Shooting on mobile phones takes more effort | Auditya Venkatesh Answers | In Frame with Gorky M, Episode 5
Auditya Venkatesh debunks the legend that taking pictures with your smartphone is easier than shooting with a professional camera.
If you’re Indian, and you’re a photographer - it’s quite likely you’ve heard of Auditya Venkatesh. He’s leading the army of smartphone photographers all around India. And it’s not like he only shoots with smartphones, he shoots a ton of commercial stuff too - but he wants to get the message out there that equipment shouldn’t limit you. It should empower you.
Yes, this image was taken on a smartphone. © Auditya Venkatesh Photography.
“You want to be shooting with whatever equipment you have on you.” says the acclaimed photographer and cinematographer (now a director of photography in movies as well).
Gorky M caught up with him backstage at Pepx photocon, Mumbai, where he was giving a talk and engaging his fans, and the maverick dished out plenty of insights and tips for our viewers.
“As cliche as it sounds, the most important thing is being yourself when taking pictures.” What Auditya means is that while there may be many images that people enjoy looking at, it’s important to go with what you enjoy shooting most. They could be portraits or landscapes, you must work on the kind of story YOU want to go with.
Auditya also debunks the legend that taking pictures with your smartphone is easier than shooting with a professional camera because you can just whip it out and take pictures.
“If you’re trying to shoot something more seriously,(with a smartphone) it’s actually a lot more effort. You have a really small sensor to start with, you barely have any depth of field to play around with, you get a lot more noise when shooting in low light situations. There’s a whole bunch of things (that limit you) actually. So it does take a lot more effort.”
© Auditya Venkatesh Photography
Check out the video linked at the end to know how Auditya takes mind boggling images on his smartphone.
Auditya shoots plenty of commercial assignments where the equipment he uses is top of the line, but he’s become synonymous with smartphone photography. He doesn’t mind that at all.
“I get a lot of emails and messages from people saying that they don’t have professional cameras and if it’s possible to still make images everyday. And that’s why I share so many smartphone photos. Fair enough if people think I only shoot on smartphones. ”
And there’s more where that came from. In episode 5 of our series ‘In Frame With Gorky M’, Auditya shares how it all began, and how he works. It’s a pretty interesting conversation between the two of them. Check out the entire conversation in the video embedded below. Don’t forget to subscribe. There’s more to come from GMax Studios in 2019.
Wildlife Photography - The Sad Reality | Diinesh Kumble in frame with Gorky M
We, the ones with reasoning, have it upon us to show concern for these animals.
Wildlife Photography is supposed to be an art that’s bigger than itself. Because we, the ones with reasoning, have it upon us to show concern for these animals.
“Wildlife photography is a genre of photography concerned with documenting various forms of wildlife in their natural habitat.”
Photograph by © Diinesh Kumble
As a wildlife photographer, you try to capture the diversity and the behavior of these animals in their natural habitat because we don’t see them very often. But the burgeoning of social media and the availability of top end cameras in the hands of every person has also increased wildlife tourism in the last couple of years. What used to be a moment of awe has now turned into an opportunity to photograph a wild animal as a means of validation on social media. Enthusiastic tourists don't even read up on the rules and regulations before diving in with their cameras, and they seem to be getting more and more desensitized with every attempt or Safari.
There is also a need for high-end camera gear to be able to photograph these animals without becoming a nuisance, and most of the tourists forego these requirements because it’s a one time thing.
Live and let live. Photograph by © Diinesh Kumble
“Calling yourself a wildlife photographer adds a bit of glamour (to their personality). They think that they’ve done something. They’ve shot an animal for fun.”
About a decade ago, wildlife photography was conducted by passionate photographers who had to stick out in the wild, with no amenities like electricity or food. There were certain challenges to the art and only the ones who had planned enough were able to make a difference. There was a major emphasis on not disrupting the laws of nature. You could forget about cellphone receptions, too.
“What brought me to wildlife photography was the passion to be out in the open and amongst nature. ”
An increase in the popularity of wildlife photography combined with the desperation of forest officials to make a quick buck has enabled them to turn a blind eye to any unethical practices by the amateur and safari guides. This often has devastating consequences, and it’s mostly the animals that suffer.
Wildlife photography is an art that also needs your compassion. Photograph by © Diinesh Kumble
The disturbance caused by the increasing number of off-road trips taken by safari agents, camera flashes being triggered, catcalling and hooting have led some of the bigger animals to attack the jeeps and tourist vehicles, sometimes even wounding people fatally. And the number of these attacks is increasing by the day.
Wildlife tourism is booming, and with more and more people paying visits to wildlife sanctuaries, herds are motivated to migrate to a different territory, often encountering human settlements on the way and panic stricken villagers don’t always take kindly to a tiger in the vicinity.
ALSO READ: “There isn’t a demand for in-depth stories like there used to be" - National Geographic Photographer Ira Block
Some reckless photographers have resorted to feeding the animals, playing back recordings of mating calls to get a close-up shot of an exotic or preserved species. The safari guides bring their jeeps too close to the animals on the whim of their clients just so they can score a close-up photograph.
Rare Species: a lion tailed macaque photograph by © Diinesh Kumble
“Today wildlife photography has become like game-hunting. Instead of killing an animal, you’re taking a picture of it. But the way the people chase (the animal) sometimes, it hurts to look at it.”
A lot of times, the malpractices are discovered and the responsible persons are suspended or fined, but it has become a mindset of forest officials to employ unethical means to help their clientele get their spectacular #WildlifeShot
SOURCE: Getty Images
To be able to make a difference, we have to practice patience and kindness in equal measure. Sometimes, not disrupting a natural habitat is more important than getting a coveted picture. The animals are not there for our amusement.
The surge in the wildlife tourism industry has also resulted in saturation of wildlife photography. Anyone with a camera thinks they can go on a Safari, come back with a few pictures and pass it off as wildlife photography. “There are not many people who can tell the difference between an image taken by a wildlife photographer, and a regular person”, says Diinesh Kumble.
“There’s a very thin line between safari photography and wildlife photography which is being muddled today. A lot of people think that by going on a safari three hundred times in a jeep is wildlife photography. It is not. You go in a jeep just to protect yourself.”
Slender Loris are a genus that’s native to India and Sri Lanka. Picture by © Diinesh Kumble
And it’s not just the pictures you’re there for. As a wildlife photographer, you also have a responsibility towards the animals you’re photographing, believes Diinesh Kumble. He has an affinity for a small species called the Slender Loris, commonly known as Paapa or Kaadoo around Karnataka. However, there are many myths surrounding the creature, one of them being that it has magical properties - which has lead to the poaching of this little creature in order to be sold on the black market. Click here to watch a video documenting this unspeakable trade based on superstition and hearsay.
Every year, hundreds of Slender Lorises are smuggled illegally to meet the demands of the exotic pet trade. Photograph by © Diinesh Kumble
Diinesh has been instrumental in speaking and campaigning for the preservation of the Slender Loris, and has even adopted it as the mascot for Kaadoo, one of the companies he helped form. If your heart goes out to these little creatures and you would like to make a difference, please visit http://www.peopleforpaapa.org/
While ignorance and unethical behavior certainly wounds the art of wildlife photography, you shouldn’t be discouraged to give it a go. Wildlife photography is a crucial field in photography. It contributes to the conservation of and in helping raise awareness on a species, not to mention the role it plays in ecological and biological studies and the various aspects of science. To learn more about wildlife photography, watch Diinesh Kumble speak with Gorky M on the nuances of the craft by clicking on the video below.
5 Wildlife & Macro Photography Tips For Beginners By Photographer Yuwaraj Gurjar | In Frame With Gorky M, Episode 3
Wildlife photographer Yuwaraj Gurjar shares some important tips for those looking to get into wildlife photography and macro photography.
In the third episode of our latest photography series, ‘In Frame With Gorky M’, one of India’s authority figures on wildlife and macro photography, Yuwaraj Gurjar, sits down with filmmaker and photographer Gorky M - and shares some very important tips and secrets for beginners or those looking to get into wildlife photography and macro photography full-time. Be sure to note these down before going out to photograph.
You Cannot Pursue Wildlife Photography Full Time
Wildlife photography isn’t one of the commercial or the most glamorous photography genres out there. While there is a niche and a demand for it, it is also important that you’re taking up commercial assignments to keep yourself afloat. Wildlife photography is a fascinating genre, but not a high-income genre in photography unless you’re an established wildlife photographer.
Do Your Homework & Come With The Right Gear
According to wildlife photographer Yuwaraj Gurjar, preparation for a wildlife photography expedition begins three to six months in advance.
Going to wildlife sanctuaries and conservatories and photographing animals and birds is fine, but you must read up on your subjects before photographing them. It is important you know how to work your camera and you have the right lenses for photographing the birds and the wild animals you might see. Read the rules, regulations, and brochures of the safari or national park you’re visiting to avoid breaking any laws or committing any offenses, and talk to local guides and figure out where you might find a particular bird or an animal, so you’re in the vicinity when there is an opportunity to photograph them.
READ: Photography Tips From National Geographic Photographer Ira Block!
Having A Love For Nature Is The Bare Minimum
Be prepared to get down and dirty when you’re out in nature. © Yuwaraj Gurjar Photography
Those who pursue wildlife photography and the various genres that it encompasses such as nature, animals, flora and fauna, landscapes, birds, macro - have a genuine love for mother nature. You must ask yourself if you’re passionate enough about it. There will be times when you have to climb hills, photograph in the rain, climb down ditches and unsavory places to photograph, which requires a level of patience and dedication that isn’t always possible. This is why it’s important that you are passionate enough about wildlife photography and only then will you be able to make somewhat of an impact with your work.
There Is Already A Lot Of Work On Tigers and Elephants
An Indian Tiger Photographed by © Yuwaraj Gurjar Photography
Don’t be discouraged by this, we’re simply saying this so you’re aware. Established wildlife photographers have already done a lot of work on Bengal Tigers, Indian Elephants and Dolphins etc. So make sure, if you’re photographing similar species, that you look at it from a different perspective - so your work is able to stand out. There are also many species that people aren’t looking into. They could be unique to the area you live in, or a variation on the species that are already out there. “People are still discovering new birds in the Himalayas,” says Yuwaraj Gurjar. Maybe you could try Macro photography - where there’s a higher chance of finding something new or coming across a rare species.
Macro shot of a Vine Snake gulping a Frog, © Yuwaraj Gurjar Photography
Macro Photography is a versatile genre of wildlife photography where there are tonnes of species to photograph and new things to find.
Travel With A Group Or An Experienced Professional
Even accomplished photographers prefer to travel in a group on a wildlife photography excursion, says Yuwaraj Gurjar. Image © Yuwaraj Gurjar Photography
This really matters. If you’re looking to learn the ropes of wildlife photography or macro photography, it is better if you travel with an experienced wildlife photographer so you learn more quickly than you would on your own. The cost of a wildlife safari also becomes more manageable when divided between 4-6 people. Not to mention that it is also a safety concern, so traveling to jungles and forests in groups or with local guides becomes essential. The local guides are usually chatty, and if you were to engage them in conversation, they would be more than willing to help you and give you an idea of the species or animals that live in a particular habitat.
And that’s not all. There are many more insights and little tips to help you start your journey as a wildlife photographer in the video below. Yuwaraj Gurjar also has advice on which lenses and camera gear to use for wildlife photography. Be sure to subscribe to us on YouTube if you want to watch more videos like the one below.
Presenting Episode 3 of the series - In Frame with Gorky M. In this episode, Gorky M. speaks with accomplished wildlife and macro photographer Yuwaraj Gurjar. Yuwaraj Gurjar is one of India's best wildlife photographers and one of the authority figures on macro photography worldwide.
Ira Block Interview | Photography wasn’t easy then, it isn’t now | In Frame with Gorky M Episode 2
The world in photography has changed. “There’s a lot less demand for in-depth stories these days”, says Nat-Geo veteran Ira Block.
The world in photography has changed. Print journalism is dying, and so is the photographer who would rummage the earth for stories. Today, there are more photographs taken in a single day than an entire year prior to the smartphone era. While smartphones and social media platforms have given people a place to showcase their work, it is now difficult to separate the good from the bad like never before. A hobbyist with a financial reservoir can now photograph the Northern Lights on a holiday and submit it as his or her ‘work’.
And publications aren’t willing to spend money to acquire images because people are willing to give them for free just to get published.
“There’s a lot less demand for in-depth stories”, says American Photographer Ira Block. And while that’s true, it doesn’t bother him as much. To prove it, he has over 330,000 followers on Instagram. Ira has also recently published a book documenting a country’s fascination with a mainstream sport in ‘Cuba loves Baseball’
Cuba loves Baseball, available now on amazon. Photograph by © Ira Block
Ira starts of by saying that photography wasn’t easy back then, and it isn’t now.
“When you find something you love, (something) that you want to do, those are the things that are usually difficult to get money out of. ”
Ira Block has been behind the lens since the 70’s. Born in a time of great imagery and when the photographer was the one bringing stories to the world, Ira prefers the term ‘Cultural Documentarian’ over documentary photographer. While he does have a bunch of commercial work to his credit, a lot of Ira’s work revolves around culture and people.
Caravan of Bactrian camels resting in South Gobi Desert, Mongolia. Photographed by Ira Block ©www.irablock.com
Over the years, Ira has photographed a ton of memorable stories for the National Geographic magazine, the National Geographic Traveler and National Geographic Adventure (not to mention the countless photographic expeditions commissioned by the magazine). A Sony Artisan of Imagery, Ira also conducts several workshops around the year mentoring aspiring photographers in the art of telling stories through the camera.
In a career spanning several decades and still counting, Ira’s photographed countries that are known for their tourism opportunities as well as some of the most remote locations in the world.
Japanese explorer Naomi Uemura at the North Pole, photographed by Ira Block © Ira Block
Ira Block likes to distinguish recurring visits to each country by at least a couple of years so he can can document the changes first-hand through his lens. Surprisingly, this was Ira’s first visit to India. He was speaking at Indian Photographer Joseph Radhik’s event - Pep Summit, where GMax Studios’ commander-in-chief Gorky M, managed to catch up with him. And we’d love for you to hear that conversation, the second episode of our latest series, ‘In Frame with Gorky M.
In Frame with Gorky M is a half hour conversation featuring some of the world’s best photographers. If you haven’t seen the first episode featuring Joseph Radhik, you can see that video here.
In a candid conversation with Gorky M, Ira Block talks about the uncertainty and confusion in the world of photography right now. Ira and Gorky M also reminisce about the good old days of shooting film.
Was the switch from film to digital easy for you, and do feel nostalgic about working with film?
I switched from film to digital in 2004. When I first switched, I was nervous. I remember one of the first stories I was doing (with a digital camera), I had to go to Malaysia to photograph. I basically shot it with digital and I also shot it with film because I was so nervous. As I progressed, I thought that digital was great. I had multiple copies of my images, I could email or send pictures around the world. It’s something I couldn’t do with film.
I do miss shooting with film though, especially black and white. Maybe someday I’ll go back to it.
You have taken exceptionally well to social media, especially Instagram. Did that take a mental leap or did you go in all guns blazing?
The world in photography is totally changed. Not just photography, but everything in the world has changed because of the digital age. I realized I didn’t want to be a dinosaur. With social media and digital platforms, I embraced it. I thought, let’s make this work for me.
And it has worked for Ira. He posts regularly, and he also writes about his experiences in his blog. If you haven’t checked it out, it’s highly recommended. It’s the photographic word of God.
Each social media platform has a different aspect ratio for pictures. Do you keep that in mind when you’re taking pictures?
It does cross my mind (when I’m taking a picture), that I want to make it the right size, the right feel for Instagram. But then I realize that if I get a really nice image, I can’t use it for something else. It's not the right style. I can’t make a print (of it). I get torn at times.
What’s your typical gear, now that you’ve switched to mirrorless cameras?
I’m using the Sony mirrorless cameras, which are pretty small and lightweight. Typically, I carry two, maybe three (camera) bodies. I usually have three zoom lenses with me. The wide zoom, the mid-range zoom and a long zoom. With digital, you don’t want to change lenses that much because of dust on the sensors. Back in the days of shooting film, I’d have two or three cameras around my neck. These days most of my stuff (images) are done between 24-105 mm.
Tell us a little about the kind of gear you carried back in the day
I remember going through the airport with 10-12 cases of equipment. And now, with digital (cameras) being able to pump up the ISO’s to a higher number, I carry less lights. There are smaller lights that are transportable and easy. Those days of carrying equipment and having assistants and getting that stuff on airplanes was always iffy.
Tell us about the importance of accumulating personal work, as a professional photographer
If you really want to be a good photographer, and if you really love photography, you need to have personal projects. With commissioned work, you can’t be as creative, you’re being told what to do by the client. Personal work is where all your creativity is, where you can try out new things, develop a new style. You’re not worried about what the client is going to say. I think personal projects are very important.
Ira Block spent three years documenting Cuba’s culture in his book, ‘Cuba Loves Baseball’. Photograph by © Ira Block
Point out some of the primary differences that you see between photographers in your generation versus some of the younger photographers today
When I look at some of the newer photographers today, I sometimes get the feeling that they’re not going to work as hard. Because of what you can do in post production, a lot of people think “I don’t have to get it right now, I’ll do it later”. I came from a generation of “you have to get it right in the camera.” For me, the joy of photography is being in the moment and not being in front of a computer screen.
Fireworks galore on the 4th of July. New York City, 2017. Photograph by © Ira Block
Who are some of the photographers that have inspired you over the years?
Henri Cartier Bresson is one of the classic photographers that everyone looks up to. His reportage, his decisive moment was an important changing point in the world of photography. When I started doing color, it was Ernst Haas - the German photographer. He took color and made imagery out of it; using color as an art-form in itself. And then there are some early Nat-Geo photographers. There’s guys like Wynn Parks and Bill Allard - a friend of mine who’s a great photographer. These are photographers that I look up to.
Ira continues to talk about his style of photography, his choice of composition and some very important assignments he worked on during the episode. He also stresses on the importance of having a regular income that doesn’t always come from photography.
Watch the entire episode with featuring Ira Block below
In the episode, Gorky M speaks with National Geographic Photographer and Cultural Documentarian Ira Block. Ira has shot multiple photographic stories for the National Geographic Magazine including Nat Geo Traveler and NatGeo Adventure. Ira is also a Sony Artisan of Imagery and conducts multiple photography workshops around the world.
