Anoop Negi : Photographer with a soul

Anoop Negi, photographer par excellence, entrepreneur with interests in wine and cheese making and a friend-philosopher-guide to many. Anoop's viewfinder always tells a compelling story, vivid colors celebrating life is his trademark style. Behind the viewfinder is a gentle and wonderful human being, his perspective (as one of his friend said), seems to come from a deeply spiritual place. 
Anoop graciously agreed to share a bit more than what he normally does in this interview. Some insights that I feel every budding photographer would enjoy.

Q: How did you get started with photography and what motivated you to shoot when you started?
A: I guess it must have been the visual impact of the Life magazine that one used to see in the school library. Those larger than life images of people and events were the first kindling of the fire to capture “moments” and events. The translation into actual taking of photographs was many years later when one could afford to buy a camera. No iconic images, no haloed photographers, no such motivation existed for me.

Q: What gear do you use? How important in your opinion is gear for a photographer?
A: Currently two digital cameras with a variety of lenses is what I use. A Nikon D 300 and an older Nikon D 70. I prefer a Nikon 18-70 lens and a 50 mm lens for most work. Occasionally I use 12-24 mm wide angle Tokina lens. 
 Gear is important maybe in the initial stages of the learning curve. If one does not get good results and the pocket permits, the urge to buy something expensive to compensate is a fairly common phenomenon. For a serious photographer, suitable gear is like a mixed curse. You would love to have everything. Sometimes it is important to have a state of the art gear depending on a particular requirement of the picture taking but at most times even an ordinary camera with an ordinary lens will get you good results. 
 The ultimate difference between a good and a bad photographer is not governed by gear but more by how the brain and the creative process is at work at the time the photograph is made. The excessive chatter about lenses and cameras is more a function of consumer exploitation then actual requirement. Camera companies will dish out newer stuff as they are led by a profit incentive. The poor photographer with a lack of creative juice falls prey and is prone to extensive conversation about gear and the urge to buy to compensate for their own inefficiencies.

Q: What kind of subjects or genre of photography you like doing most and why? 
A: For me the ultimate crucible of photographic achievement is the outdoors. No not the landscape genre. It is the outdoor events like fairs, festivals and the life and times of the ordinary people that I love to capture. Nothing is in control here, not the light, not the people. It is the most challenging of photographic situations to be in. For me that is it.
Indoor photography where things can be controlled is not challenging enough. So pretty pictures, sunsets, pets, flowers, studio glamor is not my forte. One does take aesthetically beautiful photos sometimes but most times it is the capture of the “moment” or the telling of a story.

Q: Who are the photographers (past or present), whose work you admire? Who or what inspires your work today? 
A: I have studiously stayed away from being inspired by photographers old and young. It is a part function of not having the time to really study what is on offer and part function of doing what one wants to do the way one wants to. The setting of a visual milieu is what inspires me to shoot.

Q. When you are out photographing, what is more important to you – the actual process of shooting or the resulting images? And why?
A: Now that is a difficult question with no definite answer. Most times going out to photograph is partly a function of being curious, being a traveller and a documenter and availability of time and money. One shoots to take fairly good representative frames of actual reality. So the resulting images are what one is doing it all for. 
The process is equally important as that would decide what is available in terms of a setting and how to go about taking a good photograph. One could say that if the process of shooting is well thought out then the results ought to be fairly good or to put it another way, if you want good images then the actual process of shooting is to be thought out and implemented to the best of the circumstances available 

Q. Which are your favorite places to shoot? Would you like to share any memorable moments as a photographer?
A: Favourite places to shoot would be places where the lighting is sublime. Say places like Kerala and Ladakh in India. Memorable moments as a photographer would be the number of times one outwits a likely fall while the eyes are glued to the viewfinder and one is moving around. Always a dangerous preoccupation with a hazardous proposition of an imminent fall. Diving out of the path of oncoming and charging bulls in the Kerala Bull races with the camera intact would be a memorable event for me.

Q: What would you remember as most satisfying achievement as a photographer?
A: Nothing is more satisfying then sitting and leafing through your photographs and wondering how it all happened. What I am saying is that I have not really thought of a “most satisfying” achievement till date. Maybe it is still in the making. 

Q. Having reached thus far, what is that you plan and look forward to do in near future?
A: Keep on shooting till one drops. Travel some destinations, if affordable. 

Q. What is your advice to budding photographers out there?
A: Just get out there and shoot. Observe and shoot. Think and shoot.



Anoop Negi work can be found on Facebook ' Anoop Negi Photography' and on his flickr stream.

Reality Remade

Street Reverb Magazine teamed up with Sony Ericsson’s Xperia Studio to bring to you “Reality Remade”, a free to enter Street photography contest. The contest was won by psychiatrist / photographer Jack Simon. (It is indeed all about mind.. ). Here are selection of some cool photographs from the contest, ofcourse beginning with Jack's from his series 'Through the Glass Darkly"

Copyright Jack Simon

Copyright John Goldsmith

Copyright Marcus Bauza

Copyright Peter Dench (One of judges)

 And here is a short film made with Peter Dench on the project.

What are your thoughts on this contemporary street photograph styles. 

Street Photography Workshop

Early November last year, Eric was in India to conduct Street Photography Workshops in Mumbai. All in all, 3 batches and I managed to get into the last one on a weekend. But this post is not about a review of the workshop. I do not think its fair to do a review, since each of the participants must have come looking for something and its hard to say what worked for them and what not. I was there to network and I was quiet happy to connect with fellow photographers who were as passionate about street photography as me. This was also my first formal training on photography. I am a self taught photographer, learning by observing, talking and doing. And for those who love reading there is enough on the web and elsewhere in form of books. There is no alternative to picking up your camera and learning by shooting.

Allow me to ramble on.... 2011 was the year, I finally found my calling in street photography. I had struggled earlier and often rationalized by saying that its too early for me to narrow down my genre - let me shoot what I feel like. But Street Photography always felt more honest and sensitive. It went well with my sensibilities. So coming back to the workshop, it was a good idea to attempt understand what made a street photograph work and what not. Did I get the answer, probably not. There are some rules, but as is always said, rules are meant for broken. Street Photography is very personal, you have Bruce Gilden in your face street portraiture, or the witty juxtapositions of David Gibson or for those of who prefer HCB a strong focus on compositions - geometry and forms as the father of street photography himself put it.

Over the 2 day workshop, I must have spent 2-3 hours shooting on the street. And as expected my outings with the larger groups were a disaster. I somehow never get into the zone when shooting with large groups, the whole idea of everyone honing onto same subject just takes the zest out of shooting. So most of my shots that worked, I have 4-5 of them, are shot during hours I was alone. We were asked for select the 2 of the best shots. It would be great to know which ones do you like most. At the risk of biasing your opinion, I have added my views on why the shot worked for me. Critique of a photograph - of why it works, just manages to work or does not work is an important skill set for any aspiring photographer. While there is fair bit of objectivity, there isnt enough of it always. For me photographs work at two levels much like music. There are some which immediately catch attentions, the instant wow factor which often becomes the reason to spend more time looking at a shot. And there are times usually with more complex layered shots, where the story untangles after a few looks.

Shot this at Gateway of India. A popular tourist location, cliched infact. The unusual stance of the kid and the latent energy made this work for me. Kids always manage to do what they love and thats why they make such great subjects on streets.

The Little Warrior

It was already 8 30 am when I shot this somewhere around Taj. The story of street dwellers told and untold in many ways, continues to touch my heart. This poignant moment and shot remained one of my favorites of the day.

Life!

There are times when while editing you realize what else your camera caught. I had intended to shoot only the old man - a nice interesting face that attracted me. The girl was caught in the frame luckily. The uncanny contrast worked for me. There are times when contrary to feedback, some images work for me - this is one of them. I do not really have an answer why.

Contrasts

I am not into street portraiture, but this one was of an ear cleaner at the Horniman Circle. I was later told that every single of 60 workshop participants had shot him, almost making him a celebrity, but this one was probably one of the better ones. I have to remember to give him a printout of his photograph.

The Ear Cleaner

Shooting cabbies is easy and when they are sleeping its even easier. I was surprised to see him in the back seat (probably not his cab) and his grey hair and weary hands had so much to tell. With my 35mm I could not get the wide perspective I would have loved, but am happy with this shot.

Weary Hands

Weary hands and now weary feet. Another easy shot some would say. Its always easy to shoot sleeping people. For me there was the story of a long night, and the perspective powerful enough to include it here.

A Long Hard Night

Which of these shots would you have chosen if only two were allowed to be picked. Do share what made you choose the one you did.

And a thank you note to Eric, who is a cool person to hang out with. His workshops are not about him lecturing but about you finding out what works for you. More than anything else, his passion and love for street photography is a great inspiration. Kudos to you mate. 

The RikshaWallah

© Mayank Pandey -  Some Rights Reserved

That cart is not drawn by an animal. Those of you who have not visited the city of Kolkata nor have had the chance to read or hear - this is a Riksha Wallah. He pulls that cart with his hands while another human being sits behind. This still continues to be a mode of transport in parts of Kolkata, probably one of the only cities in the world that still holds onto this scar. 

Some would argue that this is atleast better than begging on the streets and what were to happen to him, his family and others like him if the state was to ban, hand pulled rikshaw. And when we have time to get over with the intellectual debates that we educated Indians are most proficient at, we could spare a few moments of thoughts on this. 

This was shot on a bright sunny day in streets of Kolkata, in Novemeber 2011. While I sat in an airconditioned cab, this gaunty aged man (or perhaps he just looks older) waited for customers. Another shot below, a close cropped frame, a more artistic take which tells the same story yet in a different way.

© Mayank Pandey -  Some Rights Reserved

So what is right, allow these men a choice to continue this or put an end to this 'inhumane' profession. 

Sundays - where are they gone

Its been a while, I have been out on streets. Where have my Sundays gone? This is one Sunday morning, when the weekends were mine. Hope to get back to shooting again.