about your mesmerising portraits and your way of working?
I spend a lot of time location hunting. I think nothing inspires me more than being outside surrounded by nature. I have endless notes on my phone with pictures of things and their location, whether it’s a random tree or a strange door or a pretty staircase. I keep revisiting my notes and try to figure out what I would like to shoot there. It’s probably the most important part of the entire process for me, and also the most private. Unlike all the other aspects, I’m very used to doing this alone. Apart from that, a lot of it evolves as we go along. I try and evoke a sort of harmony between the environment and my subject, whether it’s with their gesture or expression.
Did you face any problems while pursuing this field? How satisfied do you feel after working in this field?
It was rough in the beginning. The work you get to do more often than not depends on your network rather than your actual work, which is sad. Another thing is when people will commission you to create something that has already been done have absolutely no vision of their own. I find that incredibly nerve-racking. But it’s starting to change slowly.
How would you describe your photography style?
Aaaah that’s a tough one. But I guess you could say intimate and at times, melancholic.
Which genre of photography interests you the most? and why? What are your top three favourite photography locations?
I do enjoy shooting people. Whether it’s portraits or a fashion sort of setting. I think Fashion photography allows me to explore the kind of photography I like which is moody and narrative driven. No top locations but I do love shooting outdoors.
Your portfolio includes quite a lot of portraiture. Walk us through your process of creating a great portrait?
I’ve realised that for portraits, less is more. I try staying away from directing my subject too much because they often lose themselves. I will just give them a very basic brief of what I’m looking for and then kind of let them get comfortable or even uncomfortable for that matter in that environment. I’m very disconnected from my subject during portrait sessions and I think a lot of the great shots, for me, happen in the awkward silences.
Could you tell our readers how to reach such excellent results in fashion photography? What gear are you looking forward to purchasing next?
More than the gear you use, you have to have the eye for it. It’s really not about the most expensive camera and lenses. But I use the Canon 5D mark III and just invested in the Sony a7R II last week, so I’m still getting used to the switch.
Describe your post-processing workflow? Which camera do you shoot with? Tell us about your favourite lens and equipment.
Well, it starts with taking everything into Lightroom. Shortlisting photos probably takes the most time. I go through 2-3 rounds of shortlists, the first time I look at the images and then come back to it a few days later to see if I feel differently about any of them. Once I know which ones I’m going to work on, I start colour correcting and making other adjustments after which I take it to photoshop to refine them further if need be.
My favourite lens has to be the 85mm. I shoot everything I can with that lens.
What did you want to become as a child? Any dream which is still on your bucket list?
I honestly don’t even have a memory of what I wanted to be as a child. I always thought I’m going to grow up and start working with my father because that’s just how things happened in my house. But currently, my dream is to learn how to play the piano.
If not this, what would Rema be doing?
I would be a musician.
Which is your favourite photograph you’ve taken till date and why?
Hard to pick a favourite really, there are so many! But I think one of my all time favourites would be this image I shot last year for Roha. I would explain why I like it but that would just be me generating my own propaganda. I’d rather have the viewer project their own narrative onto the picture.
What took you from the stock market to photography?
I picked up photography as a hobby in college. I had my point-and-shoot on me all the time and took pictures of everything, but never considered it as a career option. I started working in the stock market and 2 years into it I knew it wasn’t for me. I had to reassess what I wanted to do with my life and instinctively gravitated towards photography. I didn’t even have to think about it. I invested in a camera and started doing portraits of people at work and shooting on my commute to work every day. Eventually I started to share my work with some friends and family and got good feedback from them. That’s when I thought of giving it a shot. I then went on to study photography at Halmmark Institute of Photography in Massachusetts.
What was that experience like?
Hallmark was a very important time for me. Besides all the general technical skills, the environment and the space that the school provided was very inspiring. There was so much learning and experimenting and I got to explore all the different aspects of photography. I was constantly being challenged to push forward and raise the bar for myself. I wish I could find the same kind of motivation and enthusiasm now. There were times there’d be a snow storm outside and we’d go out and shoot and edit until morning, even sleep at school!
The one thing about going to any kind of art school is that it puts these blinkers in your head which go off every time there’s a scene that check’s off all the rules; everything becomes systematic and I was not shooting for myself anymore. It took me a long time to unlearn that and shoot on my instinct again. I think that was the most liberating feeling for me as a photographer.
What type of photography do you lean towards?
I shoot a lot of fashion but wouldn’t call myself a fashion photographer as such. Fashion allows me to explore the kind of photography I like, which is moody and intimate, where I can create a character and invite viewers in for an almost voyeuristic perspective.
I really enjoy shooting portraits but don’t explore it as much as I’d like to. I also love shooting landscapes – I’m drawn to shapes and patterns and the structure of things. To recognise an order of things presented in front you you makes my brain smile.
How do you prepare for a shoot?
I start with a basic concept of what I intend to do after which I let it air for a few days. I’ve realised most of my ideas hot me when I’m doing the most mundane things like driving or cleaning my room, and I’ve come to trust that and roll with it. Then it’s putting together a team – I prefer my crew to be very small, sometimes its just me and the model. After that I sit down to draw out a rough mood board. I usually end up going for multiple recces to find a place that I connect with. Once we have location and logistics figured out, we’re good to go.
Have you ever had an epiphany shot?
I haven’t had epiphany shots as such but there have been shoot where I realised that something changed in the way I saw, as modest as it might have been, but in that moment I knew there was growth and that is a very exciting feeling, and what propels me to keep going.
Which have been your most memorable projects?
The shoot that we did with Kalki was very memorable. Vrinda, the stylist, got in touch with me and briefed me on the concept and I was very excited to be part of it. It was inspired by the character Cate Blanchett plays in the movie Carol. Kalki plays a woman who is not afraid of being alone and vulnerable and comes to realise her own strength, and no one could have played it better than her. It was an all-girl team and I think all of us resonated with the character in some way so it was special.
What are the pros and cons of freelancing?
I think the cons would have to be finding a steady stream of work and when you’re just starting out you might have to do work you don’t necessarily enjoy.But the number one pro for me would have to be that I can take a holiday whenever I want. I love to travel and being your own boss is really something I wouldn’t give up for anything. Another pro would be that you get to work with a different set of creatives each time and it’s always interesting to see the kind of results you end up with.
How, in your opinion, does professional photography stand apart when everyone today is a photographer?
This is a bit ironic but sometimes, you can’t even tell if the photo was taken by a professional or an amateur – that’s the standard of visual complacency we have reached. Having said that though, if you have a strong voice that really stands out, it doesn’t matter if you’re a professional or a hobbyist because listen. And I do agree, everyone is a photographer these days, and it’s upto those people in the position to make decisions in magazines and advertising agencies to push boundaries and recognise the ones that make an effort – that seems to be lacking. There is so much talent in this country but people get hired based on client lists and social circles and other irrelevant criteria, which is disappointing.
What would you tell enthusiasts keen on pursuing photography as a career?
Go out and keep shooting. Find your voice because in an industry which is so saturated, you want to be heard above all the noise. Look at the work of old masters and really learn from it. And don’t be disheartned if something doesn’t work out – you can’t please everyone!
Inspiro India Magazine, October 2017
Tell us something about yourself and how did you start creating?
Well, I worked with my father in the stock market for 2 years before I decided I wanted to pursue photography. I’d always carry my point and shoot camera around when I was in college, taking pictures of the most ordinary things. So I bought a DSLR and started shooting portraits of my dad’s employees and taking pictures on my commute to work every day. I got good feedback from family and friends and decided this is what I wanted to do. At some point in 2010, I got my first commercial job which was a real eye opener because that’s when I realised that this is not easy! Then I went on to study it in Massachusetts at Hallmark institute of Photography and I think that’s where it all really started for me.
Can you talk a bit about your mesmerising portraits and your way of working?
I spend a lot of time location hunting. I think nothing inspires me more than being outside surrounded by nature. I have endless notes on my phone with pictures of things and their location, whether it’s a random tree or a strange door or a pretty staircase. I keep revisiting my notes and try to figure out what I would like to shoot there. It’s probably the most important part of the entire process for me, and also the most private. Unlike all the other aspects, I’m very used to doing this alone. Apart from that, a lot of it evolves as we go along. I try and evoke a sort of harmony between the environment and my subject, whether it’s with their gesture or expression.
Did you face any problems while pursuing this field? How satisfied do you feel after working in this field?
It was rough in the beginning. The work you get to do more often than not depends on your network rather than your actual work, which is sad. Another thing is when people will commission you to create something that has already been done have absolutely no vision of their own. I find that incredibly nerve-racking. But it’s starting to change slowly.
How would you describe your photography style?
Aaaah that’s a tough one. But I guess you could say intimate and at times, melancholic.
Which genre of photography interests you the most? and why? What are your top three favourite photography locations?
I do enjoy shooting people. Whether it’s portraits or a fashion sort of setting. I think Fashion photography allows me to explore the kind of photography I like which is moody and narrative driven. No top locations but I do love shooting outdoors.
Your portfolio includes quite a lot of portraiture. Walk us through your process of creating a great portrait?
I’ve realised that for portraits, less is more. I try staying away from directing my subject too much because they often lose themselves. I will just give them a very basic brief of what I’m looking for and then kind of let them get comfortable or even uncomfortable for that matter in that environment. I’m very disconnected from my subject during portrait sessions and I think a lot of the great shots, for me, happen in the awkward silences.
Could you tell our readers how to reach such excellent results in fashion photography? What gear are you looking forward to purchasing next?
More than the gear you use, you have to have the eye for it. It’s really not about the most expensive camera and lenses. But I use the Canon 5D mark III and just invested in the Sony a7R II last week, so I’m still getting used to the switch.
Describe your post-processing workflow? Which camera do you shoot with? Tell us about your favourite lens and equipment.
Well, it starts with taking everything into Lightroom. Shortlisting photos probably takes the most time. I go through 2-3 rounds of shortlists, the first time I look at the images and then come back to it a few days later to see if I feel differently about any of them. Once I know which ones I’m going to work on, I start colour correcting and making other adjustments after which I take it to photoshop to refine them further if need be.
My favourite lens has to be the 85mm. I shoot everything I can with that lens.
What did you want to become as a child? Any dream which is still on your bucket list?
I honestly don’t even have a memory of what I wanted to be as a child. I always thought I’m going to grow up and start working with my father because that’s just how things happened in my house. But currently, my dream is to learn how to play the piano.
If not this, what would Rema be doing?
I would be a musician.
Which is your favourite photograph you’ve taken till date and why?
Hard to pick a favourite really, there are so many! But I think one of my all time favourites would be this image I shot last year for Roha. I would explain why I like it but that would just be me generating my own propaganda. I’d rather have the viewer project their own narrative onto the picture.