Q: Please tell our readers how your journey with the camera started. What inspired you to take up
photography?
This is very interesting. It’s a long story, but to cut it short, I did not have anyone in my family who
was ever into photography and casted an influence on me. However I was into painting till my high
school days, which I believe transformed into photography later on during my college days. My first
camera was a 35 mm film camera Yashika Electro 35 which I still have.
Q: Did you ever receive any formal training in photography? How important a role does formal
training play in photography or would you say it is not an absolute essential?
I know many writers, painters, singers who have never formally trained themselves, but have been
very successful in their fields. Similarly I know many photographers without formal training. So I
would not say that formal training is absolutely necessary, but yes, it helps. Any form of training,
whether it is formal or informal, helps. There is no loss. Today, with advancement of internet and
technology, we all learn from online videos and tutorials of the masters. I had a formal training for
one year on basics and advanced photography. But continuous learning on the subject is absolutely a
must.
Q: What are your preferred camera-lens combinations? Which lens for you would be the workhorse
for street photography?
A small mirrorless camera, with tilt screen and a 23mm lens (35 mm equivalent on cropped body).
But I work with a kit lens 18-55 mm which is equally good.
Q: If there is one prevalent trend in street photography that you would like to see changing, which
one would that be?
I would like to see people creating their own unique styles rather than sticking to the most common
trends like juxtapositions & silhouettes. Trying unique point of view, creating illusion, creating a
sense of abnormal scale, creating a story, trying to capture the unique moment out of many are
some of the things that would interest me.
Q: Who are those photographers who have left a lasting impact on you through their photographs?
There are quite a few. Henri Cartier Bresson has been the most influential in my life. Then of course
Elliott Erwitt, Raghu Rai, Alex Webb, Steve Mc Curry, Natan Dvir and many more.

Q: While it is largely subjective and much varied, is there any one particular composition technique
which you use the most while composing your photographs?
I mostly try to look at the frame from an angle which an ordinary person will not look at. In that way,
many a times, the scale changes, the point of view changes and an ordinary scene looks completely
different. I always imagined how a cockroach looks at the world? Won’t it be so different from how
we look at?

Q: How do you anticipate an intriguing moment when out in the streets? Does it come from practice
or a thorough research of the neighbourhood you are in?
Both. But I would give much higher score to practice. My first ever article was “My 3 P’s of
Photography”. You know what the three “P” stands for? Practice, Practice and Practice. You need to
have keen observation and practice the skill of observing things, always and every moment, whether
you are with the camera or without it. Now a days we are actually never without a camera. Even if
you are not carrying your main camera, you still have your mobile camera with you. Many of my
awarded photographs are taken with mobile camera. So, the practice can also happen in your mind
every time. The practice eventually should lead to a reflex. How do you drive a car? Reflex, right? If
suddenly you need to brake, you do it out of reflex. Such should be the practice of observation and
speed of reaction in street photography.
Q: While shooting what are those essential elements you look for in a frame which you think would
make a great photograph?
Lines, curves, shapes, light and of course a hero which is the main element of connection. If you can
have all these then it’s a wow! I generally prefer to have one or two living elements in the frame,
which form the central character, or the hero so to say.
Q: Festivals in India often provide intriguing frames to street photographers. Do you have a favourite
festival or an occasion from a photographic perspective?
Holi in Barsana, Pushkar in Rajasthan, Dondi and Gajan in Bengal are some, but actually you can
create street photographs from any festival for that matter.
Q: You have shot both coloured and monochrome frames extensively. Do you decide which frame
you want in monochrome and which one in colour while shooting or is it something which you
decide during the post processing?
I decide during post processing. To me, it’s not a rocket science. Some photographs are rich in colour
and colour has a strong meaning in the photograph. I keep them in colour. In some, colour diverts
the attention of the viewer from the main theme and does not play a significant role. In such
situation I convert them into black and white and see. Most often it looks good and I keep it that
way.
Q: Which is the biggest challenge which you have faced or face regularly in the genre of street
photography?
There is no challenge according to me. The correct word is limitation. Being in a responsible position
in a corporate, my limitation is time. I wish I had more time for photography!
But in general if you ask me, many street photographers fear going closer to the subject. They use
zoom lenses. That’s not right. You have to go close to the subject. There are different ways of doing
that, and over practice you become free.

Q: Having travelled extensively, do you believe there is a way to effectively combine the genres of
street and travel photography?
Yes that’s an option too. But you have to master one.
Q: Lastly what would be your advice to young and upcoming photographers?
I learn from them too. They are very creative. However, with my experience I can say that even if
you are not born with a creative mind, you can develop it through practice. So, practice is very
important. Then you need to read a lot, study the works of masters, think a lot and always try to
create frames in your mind, even when you are not having the camera with you. There are
thousands of moments in the street. The instinct and reflex should be developed such that you will
automatically press the shutter at the right moment and steal it in your camera.

Here goes the screenshots from the pages….