CS Bhagya

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Tag: Photography

Capturing the twilight years

Ace Bangalore lensman K Venkatesh has dabbled in a range of diverse subjects in his 20-year career as a freelance photographer.

Be it eunuch models, the aftermath of the tsunami, water crisis in Karnataka or the panorama of Gomateshwara, he has been there and clicked that.

He has worked for Reuters, BBConline, The Asian Age, Outlookmagazine, and is currently employed at the leading Telugu daily Enadu.

Venkatesh naturally gravitates towards subjects with a social context. “Basically, I’m a news photographer. I’m always looking for human interest stories. I consciously choose topics that are of great consequence to the current society.

There are several important things happening around us, which we need to focus on to bring forth a positive change,” he says. “I try to capture these instances and showcase it, therefore, creating awareness.”

His latest offering is an exhibition on the trials of living in old-age homes, which is on till June 10 at ChitrakalaParishath. In this series he has attempted to capture the loneliness and destitution of the elderly who’ve been relegated to old-age homes without choice, as their families have abandoned them.

Migration to urban ghettoes in search of greener pastures has become their undoing, turning them into pariahs of their own nuclear families.

“In Bangalore, there are two kinds of old-age homes. The first type is a commercial venture, where people from well-to-do families pay for good facilities that’ll ensure a good life for elderly family members.

But the other kind is more important. Old people, who are abandoned by their children, are brought to these homes and looked after. But due to inadequate funding, they may not be able to meet the requirements of the elderly,” he says.

“Their children never come back or take them home. Their life becomes dull, monotonous and completely devoid of hope. Through this series I’ve tried to portray their condition and give a voice to their plight.”

These photographs, like most of his other works, segue open in black and white. He believes that dual-toned photographs are best capable of eliciting the essence of the moment.

“Black and white photography reveals the subject powerfully, as it lends more depth and clarity than colour photography,” Venkatesh asserts. In fact, he feels that colour is more of a distraction.

“People tend to concentrate more on the colours than what one intends to evoke in the photograph.”

Even in this series, the play of dark and light, the collusion of brightness and contrast has immense significance. It acts as a metaphor for the old-age home dwellers who’ve slipped into a dark phase in their lives.

The presence of light, however minor, denotes an indolent hope: on the part of the subjects and the photographer.

“Old age homes are becoming increasingly common in India today. The country may be witnessing change at a tremendous pace causing the generation gap to widen, but nothing justifies abandoning parents who have given the best part of their lives to their children,” Venkatesh says, adding, “This is a call for the society to stop and consider; see if what they’re doing is right. Have a heart! — that is my message.”

Published in DNA, June 9th 2010

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Lens by chance: The story of an accident

Photographers Ajit Kalle and Sridhar Parthasarathy probably met by accident at Tata Unisys, and discovered they shared a passion for photography. While Ajit found an old camera and a series of slides well hidden in his cupboard, which later spurred him on to take up photography seriously, Sridhar felt a desire to tame next-generation cameras and ad-hoc technology.

Their first show ‘Where is India Going? by The Accidental Photographers’ is on at Caperberry from May 8 to June 11.

“We were in the same company for 20 years, but we had been shooting before we met,” says Parthasarathy. “We call ourselves ‘accidental photographers’ because we stumbled into photography. Our subjects were also, typically, revealed to us accidentally.”

For both Kalle and Parthasarathy, their professions have left an impact on their style. “I’m an engineer by training and aptitude. My subjects are characteristically very structural, in which, I try to bring out emotional content,” confesses Parthasarathy. “Kalle is more a logician and is inspired artistically,” he says.

Their first collection is a culmination of four years of photography and presents their unique vision of India: one filled with contradictions. Photographs like ‘Missed Future’, ‘Kambala’ and ‘Plurality’ seem to evoke a sense of nostalgia for the India that no longer exists and a longing for the India that could have been.
Others like ‘What would you want me to be’, which shows a potter moulding a clay pot, seem to points towards the immense potential in the country. In the centrepiece ‘Management’, a man tries to control a bull in the middle of a high tide; both the sea and the bull are sinuous and meld into each other.

Commenting on whether there are certain subjects he prefers and returns to regularly, Kalle says, “There are no set themes that I fall back on. For instance, when taking a shot of a bird, you either get it or not. That’s what interests us, how we get a shot which has something to say, even if the definition only becomes apparent afterwards.”

Parthasarathy agrees. “We arrive at a location and go with the flow. For us it is more important to enjoy the moment and to record it is only secondary.”

Parthasarathy admits that they try to be slightly clever with the titles. “They are not straightforward and have a second layer. We shoot instinctively; only later do we sense the underlying themes and choose titles,” he says, and, Kalle is quick to add, “We don’t try to prescribe or direct a viewer to experience the photographs in a particular way. We just try to show people things, the way we see them.”

Ask them on what aspects of the medium their individual interests in photography converge and they laugh. “We don’t converge on anything. We argue all the time,” Parthasarathy says. But Kalle feels that’s what’s best about photography. “Each can have his own space, own division and own opinion. Whatever decision we make, there’s always that level of unpredictability, which makes it all the more interesting,” he says.

Published in DNA, May 19 2010