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Jrg Colberg ponders over the
importance given to the project
Portraying a home through
the wall scribbles of a child
Exploring fantasy & dreams
of industrial workers in Dhaka
Saibal Das on bridging the gap
between two parallel worlds
VISUAL MUSINGS ON ASSIGNMENT PHOTOFEATURE PROFILE
Better techni que. Better Insi ght. Better Pi ctures
www.betterphotography.in
NOMINEES OF POY, WPOY BP POCKET GUIDE: SECRETS OF SHOOTING ABSTRACTS
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June 2013
(Total 222 pages + 8 pg supplement
+ 2 Pocket Guides of 100 pg each)

S
P
E
C
IA
L

M
A
G
A
ZIN
E IN
S
ID
E
HOW
TO M
AKE GREAT
PICTURES W
ITH YOUR
CELLPHONE
EXCLUSIVE tEStS
Fujiflm X100S
Nikon COOLPIX A
Olympus VG-190
GREAt MAStERS
Dario Mitidieri on his
iconic imagery on
Mumbai's streets
MARKEt SENSE
All you need to know
about publishing
your own eBook
B E T T E R P H O T O G R A P H Y JUNE 201 3
11
Views and opinions expressed in this magazine are not
necessarily those of Network18 Media & Investments
Ltd (Network18)*, its publisher and/or editors. We at
Network18 do our best to verify the information published
but do not take any responsibility for the absolute
accuracy of the information. No part of this magazine
can be reproduced without prior written permission of
the publisher. Printed by Mohan Gajria and published by
Lakshmi Narasimhan on behalf of Infomedia18 Limited
and printed at Network18 Media & Investments Ltd
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Photography does not vouch for any claims made
by advertisers, products or services. The printer,
publisher, editor or members of the publication shall not
be held liable for any consequences in the event of such
claims not being honoured by the advertisers.
Editor K Madhavan Pillai
Published by Network18 Media & Investments Ltd
V O L U M E 1 7

I S S U E 1

J U N E 2 0 1 3
GET PUBLISHED IN BETTER PHOTOGRAPHY
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EDITORIAL
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B E T T E R P H O T O G R A P H Y JUNE 201 3
12
E DI TORI AL
Eternally Sixteen
Sell your
skill, not your
convictions.
Make your
money but live
for the art.
We bring in this sixteenth anniversary special issue with so many
mixed feelings. Joy for turning sixteen, pride for being the best
photography magazine in India, and sorrow for the passing of yet
another legendary photographer, Jagdish Mali, who was very dear
to BP and to me personally. There is some solace in knowing that
Jagdish lived a life full of passion and zeal. Those who knew him
will remember him as being wonderfully friendly, approachable,
open minded, ever giving and forever young at heart. When we had contacted him some
time ago, for being a judge for POY 2012, and for being a part of this issue, he had politely
declined, citing commitments beyond his control.
At the moment, I cannot help feeling a twinge of selsh regret that I had not interacted
with Jagdish more. I keep thinking of a piece of advice that he had given me a long time
ago, which I took to heart. Never lose yourself to being a commercial photographer,
he had said. Sell your skill, not your convictions. Make your money but live for the art.
Otherwise, it will suck up your soul and leave you empty. There is no existence worse
than being a hollowed out photographer with nothing inside.
Somehow, despite his passing, I also cannot help but think his quintessential youth
sprung from his being a photographer, a characteristic that all photographers seem to
share. In that sense, I have never met an old photographer. I am writing this editorial from
the Rift Valley in Kenya, where the BP team, along with the category winners of POY
2012, are in the middle of a superb, adventurous face-off, travelling to Africas deepest
gorge and to a pristine lake island little known to tourists. The contestants come from all
backgrounds and ages, and from all over India. And yet, they are all wonderfully young in
spirit and at heart. The common thread that binds them is photography. Photography is
beautiful because it always keeps you learning and yearning to see something new, makes
you fall in love over and over keeps you eternally sixteen.
Untitled,
from the series
Circus Girl
by Saibal Das
What does it take to
make an exultant photo
project? Why should we
walk that extra mile?
Why must we keep looking
through the viewnder?
And why should we
continue making magic?
Saibal believes, Making a
project is not a hit-and-
run thing. You learn to
work as a photographer,
a creator, a visionary, all
at the same time.

To read more about
Saibal Das fascinating
images from the circus
Turn to page 110
K Madhavan Pillai
editor@betterphotography.in
70
TEST
Sony Xperia Z
Is speed everything?
72
Nokia Lumia 620
Impressive camera in a
compact, sturdy body
73
Photoshop Touch
Layer-based editing,
now in a cellphone
74
CELLPHONE TECHNIQUE
On the Road Again
Shoot while on the move,
from inside a vehicle
78
Ready Steady... Shoot!
Learn how to hold your
cellphone right
80
READERS GALLERY
Learnings from
our readers best
cameraphone shots
82
CELLPHONE DIARIES
A new monthly column
by Dinesh Khanna
48
TEST
Fujilm X100S
Perfecting the X factor
54
Nikon COOLPIX A
Great concept on paper,
but in reality... eh?
60
Nikon COOLPIX S6500
Will WiFi save the
compact camera?
64
Olympus STYLUS
VG-190
Powerful ash but is
that good enough?
66
MICRO TEST
Think Tank Photo
CityWalker 10 and Peak
Design Camera Clip
SnapShots
June 2013
30
Book Review
Te Tirthanche Maher by
Shirish Shete
44
Look Whos Shooting
Helena Schtzle
45
Visual Musings
By Jrg Colberg
46
Tribute
Remembering Jagdish
GearGuide
ON THE COVER
104 84
CellphonePhotography
DESIGN: SANTOSH D KAMBLE
i1 1 Pr1c|ic1l ai1 ar Haw !l M1| 1 r1| Par|r1i| (wi|l 1J Simpl !ips)
SHANTANU SHEOREY VIKRAM BAWA AMIT ASHAR RAFIQUE SAYED ASHOK SALIAN
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VISUAL MUSINGS ON ASSIGNMENT PHOTOFEATURE PROFILE
B||r !clri a. B||r |rsi l|. B||r Pi c|ars
www.|||rpla|ar1pl.ir
NOMINEES OF POY, WPOY BP POCKET GUIDE: SECRETS OF SHOOTING ABSTRACTS N
Learn the basics of colours and styling
before you start a portrait shoot
F
R
E
E
100-Page Pocket Guide
Ale\ )'(* Ij% )''
(Total 222 pages + 8 pg supplement
+ 2 Pocket Guides of 100 pg each)

SPECIAL
MAGAZINE INSIDE
HOW TO MAKE GREAT
PICTURES WITH YOUR
CELLPHONE
|K|US|\| !|S!S
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84
ANNIVERSARY SPECIAL
The Makeover
Cheat Sheet
5 pro photographers give
40 easy tips on portraiture
96
ON ASSIGNMENT
Scribbled Walls
Taking over spaces and
making them your own
104
TIPS & TRICKS
Make scanographs, shoot
macros & blooming elds
InFocus
110
PROFILE
Saibal Das
Documenting the
whimsical Indian circus
116
GREAT MASTERS
Dario Mitidieri
And his sensitive visuals
of war and street life
122
SPECIAL FEATURE
WPOY 2012 Nominees
128
SPECIAL FEATURE
POY 2012 Nominees
138
PHOTOFEATURE
Samsul Alam Helal
Portraying the hopes of
the industrial workers in
Bangladesh, in a studio
218
MARKET SENSE
eBook Publishing
Made Easy for
Photographers
220
STORY BEHIND THE PICTURE
The Most Viewed
Image Ever
ShowCase PhotoFinish
Regulars
FEEDBACK ............................................................18
PHOTOCRITIQUE ................................................. 100
Q & A ................................................................. 108
1000 WORDS ....................................................... 136
YOUR PICTURES ..................................................144
128
BetterPictures
110
KETAN KUNDARGI
PRIYANKA CHHARIA
This is Us!
For the longest time, we were unable to decide how to pose for
this years team photo, how to say hello to you. Finally, we decided
to get back to the basics, and ask ourselves what photography
means to us. Sixteen years of Better Photography, sixteen years with
you, and photography is all this... and some more.
K MADHAVAN PILLAI
CONCHITA FERNANDES RAJ LALWANI
MEET THE BP TEAM
AMBARIN AFSAR
A
l
l
p
h
o
t
o
g
r
a
p
h
s
b
y
A
m
b
a
r
i
n
A
f
s
a
r
SUPRIYA JOSHI
CHANDNI GAJRIA SANTOSH D KAMBLE
BHAVNA BASTAV UTTAM KUMAR GURJENDER SINGH VIRDI
SHRIDHAR KUNTE
Feedback
Changing Perceptions
I was pleasantly surprised to nd
Better Cellphone Photography in the last
edition. From photo editing apps and
photographers to follow on Instagram,
to taking care of the cellphone
camera...I learnt a lot simply by reading
this magazine.
The advent of advanced cellphone
cameras has changed the way I photograph.
In fact, I have discarded my DSLR as
I nd it easier to shoot with my cellphone.
However, most of my friends still consider
cellphones to be incapable of shooting
good pictures. Thus, when I shared the
stories from here with my friends, they
were pleasantly surprised to nd out just
how much a cellphone camera can do.
Gaurav Bhola, New Delhi, via email
A Look Into the Future
I subscribed to Better Photography magazine
more than a decade ago. I am a professional
photographer and a regular reader of the
magazine. Every month, I eagerly await the
arrival of my copy.
Out of all the sections, I have always
preferred to read Shooting Technique
the most, as it provides a combination of
technical as well as the idea based stories.
This is what working photographers like me
often look for in a photography magazine.
Additionally, I nd Q&A very informative.
One section in which however, I feel that
BP can considerably improve is its quality
of printing. Many a times, I have received
copies where the B&W photos look
decolored and unappealing. I wish that
the magazine changes the quality of its
printing in the years to come.
Rupesh Dabhi, Ahmedabad, via email
Photographing Family & Friends
I picked up a copy of Better Photography at
the airport, after a friend recommended
it to me. As a hobbyist photographer, I am
always looking for ways to learn. I nd it
redundant to join a photography school
or organisation, since I have a regular job
to do.
I remember reading the article From
a Family Album in BPs December 2013
issue. I liked the story a lot as it taught me
the value of my old family album.
I have been wanting to photograph my
family for a while now. However, I could
not gure out if these images would
categorise as art, or would they simply
be for fun. I could not visualise the
eventual outcome. Then, in the May 2013
issue, I came across K Madhavan Pillais
story 20 Simple Secrets For Fun Holiday
Photos. The 20 tips helped me to think of
photographing my family vacations in an
entirely new way!
In this issue, I also found the answers
to a whole lot of personal questions
pertaining to photography.
Anna Karthika, Mangalore, via Facebook
A Keeper of Images
Ever since I can remember, I wanted to be
a photographer. My father and uncle used
to own a Nikon lm camera, and would
constantly keep shooting in the house.
Better Cellphone
Photography was
introduced in BPs May
2013 issue.
Through the
magazine,
I found the
answers to some
of my personal
questions about
photography.
16Anniversary
SPECIAL
th
20 Simple Secrets
For Fun Holiday
Photos article spoke
about photographing
family holidays.
B E T T E R P H O T O G R A P H Y
18
JUNE 201 3

FEEDBACK
I started reading Better Photography 16 years ago,
since the launch of its very rst edition! In fact,
I have carefully collected each and every BP issue.
I came to know about this magazine when I was
reading The Times of India, which carried an article
on Better Photography then.
I have an old lm camera that was gifted
to me by my father. Additionally, I own a few
digital cameras as well. I am an avid reader of
photobooks, and discovered the works of Raghu
Rai, Pablo Bartholomew and Hari Mahidhar only
after reading Better Photography.
Over the years, I have learnt many aspects
about photography from this magazine. The works
of great masters have changed my perspectives
Educating One and All...
Write in to
Better Photography
with your feedback, and
if your letter wins the
Letter of the Month,
you will get a Envie
Speedster charger!
Twitter: twitter.com/betterphoto
Facebook: facebook.com/betterphotography
Youtube: youtube.com/betterphotoindia
Website: betterphotography.in
FIND US ONLINE!
I spent most of my childhood making
pictures. It was the only hobby that
I really cultivated.
According to me, even though things have
vastly shifted to digital photography, the
chance to see a printed photograph is a real
blessing. Thus, I make it a point to keep the
photographs that I like and save them in a
scrapbook. Till today, I have a collection of
more than a 1000 stunning images! Some of
my favourite photographs are by Raghu Rai,
Steve McCurry, Ansel Adams and Umrao
Singh Sher-Gil.
Dayanand Kamble, Mumbai, via email
Celebrating the Single Image
I am a housewife, and I initially started
taking photographs to pass time. Over the
years, I came to fall in love with the
camera, and turned into a compulsive
image maker. I travel regularly and shoot
a lot at home as well. I particularly like
making portraits of my two children.
However, I noticed that I tend to make
more of stand alone images than a
comprehensive photo series.
I feel that most contemporary
photographers today are obsessed with
the idea of the project. While I am not
against the idea of photoessays, I feel that
we could do without forced bodies of
work. Photographers can not pass shoddy
work simply by calling it art. I feel that
its more important to create a single great
photograph, than to produce a bunch of
average ones.
Sultana Raza Khan, Kolkata, via email
Read, Read, Read!
For me, photography has always been a
very personal practice that I have shaped
over the years. I spend a considerable
amount of time every day reading
photobooks. I like buying old photobooks
and magazines at book sales. In fact, I have
found several amazing editions of National
Geographic at throw away prices! I hope that
todays internet savvy generation cultivates
a healthy habit of reading and learning
through books.
Ramanan Srinivas, Chennai, via email
on photography considerably. For instance,
I learnt how to use blurs aesthetically after
discovering Prabuddha Dasguptas work.
Additionally, I found great inspiration in the
colourful portraits of Steve McCurry.
I am affected by polio, and unable to
physically move independently. Thus in
many ways, BP has been my only teacher
and guide. In its 16th year, BP has made
considerable impact on Indian photography.
It has made it possible for laymen like me to
pursue and access photography with rigour.
I thank the magazine for encouragement, and
wish the team all the best for the future!
Umesh Singh, Ahmedabad, via email
The internet
savy generation
of today should
cultivate a
habit of reading
and learning
through books.
A collection of some
old and new issues of
Better Photography.
Corrigendum
The Special Feature on National Photo Awards
in the May 2013 issue incorrectly mentioned
Anil Risal Singh as a winner of the Green India:
Environmental Stories category. He was the
winner of the Professional Open category.
We apologise for the error.
20
B E T T E R P H O T O G R A P H Y JUNE 201 3
Samsung NX2000
This latest interchangeable lens mirrorless camera
ts in right between the recently launched NX1100
and NX300. The NX2000 features a large 20.3MP
APS-C CMOS
sensor, 3.7-inch
touchscreen LCD, 8fps
continuous shooting,
WiFi connectivity,
Samsungs NFC
technology and Full HD video recording. Like the
NX1100, this camera too, comes bundled with
Adobe Lightroom. NX2000 is priced at USD 649.99
(approx. Rs. 35,600)
1 Nikkor 32mm f/1.2
This mid-telephoto prime lens from Nikon is built for
the Nikon 1 System mirroless cameras and is ideal
for photographing portraits. This fast lens offers a
focal length equivalent to 86mm in 35mm parlance.
It is also the rst lens in the Nikon 1 System line up
to use a Silent Wave
Motor for focusing
and incorporates
the companys
proprietary Nano
Crystal Coat that
will reduce effects of
ghosting and are in
the images.
Fotopedia Reporter App
Well known website Fotopedia Reporter has now
launched an iPad app to make it easier to publish
photo essays on the go. You can create a photo
story with the photos from your iPad. All you need
to do is add a title, cover photo and description
or hot link text from Wikipedia. One can even
browse through various stories posted by other
contributors through this app.
Mecablitz 58 AF-2 Flash
Metz has brought this ash gun
to India after three years of its
launch. This affordable ash gun
for Canon, Nikon, Sony, Pentax and
Four Thirds cameras is equipped
with high end features.
Prabuddha Dasgupta was a noted fashion and ne-art photographer. Known for his iconic black and white imagery, he had a career spanning three
years primarily as a fashion photographer. The 2013 edition of Delhi Photo Festival is themed Grace as a tribute to him.
WHAT S NEW
I want my photographs to be a long string of images,
held together with grace.
PRABUDDHA DASGUPTA (19562012)
Ace Lensman and Renowned Bollywood
Photographer Jagdish Mali Passes Away
P
hotographer Jagdish Mali passed
away on the morning of 13 May 2013
at a hospital in Mumbai. Mali had been
admitted for a hip-bone fracture a few days
ago but doctors were unable to operate on
him, due to several complications. At the
same time, Jagdishs old liver conditions
showed up, eventually resulting in a
multiple organ failure. He was 59.
Mali had started his photography career
in the 80s. Within a short span of time,
he went on to become one of the most
respected photographers in Bollywood.
In his long career, he has had a wide and
illustrious portfolio, photographing
superstars across generations.
When Better Photography had interviewed
Jagdish in 2009 (log on to www.
betterphotography.in/2013/05/13/jagdish-mali
for the article), he had said, It is my dream
This image for Filmfare brought together two of the
biggest superstars of that era in front of his camera.
to make lms that leave an impact on the
viewer in just ve minutes. While some of
his dreams may have been left unfullled,
it is his photographs that launched a
thousand dreams.
From portraits of a young Sachin
Tendulkar to one of a photogenic Rekha...
here have been several portraitists, but
Jagdishs work was unusually spontaneous,
reecting the man and his happy-go-lucky
nature towards life itself. Jaggi, as he is often
called, not only brought about a refreshing
visual change in Bollywood magazines
in the nineties, but also created a legacy
that will stay strong, even though he is
not around.
To read our special tribute to the man and his
work, turn to page no. 46
Jagdish Mali
B E T T E R P H O T O G R A P H Y JUNE 201 3
22
B E T T E R P H O T O G R A P H Y JUNE 201 3
12
E DI TORI AL
Eternally Sixteen
Sell your
skill, not your
convictions.
Make your
money but live
for the art.
We bring in this sixteenth anniversary special issue with so many
mixed feelings. Joy for turning sixteen, pride for being the best
photography magazine in India, and sorrow for the passing of yet
another legendary photographer, Jagdish Mali, who was very dear
to BP and to me personally. There is some solace in knowing that
Jagdish lived a life full of passion and zeal. Those who knew him
will remember him as being wonderfully friendly, approachable,
open minded, ever giving and forever young at heart. When we had contacted him some
time ago, for being a judge for POY 2012, and for being a part of this issue, he had politely
declined, citing commitments beyond his control.
At the moment, I cannot help feeling a twinge of selsh regret that I had not interacted
with Jagdish more. I keep thinking of a piece of advice that he had given me a long time
ago, which I took to heart. Never lose yourself to being a commercial photographer,
he had said. Sell your skill, not your convictions. Make your money but live for the art.
Otherwise, it will suck up your soul and leave you empty. There is no existence worse
than being a hollowed out photographer with nothing inside.
Somehow, despite his passing, I also cannot help but think his quintessential youth
sprung from his being a photographer, a characteristic that all photographers seem to
share. In that sense, I have never met an old photographer. I am writing this editorial from
the Rift Valley in Kenya, where the BP team, along with the category winners of POY
2012, are in the middle of a superb, adventurous face-off, travelling to Africas deepest
gorge and to a pristine lake island little known to tourists. The contestants come from all
backgrounds and ages, and from all over India. And yet, they are all wonderfully young in
spirit and at heart. The common thread that binds them is photography. Photography is
beautiful because it always keeps you learning and yearning to see something new, makes
you fall in love over and over keeps you eternally sixteen.
Untitled,
from the series
Circus Girl
by Saibal Das
What does it take to
make an exultant photo
project? Why should we
walk that extra mile?
Why must we keep looking
through the viewnder?
And why should we
continue making magic?
Saibal believes, Making a
project is not a hit-and-
run thing. You learn to
work as a photographer,
a creator, a visionary, all
at the same time.

To read more about
Saibal Das fascinating
images from the circus
Turn to page 110
K Madhavan Pillai
editor@betterphotography.in
CALL FOR ENTRI ES
Reminders Photography Stronghold Grants
The competition: Photographers, curators, publishers
and organisations can apply for a grant to use
Reminder Photography Strongholds gallery space.
Category: Any alternative proposal on photography
for the best use for this gallery space is welcome
Prizes: Winners get to exhibit their work for upto
30 days at no cost. They will also get world wide
publicity through the gallerys global network.
Selected winners will also get to attend talks
and seminars along with a free stay at the RPS
residency.
Website: www.reminders-project.org/rps/grants
Deadline: 15 June 2013
Epson International Pano Awards
The competition: The Epson International Pano Awards
invites entries for panoramic photographs worldwide.
Categories: Open, Amateur and VR/360 awards
Prizes: Cash Prize for category winners: USD 1000
(Approx. Rs. 55,000). Winners will also be given a photo
printer from Epson
Website: www.thepanoawards.com
Entry Fee: USD 22 (Approx. Rs. 1200 )
Deadline: 14 July 2013
Asian Environmental Journalism Awards
The competition: The Singapore Environment Councils
awards aim to recognise and reward excellence in
environmental journalism. From passionate citizen
journalists to outstanding professional journalists, the
AEJA highlights exceptional work and encourages high-
quality coverage of environmental issues in Asia.
Prizes: Cash Prize for category winners:
3000 Singapore Dollars (Approx. Rs. 1,31,030) and
a trophy.
Website: www.sec.org.sg/aeja
Deadline: 4 August 2013
Travel Photographer of the Year
The competition: The Travel Photographer of the Year
(TPOTY) photo contest is run by photographers for
photographers. It is open to photographers across
the world.
Categories: Monochrome, Vanishing & Emerging
Cultures, Wild Stories, First Shot, One Shot and
New Talent category.
Website: www.tpoty.com/awards
Entry Fee: 20 Pounds (Approx. Rs. 1700), Free for
New Talent category.
Deadline: 1 October 2013
Blowup is an
enlargement of
an image beyond
its orignal size for
print or digital use.
PRO TALK
Love shooting
panaromas? Then the
Epson Pano Awards are
a great opportunity
for you.
18 May1 June
Something About
Hair
Alliance Francaise De Delhi,
New Delhi
Kabul-based French
photographer Oriane
Zerah was attracted to
the hair of inidan
women upon her travel
to various cities in India.
Her work explores the
different associations of
a womans hair in
different cultures.


23 May2 June
Exhibit On Indian
Railways
IGNCA, New Delhi
Entering its 160th year,
the exhibit highlights
the role of the Indian
Railways in socio-
economic and political
growth of the nations.

10 June4 July
Japanese Graphic
Posters Exhibition
The Japan Foundation, New Delhi
Around 15 renowned
Japanese graphic
designers will showcase
a remarkable collection
of graphic posters
dating back to 80s and
90s. These posters
depict the economic
changes in Japan.
16 June
The Last Lecture
Series
The Big Bang Bar and Cafe,
Mumbai
Every third Sunday
of the month, Better
Photography will
conduct an interactive
talk session with two
photographers or visual
artists. The artists will
share their thoughts,
opinions and speak on
any topic related to the
art of photography.

EVENTS
JUNE 201 3
26
Controversy Hits World Press Photo of The Year
I
mmediately after the 2013 World
Press Photo awards were announced,
the winning photograph by Swedish
photographer Paul Hansen came under
scrutiny for digital manipulation.
The colours of the picture submitted for the
award were more cinematic compared to the
original image published in the newspaper.
While those allegations died down soon
enough, a new one has emerged recently.
On the ExtremeTech website, Neal Krawetz,
a forensic image analyst, claimed that the
winning image was a composite of three
photographs. So strong were the allegations
that both the photographer and
World Press Photo Foundation
were forced to look into it
and respond.
World Press Photo conducted
an immediate forensic test to
conrm the integrity of the photo.
However, it later admitted that the
image had been digitally altered for
colour and tone. While the image
might have been accepted by the
standards of World Press Photo,
one wonders if a news photograph
can be enhanced without
distorting the truth.
Paul Hansens photograph, Gaza Burial, shows a procession of weeping
men carrying the bodies of deceased Palestinian children in sheets.
Paul Hansen
O
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a
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a
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a
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a

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a
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XMP le stands
for Extensible
Metadata Platform
which lets you
store metadata
information across
multiple image
le formats.
PRO TALK

Between The Lines: Identity, Place
and Power
National Gallery of Modern Art and Ministry of Culture,
Government of India held a Printmaking exhibition from
27 April28 May in Bengaluru. The exhibit was curated
by Lina Vincent Sunish and showcased collections from
the Waswo X. Waswo Collection of Indian Printmaking.
Programmes like curators talk, lm screening, gallery
walk were also organised as a part of the exhibition.

Carpe Diem
The Shaurya Foundation presented 45 artwors photos
of Ishaan Suri. The exhibit curated by Sakshi Mahajan
was held from 131 May at Select Cityw alk mall, New
Delhi. Moreover, the photographs displayed were from
Ishaans travel expeditions to central Europe and Asia.
To transform the image into an abstract art, Ishaan
used digital post processing.
Enchanted by India
On the 50th death anniversary of Hungarian art
historian, Ervin Baktay, the Hungarian Information
and Cultural Centre (HICC) and the India International
Centre organised an exhibition from 717 May. At the
opening, Prof Geza Bethlenfalvy and Dr Margit Koves
presented a lecture which was followed by an exhibition
opening and a lm screening on the life of Ervin Baktay.
Workshop Young Photographers
A children photography workshop for three age groups
of 4 to 7 years, 8 to 11 years and 12 to 18 years took
place in Kolkata. Organised by the Council For Cultural
Relations (ICCR) from 2027 May, the workshop taught
children aspects of composition and lighting techniques.
Selected pictures from the workshop were also put up
in an exhibition.
Homelands
British Council presented Homelands: A 21st Century
Story of Home, Away, and All the Places In Between.
The exhibit curated by Latika Gupta took place from
28 April9 June at Dr Bhau Daji Lad Mumbai City
Museum, Mumbai. The artworks were culled from the
British Council collection and focussed on transforming
identities, belonging, alienation and varied geographies.
Over 80 works by 28 artists like David Hockney, Tim
Hetherington, Martin Parr were displayed. As a part of
the exhibit, a talk by Mona Hatoum, Anthony Haughey,
Zineb Sedira and Suki Dhanda was held on 29 April.
The show will travel to Bengaluru by June.

EVENTS
Through the The
Homeless series,
Angus Boulton shows
the plight of homeless
through their things.
This was a part of the
Homelands exhibit.
June 22
Post Processing
Workshop with
Phillip Ross
Toehold Seminar Hall, Bengaluru
Amateurs who have
no idea about post
processing can
attend this workshop.
Participants however
should understand
the basic concepts
of photography.
Charges are Rs. 3,900.
To register, visit www.
toehold.in/
2223 June
Workshop by
Sachin Rai
Hotel Forte, Chennai
Toehold organises
another workshop
for amateur
photographers.
Sachin Rai will be
conducting this
workshop. Charges
are 6,200. To register,
visit www.toehold.in/

1314 July 2013
Workshop with
Rahul Sachdev
E-Mall, Kolkata
For beginners, this
photography workshop
will aim to improve your
skills as a phtographer.
There is no age-limit.
Just bring your DSLR
or point and shoot
compact and a few
pictures on a pen drive.
Charges are Rs. 4,900.

514 July
Magnum Ke
Tasveer
NID, Ahmedabad
Magnum Photos and
Tasveer will highlight
some of the best
photographs of India
photographed by eight
Magnum photographers.
Raghu Rai, Werner
Bischof, Olivia Arthur
are some of the
Magnum photographers
whose work will be
displayed at the exhibit.

JUNE 201 3
28
Photographs of Syria Sweep Pulitzer Prizes
B
oth winning photographs of the 2013
Pulitzer Prize for photojournalism
are from Syria. A ve-member team from
the Associated Press won the Breaking
News category for their coverage of
Syrias civil war. The winning team
included Rodrigo Abd, Manu Brabo,
Narciso Contreras, Khalil Hamra and
Muhammed Muheisen. The work of these
photographers captured the manner
in which the conict has affected the
civilian population.
Javier Manzano, a freelance photographer
working with Agence France-Presse won
the Pulitzer for Feature Photography.
His dramatic image shows two Syrian rebel
soldiers holding their positions as light
streams through bullet holes in a tin wall.
The Pulitzer Prize is one of the
most prestigious award in the world
of journalism. Every year, the award is
presented to deserving photojournalists
for their distinguished bodies of work
from around the world.
Javier Manzano Manu Brabo
Light streams through the multiple holes in a tin wall
made by bullets and shrapnel as rebel soldiers take aim.
Displaced Syrian men wait for food near an NGO kitchen
in a refugee camp near Azaz, Syria.
Angus Boulton, From The Homeless London 1995-2000.
Olivia Arthur/ Magnum Photos
SNAPSHOTS
B E T T E R P H O T O G R A P H Y JUNE 201 3
30

Since Adobes ofcial
US release of Creative
Cloud in April 2012,
the creative sector
has responded quite
enthusiastically. We have
seen an incredible
uptake, with more than
one million individuals
in the US and around
the world, joining Adobe
Creative Cloud. Our goal
is to now make Creative Cloud the ultimate hub
for professionals in India, where they can access
the worlds best tools; store and collaborate
across their workplace and ultimately showcase
their creations. We are excited by the immense
potential this holds for a country like India.
With the easy availability of our products
through the Creative Cloud and the attractive
price points, we do see a signicant impact
on the piracy rate of the products. The Cloud
brings with it great promises for the Indian
market, where the product has traditionally been
positioned as a premium offering.
With its subscription-based pricing model, the
Cloud brings down the total cost of ownership
for professionals and organisations. It also takes
away the headache from organisations who want
to stay updated to current versions of tools.
It helps them leverage product innovation as and
when they are introduced. Both these factors
will likely change the dynamics in favour of Adobe
India in the the times to come, as it positions the
offering for a mass adoption.
As told to Ambarin Afsar
I NDUSTRY VOI CE
We are excited by the immense
potential that Creative Cloud holds for
a country like India.

Honouring Pilgrimage
Te Tirthanche Maher is one of the rare regional photo books out in the market. It showcases the three-week
long pilgrimage that the Warkaris of Maharashtra undertake from Dehu to Pandharpur in Maharashtra.
But more than simply being a photo book, it takes you on a chapter-by-chapter visual tour of the entire
journey in 188 exhaustive pages.
Publishing a book catering to regional readers often comes with a lot more challenges
than usual. It needs to be affordable and at the same time, needs to make a strong
connect with the readers. This book does exactly that. It is well compiled, with equal
importance given to the text as well as the images. As you ip through the pages of
the book, you come across the story behind every ritual and the relevance of important
locations along the journey. What is truly captivating about this book is the intermittent prayers
and scriptures in an interesting, traditional typography.
While the hardbound cover is impressive at this price, the print quality leaves a lot more to be
desired. A rather amusing thing that one notices in the book is a double-page advertisement spread in the rst
few pages of the book. It is probably the rst time you will see this in a photobook.
The Warkari pilgrimage is a very divine event and one of the most signicant traditions in Maharashtrian
culture. The book does justice to this and puts the experience on paper to treasure the memories. This is a good
enough reason to buy this book.
written by Ketan Kundargi
Title: Te Tirthanche Maher
Author: Shirish Shete
ISBN: 978-9-3805-4947-7
Publisher: Maitrey Prakashan
Price: Rs 500
BOOK REVI EW
Umang Bedi
Managing Director - South
Asia, Adobe
S
amsung Singapore was in the middle of
a copyright infringement controversy as
it published a photographers work without
permission as an advertisement on its
Facebook page. To make it worse, the image
was not even shot with a Samsung camera
as the post claimed. Photographer Danny
Santos II noticed his image shared on
Samsungs Facebook page with the text,
Crisp. Cinematic. This street shot is taken
by one of our Samsung photographers!.
His protest saw several comments and the
shares began making the rounds of the web.
However, Samsung quickly took notice
about the issue and publicly apologised to
the photographer about the mistake.
Samsung Faces Copyright Controversy, Apologises
Camera Technology Helps Locate Boston Bomber
U
nlike ever before, camera technology
was used extensively in the Boston
Marathon investigations in the US.
Right from identifying the suspects to
hunting down the second bomber, cameras
played a key role in the investigations.
Two pressure cooker bombs exploded
in Boston, USA, on April
15, 190 metres away from
the nish line of the Boston
Marathon, killing three
people and injuring 264.
In the immediate aftermath,
investigators turned to
crowd-sourced photographs
and surveillance video
to put a face to the two
Boston marathon bombers.
Images from countless
cameras and cellphones
were used by investigators
to analyse the events of that day and pin
down the two suspects.
When Dzhokhar Tsarnaev, the younger
of the two Boston bombing suspects, was
discovered, the cops enlisted the help of
an infrared aerial camera to conrm his
location before the police got him out.
This infrared photo taken from a police helicopter shows Boston bombing suspect
Dzhokhar Tsarnaev, the white gure in the centre, hiding in a boat.
EXCLUSIVE TESTS
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a comprehensive
Buyers Guide
www.betterphotography.in
A TRIBUTE TO ICONIC PH00100BN||B H0M| VYBd|| P0Y 20 NOMINEES
Better Technique. Better Insight. Better Pictures
Capturing memories of letters
written by one's grandfather
Craftsman O P Sharma on
his love for the darkroom
Magnum legend Martin Parr
talks of photographic clichs
Using Creative Commons to
share your images safely
Craftsman O P Sharma on Magnum legend Martin Parr Using Creative Commons
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6
8

fo
r M
o
re
E
xcitin
g
O
ffers!
J
apanese camera manufacturer Panasonic
has entered the smartphone market with
its rst Android smartphone. The P51 runs
on Android 4.2 Jelly Bean, boasts of dual-
SIM capabilities and has a 720p HD 5inch
IPS display. It packs a 1.2GHz quad-core
processor, 1GB of RAM and 4GB of internal
memory. For Rs. 26,900, the phone is set
to face tough competition from Samsung
Galaxy SIII and LG Nexus 4.
The company has also launched two
7-inch tablets, the Toughpad FZ-G1 which
runs on Windows 8 and the Toughpad JT-B1
which runs on Android. Since this has been
an untapped market for Panasonic, we are
curious to see how they perform.
P51: Latest Mobile from Panasonic in India
T
he past month has seen two new
back-to-back Nokia Lumia launches.
With this, it is clear that Nokia is
concentrating on improving its imaging
abilities in a bid to increase its popularity.
Yet, disappointingly
enough, neither of
the two Windows
Phone 8 smartphones
have technology like
the Nokia 808-like
PureView.
The Nokia Lumia
925 features a 8.7 MP
CMOS sensor, an f/2
lens and optical image stabilisation just like
the agship Lumia 920. However, it comes
with an improved lens design featuring
six elements and the capability to shoot
at ISO 3200. Nokia also claims that image
processing in the Lumia
925 has been signicantly
improved and that it now
offers better low light quality.
The Lumia 928, on the
other hand, is only a minor
upgrade of the Lumia 920.
The LED ash on the 920 is
replaced by a Xenon ash on
the 928.
New Lumia Phones With Improved Camera Ability
A
fter launching the water-resistant
Xperia Z, Sony has taken a
step further and announced a new
dust-resistant and completely waterproof
smartphone. The new Sony Xperia
ZR can be used up to a depth of ve
feet for up to 30 minutes at a stretch.
So, one can jump into a pool with the
Xperia ZR instead of buying a separate
tough waterproof camera or underwater
housing. The Android phone has a 13MP
Exmor RS sensor, a 4.6-inch display
screen, 1.5GHz quad-core processor and
2GB RAM. It will also have a dedicated
camera button which should
be a great addition when using
the cameraphone underwater.
The smartphone will be
launched by Sony in the
market sometime during the
second half of this year.
With underwater cameras
already costing a bomb,
having waterproong built
into a smartphone is bound to
be popular. The threat posed
by smartphone cameras to the
compact camera market only
seems to increase each day.
New Smartphone To Take Snaps Underwater
T
amron has opened a subsidiary
company, Tamron India Pvt Ltd,
in a bid to expand its operations in
India. This will enable Tamron to have a
better understanding of the market and
design products to cater to the needs of
Indian photographers.
Morio Ono, President & CEO of
Tamron, Japan would be inaugurating
the new ofce on 5 June 2013. We look
forward to see how this will affect Tamron
operations in India.
Tamron Launches
Indian Subsidiary
Google+ Now Selects
And Edits Your Images
G
oogle is rolling out a new update
that will makes Google+ a strong
contender among photographers
social networks. It includes four new
features, all of which are completely
automatic. They are customised to
backup your pictures, select your best
photos, postprocess them and create fun
GIFs out of your images. If they are as
effective as Google claims they are, it will
be a great platform for photographers
to store, organise and edit their
photographs with ease.
Auto Highlight uses a complex
algorithm to highlight the best photos
from your image dump. It also throws out
any blurs or duplicate images, making
a selection of just the good images.
Auto Enhance then picks up these
photos to apply automatic corrections.
Brightness, contrast, noise and other
aspects are tweaked for best results.
36
SNAPSHOTS
B E T T E R P H O T O G R A P H Y JUNE 201 3
Want to have a phot of yourself with George
Bush? Or a snapshot of the time you landed on
the moon even if you have never been there?
If yes, then this free app is perfect for you.
Funny Photo Maker is a photo editor that lets
you select an image and then crop faces to
t fun frames, movie posters and hilarious
backgrounds. It also allows you to add animation
effects to your photos or make GIFs.
Pick a photo you want to use, choose the
effect you want and instantly view the results.
But beware! Some of the results might result in
you falling off the chair laughing! The ease of using
the software ensures that anyone can create fun
pictures with a single click of the button.
One of the shortcomings of this software is the
inability to control the exposure of your image so
that it blends with the background frame. While this
software will not deliver images that are perfectly
alligned, rest assured that it will provide enough
fun for you to be entertained for hours.

Ketan Kundargi
SOFTWARE OF THE MONTH
Funny Photo Maker
K
e
t
a
n

K
u
n
d
a
r
g
i
www.photography-now.net
With a name like Photography Now, you would
expect the website to be a resource for the latest
events, launches and news about photography.
However, it is everything but that. Instead, the
website showcases the work of the great
masters of photography and a few contemporary
photographers. Rather than simply publishing the
work as a slide show of the images, Photography
Now shows them off in a classy and unique
photobook style layout.
The website has drop-down menus with links to
several magazines, a few blogs and book publishers.
Some of the best resources on the internet are listed
amongst these links. However, disappointingly, none
of these links work.
With 73 photographers exhibiting their work,
you can spend hours going through the images for
inspiration. The website stays true to its claim and is
indeed an excellent one-stop place to connect with
your creative vision.
Ketan Kundargi
WEBSI TE REVI EW
Photoshop CC: Only Available On Subscription
Adobe Launches Public Beta Version of Lightroom 5
A
dobe has announced the latest version
of Photoshop CC, the Creative Cloud
version of its most popular photo editing
software. The updated version packs some
new powerful features making Adobe
Photoshop CC, a very interesting launch.
Adobe has nally brought out the new
Camera Shake Reduction tool which
promises miraculous xes
for your blurry shots. It also
includes an updated RAW
engine and a very effect Smart
Sharpen tool.
But here is the catch!
This new version of the software
will only be available through
the Creative Cloud subscription
plan. This means that while the
software is installed on your
computer, you will still not own
it. Users will have have to pay a monthly
charge of USD 30 (approx. Rs. 1620) to
continue using it.
While Adobe has made this move in a
bid to curb piracy, it is the photographers
who have to pay the price. One will end up
spending more money in the long run than
they would on a one-time purchase charge.
T
he announcement of Adobe Lightroom
5 public beta has taken everyone
by surprise. The beta launch comes 13
months after Lightroom 4 was launched.
This launch features the introduction of an
advanced Healing Brush along with a new
Radial Gradient, Smart Previews and other
features. However, this version is no longer
compatible with Windows XP, which is still
used by many Indian photographers.
As the next version of Adobe Photoshop
is being shifted to Creative Cloud, most
photographers might turn to Lightroom as
an affordable photo editing solution.
SNAPSHOTS
B E T T E R P H O T O G R A P H Y
38
P
anasonic launched three new cameras
for Asia-Pacic during an event
held in Bali, Indonesia on 13 May 2013.
The event saw the company introducing
two new mirrorless cameras, the
Lumix GF6 and Lumix G6 as well as an
enthusiast point-and-shoot Lumix LF1.
Panasonic aims to capture 25%
of the mirrorless camera segment, and
the Lumix GF6 and Lumix G6 are a step
in this direction. Less than a year after
releasing the G5, Panasonic has already
launched the updated G6.
The mid-range interchangeable lens
MFT camera is expected to give entry-
level DSLRs a run for their money.
The GF6, on the other hand, is a more
compact mirrorless camera.
The LF1 is an upgrade of the
LX1. It is one of the rst cameras in
Panasonics upcoming lineup of of
WiFi enabled RAW shooting advanced
compact cameras.
Three New Cameras From Panasonic
T
hird-party lens manufacturer Sigma
has been making a name for itself
by launching some excellent lenses in
the past few months. Their latest lens
announcement, the1835mm f/1.8, breaks
new ground in the industry. It is the worlds
rst lens that offers a xed f/1.8 aperture
throughout its zoom range. It has a new AF/
MF switch, a hypersonic motor for speedy
and stealthy autofocusing, full time manual
focus override, a brass mount and rugged
build quality.
Sigma Announces
Fastest Zoom Lens Yet
Finally! Freeware to
Tether Nikon Cameras
U
nlike Canon, Nikon camera users
have had very few options when it
came to controlling their cameras from
a PC. A newly launched free software
called digiCam Control lets you access
Live View, focus, expose and trigger your
shutter remotely. It also has features for
sequences, bracketing, time-lapse and
focus stacking in addition to shooting
single frames. Once a picture is taken, you
can also control the image transfer, naming
and storing the le to your computer from
inside the program.
T
he new Olympus PEN E-P5 is the
companys new agship Micro Four
Thirds PEN mirrorless camera. It features
a pleasing retro styling on the outside
and powerful specs on the inside. The
camera is modeled after the old Olympus
PEN F SLR and was launched on the 50th
anniversary of the same.
The E-P5 packs the same core as the
Olympus OM-D EM-5. Also, with the
E-P5, WiFi makes its rst appearance in an
Olympus camera. It can be used with the
companys smartphone app to instantly
Retro Styling Comes to Olympus with the E-P5
share images and use a remote shutter.
The camera has been priced at USD 1000
(approx. Rs. 54,720 ) for body only.
Hasselblad V System Cameras Come To An End
H
asselblad has killed off its popular
503CW medium format cameras.
This means that its V System line of cameras
is ofcially coming
to an end. This marks
the end of over a half
century of evolution
for the companys
original camera line.
The Hasselblad V
System was rst
introduced in 1948
as founder Victor
Hasselblad wished to
see a camera that is as easy to hold as a Leica,
but which shot medium format lm.
The 503CW was one of the most
popular medium
format cameras
among professional
and amateur
photographers since
it was launched
17 years ago.
However, dropping
number of sales led to
Hasselblad reluctantly
scrapping the camera.
From L to R: Hiroyoshi Suga, Ichiro Kito and Junichiro
Kitagawa from Panasonic pose with the latest cameras.
Shridhar Kunte
SNAPSHOTS
40
B E T T E R P H O T O G R A P H Y JUNE 201 3
42
23rd TIPA Awards Recognise the Best of Photo Industry
Better Photography Now a Member of TIPA
Best DSLR Entry Level
Canon EOS 100D
Best Digital SLR Advanced
Nikon D7100
Best DSLR Expert
Canon EOS 6D
Best Video DSLR
Canon EOS-1D C
Best Entry-Level DSLR
Lens
Sigma 17-70mm F2.8-4
DC MACRO OS HSM

Best Expert DSLR Lens
Sigma 35mm F1.4 DG
HSM
Best Easy Compact Camera
Nikon COOLPIX S01
Best Rugged Compact
Panasonic Lumix DMC-
FT5 (DMC-TS5)
Best Superzoom
Nikon COOLPIX P520
Best Expert Compact
Fujilm X20
Best Pro Camera
Leica M (Typ 240)
Best Professional Lens
Canon EF 2470mm
f/2.8L II USM
Best CSC Entry Level
Olympus PEN E-PL5
Best CSC Advanced
Samsung Smart Camera
NX300
Best CSC Professional
Panasonic Lumix DMC-
GH3

Best CSC Expert
Fujilm X-E1
Best CSC Entry-
Level Lens
Nikon 1 NIKKOR
1127.5mm f/3.5-5.6
Best CSC Expert Lens
Sony 1018mm f/4 OSS
Best CSC Prime Lens
Fujinon XF 14mm f/2.8 R
Best Premium Camera
Sony DSC-RX1
Best Mobile Device
Samsung Galaxy Camera
Best Pro Camcorder
Sony NEX-VG900
Best Expert Photo Printer
Canon PIXMA PRO-10
Best Inkjet Photo Paper
ILFORD GALERIE
Prestige Mono Silk

Best Photo Software
DxO Optics Pro 8
Best Multifunction
Photo Printer
Epson Expression XP
Best Mobile Photo App
Tiffen Photo fx Ultra
Best Photo Monitor
LG IPS ColorPrime
27EA83
Best Photo Accessory
Metabones Speed
Booster

Best Portable Lighting
System
Nissin MG8000 Extreme

Best Imaging Storage
Media
Panasonic SDHC Gold,
Silver and Blue, series

Best Tripod
Vanguard ABEO PRO Kit
283 CGH and GH300T
Best Photo Bag
Vanguard Quovio 41

Best ActionCam
GoPro Hero 3

T
he next time you log on to the Technical
Image Press Association (TIPA) website,
do not be surprised to see us there! That is
because Better Photography magazine is now
a member of the elite organisation. BP was
accepted as the newest member of TIPA
during its General Assembly in April 2013.
TIPAs association with BP shows the
organisations aim to transform into a
global organisation.Its globalisation
strategy represents a shift from simply
being a Europe-based organisation, to
being a worldwide organisation that
works in partnership with its members
across borders and cultures.
TIPA now has a membership of 28
photo and imaging magazines from
15 countries, across ve continents.
TIPA has continuously strengthened
and grown to increase its readership
and reach out to more and more
photographers and enthusiasts.
B E T T E R P H O T O G R A P H Y JUNE 201 3
SNAPSHOTS
T
he Technical Image Press Association has
announced the 23rd edition of the renowned
TIPA Awards. These awards highlight the best
photo and imaging products introduced in the
market during the previous 12 months. Selected by
an esteemed jury of 27 member magazines across
14 countries around the world, TIPA editors take
into account innovation, the use of cutting edge
technology, design and ergonomics, ease-of-use,
as well as price/performance ratio before any
product is awarded a prize. As a result, these awards
are highly coveted in the industry. Some of the
prominent award categories are listed below:
Photographers Banned
from Beyonc Concert
E
arlier last month, unattering
photos snapped by photographers
during a Beyonc concert left the artist
fuming. These images soon became viral
and turned into humorous memes on
the internet.
So, in a bid to make sure that it does not
happen again, Beyonce has completely
banned pro photographers from
her concerts. Newspapers and magazines
looking to publish pictures of the star will
have to register to receive a selection pre-
approved photographs.

Driven to
desperation by her
husband, Girija poured
kerosene on herself and
set herself on re.
Helena Schtzle
Documenting Stories of Women Subjected to Violence
LOOK WHO S SHOOTI NG
Often, parents
who had
themselves
experienced
the distress
of childhood
marriage, still
subjected their
children to the
same practice.
Helena Schtzle, a German photographer, rst visited
India when she came to photograph the country in
2006. On her second visit to India, she started to
travel with photographer Sudharak Olwe. He was
then teaching photography at an organisation called
Vanangana, which worked with women who were
subject to violent domestic abuse, in Uttar Pradesh.
It is here that she rst started working on her series
Circle of Everyday Violence. The rst images were
made during her days with Vanangana. This eventually
sparked her project on documenting the hardships
faced by Indian women.
In the beginning, being a Western woman, she
found it difcult to nd access into the world of
the Indian women. Gradually, as she started living
amongst the women, she found insights into their
lives. I interacted with several women, both strong
and interesting. And yet, only a few of them could
resist the violence they were faced with.
Over the past few years, Helena has made several
trips to India to continue her work. Every time she got
to know another woman who had a story to violence
to tell, I would make her portrait and capture her
story in words and pictures. She says, I dont know
whether a single photographer can bring societal
change, but the more people draw attention to
violence against women, the more likely it is, that
change will happen.
Written by Ketan Kundargi
Helena Schtzle
Indian Photographer in FotoVisura Grant
P
oulomi Basu is one of the top nalists
of the FotoVisura Grant 2013 for
Outstanding Personal Photography
project. Her series, To Conquer Her
Land, was placed second from over 800
submissions from across the world.
This series documents the lives of women
in the Indian Armed forces. She says,
The Indian woman in the forces is not
only battling against the enemy, but also
against a largely patriarchal society.
Poulomis work focuses on projects
in India that explores the role of
marginalised rural women. She is
currently working on a project that
explores the world of Naxal women.
Shabbo Kumari at the border Indo-Pak of Attari,
Punjab. October 2011.
Poulomi Basu
SNAPSHOTS
B E T T E R P H O T O G R A P H Y JUNE 201 3
44
The Single Photograph:
Thoughts on the Project Windmill
Colberg is the founder and editor of the Conscientous blog, which led him to be included in American Photos list of Photography Innovators of 2006. This article was rst
published on Conscientous Extended (www.jmcolberg.com/weblog/extended), where he publishes longer articles and interviews.
V I S UA L MU S I N G S
B E T T E R P H O T O G R A P H Y JUNE 201 3
45
A
sk any photographer what theyre working on, and theyre
sure to tell you about their project. Its almost as if these
days photographers dont take pictures any longer, they
take projects. This being the internet, it would be tempting to
simply nd someone to blame. Pretend youre raising a question,
and youd be ready to go: Have art schools (alternatively: galleries,
bloggers, photographers, photobooks, everybodys grandmothers,
whoever else you can think of) killed photography by insisting
on projects? But its easy to see how little would be gained from
that approach. Instead, it might be worthwhile to try to probe a
little deeper.
I started thinking about single photographsas opposed to photo
projects - when I was walking around with my Fuji Instax camera
while teaching photography earlier this month. There I was, talking
mostly about projects, even asking photographers what kind of
project theyd like to work on; and at the same time, I was looking
for photographs that had nothing to do with a project.
Teaching (the non-technical aspects of) photography is hard.
How do you teach someone to express themselves in a creative
way? Without going too much into the details of how I believe this
can be done, its almost too obvious to point out that starting from
something that is not a photo can beand usually isa wonderful
set of training wheels: What are you interested in? That which
a student might be interested in can then, often with all kinds of
modications and usually with all kinds of clarications, turned
into a project.
Its important to keep in mind what project here can mean:
A project can literally be anything, whether its an artful almost-
reportage on a community of like-minded people in some very
specic location, or a set of photographs that were created under
similar conditions and that reect the photographers mindset
reacting to those conditions. I noticed that when talking about
projects many people love to assume that a project always is
something that is very obvious, very clear. But often, it isnt.
A typology of portable toilets in all likelihood is. But many projects
are only clear in the sense that when you see them you feel that all
these photographs belong together and convey something that
feels whole. People love talking about art schools as focusing on the
former, whereas in reality thats absolutely not the case.
Add to that the fact that we have become very literate in
terms of what photographs can do, how they can work. Put two
photographs next to each other, and we start nding something
else, the third photograph, to use a phrase by Michael Schmidt.
This is where photography gets especially juicy: a project with, say,
20 photographs in reality often has many more images in it. Its just
Jrg Colberg
that most of them are invisible. Theyre created in the viewers
minds, from the skeleton provided by the 20 pictures. This often
(always?) is where things get really interesting. And it is here where
we can witness the strength of the contemporary photobook.
The project problem thus changes once you consider the
various nuances that are involved. But there is more still. As it
turns out, there are quite a few photographers who essentially
produce single, individual images. Those photographs might exist
in some sort of project (or photobook), but they are only loosely
connected to each other. Loosely, but not so loosely that there isnt
something that holds them together. At the very least, there always
is something that holds photographs together: the photographer.
Of course, if you cast your net very wide, every photo lives in a
project. I wouldnt want to necessarily go into that direction, but
its important to keep this in mind.
And even if none of this convinced you, if you are the
photographer who only produces single photographs that have
nothing to do with each otherisolated little beautieswhy
wouldnt have you a place in this world? Why or how would what
the rest of the world does affect you? I have a funny feeling that the
answer might come across the lines of: I will not be as accepted
because I am supposed to do projects. Which is simply not true.
As convenient as the idea of the art world being dominated by a
small cabal of people might be, a cabal that dictates what is allowed
and what is not allowed, the reality is that that cabal does not exist.
If youre a single-photo photographer, it might be time to stop
ghting the project windmill.
L
i
s
a

G
i
d
l
e
y
I wanted to be someone
worth looking up to.
Better Photography remembers the person behind some of Bollywoods most iconic
photographs, who brought fame to several celebrities.
B E T T E R P H O T O G R A P H Y JUNE 201 3
(19542013) Jagdish Mali
The Man, His Memories
His rst camera was a Mamiya
which I had suggested. Some of
his early enigmatic photos of Rekha
were shot using this.
Jagdish was a student of mine at the Pillai
School of Photography. His father and
I were good friends. I remember his dad
being anxious about him enrolling in the
courses offered at my school.
Although he came from a vernacular
background, he overcame all
communication barriers and performed
really well. In fact, he shot to fame just
a few years later, and yet, this never
changed him as a person.
However, we did lose touch over the
years. But as I recall, our last interaction
was roughly around three years ago.
We spoke about meeting and catching up.
He even insisted on coming himself and
seeing me. But it never happened. I think
I will remember him the most, as being a
humble and nice person.
Dr P K M Pillai, founder of the rst photography
school in India, Pillai School of Photography.
His photographs have always
struck me as being fresh and
innovative, considering the times that
they were shot in.
It was only 1015 years ago when I met
him for the rst time. I remember Jagdish
being the person who always stood out
from the crowd. After all, you would not
see anyone else donning a cap and a pair
of shorts, the way he did. As a person,
he was friendly and exuded warmth.
Our last interaction was a Facebook
message he left me, Whats up in the
photography world?
Ian Pereira, advertising and
industrial photographer.
TRI BUTE
46
Jagdish Mali
Jagdish Mali Jagdish Mali
TRI BUTE
B E T T E R P H O T O G R A P H Y JUNE 201 3
TRI BUTE TRI BUTE
I
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D
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47
I have always known him to be a
simple and honest man.
How do I summarise Jaggi? Where do
I begin? Our friendship goes way back to the
1980s and I used to wonder how a man of
his nature would cope with the complicated
egos of the lm industry. But Jaggi was an
uncomplicated man, which is why he rose to
great heights. He loved cats and everything
from clothes to fashion accessories like
headgear and belts. He loved to look
different, a characteristic that his photos had.
Ashok Salian, fashion and art photographer.
He willingly welcomed everyone.
I met Jagdish Mali very early in
my career through a few mutual friends.
He came across as a warm and friendly
person. We did not interact much but I have
heard people comment that he is one of the
easiest photographers to work with.
Dabboo Ratnani, advertising, fashion and
celebrity photographer.
His photographic process was
free-spirited and organic... there
was nothing pseudo about him.
He was another Jaggu, just like me.
A complete hippie he wasbohemian,
rebellious, crazy, exactly the way I feel
about life, which is why we were such
good friends. My rst outdoor shoot was
done by Jaggu. This was just after Hero had
released. We just went for a walk, chatted
about life, our beliefs... while we walked,
he spontaneously clicked away... I didnt
even realise when the pictures got made!
Man, nostalgia has kicked in while I say
this. Everyone will miss him. Quite simply,
the coolest dude I have ever known.
Jackie Shroff, actor
Born to a middle class family in Mumbai,
Jagdish Malis gift for photography was
apparent at a very young age. He was
the most sought after photographer in
Bollywood. However, due to deteriorating
health, he passed away on 13 May. Better
Photography will fondly remember this
legendary portraitist.
JUNE 201 3
48
TEST
Fujilm X100S
... is what Raj Lalwani feels, as he rediscovers the gaze of love, while
peering through the viewnder of the Fujilm X100S.
A Sense of Wonder
S
trange things happen when you
travel. I was in Delhi last month,
and a few hours into the trip,
I was suddenly hit by a sense of
longing. Visuals tend to do that to
me, they spur off memories of a long time
ago. I pressed the shutter and sighed.
Features
This is like an affair revisited. I tested the
X-Pro 1 exactly a year ago, and the X-E1,
soon after. They both had their share of
aws, but there is nothing better than a
camera that makes you want to shoot more,
alters your way of seeing and shows you a
different side to your own self.
As I sprung out of my nostalgia, I looked
at the X100S, and realised how similar she
was, to the earlier X cameras. The original
X100 was the camera that set the ball rolling,
but though it had its share of admirers, they
seemed to share a complicated relationship
with it. Focusing was slow, write times poor,
there were an insane number of bugs and
manual focus was downright unusable.
The X100S has a 16.3MP X-Trans sensor,
similar to the one used in the X-Pro 1 and
the X-E1. Though it is not full frame, it is
one of the most special digital chips in the
photographic world right now.
It does not have an AA lter, which
signicantly improves sharpness.
But unlike other cameras that have taken
this decision (Nikon D7100, COOLPIX
A), there is no visible moir, due to an
innovative colour lter which simulates
TEST TEST TEST
GearGuide
48
HOW WE TEST
Product Categorisation
We rst segregate products
into categories for the purpose
of equitability in testing.
The DSLR is divided into
entry-level, semi-professional
and professional categories.
For compacts, we distinguish
between advanced and basic
compact cameras. Similarly, we
also test consumer and pro
lenses, ashguns, printers, and
other photographic accessories
and gear.
The Process
We primarily test for features,
performance, build, ergonomics,
warranty and support. While this
remains constant, the weightage
we give to these parameter
differs from category to
category, because different
types of consumers have diverse
expectations from products.
Final Ratings
Under each main parameter,
we list out hundreds of individual
variables (for eg. colour accuracy
for individual colours in different
lighting, individual features,
dynamic range, center-to-edge
denition, light falloff, etc) against
which we either give points
or simply mark yes or no.
Thus, we arrive at a score for
that parameter, and then, the nal
score, denoted as a percentage.
Additionally, based on the current
pricing of a product, a star
rating for Value for Money is
considered. Value for Money does
not affect the nal percentage,
because prices for products
change constantly.
Our Seals of Approval
Any product that scores 80%
or higher in individual tests gets
BP Recommendeda seal
of approval from our team.
In comparison tests, we also tag
products as BP Best Performer
and BP Best Value for Money.
BP Excellence Awards
At the end of the calendar year,
the highest rated products in
each category automatically
win the Better Photography
Excellence Award. This is
Better Photographys recognition
of the very best products
launched in the course of the
year, and the companies that
made them.
B E T T E R P H O T O G R A P H Y
WEIGHTAGE OF
PARAMETERS
Features
Performance
Build Quality
Ergonomics
Warranty &
Support
20%
15%
40%
20%
5%
TEST
B E T T E R P H O T O G R A P H Y JUNE 201 3
49
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WHATS IN THE BOX
lm emulsion rather than a conventional
digital sensor pattern.
The 35mm eld of view offered by the
xed lens remains unchanged from the
X100. Easily my favourite focal length, it is
relatively normal, considering that it does
not give a dramatic perspective. It also
forces you to be closer to your subject,
than you would with a standard 50mm
lens. Based on how close you get and how
you play with foreground-background
relationships, there is a lot that can be done
with a lens like this.
The camera shoots Full HD video at 60fps,
but the lack of image stabilisation really
hurts video capture. One can use Advanced
Filters like Pop Colour and Toy Photo, some
of which I enjoyed using with the ash
capabilities of this camera.
Handling
Analogue-style dials for aperture,
shutterspeed and Exposure Compensation
ensure that you rarely need to get into
the menu of the camera, if ever at all.
I sometimes wonder why certain camera
manufacturers cannot understand that such
simplicity is all that one needs.
It is the simplicity and constraints that
actually set you free, without too much of
gadgetry to come between the pictures you
see and the ones you end up making.
The X100 was lled with several other
constraints (read that as aws in this case),
but Fujilm seems to have listened to all
the complaints. The X100S gains on-sensor
phase detection autofocus, which has
largely improved the AF performance.
Manual focus lovers, rejoice! The X100S
allows you to use focus peaking to gauge the
area that is in focus. If you are zone focusing,
the camera remembers the distance setting
even after being switched off.
Most importantly, the X100S has a
splitscreen viewnder display, identical
to the one used in fully manual cameras
of yore. The display does this by using the
phase-detect data from the sensor. It is
All the speed
problems that plagued
the older X cameras
are now gone. The S
in the X100S probably
stands for speed!.
Exposure: 1/200sec at f/8
(ISO 400)
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TEST
TEST
Nikon A
Cooler than other
COOLPIX cameras
54
TEST
Olympus VG-190
Basic P&S with
not-so-great quality
64
TEST
Micro Test
Think Tank bag,
Peak Design Capture
66
B E T T E R P H O T O G R A P H Y JUNE 201 3
50
TEST
ERGONOMICS
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PLUS
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optimal yet
MI NUS
to Fujilms credit that they have been
the rst camera company to implement
something so simple, yet so practical.
The optical viewnder is a joy to use in
the daytime and as light fades, it is best to
switch to the EVF, which now has a higher
resolution of 2.35 million dots.
The minimum shooting distance in the
regular, non-Macro shooting mode has
been signicantly improved (from 40cm
to 21cm). This means that one does not
need to switch to the Macro mode as often
as earlier.
Performance
The X100S is a surprise performer in
the speed aspect. Startup time, buffer
capacity, shot-to-shot lag and write
speed have been signicantly improved.
Unlike the X100 and X-Pro 1 that forced
you to slow down, the X100S matches
your urgency, step for step.
The X100S has a leaf shutter, which
allows you to sync ash at the fastest
of shutterspeeds! Combined with the
in-built ND lter, I could overpower
sunlight at high noon with a regular
ashgun! Even the on-camera ash
works beautifully, allowing just the
right amount of ambient light, even at
default settings.
Shooting with the X100S is like
juggling between different kinds of lm
emulsions. Not only can you choose
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The splitscreen viewnder makes it easy to focus manually on the y, and the use of
ISO 12,800 (to get a fast enough shutterspeed) did not affect colours in any way!
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Considering that the X-Trans sensor demands better optics, I was concerned whether
the lens would match up, but even in this photo shot at f/16, diffraction is controlled.
Test Shots
The AF mode switch, to the left of the camera,
has been redesigned. AF-C, which one would
rarely (or I would say never) use on this kind of a
camera, is now rightly in the middle, and the two
extreme positions swap between AF and MF.
The manual focus ring is far more responsive
now and works well with the focusing aids.
Unfortunately, there is no lens hood included and
the proprietary one is very expensive! Make your
own hood to avoid lens are.
Since Im a left-eyed shooter, the data-writing
signal bulb kept ashing in my eye after each
imagebest to cover it up with duct tape!
The LCD has a resolution of 460k dots, which is a
little disappointing.
Front Top Rear
AF-assist lamp
Viewnder
toggle switch
AF mode switch
Aperture ring
Hot shoe
Shutterspeed
dial
Hybrid VF with
dioptre adjustment
Irritating data-
writing indicator
Intuitive AF-point
selection button
Mid resolution
LCD screen
Threading for
mechanical
shutter release
Drive mode
dial
Customisable
Fn button
Stereo mic
B E T T E R P H O T O G R A P H Y JUNE 201 3
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TEST
F I N A L R A T I N G S
Features
Excellent Hybrid AF, leaf shutter, no IS
18/20
Performance
Class-leading noise performance, excellent
dynamic range, improved AF
39/40
Build Quality
Extremely sturdy metal body that can easily
withstand a bit of rough use
13/15
Ergonomics
Fabulous manual focusing experience, no
lens hood provided with the camera
18/20
Warranty & Support
Two-year warranty, limited service facilities
3/5
a Film Simulation mode, you can also
determine the tonal curve of the nal le.
So, do you want really soft highlights in
an overexposed photo, but dark shadows?
Or would you rather underexpose but get
detail in the shadows?
Value for Money
Who should buy it? Street and travel
photographers, those who love to use external ashguns
Why? The X100S comes close to the full frame RX1s
quality, while being almost one third its price. The leaf
shutter allows you to sync ash at any shutterspeed!
OVERALL

91%
Noise Test
This is the best APS-C sensor in terms of noise
performance, and even better than some full frame
sensors. ISO 6400, shot in RAW, opened up by more
than two stops, is remarkably detailed!
ISO 25,600 (Hi 2)
ISO 12,800 (Hi 1)
ISO 6400
SPECI FI CATI ONS
Model name Fujilm X100S
MRP Rs. 74,999
Sensor size, type APS-C, X-Trans CMOS II
Resolution 16.3MP, 4896 x 3264 pixels
LCD 2.8-inch, 460k dots
Focal range 35mm (35mm equivalent)
ISO range Auto, 2006400 (expandable up
to ISO 25,600 in JPEG)
Aperture range f/216
Shutterspeed 301/4000sec
Metering modes Multi, Average, Spot
File formats Still: JPEG, RAW; Movie: H.264
Hot shoe Yes
Battery Li-ion
Storage SD, SDHC, SDXC
Dimensions, weight 127 x 74 x 54mm, 445g
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Very few cameras allow you this
extensive a control over the nal look,
both in RAW and JPEG. Most importantly,
the ones that allow you to do so
(Olympus OM-D, for instance), do not
have a sensor which is so good, and so, the
le quality starts crumbling if you try to
open up the shadows too much.
Battery life is very good. Unless you are an
obsessive shooter, you can manage a full day
of shooting on a single charge. Compared to
competing cameras like the Sony RX1, this
is remarkable.
Conclusion
The X100 and the X-Pro 1 were endearing
because of their aws. They were useful
tools, but with a lot of constraints that
one needed to keep in mind. The X-E1
showed improvement, but the X100S is a
generation leap from each of these cameras.
Constraints are now freedom. Endearment is
now allure.
Just a cautionthis camera is not for
everyone. It makes you think, wonder,
wander. It makes you feel. If you cannot wait
for the magic to happen, you may be better
off with a conventional DSLR. If you enjoy
technology more than you crave simplicity,
you may want to look at other mirrorless
options. But if you long for a camera that
makes you fall in love every time you look
through it, maybe this is the one.
The ash balances
with ambient light
beautifully, and one can
ne tune the tonal curve
to a large degree.
B E T T E R P H O T O G R A P H Y JUNE 201 3
54
Nikon COOLPIX A
Raj Lalwani nds that the name of the Nikon COOLPIX A is not only a little
amusing, but also indicative of the experience of using this mixed bag.
Nikon, Eh?
W
hy has Nikon called their
latest COOLPIX camera A?
No, that is not a grammatical
error on my part. That is
really the name. A. Just
that. When I rst read the announcement,
I couldnt really get over the name.
So while all its on-paper specications
suggested that it would be way cooler
than other COOLPIX cameras, I kept
wondering whether there are any hidden
implications of the name.
Features
At rst glance, A seemed to stand for being
an A-lister. Or maybe APS-C. After all, the
company has managed to t in a 16.2MP
DX sensor inside a camera body that is
only around 10% larger than the pocketable
Sony RX100. This is a similar sensor to
the one we had seen in the superb D7000,
which produced such brilliant dynamic
range and noise performance.
A could also stand for Acuity. Unlike the
older D7000, this camera does not have
an optical low-pass lter. This increases
chances of moir, but while producing
better detail, sharpness and acuity. To make
best use of the sensors capabilities,
the camera allows you to shoot 14-bit
uncompressed NEF les as well.
Or maybe A = Adult. Or Advanced.
This is not a camera for the beginner.
After all, there is no zoom. With a xed
lens that gives a eld of view similar to
a 28mm, the COOLPIX A is only for
those who appreciate that kind of wide
focal length and know how to make
TEST
WEIGHTAGE OF
PARAMETERS
Features
Performance
Build Quality
Ergonomics
Warranty &
Support
20%
15%
40%
20%
5%
B E T T E R P H O T O G R A P H Y JUNE 201 3
55
Unlike most lenses,
the Nikon As optics do
not suffer much from
diffraction, giving sharp
images even at f/16.
Exposure: 1/1000sec at
f/16 (ISO 3200)
best use of it. Landscape photography,
check. Street photography, check.
Environmental portraits, check. The Nikon
A is perfect for intimate shots, where you
are not only a part of the action, but at its
very heart.
All of this sounds great, but here is
where the cameras name starts to sound
like a cruel joke. The camera does not have
a viewnder. So if you are a traditionalist
who loves the experience of holding
the camera to your eye, you might just
disapprove and say, Nikon, eh? Of course,
the company is selling an optional Optical
Viewnder for the A, at Rs. 25,250. No, that
is not a misprint. Nikon, eh, really?
Of course, if you do not want to spend
half the cost of the camera on a viewnder,
you can go to an ordinary store, buy a
keyhole for Rs. 250 and gure out a rig to
attach that to the hot shoe.
Video is a bit of a disappointment. It is
hidden away in the Drive modes, much
like the Fuji X100S, but the A does not
even have a direct shortcut to access these
modes. There is nothing wrong with
making a camera purely targetted at stills,
but then one cannot accept compromises
like the viewnder and ash.
Flash, did I say? The ash itself
produces excellent results, but it
does not have a Commander mode.
The rst serious APS-C compact
from the company that has a fabulous
Creative Lighting System does not
have a Commander mode. Nikon, eh?
This, despite the fact that the much
cheaper COOLPIX P7700 has the same
mode? Again, eh?
I was disappointed to see that the
camera does not have image stabilisation.
Sure, some of its competitors are not
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TEST
B E T T E R P H O T O G R A P H Y JUNE 201 3
56
TEST
In several ways, the COOLPIX A is like an oversized
P320, with a larger sensor and body. Even the
menu and interface is similar to the P320, and is
reminiscent of the companys entry-level DSLRs.
The hot shoe can mount a ash or the optional OVF. I
personally liked the On/Off switch mechanism. It was
unusual, but very intuitive. The Lens Control Ring can
only be used for manual focusing.
The layout of buttons at the back is simple, yet intuitive.
The ISO and Exposure Compensation buttons fall
perfectly at ones ngertips. The pop-up ash needs to
be raised manually to be active.
ERGONOMICS
Mode dial
Primary
control dial
High-resolution
LCD screen
ISO/Customisable
Fn2 button
stabilised either, but they have faster lenses
and superior high ISO performance.
Handling
These missing features do rob the
COOLPIX A of a lot of its excitement value,
but it is largely a very pleasant camera
to use. On the face of it, the handling is
typically Nikonconservative, but strikes
the right notes. Almost every button is in
the right place and though there is barely
any grip, the camera is quite comfortable to
grip. I was pleased to see that the company
has provided a customisable Fn button right
under the lens, but accessing the button
sometimes becomes a little difcult.
Manual focus is facilitated by a large
ring around the lens, but has one fatal
aw. While there is a distance scale
displayed on the LCD, there is no DOF
scale. Shockingly, the lens gets reset every
time you switch off the camera! So while
this could have been a perfect camera
for using manual focus (wide lens, great
DOF, the advantages of prefocusing at a
set hyperfocal distance), the functionality
is completely crippled. Another Eh
moment, if there was one.
Stereo
microphone
Front Top Rear
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socket
Small textured
rubber grip
Lens
Hot shoe
Drive mode
dial
Pop-up
ash switch
Rear control
wheel
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Test Shots
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ISO 3200 is not clean, but the grain produced is very lm-like and looks
pleasing, as seen in this in-camera B&W shot using the Red Filter option.
8e<oZ\cc\ekC\ej
The 28mm equivalent lens is decently sharp across the aperture range.
I was impressed to see how well the camera controls distortion.
Mode dial
Focusing ring
Customisable
Fn1 button
B E T T E R P H O T O G R A P H Y JUNE 201 3
57
TEST
I also wish the manual focus ring
was used a little more intelligently.
Other cameras like the Canon PowerShot
S105 and Sony RX100 allow you to
customise this ring to access other
camera functions.
There is no shortcut to jump to a 100%
view. This is a small, but vital feature that
makes a big difference while shooting in
the real world. The RX100 has it, as do most
smartphones, funnily enough. Eh?
Performance
The camera uses a small battery, identical
to the one used in the 1 J1. In spite of this,
the battery life is quite commendable, and
I could easily shoot around 400 to 500
photosa little more if I conserved power
while shooting.
I can tell you what A does not stand
foraction. The autofocus of this camera
is substandard. It never happened that
I could not lock focus, but the speed at
which it happens is poor.
Thankfully, the A scores an A+ in the
other aspects of performance. The latent
detail that is present in the shadows at base
F I N A L R A T I N G S
Features
28mm lens, no image stabilisation, no
Commander ash mode, no ND lter
9/15
Performance
Slow AF, very good sensor, excellent optics
40/45
Build Quality
All-weather design, magnesium alloy body
13/15
Ergonomics
MF resets itself after power off, other quirks
13/20
Warranty & Support
Two-year warranty, good service network
4/5
OVERALL

79%
Value for Money
Who should buy it? Nikon loyalists who do not mind
compromising on AF speed to get excellent image quality.
Why? If you do not mind looking at other brands, there are
several options that can compete with the A and win, either
based on price, value for money or functionality.
Noise Test
The camera produces barely any noise up to ISO
1600. After this, luminance noise increases rapidly,
but it remains very lm like. ISO 3200 looks great and
ISO 6400 is usable, in an emergency. ISO 12,800 is
avoidable, unless you are shooting in B&W.
ISO 12,800 (Hi 1)
ISO 6400
SPECI FI CATI ONS
Model name Nikon COOLPIX A
DIG Rs. 54,950
Sensor size, type APS-C, CMOS
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16.2 megapixels,
4000 x 3000 pixels
C:; 3-inch, 921k dots
Focal range 28mm (35mm equivalent)
@JFiXe^\ Auto, 1006400 (expandable
up to 25,600)
8g\ikli\iXe^\ f/2.822
J_lkk\ijg\\[ 301/2000sec
Metering modes Multi, Center-weighted, Spot
File formats Still: JPEG, RAW;
Movie: H.264, MPEG-4
?fkj_f\ Yes
Battery Li-ion
Storage SDHC, SDXC
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299g
ISO is superbone can easily open up
an underexposed photo by three stops,
without causing too much noise. At high
ISO settings, the quality does not suffer
too much, but it is nowhere near as good as
the Fujilm X100S.
The optics are stunning. There is some
light falloff at the widest aperture, but
no aring and fringing that one could
observe. Sharpness is excellent, even at the
extreme ends of the aperture.
Conclusion
I really wanted to like the Nikon A.
It is incredibly compact and the image
quality is nothing short of stunning,
due to a good sensor and fantastic
optics. But there were so many things in
practice that made me go, Huh? What?
Eh? that the camera seemed like a bit of
a compromise.
Slow AF and problematic MF were
quirks that plagued even cameras like the
older Fujilm X100. But then, the X100
was unique for its time, while the Nikon
A is surrounded by several large-sensor
xed-lens compact cameras from Sony,
Fujilm, Sigma, Leica and Ricoh.
Can you live without a viewnder?
If so, the Sony RX100, at Rs. 20,000
lesser, provides much better value.
At 28mm, the RX100 has a maximum
aperture of f/1.8. This makes up for its
slightly smaller sensor size. Also, the
RX100 has 4-stops of stabilisation, as
compared to the A, which has none!
And well, of course, the RX100 costs only
a little more than the cost of one Nikon A
viewnder! Uh-oh-eh!
If you add the viewnders cost to
the cameras, the COOLPIX A package
becomes more expensive than the
Fujilm X100S! The Fuji sensor is
signicantly better and the camera has
a Hybrid viewnder, as opposed to the
As optical option.
Of course, the bigger problem is that
Ricoh, more recently, announced a camera
called the GR, which on paper, is almost
identical to the A. As of now, we do not
know when the GR will be available in
India, but abroad, the Ricoh costs USD 300
(approx. Rs. 16,500) lesser than the Nikon!
Seriously Nikon, eh?
ISO 25,600 (Hi 2)
B E T T E R P H O T O G R A P H Y JUNE 201 3
60
TEST
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WHATS IN THE BOX
Ketan Kundargi nds out what happens when Nikon comes out with
the WiFi enabled COOLPIX S6500.
!|S!
Click & Share Instantly
Nikon COOLPIX S6500
N
ikons COOLPIX Style series of
digital compact cameras has a
curvaceous new addition. And if
you have watched the latest
Priyanka Chopra advertisement,
you know exactly what I am talking about.
The S6500 is Nikons latest affordable
superzoom compact camera targeted for
beginners. It is similar to the S6400, but
with additional WiFi. Yet, it is priced lesser
than its predecessor. Does it pack enough
features and deliver a performance to make
it as good as Nikon claims it to be?
Features
CES 2013 was all about WiFi connectivity
in compact cameras with Nikon showing
off the COOLPIX S6500. While the
company has launched a bundle of
WiFi compact cameras since, the S6500
continues to be one of their best offerings.
It has a 16MP back-illuminated CMOS
sensor, a 12x optical zoom lens with a
range of 25300mm (35mm equivalent) and
optical image stabilisation. The high-speed
Continuous mode shoots at an impressive
speed of 10fps at full resolution.
The camera comes packed with as many
as 18 Scene mode options. These come
handy as they help to make up for the
absence of any manual control while
still being useful for a beginner. You can
also choose from an extensive list of lter
effects such as Toy Camera, High Contrast
Monochrome, Cross Process and many
more. Nikon has also bundled in ve new
beauty effects to its proprietary Glamour
Retouch option. Now shooting portraits
and group shots will be a lot more fun and
the right postprocessing can deliver some
great results.
Last but not the least is the all-new WiFi
feature. You can now connect the camera
to your Android or iOS smartphone or
tablet. This means you can now click a
picture with the excellent capabilities of
the camera and then immediately transfer
them to your smartphone or tablet for
WEIGHTAGE OF
PARAMETERS
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B E T T E R P H O T O G R A P H Y JUNE 201 3
61
TEST
SPECI FI CATI ONS
Df[\ceXd\ Nikon COOLPIX S6500
DIG Rs. 11,950
J\ejfij`q\#kpg\ 1/2.3 inch, CMOS
<]]\Zk`m\g`o\cj#dXo% 16 million, 4608 x 3456 pixels
C:; 3inch, 460,000 dots
=fZXciXe^\ 25300mm
@JFiXe^\ 1251600, Auto
8g\ikli\iXe^\ f/3.16.5
J_lkk\ijg\\[ 1/20001sec
D\k\i`e^df[\j Matrix, Center-weighted, Spot
=`c\]fidXkj JPEG, MPO, MOV, WAV
9Xkk\ip Rechargeable Li-ion Battery
JkfiX^\ Built-in Memory, SD/SDHC/SDXC
;`d\ej`fej#n\`^_k 95.4 x 58.3 x 26.3mm, 153g
In spite of a slow
shutterspeed, the optical
IS makes sure that
camera shake is limited.
Exposure: 1sec at f/3.1 (ISO 900) Ketan Kundargi
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PLUS
F I N A L R A T I N G S
Features
Several Scene modes, 12x zoom, WiFi
25/30
Performance
Good low-light performance, poor lens
28/35
Build Quality
Metal body, compact
12/15
Ergonomics
Dedicated Video and Scene mode buttons
12/15
Warranty & Support
Two-years warranty, wide service network
4/5
Value for Money
Who should buy it? Someone wants a pocketable
camera with a decent zoom range and instant sharing.

Why? While you will get a camera with more zoom,
cheaper price or better image quality, this camera packs
multiple features in a single afordable package, with WiFi.
OVERALL

81%
instant sharing. Effective up to a range of 30
feet, the Wireless Mobile Utility app from
Nikon also lets you use your smartphone
as a remote shutter release.
Handling
In spite of a 12x optical zoom, the camera
body is impressively compact in size.
The camera is lightweight, pocketable and
the metal build makes it a sturdy compact.
A 3-inch LCD display with a decent, but
not class-leading resolution of 460k dots.
Nikon has taken out the touchscreen
from the COOLPIX S6400 and gone
back to traditional buttons. The layout is
standard except for an additional dedicated
video record button. Several Scene modes
and one touch lters can now be accessed
by a single click with a dedicated Scene
mode button when shooting. A completely
revamped Menu system makes navigation
through the multiple settings a breeze.
Performance
Nikons latest BSI CMOS image sensor
makes the camera faster and better in
low light. The Nikon S6500 can produce
usable images even at ISO 800. This is good
performance for a compact camera. Even at
ISO 1600, there is a slight loss of detail but
can be xed in postprocessing. Add to that
the effective lens-shift VR. You can shoot
photographs at a shutterspeed as low as
1sec and still get a sharp image. This makes
the camera a great option even in low light.
The lens is a bit disappointing as it
tends to are badly. There is visible
purple fringing in high contrast
situations. It delivers similar quality at
both ends of the focal length range and
tends to be soft towards the corners
throughout. According to Nikon, the
camera is rated for 150 shots on a single
battery life. This was a complete let down
until, surprisingly, the camera performed
much better in the test and took almost
250 images before the battery ran out
of power.
Conclusion
Nikon COOLPIX S6500 packs in a wide
zoom range, interesting scene modes and a
excellent performance in a compact body.
But what really makes it stand out is the WiFi
connectivity. If you are not someone who
wants this feature, you will easily nd other
affordable and specialised cameras with
better features.
Nikon could not have brought out
the camera at a better time. In this age of
instant sharing, this WiFi connectivity
is the icing on the cake and is bound to
silence competing smartphones. And with
the holiday season around the corner,
this makes for a great buy to take along for
your vacation.
R
E
C
O
M
M
E
N
D
E
D
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N
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E
D
B E T T E R P H O T O G R A P H Y JUNE 201 3
64
TEST
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WHATS IN THE BOX
Shridhar Kunte tests the Olympus STYLUS VG-190 to see if it can withstand
the competition from other compacts and smartphone cameras.
K<JK
Lags Behind the Rest
Olympus STYLUS VG-190
T
he compact camera market
is shrinking day by day.
This is mainly because of
the improvement in quality
of cameraphones, and the
simultaneous popularity of social networks
like Facebook and Instagram. To combat
this, it has become mandatory for every
manufacturer to give something extra.
With the VG-190, Olympus has decided to
offer a Long Flash capabilities and a Digital
Image Stabilisation mechanism.
Features
Before we get into what these highlight
features mean, lets get into the basics.
The VG-190 is a slim 16MP camera that has
a 1/2.3-inch CCD sensor. It has a 5x zoom,
which spans from moderate 26mm wide
angle to a 130mm medium telephoto.
Besides 14 Scene modes, the camera has
something called Magic Filters, which are
similar to the in-camera Art Filters that are
found in Olympus DSLRs and mirrorless
cameras. One can choose from multiple
aspect ratiosthe default 4:3 ratio, along
with 16:9, 3:2 or 1:1. The Super Macro
mode is a misnomer. Unlike other compact
cameras that focus as close as 1cm, this
Olympus has a minimum focusing
distance of 5cm.
Unlike some of the competiton, you
cannot shoot Full HD video. The footage
is captured at 720p. One fun addition is
that you can use the Magic Filters while
shooting video too. Zoom is locked during
video, but AF is fast. The footage is sharp,
but shows some noise in the shadows
while shooting in low light.
The two standout features do not really
stand out. The Digital Image Stabilisation
mechanism is not very useful. It only
increases the ISO and leads to soft, smudgy
imagesunlike real optical or sensor-shift
stabilisation that allows one to shoot at
slower shutterspeeds. This feature also
cramps the ISO, that is, you cannot control
it yourself anymore.
WEIGHTAGE OF
PARAMETERS
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B E T T E R P H O T O G R A P H Y JUNE 201 3
65
TEST
SPECI FI CATI ONS
Df[\ceXd\ Olympus STYLUS VG-190
DIG Rs. 8490
J\ejfij`q\#kpg\ 1/2.3-inch, CCD
I\jfclk`fe 16MP, 4608 x 3456 pixels
C:; 3-inch, 4,60,000 dots
=fZXciXe^\ 26130mm
@JFiXe^\ 1001600, Auto
8g\ikli\iXe^\ f/2.8f/6.5
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D\k\i`e^df[\j Digital ESP Metering
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9Xkk\ip Li-ion
JkfiX^\ SD, SDHC
;`d\ej`fej#n\`^_k 103.7 x 62.2 x 22.5mm, 151g
The quality of the lens is
poor and and the dynamic
range, disappointing.
Exposure: 1/30sec at f/2.8
(ISO 250)
Shridhar Kunte
EfjkXY`c`jXk`fe
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MI NUS
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PLUS
F I N A L R A T I N G S
Features
Magic Filters, no IS, only 720p video
22/30
Performance
Decent AF, blown out highlights
22/35
Build Quality
Polycarbonate body
11/15
Ergonomics
Easy to handle, dedicated video button
12/15
Warranty & Support
Limited number of service centres
2/5
Value for Money
Who should buy it? We would not recommend this
camera to anyone who is serious about quality.

Why? At a similar price, you will nd other compact
cameras that have more zoom and other features too.
The image quality, also, is below average.
OVERALL

69%
The Long Flash works well. The ash
tube of the VG-190 is more powerful
than other compact cameras in this class,
and this helps to increase the throw of
the illumination.
Handling
The grip on the front is small making
it difcult to hold the camera but the
rubberised texture helps improve the grip.
The exterior of the camera is made of tough
plastic and has a matt nish.
On the top, the power switch is recessed to
avoid switching on the camera accidentally.
The entire cluster of switches can be easily
reached with the thumb without any twinge.
The 3-inch LCD screen was difcult
to use outdoors as it produced a lot of
glare. You can not overcome this problem
as there is limited scope to control the
brightness of the screen. There is USB
charging, but I am not a big fan of the
battery being charged inside the camera,
as it is slower and does not allow you to
use a backup battery while charging the
rst one.
Performance
I struggled to calculate a balanced exposure
while using the VG-190. There is no option
for Metering, which is a serious omission,
even though this may be a budget camera!
The omission is compounded by the fact
that the default metering overexposes
photos to a large degree. I needed to dial in
an Exposure Compensation of - 1EV to get
decent exposures. Even then, the dynamic
range is poor and it is very difcult to avoid
blown out highlights.
At low ISOs, there is hardly any noise but
the JPEG images are a little too compressed.
At ISO 400 the noise is noticeable and the
image loses detail. This is poor quality,
considering the level of advancement we
have otherwise seen in 2013.

Conclusion
If you are a casual user, what would
convince you to buy a camera instead of
merely using your phone? A lot of zoom,
more control or probably, better image
quality. With the VG-190, Olympus
has missed some key features like Full
HD video, optical (or even sensor shift)
stabilisation and control over Metering.
There are many other cameras in this
price range that offer more zoom and IS.
The CCD sensor does not match up to
modern-day CMOS sensors and the lack
of metering options make it very difcult
to shoot in contrasty light. Sadly, one can
even say that some agship smartphones
already produce better image quality than
this, and the day is not far when even a
majority of budget phones too, would
reach this level of quality.
B E T T E R P H O T O G R A P H Y JUNE 201 3
66
MI CRO TEST
Think Tank CityWalker 10
This small walkaround bag may be
expensive, but as Raj Lalwani nds out,
it gets almost everything right.
Worth the Extra Price?
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SPECI FI CATI ONS
Peak Design Capture Clip System
Well-engineered, innovative and extremely
secure, but Ketan Kundargi is still not sure
about a camera hanging off his waist.
Camera Goes Strap-free
E
very few months, the photography
industry comes up with an
accessory that changes the way
you use the camera completely.
The Capture Clip system is one
such thing. It secures your camera to any
strap or belt, while still keeping it safe and
accessible. It eliminates the need for any
additional strap or holster.
Capture Clip is designed to carry
your camera handsfree. This makes it
a great option when you are travelling,
whether walking, hiking or riding a bike.
Professional photographers who lug around
multiple camera bodies
can use the Capture Clip to
carry and juggle between
them with ease.
Capture Camera Clip
system has an aluminum
construction that is
compact and lightweight
while at the same time
being completely
weatherproof. The clamp
bolts at each side make sure
that you can customise it to
adjust to different straps.
Grooved jaws ensure that
it grips any strap rmly
in place. The quick-
release plate is the deal
clincher. Once attached
to the camera, you need
to simply slide it into place to lock it on the
device securely. I thought that a humongous
Nikon D700 with a 2870mm f/2.8 lens
would be overkill but was amazed by the
ease with which the clip could balance it.
I tried the 80200mm and that worked just
as well.
The Peak Design Capture Clip system is
no doubt well engineered, secure and easy
to use. However, comfort is still a problem
and your gear is prone to damage due to
wear and tear.
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SPECI FI CATI ONS
Product source:
Photo Vision,
New Delhi
Tel: +91-8588816155
RATI NG
Product source:
Photo Vision,
New Delhi
Tel: +91-8588816155
RATI NG
T
he more I practise photography,
the smaller my camera kit has
become. The Think Tank City
Walker, by the looks of it, seemed
perfect for someone who does not
want to carry much. But the more I used
this bag, the more I decided to take along
with me...! Appearances are deceptive and
the Think Tank helps you pack in a lot,
within its small size, due to some fabulous
design and great attention to detail.
I tted a D700 with a 2470mm f/2.8
lens inside the bag. Even after this, I had
enough space to put in 2 small prime
lenses, a compact camera and a ashgun.
Alternatively, I could have packed in an
extra, mirrorless body as well.
All this is in addition to the other non-
photographic gear that the bag can carry.
There is a dedicated compartment for an
iPad or a small laptop (the CityWalker 20
and 30 allow you to t in larger laptops) and
abundant number of
zippered pockets for
chargers, card readers
and other accessories.
The City Walker is
a perfect walkaround
bag for a street
or travel shooter.
That said, even when it
is packed with a lot of
equipment, it balances
the weight perfectly
and keeps everything very secure.
The shoulder strap is cushioned. The bag
itself has a premium look, justifying its
price. I was concerned to see that the top
compartment does not have a zipper, but
there is a rain cover that one can use when
the weather plays havoc.
Are there lesser expensive bags for
minimalist photographers? Sure there
are, but they neither feel so premium, nor
do they allow you to carry the amount of
accessories that this Think Tank packs in.
B E T T E R P H O T O G R A P H Y JUNE 201 3
69
Was it a
conscious
act of making
a memory?
Or something
unspoken that
just called out.
Editorial
There is only you and your camera. The limitations in your
photography are in yourself, for what we see is what we are.
ERNST HAAS
The Photograph that I Never Made
What drives us to create an image? What is that thought, that emotion,
that feeling of stimulus that triggers our photographic reex?
Every time I look at a picture I have made in the past, I try to recall
my exact state of mind as I pressed the shutter. Was it a conscious act
of making a memory? Or something unspoken that just called out?
Viewing old photographs is an act of nostalgia, longing maybe. It is
something that I do to reconstruct the joys I have lived, the sorrows I have lived through, and
the moments that make me, today. But then, why is it that my memory is vivid with instances
that I just didnt photograph? Why do we, at times, see the picture of our lives and yet not
shoot it? Sometimes, the best photographs are the ones that we do not make. The other
side of the coin, of course, is that forty million photographs are uploaded to Instagram
every day. Forty million fractions of seconds that we, as a people, try to hold on to.
From this issue onwards, photographer Dinesh Khanna will allow us a peek into
his cellphone diaries as a regular, monthly column. Documenting, note-taking,
commemoratingthe cameraphone allows us to indulge in all these visual musings, and
some more. But then, sometimes, memories are best left to our imagination.
Lovers, Separated
by Raj Lalwani
There are photographs
that we make
spontaneously, out of
sheer intuition, or lets
admit it, plain boredom.
Months down the line, or
as in this case, years later,
we nd the image and
wonder how we saw what
we saw. A month after
this picture was made, my
camera was stolen. This is
my last memory of her.
Raj Lalwani
raj.lalwani@betterphotography.in
One of the pioneers of colour photography, Haas bridged several worlds through his photos. Besides his iconic
photojournalistic work, he adopted several visual techniques to use photography as a medium of personal expression.
Raj Lalwani
B E T T E R P H O T O G R A P H Y JUNE 201 3
70
Sony Xperia Z
The Xperia Z set the trend for most of the technological advancements we
have seen in 2013s smartphones. How good is its camera? Raj Lalwani checks.
Creating a Splash
F
rom a technological perspective, the
Xperia Z leads the way. Not only is
it water resistant, it also res away
at up to 14fps, and can also shoot
an unlimited number of high-res
images at 10fps. 13MP may be the new
industry standard, but I wish Sony would
have been more conservative in this aspect,
as the sensor size is just 1/3.06 inches.
We Used it for our Team Photograph!
The quality of the sensor is a bit of a mixed
bag. Colour reproduction is excellent and
does not suffer, even in mixed or low light.
In fact, we used the Xperia Z for our team
photograph (published on page 16) because
of how beautifully it renders colours.
Dynamic range is great, and les look very
similar to those from Sony compact cameras.
TEST
The Benet of 13MP
While the extra resolution is probably the reason
why Sony made the noise reduction so aggressive, it
helps when cropping a small part of the frame.
Good Tonality
The Xperia Z produces lovely colours, which are
pleasing, but not overdone. There is a subtlety to the
tones in the shadows that one rarely sees in phones.
Autofocus is a Mixed Bag
From Multi AF, Centre AF, Face Detection, Touch AF,
Tracking and others, the options are brilliant! I did
nd Multi AF a little inconsistent though.
Some Photographs Made by the Xperia Z and What we Found
INTERESTING FACTS
Before Philippe Kahn
rigged up the rst
cameraphone in 1997,
Olympus had released
a camera called the
Deltis VC-1100, which
allowed one to upload
digital photos over
cellular lines. This was
way back in 1994!
B E T T E R P H O T O G R A P H Y JUNE 201 3
71
TEST
Something with that Processor
While the Xperia seems to have a good
quality lens (minimal aring, but nothing
to worry about), its processing leaves a lot
to be desired, if you inspect the les closely.
The pictures are overcooked, with a lot of
noise reduction and sharpening that can be
seen even in images shot in good light.
Just Like a Cyber-shot
But then, with cellphones, one should
rarely pixel peep, I think. The photographic
experience is what matters. This is where the
Xperia shines, but with two fatal aws.
On the bright side, the interface is
remarkably detailed. There is quick access
to every possible setting on the main
touchscreen. So even if the metering is
not perfect (it isnt), one can easily ne
tune the exposure quicklyunlike phones
like the Lumia 920 which make this a
cumbersome process.
There is an excellent HDR mode, a Sweep
Panorama mode, nine lters, 17 Scene
modes. The screen itself is gorgeousa
5-inch Full HD screen. But the size of the
phone, along with its square dimensions,
make it very difcult to hold steadily, if you
are a traditionalist like me who grips the
cellphone the way one would grip a regular
compact. Battery life is terrible. You will be
lucky to get anything more than six hours of
shootinglesser if you use the Burst mode,
Sweep Panorama or 3G.
The Xperia Z is a very good phone, but
now faces tough competition in the form of
the Galaxy S4 and HTC One. The Xperia Zs
camera is not the best around, but it has
some special qualities (frame rates, water
resistant, compact camera interface)
that make it unique. The only thing that
stops me from recommending it to a
photographer, is its abysmal battery life.
The sensor
produces good
colours, and the
video quality
is stunning.
AT A GLANCE
SPECIFICATIONS
13MP, 1/3.06-inch sensor, Android 4.1.2 Jelly Bean, 1.5GHz quad core,
2330mAh battery, Rs. 37,990
WHAT WE LIKE
Great screen, good colours, excellent video, excellent camera interface
WHAT WE DISLIKE
Too much noise reduction, poor battery life, awkward shape to handhold
WHY BUY IT?
If you can live with its poor battery life, it is a decent cameraphone, which
offers exciting possibilities because of its water-resistant nature.
All photographs by Raj Lalwani
The les look great
at small sizes, but at
a per-pixel level, noise
reduction reduces
texture detail.
SELF ASSIGNMENT
Make endless number
of pictures at a party.
Try to concentrate
on moment and
expression. Do not
forget to use the
cellphones ash!
Use the connectivity
of your cellphone
to playback these
pictures at the end of
the party.
FINAL RATINGS 80%
CAMERA FEATURES Extremely fast Burst mode, several Scene modes
12/15
IMAGE QUALITY Excellent colours, aggressive noise reduction
28/35
VIDEO QUALITY Smooth footage, good sound, great in low light 18/20
HANDLING Awkward body, poor battery life, all camera functions accessible
10/15
SPEED & RESPONSIVENESS Speedy interface, average AF 12/15
All photographs by Raj Lalwani
B E T T E R P H O T O G R A P H Y MAY 201 3
72
Nokia Lumia 620
Ketan Kundargi nds out if the reasonably
priced Nokia Lumia 620 match up to
competing high-spec Android devices.
Camera? Yes
Smart? No
A
mongst the multiple phones
launched by Nokia, the Lumia
620 is an interesting offering. It is
placed in a category populated
with many competing budget
smartphones. It packs a dual-core 1GHz
processor, 512MB RAM and 8GB of internal
memory. And of course, the Windows
Phone 8 experience.
The 3.8-inch display is a not-so-
impressive 480 x 800 pixels in resolution.
But the ClearBlack technology ensures it is
legible in bright outdoor conditions. But one
wonders why the screen is not only smaller
than the Lumia 720 but also smaller than the
cheaper and lower-end Lumia 520.
Good Ergonomics But Poor Functionality
The build of the Lumia 620 makes it
a pleasant cameraphone. The slightly
thicker body along with the matte back
cover, ensures solid grip and stability.
The dedicated two-press camera button on
the side is a great addition. It is a one-click
shortcut to the camera app.
But once you have switched on the
camera app, the problems spring up.
Just one ash mode, absence of continous
shooting mode and no metering options
are a disappointment. No shortcuts for
basic controls like ISO, Exposure and White
Balance means going to the settings panel
every time you want change any setting.
Admirable Performance
The Lumia 620 comes with a much superior
lens than a lot of its competitiors. It performs
well in a wide variety of light conditions and
delivers excellent contrast, good sharpness
and reproduces the colour as is. It also offers
Cinemagraph and Smart Shoot features
borrowed from the high-end Lumia 920.
If all you want is a camera on you, the
Nokia Lumia 620 is a great option at a price
of Rs. 14,515. You can even consider the
Lumia 520 (Rs. 10,000) which has the same
camera without ash. But just remember, if
you are buying a cameraphone to make use
of several photo apps, you would be better
off with an Android smartphone.
TEST
The smaller size
and sturdy build
of the Lumia 620
give a solid grip
while shooting.
AT A GLANCE
SPECIFICATIONS
5MP, LED Flash, Windows Phone 8, 3.8-inch TFT screen, 1 GHz dual-core
processor, 8GB storage (expandable), 1300mAh battery, Rs. 14,515
WHAT WE LIKE
Excellent image quality, dedicated camera button
WHAT WE DISLIKE
Lack of camera features, very few apps, a bit slow
WHY BUY IT?
It might not be a great a smartphone, but is denitely a great
cameraphone at this price.
FINAL RATINGS 82%
CAMERA FEATURES Cinemagraph, no spot metering, no burst mode
10/15
IMAGE QUALITY Great colours and contrast, good low light performance
32/35
VIDEO QUALITY Excellent quality 720p video for a cameraphone 17/20
HANDLING One click button for camera, matte body ensures solid grip
13/15
SPEED & RESPONSIVENESS Takes time to open apps, tends to switch off often 10/15
Even at ISO 800, noise
is not very obtrusive and
the colour and contrast
in the image is admirable
by cellphone standards.
APPS YOU MUST TRY
Lomogram is a
Windows Phone 8
cousin of Instagram.
It comes equipped
with 42 lters, 72
lighting effects, 49
borders and the ability
to adjust brightness,
contrast, saturation
and exposure.
Ketan Kundargi
B E T T E R P H O T O G R A P H Y JUNE 201 3
73
Adobe Photoshop Touch
Aditya Nair reviews Adobe Photoshop
Touch to see if it lives up to the
Photoshop name.
Just Touch
And Go!
H
aving always been a Photoshop
fan ever since I rst used the
software, I was really looking
forward to the release of this app.
Photoshop Touch does a
remarkable job optimising a small cellphone
screen for more complex editing.
Non-Destructive Editing on the Phone!
The inclusion of Layers and Blending
Modes makes this software a no brainer
for me to recommend. The image quality
produced by Touch is easily the best as
far as cellphone apps go. It has most of
the basic image adjustment tools and
some advanced features like Shadow/
Highlights, Clone Stamp, Levels and
Curves. One feature it lacked was an easy
way to straighten an image. Also, the Noise
Reduction option is poor.
Against the Competition
Photoshop Touch beats competing
apps like Snapseed, in terms of image
quality. Snapseed does have a lot more
features and fun effects though, which
cellphone enthusiasts may enjoy a little
more, considering the casual nature of
most images that one shoots through
the phone. On the other hand, Adobe
Photoshop Touch offers a whole range
of features for making selections.
It also allows you to save up to 12MP
photographs, which is more than
Snapseeds limit.
Additionally, Photoshop is processor
intensive. On a high-end phone like the
HTC One X, it works like a charm, but it
still takes longer to save the nal JPEG,
as compared to the competition. On a
low-end Android phone, Touch would be
a little slower.
But Its Not Free
Photoshop Touch is an excellent app, but
unlike the competition, it is not free. If you
dont need Layers and Blending Modes, then
you can manage quite easily with something
like Snapseed or even the more basic
Aviary. Of course, the question is... if you do
need these features, shouldnt you just use
Photoshop on your computer instead? But
I personally believe that the whole idea of
cellphone photography is in shooting and
ne tuning the picture within the phone
itself, and that is where Photoshop Touch
takes the crown.
TEST
Photoshop Touch
is an awesome
app if you want
complete control
and the use of
Layers. If not,
there are other
free options.
AT A GLANCE
SPECIFICATIONS
Android: Needs Android 4..0 Ice Cream Sandwich or higher;
iOS: iOS 5 or higher, iPhone 4S or higher,
WHAT WE LIKE
Layers, Blending Modes, Advanced Editing and Selection Tools
WHAT WE DISLIKE
Lack of Layer Masks, Poor Noise Reduction
WHY BUY IT?
Best possible image quality as of now, Pro Features
FINAL RATINGS 88%
FEATURES Separate tablet version too, high-res editing, no masking, no effects
21/25
PERFORMANCE Excellent image quality, poor noise reduction
28/30
EASE OF USE Intuitive interface
32/35
SPEED & RESPONSIVENESS Processor intensive, not as fast as competition 7/10
ON BEING INSPIRED
Iconic magazine
National Geographic
has several apps you
should explore, but
their most interesting
free option is Nat
Geo Today (iOS). As
the name suggests,
there is new, striking
content with editorial
notes everyday. From
a photography point
of view, this one is a
visual goldmine.
Select the layer you want to mask then use the Fade tool to remove the parts you
would mask out normally. It takes a little getting used to but works great for basic
masking. For more complex masking, you can apply the same procedure multiple
times but is quite time consuming. Also keep in mind that unlike layer masking
which is non-destructive, Fade is a destructive tool. So once you use it you may
wont be able to recover those pixels later.
There is No Layer Masking, But Heres a Simple Hack
Aditya Nair
Layers allow you to
make image composites,
like this one that was
edited within the phone!
On the Road Again
Have you thought about keeping a visual diary of all your travels?
Priyanka Chharia tells you how to do that, using the humble cellphone.
JUNE 201 3
T
he last time I journeyed across
cities, I had been travelling for
almost 24 hours! Luckily, I had
a smartphone for company.
Most people underestimate the
value of a cameraphone while travelling.
Always On Us
The obvious advantage of a cameraphone
for travel is that it is small, portable and
always on us. It is far easier to switch on the
cellphones camera and get the shot rather
than removing the camera from ones bag.
Windshields of cars and
taxis create interesting
reections, especially if
the headlights of the car
ahead are visible, or if it
has just rained.
Shot with: Nokia
808 PureView
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CELLPHONE TECHNIQUE
B E T T E R P H O T O G R A P H Y
PROBLEM SOLVING
Smartphones often
suffer from poor
battery life, especially
while using 3G and
keeping the phones
brightness to maximum
(which is something
you need to do while
shooting in broad
daylight). Invest in
a portable battery
charger, if you are an
avid phone shooter!
INSTAFOLLOW NOW
New York-based
photojournalist
Benjamin Lowy
(@benlowy) is
one of the rst
photographers to
document conict
issues using a mere
cellphone camera.
Grab the Hot Seat
First things rst, get a seat with a view! If you
are travelling by train, bus, car or even
by airyou need to aim for the window
seat. Public transport is always swarmed
with people and the chances of making a
cluttered frame are more.
Create a Shortcut
When you are in a moving vehicle, you
have no time to waste. Assign a camera
shortcut on your homescreen. Unlike a
DSLR or a compact, shooting with a
smartphone involves a multi-step process
to access the camera. Avoid using lock
codes if you are a photography enthusiast.
Also, some phones let you congure a
button as a direct-access shortcut.
Frame Within a Frame
Buses, taxis, trains and cars and so on offer
the perfect opportunity to create frames
within a frame. An added outline or frame
in the photograph is not a distraction. It is a
compositional device and also conveys the
fact that you are inside that particular mode
of transport.
Its All a Blur
You may encounter motion blur while
shooting from a moving vehicle, especially
around early morning or dusk. Instead of
considering this a limitation, ask yourself
how can you make this blur look aesthetic.
Choose the moment carefully. Instead of any
random blur, consider what subject would
work bestit could be a crowd waiting at the
platform, or foliage outside the window .
Steady Yourself
Press your cellphone close to the window
for better stability. This is important
whether you intend to shoot a sharp photo
or even otherwise. A motion blur shot
looks good if the blur is caused due to the
vehicles forward movement, and not due
to any inadvertent camera shake.
Aditya Nair
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CELLPHONE TECHNIQUE
Embrace blur. It is the
best way of conveying
the whole idea of being
in transit.
Shot with: HTC One X
Considering that the
Taj is most famous for
its white marble, a
silhouette that is
Since you are in a
moving vehicle, there
may be a tendency of
being careless about
framing. Watch that
horizon carefully!
Shot with: Samsung
Galaxy Nexus
Raj Lalwani
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How to Preempt the Frame
Most phones have shutter lag, which is why
timing is tricky. If you are in a car, observe
the windshield from the corner of your eye,
so that you know what is coming up.
Shoot Several Frames
To get the timing right, use the Burst mode.
If your cellphone does not have one, apps
like Fast Camera (iOS) and Burst Mode
Camera (Android) can be used.
Through the Window
One potential problem with cellphone
cameras is that the DOF is extensive. A dirty
window and the outside scene may be
equally sharp. Use this to your advantage
and let the obscured view create mood.
SEEING IN SQUARES
If you nd it difcult to
crop your image to a
sqaure, you can use
apps like Squareready
(iOS) and SquareIt
(Android). These apps
allow you to put a blank
strip of any colour
around the edges of
the picture, while still
maintaining the orignal
framing of the picture.
Cellphones are less
obtrusive and can
thus, make your fellow
commuters feel at ease.
Shot with: Samsung Galaxy S
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B E T T E R P H O T O G R A P H Y JUNE 201 3
CELLPHONE TECHNIQUE
During a long distance
journey, make one
picture at every halt for
a fabulous essay!
Shot with: HTC Wildre
FUN TRICKS TO TRY
Cellphone cameras
tend to deteriorate
due to scratches and
ngerprints. So keep
your gadget safe in
a cellphone cover.
Additionally, use a
microbre cloth to
clean the lens. In case
you do not have
one, make do with
any soft cloth, such
as the one used to
clean spectacles.
Look For Colour!
Its not tough to spot colour on the streets of India.
From buses, trains and cars to the black and yellow
taxis...there is a lot you can shoot while on the go!
Turn Your Gaze Upwards
Cellphones are sleak and allow you to photograph
discreetly. You can shoot the interiors of a vehicle
without being noticed or bothered.
Experiment With Fun Filters and Apps
The greatest advanatge of shooting with a cellphone
is the wide range of editing lters and apps at
disposal, which help you make interesting abstracts.
How Can You Shoot Abstracts from Inside a Moving Vehicle?
To create pictures
on the go, you need not
travel far and wide.
Even the daily commute
from home to work
can give you plenty of
photo opportunities.
Shot with: Samsung
Galaxy Nexus
Alternatively, stick the cellphone really close
to the window while focusing. Tap focus (if
possible) on a clean part of the window so
that the scene outside gets focused.
As You Halt
If the light is really low and your
cameraphone is struggling to get good
pictures, wait for halts. The stations where
a bus or a train stops are always interesting
locations for ambience and portrait shots.
Share with Your Friends!
Wouldnt it be fun to share these images with
friends and family? Uploading a day-by-day
travelogue to Facebook, Twitter or Instagram
is way more convenient with a smartphone,
than it is with a regular camera.
Alternatively, you can create small prints
of your photographs and gift it to your fellow
travellers. At the end of the day, a journey is
as much about creating images, as it is about
creating memories. Safe travels!
Raj Lawani
Raj Lalwani Raj Lalwani Priyanka Chharia
CELLPHONE TECHNIQUE
B E T T E R P H O T O G R A P H Y JUNE 201 3
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JUNE 201 3 B E T T E R P H O T O G R A P H Y
T
he moment you pick up a camera,
a compact or a DSLR, you know
how to hold it. The buttons, display
screen and the grip are designed
to use it in a single defined way.
Switch to phones who have no such design.
This is a challenge, but also where the
fun begins.
Better Grip for Sharper Images
Every new phone in the market is sleeker and
lighter than the existing phones. This results
in hardly any weight to anchor the phone
for stability. To make up for this, hold the
phone like a camera! Use both your hands to
grip the device and the thumb on the right
to focus and release the shutter. Always hold
the camera close to your body to minimise
any camera shake. Better grip and reduced
shake means sharper pictures.
Stability Versus Convenience
While using two hands results in better
stability, using a single one is simply a more
READY STEADY
CELLPHONE TECHNIQUE
Your cellphone manual comes with a list of several things. But the one thing no
make your images dramatically better just by holding your phone the right way
DO NOT DO THIS!
Setting your phone
to automatically
backup data to a
cloud service results
in considerably
slow performance.
Change it to a manual
backup and use a WiFi
connection or your
personal computer.
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Getting Crazy Angles
Photograph from multiple positions. Using a
single hand lets you twist and turn, stretch
and jump while still taking a picture.
Avoid Covering the Lens or the Flash
When you grip the phone, make sure your
ngers do not cover the ash or the lens.
Else, all you will capture is a dark unlit patch.
How Do You Hold Out Your Hands?
Avoid holding out the phone from your body.
Exception, if you are shooting videoit is
easier to get panning shots this way.
Take Photographs Discreetly
Hold the phone as if you are browsing the
internet. But in reality, use the camera to
make that great candid image.
Balance The Phone Right
Use the phone as a camera, yes. But avoid
holding it by the edges or it might just slip
out. Always keep your hands clean!
convenient option. When taking a picture,
what is your priority? If you are amidst a
crowd and have just taken out your phone,
then photographing with a single hand is
more convenient and considerably faster.
Is There a Single Correct Orientation?
Everything around you is a horizontal
image. Almost every camera till date has
been a horizontal device. And then, there
are cellphones. Unlike anything before,
you use it in the vertical orientation at
most times. This is a complete shift from
the way we see.
Thankfully, there is no single
orientation that is correct or works best.
Different situations demand you to
hold the camera differently. Except for
videos, when you should always hold
phone horizontally, there is no hard and
fast rule, and maybe thats what makes
framing fun. Make the most of this
freedom and use the phone such that it
does justice to your vision!
... SHOOT!
one talks about is how to hold the phone. What if you could
when you clicked a picture? Ketan Kundargi tells you how.
CELLPHONE TECHNIQUE
READERS GALLERY
Want to see your cellphone photos here? Send us
your best shots to entries@betterphotography.in, or
give us a shoutout on Facebook (www.facebook.com/
betterphotography) or Twitter (@betterphoto).
The Girl Outside
the Window
Ronny Sen, Kolkatta

What made me shoot this:
I was out with a friend
when it started pouring
suddenly. While I ran
for cover and entered
a police booth, my
friend stood in the rain,
having a great time.
What I learnt: I use the
cameraphone as a visual
diary... a sort of calendar
where each photo
ts inside those little
boxes and serve as a
memory for each day.
Shot with: Apple iPhone 5
Midnight Visuals
Sharad Bansode, Mumbai

What made me shoot this:
I loved the way the cables
and the lamppost broke
the monotony of the
endless black sky.
What I learnt: This was an
impromptu image made
when I was travelling
back home. It made me
realise how convenient
it is to use a cellphone
over a bulky DSLR in
such situations.
Shot with: Apple iPhone 5
JUNE 201 3
READERS GALLERY
B E T T E R P H O T O G R A P H Y
80
Stairway to the Past
Shrutee Choudhary,
Mumbai

What made me shoot this:
The old-world charm
of the windows and the
contrast of the bright red
spiral staircase next to it.
What I learnt: It is very
important to pay
attention to composition
when cropping for the
square format.
Shot with: Apple iPhone 4S
Morning Cleanup
Nishad Sen, Mumbai

What made me shoot this:
I was intrigued by the
effect that the smoke was
creating. I took multiple
photographs of the scene,
but loved this best.
What I learnt: Filters can
be a great way to add
colour and contrast to
what would otherwise be
a dull image of a great
moment.
Shot with: Apple iTouch 4
JUNE 201 3 B E T T E R P H O T O G R A P H Y
81
READERS GALLERY
81
Notes from Mussoorie:
On a Desire to Engage with Life
Dinesh Khannas career path veered from being a calculator salesman, a garment quality checker, a busboy in a New York bar and a client servicing executive, after which,
he nally gave in to his desire to make images. He cofounded the Delhi Photo Festival and regularly conducts addas in Delhi to encourage discussions on the medium.
CELLPHONE DIARIES
P
hotographs are recorded with devices, but good
photographs are made with a photographers mind.
They are a product of observation. Of reaction to things
and issues. Of a desire to engage with, or comment on, or just to
record ones feelings for what one sees.
This is as true for photos taken with a mobile phone camera, a
point and shoot or a DSLR. However, the power of a cellphone
camera lies in its constant availability with a person. And that,
to a large extent, dictates what and how we photograph with it.
For me this started as a means of note-taking, moved on to a
means of sharing quickly and has now evolved into a medium
of comment and expression. Actually, I would say it is all three
of these bundled together. Eventually, it is the subject that
Dinesh Khanna
inuences how I engage with it. But as with all good things,
there are always some external triggers which stimulate a new
direction. In the coming months, I will talk about and share with
you how just note-taking became sharing and has now become
a few serious long-term projects. All with the trusted, ever
available cellphone camera.
The images, accompanying this column, were taken during
a trip to Mussoorie a couple of weeks ago. I was there on a
commercial assignment but did get a few hours off to stroll
around the Mall road where I saw these loaders waiting for
their next assignment. It struck me that they are freelancers
too. They work when they get an assignment but laze around
between jobs. Much as I do too :-)
Dinesh Khanna Dinesh Khanna
82
B E T T E R P H O T O G R A P H Y JUNE 201 3
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Shantanu Sheorey
has been doing
commercial work for
30 years. For him, the
people he photographs
are important, as he
believes they make him.
Raque Sayed
believes that after two
decades of shooting, his
canvas is still empty
and he needs people to
help him ll it up with
creativity and meaning.
Amit Ashar
has an amazingly
light-hearted way
of looking at things,
which reects in his
commercial as well as
personal work.
Ashok Salian
started shooting
commercially in1987
and believes that
you can do good
photography only if you
feel good about yourself.
Vikram Bawa
turned pro much
later than most
photographers.
He loves people, and
believes in pushing
boundaries.
JUNE 201 3 B E T T E R P H O T O G R A P H Y
84
BetterPictures
ON ASSIGNMENT
Scribbled Walls
Exploring ones
personal space
96
PHOTOCRITIQUE
Our panel of
experts review
your photographs
100
TIPS & TRICKS
Making close-ups,
scanographs and
photographing owers
104
Ambarin Afsar shoots with ve of the biggest names in commercial
photography and learns that making good portraits is quite easy!
on five photographers. Styling was
purely dependent on the advice of the
photographer and whatever the models
could manage.
The photographers had the freedom
to choose any location, whether indoors
or outdoors. They could use extensive or
minimalist equipment and take as long
as they wished.
We chose BP team members as models
because we wanted to limit the choice of
subject. After all, we are as ordinary as it
gets. Lets see what happened!
W
hat comes to your mind
when you think of a
traditional portrait?
Emotive eyes, great
composition and a
striking expression. But many of us fall
prey to the simplest of mistakeswe end
up making portraits that lack soul.
Portraiture is not about stylists,
make-up artists or even the clothes.
It is simply about the person you
are portraying. So, to illustrate this
point, we imposed certain limitations
The Makeover
Cheat Sheet
B E T T E R P H O T O G R A P H Y JUNE 201 3
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Nachiket Gujar
JUNE 201 3
Amit Ashar photographs Raj Lalwani
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ANNI VERSARY SPECI AL
As I look back at my own thought process during the shoot, I realise that I can now identify with a
subjects thought process, which in itself, is a great lesson in portraiture. Amit ensured
that the shoot was collaborative... we were throwing ideas, experimenting and
just having fun.
Raj Lalwani
Amit chose to
photograph
Raj because
he enjoys
photographing
someone I have
interacted with
in the past.
T
IP
1
Meet Them Beforehand
This allows you to get a hang
of what kind of a person your
subject is. This also helps you
give last-minute instructions
like a haircut.
T
IP
3
Collaborate with Them
It is not about a photographer
making portraits of
someone. It is about that
person giving themselves to
the photographer as well.
T
IP
2
Note Their Expressions
Observe their demeanour
during your initial conversation
and see what they are like
when they are relaxed and
have their guard down.
T
IP
4
Work Backwards
Why are you shooting? For a
Facebook prole photo? Or for
a magazine? Or a portfolio?
Choose your gear, clothes and
location based on that.
Amit: I am Always Looking for the
Magic to Happen While Shooting.
Amit Setting Up His Shot and the Final Image from Day One
On the rst day, Amit
shot with a Canon
EOS 5D Mark II with
a 70200mm f/2.8
lens, mostly shooting
at 105mm. The next
day, he used a Nikon
D800 with an 85mm
f/1.8 lens. Since the
shutterspeeds were
often slow, he also
used a tripod.
Gear Used For
This Shoot
I used one key light and allowed
the rest of his face to be in shadow
for added drama. The background
light helped create a separation.
A light meter is invaluable as it tells you where the light is falling on
your subject and also where it is falling off.
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S
ince you guys told me that you
would be doing a makeover story,
I wanted this shoot to be very
stylised. This is why I asked Raj
to wear an outt that he usually
does not, such as a polo neck t-shirt and a
leather jacket. We were intially very happy
with one photograph, but while looking at
it, I thought that something was missing,
and that the look would be complete with a
golf cap. So, we reshot a few days later, once
I sourced different kinds of caps.
We were planning to repeat the same
attire, but I saw that Raj was wearing a
quirky Homer Simpson t-shirt. So, before
we started on our main shot, we just had a
bit of fun. This unplanned, candid image
actually ended up being the nal photo!
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Respect Comfort Levels
Sometimes, the pose that
looks best may not be the most
comfortable for your subject.
You need to arrive at something
that is agreeable to both.
T
IP
7
Categorise Your Subjects
Do you like literature or music?
Slot the people you meet and
gure out if you want to make a
portrait inspired by Morrison,
Elvis or someone else.
T
IP
6
Use Continuous Lights
There are no recurring beep
sounds to make rst-timers
conscious. Also, there are
lesser chances of catching
them blinking.
T
IP
8
Use Home Fixes
Make use of tungsten lamps,
a crisscross of fabric or a
bunch of straws instead of
a honeycomb grid and foil
instead of a high-end reector.
If you are photographing a guy, you can ask them to grow their stubble for a
few days. A shave halfway through the shoot will ensure two different looks.
JUNE 201 3
Ashok Salian photographs Priyanka Chharia
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It was the rst time I actually posed in a studio environment, and
I must say, it was quite an experience! While I loved
being in front of the camera for a change, Salian
taught me a lot about how to just be myself and how
to direct a subject as well.
Priyanka Chharia
Initially, Salian
felt that
Priyanka was a
little conscious
of herself, but
slowly she
warmed up and
posed like a
professional.
T
IP
1
Direct the Gaze
Usually, people tend to stare
at a camera like deer stuck in
headlights. Put them at ease
and help them gaze into the
camera instead of staring.
T
IP
3
Be a Stylist
If there is a certain part of
their clothing or their hairdo
that requires some touching
up, do not hesitate to ask
them to x it.
T
IP
2
Give it Some Time
Great expressions do not come
immediately. It takes some
time for the model to thaw and
gradually allow the camera to
witness their personality.
T
IP
4
Move Around
Settle on one portraiture
approach and move around
the subject. Go close, step
back, and try making slight
modications to your setup.
Salians Spontaneous Manner of Working
I asked her to wear black because
it draws attention to just the face.
The chunky neckpiece provided a
good element of interest.
Since the shoot stretched to over 20 minutes, we had to keep spraying and brushing her hair. Also, this gave her some respite from the light.
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I tried a few options with a silver
reector to bounce some of the
warmth back on to her hair. But in
the end, I felt that it was not needed.
n
ded.
I placed a stool for her to rest her
arm, as it gave the pose some stability. It also took care of where
she had to place her hands.
Ashok: I Always Make My Portraits
on the Spur of the Moment.
Salian used the
Canon EOS 5D
Mark II along with
an 85mm lens.
He also used a
grey background,
a Broncolor strobe
set to tungsten and a
silver reector.
Gear Used for
This Shoot
P
riyanka has a nice, pretty face
and I chose her out of all the
photographs because I saw
potential in her for a great
portrait. Since she has a round
face, I thought I would sidelight it and let
the other half gradually fall into darkness.
For the same reason, I used the modelling
lamp of one strobe.
I like women with broad foreheads, and
one of the things that kept happening
with Priyanka was that her hair kept
falling over the forehead, making her
face seem rounder. So, we worked
around that and I asked her to brush
her hair backwards, away from the face.
Ultimately, I think we ended up making a
great classic portrait!
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5
Give Them Some Respite
Keep a few tissues at hand
and allow your subject to
cool down when it gets too
hot while shooting for a long
duration, under the strobes.
T
IP
7
The Eyes Have it
Tell your subject to smile
with their eyes. If the smile is
genuine, the geniality and good
humouredness in their eyes
will draw the viewer.
T
IP
6
Toothy Grins Vs Smiles
Some people look good with a
full toothy grin or a laugh, while
some others look nice with a
hint of a smile. It all depends on
the look you are gunning for.
T
IP
8
Laugh a Lot!
Make a lot of conversation as
it will help you gain insights
into the subjects personality.
Speaking to them will also
elicit a variety of expressions!
JUNE 201 3
Raque Sayed photographs Chandni Gajria
T
IP
1
Iron the Outts
Make sure that the clothes
being worn by your subject
are ironed and crease-free,
unless you are going for the
unkempt, scraggly look.
T
IP
3
Consider the Medium
The outt and the makeup
largely depend on whether you
are shooting in colour or B&W.
Envision how the nal colours
will eventually be rendered.
T
IP
2
Stack Outts on a Rack
Place all the clothes for the
shoot on a coat rack or spread
them out on a table in front of
you. This will help you decide
which ones to use rst.
T
IP
4
Know What Gear Can Do
The quirks of equipment can
help you. Tilt-and-shift lenses
offer wonderful DOF effects.
However, keep the background
close to the subject!
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Usually, I am a jumpy sort of a person and most portraits
of mine show my fun side. Raques personal
work, however, reects a subdued style.
So, I was expecting a portrait that would bring
out my quieter side, which is what happened.
Chandni Gajria
For Raque,
the mood is
everything.
Ultimately,
what aspect
of someones
personality is
one conveying?
Raque and His Assistants Executing the Preplanned Shot
I asked her to apply foundation in
order to even out her skin tone.
Besides that, she did not wear any
makeup or eyeliner.
This cowl-necked dress was one of the options for the shoot, but
I decided to go ahead with a blazer and singlet look instead.
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Look for Quiet Moments
While directing the pose,
sometimes, your subject may
lose themselves in thought.
Keep an eye out for such
private moments.
T
IP
7
Make a Fluid Edit
Dont just stick to choosing
the initial portrait that you had
planned. Keep the candids and
the lucky shots in mind while
making the nal selection.
T
IP
6
Use Ambient Light
While tungsten light and strobes
are good for portraiture, there
is a magic in plain old daylight
that none can match. Use it to
your advantage!
T
IP
8
Postprocess with Care
If the portrait needs to be
corrected for even looking
skin, ensure that your subject
is comfortable with such
cleanups and enhancements.
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The cowl-necked dress would have
hidden her neck. This idea did not
seem too appealing to me. The blazer
looked formal and elegant.
zer
While reviewing the images on the
computer, I realised that I liked those shots the best where her hands could be seen.
Raque: What is Important is the
Personality of the Subject.
Raque used a Nikon
D3x and a Zeiss
80mm tilt-and-shift
lens. He usually does
portraiture with tilt-
and-shift lenses as
he likes the transition
into shallow DOF that
these lenses provide.
Gear Used for
This Shoot
N
ormally, I shoot in black and
white because that is how I see
the world. I am personally very
drawn to the mediumit is my
language of choice. The idea was
to make a simple, yet striking image. I shot
in ambient daylight offered by a large
window in my studio. It was around 1pm
when we started shooting.
Since we were shooting in B&W, I asked
Chandni to carry black or grey items of
clothing. Any other colour would have
been unnecessary. She wore her hair as she
does normally. I did not want to change
anything about her, so much so that I did
not even direct her pose. It was important
for me to capture her essence, exactly as
she is in everyday life.
JUNE 201 3
Shantanu Sheorey photographs Ambarin Afsar
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When facing the camera, I try to avoid thinking of it as a device.
It is not the lens I am staring at, but at the person
behind it. This helps me establish a connect.
It was easy to relate to Sheorey as he knew what he
wanted and it conformed to my self image.
Ambarin Afsar
I like to cut
down on as many
irritating shades
in the dark
areas as I can.
So, he makes
Selective Color
adjustments.
T
IP
1
The Power of Black
Black is neutral, and the
face jumps up at the viewer.
Coupled with the hair, it
envelops the face. Any other
colour can distract.
T
IP
3
Use Long Lenses
If someones got a prominent
nose, then any lens beyond
80mm can help atten the
image and make the person
look glamorous.
T
IP
2
Modify Natural Light
If daylight is too harsh,
wait for the light to change.
Alternatively, use a cutter to
darken the background or use
a reector to ll in light.
T
IP
4
Change the Situation
If the location is not working
out, or if you have come
across a better background,
use it! Go with the ow and
use your instinct.
Shantanus Instinctive Reaction to Changing Situations
Initially, I had planned on shooting
either in this balcony with the
background of green palm trees or
out on the terrace.
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Towards the end of the shoot, the
light was almost like a spotlight and
the background was thrown into darkness, which worked for me.
Shantanu: Everyone Has One Good
Angle, You Just Need to Find it.
Shantanus favourite
lenses to shoot used
to range between
85mm and 180mm.
Now he often uses
an iPhone. But for
this shoot, he used
the Canon EOS 5D
Mark II along with a
standard 24105mm
lens. He shot mostly
at the telephoto end
of the lens.
Gear Used For
This Shoot
O
ne has shot all sorts of
face structures, if that
is what you want to call
it. Ambarin has a good
complexion and so
I chose her because it meant that I would
have lesser retouching to do. Since I was
in Goa, I asked your team to come here.
I wanted to shoot in natural light.
Initially, I thought of shooting on the
terrace, but while waiting for the light to
become softer, I realised that the balcony
offered better light. The setting sun was
streaming in nicely through the trees and
offered dappled light. This made me think,
wow, lets use this instead of at lighting.
We had to work really fast as the light was
fading quite rapidly.
A
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T
IP
5
Do a Few Test Shots
While doing test shots, pay
attention to the outline of the
face. See whether you want to
make a semi-prole or even a
complete prole.
T
IP
7
Bring Out Texture
Use a sharpness mask in
postprocessing to further
bring out the textures and
details of the face. It is these
that characterise a person.
T
IP
6
Understand the Face
This will help you discover
a good anglewhether you
have to shoot dead-on, make
a front-facing portrait or use
only three-fourths of the face.
T
IP
8
Try a Grainy Look
Digital images are inherently
too sharp, not just in terms of
detail, but also colour. Adding
some grain gives the image a
soft, lm-like feel.
or
I asked Ambarin to remove the
heavy kohl that she usually wears. But, I asked for the liner to be kept intact on the upper eyelid.
Tow
light
the b
dark rs.
Here, I tried cutting the light by making use
of a towel. But as I was shooting, the light
gradually changed and became better. So, I
did not use it eventually.
JUNE 201 3
Vikram Bawa photographs Conchita Fernandes
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I was quite nervous about shooting with a famous fashion
photographer, but Vikram, with his easygoing
personality put me completely at ease. The shoot
was surprisingly quick and lots of fun!
Conchita Fernandes
The point is
to make good
portraits even
on a budget.
And so, Vikram
used fairly
simple lighting.
T
IP
1
Be Mindful of Skin Tones
Dusky people look good
in orange, emerald green
and aquamarine blue.
These colours also suit fair
subjects, so choose wisely.
T
IP
3
Play Good Music...
...depending on the mood
you wish to create in the
photograph. A funky hip hop
beat is good to get your
subject grooving.
T
IP
2
Everyone is Photogenic
You must start with this
basic thought in mind. All that
matters, then, is nding the
right light and a good enough
colour scheme.
T
IP
4
Appreciate Your Subject
Encourage them when they
strike an interesting pose and
appreciate them when they do
something right. This will make
them more condent.
I did not ask for specics in terms of
the makeup she did. She used some
concealer, a liner to dene her eyes
and some lip gloss.
I asked her to scream, shout, make faces and basically do anything that she wanted to do. This was just another way of letting her shake loose.
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Vikrams Quick Way of Doing the Shoot
ke
We tried a few variants with
her spectacles on as well.
However, the shots without her
glasses worked better.
My workow involves transferring the images immediately and seeing what works.
I did some colour adjustments and arrived
at my nal shot.
Vikram: Condence! Condence!
Condence! Thats All You Need.
Vikram used the Sony
Alpha 99 coupled
with an inexpensive
Sunpak macro ring
ash for this shoot.
Normally, the ash
is used by jewellery
photographers to
shoot diamonds
and other gems.
This accessory can
be made at home
quite easily.
Gear Used for
This Shoot
P
ersonally, I am a fan of dark
skin and so, I chose Conchita.
She has lovely eyes, great
bone structure, a sleek face
and great hair. All in all,
she is easy to shoot. My concept for the
shoot was fairly simple. I could have
used a softbox but I thought, why not do
something thats fashion, something thats
very different and something that no one
would have thought of.
I already knew that I would be using a
bright colour scheme. So, I wanted her
to wear a colour that would contrast with
the backdrop, and that would pop. I also
shot at a relatively wide focal length so
as to get the circle of the ring ash in the
frame. The shot worked out!
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b
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T
IP
5
Keep a Mirror
A full-length mirror in the room
you are shooting allows your
subject to see what they look
like. This will reassure them and
help them pose better.
T
IP
7
Play With Colours
You do not always have to
choose sombre, moody
colour schemes. Try making
pop-artsy photos with vivid,
bright colours!
T
IP
6
Fine Tune Their Posture
If you want their hand to be
placed in a certain way, or them
to turn their shoulder towards
the camera, do not hesitate to
enact what you have in mind.
T
IP
8
Show Them the Photo
During the shoot, let them
know what they look like on
the camera. This will help
them understand how to
improve what they are doing.
Deepak John Mathews series explores his own personal space
and how it is slowly being scribbled over by his children.
Scribbled Walls
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ON ASSI GNMENT
Description
To portray the idea of marking territory.

Duration
This series was done over a period of four years.

Notes
Every project leaves something permanent in my
heart. This series helped me learn that any simple
object can be a great subject for photography.
My Assignment
I have tried to look at the
changes in my personal
space as a transition
from a bachelors life to
the life of a family man.
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Through this series,
I have moved from
the mundane and the
generic to the larger
implications of invasion
and displacement.
T
his series is titled Missing Interiors
and it started as an accidental
picture. Then I made a conscious
decision to continue shooting for
it over the years. I documented any
change that took place in my house.
My Perspective
I was actually shooting something else,
when I saw some scribbles made on the wall
Each inch of my house
has been reinscribed by
the childrens presence.
GXp8kk\ek`fekfPfli@dd\[`Xk\Jliifle[`e^j1 Great subjects arent
necessarily found far away. I could be right next to you, and be the perfect
subject for you. So, all you are tasked with, is nding me.
GcXePfli:fdgfj`k`fe1 When shooting disorder and chaos, realise that your
frame cannot afford to look sloppy or untidy. Crop within the camera itself, while
composing the frame.
<dgcfpCfe^<ogfjli\j1 Interiors of houses arent usually well lit. So, use long
exposures and a sturdy tripod if you do not have any moving subjects in the frame.
You can even re the ash, depending on how you want to balance ambient light.
Tips on Creating a Series of Photos at Home
by my daughter. This led me to start a project
about losing ones personal space.
What my daughter did, is the exact
same thing that we do with the borders of
countries as well. We just declare that certain
territory belongs to us. And we ght for it,
though any place on the entire planet does
not belong to anybody.
The Process
This is a personal project that requires a
lot of time. I do not simulate the situation,
everything has to happen naturally, and
hence the long wait.
Since I live in the same space, the one
problem that comes up is that I get used
B E T T E R P H O T O G R A P H Y MAY 201 3
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ON ASSI GNMENT
Maintaining a static
shadow throughout
the series helped
me create a distant,
aloof atmosphere.
I used a Hasselblad
with 28mm and
80mm lenses for
most of the pictures.
I also used a Nikon
D3x with 50mm
and 24mm lenses.
Since I use available
light, some of these
exposures last
several seconds.
My Equipment
I do not know when
my children started, but
now that they are here,
they have completely
occupied all spaces.
to seeing the same things on a daily basis.
Sometimes, creating a new frame becomes
impossible. But then, the drawings on the
wall change almost every day. So, deciding
when exactly to shoot becomes a problem.
Each incident and situation forms a
special place in my heart. I remember, once
I had gone to my room, and I found a sign
that said, Do not enter... Aasthas room, and
that triggered the idea of territories. It was
the same room that I used to consider my
own as all my equipment is kept there!
Though I shoot the pictures at home, I am
consciously looking for symbols. Many a
times, the elements in the photographs
work as metaphors. At other times, I chose
the frames in such a way that there is some
element of fun in the photograph. For me,
this means that there should be some
contrast in the way the elements in the frame
interact with each other.
I shoot using a grey card, and correct the
White Balance on the computer. I shoot in
My children place
their books, toys and
other things where
I used to keep my books
and equipment.
RAW and process the les for sharpness and
contrast in Phocus and Photoshop. Since
my frames are well calculated, extensive
postprocessing is never a requirement.
Normally, I dont even crop my frames.
I make the decision to shoot whenever
I see disorder and chaos. So, the images are
composed quite consciously.
To view more of Mathews work, you can visit
www.djmphotography.in
B E T T E R P H O T O G R A P H Y MAY 201 3
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JUNE 201 3
PhotoCritique
B E T T E R P H O T O G R A P H Y
Want your photographs reviewed? Send your photographs to
The Editor, Better Photography, Network18 Publishing,
Ruby House, A Wing, J K Sawant Marg, Dadar (W)
Mumbai - 400 028, India
E-mail: photocritique@betterphotography.in
By Maitreya
Maitreyan,
Melbourne
Camera: Nikon D80
Lens: Nikkor AF-S DX
70300mm f/4.5-f/5.6 VR
Aperture: f/5.6
Shutterspeed: 1/2000sec
ISO: 100
Vineeta Muni: The only thing I liked
about this image are the silhouetted
leaves that look great against the bright
sun in the background. Was this done
on purpose or was it accidental, I cannot
make out. This is because the sun is in
the absolute centre of the composition
and not in focus, so the image has a
distracting feel.
The branch on the left seems like an
intruding element in the photograph,
disturbing the balance in the frame.
If you had kept the leaf in the centre,
close to the foreground, it would have
become the main focus of the image.
Moreover, if the setting sun was seen as
big as possible, you would have been able
to create quite an interesting frame.
Amrita Ganguly-Salian: I see potential in
this approach but the nal image does not
feel complete. Let me rst recount the pluses
of the frame. The sun thrown out of focus
creates a bokeh effect, the colour palette is
good and using the silhouette as a tool has
worked for a subject like this as well.
Now the elements that didnt come
together for me are trifold. Firstly, if you
place the subject in the middle of the frame,
you need to go lot closer to create impact.
Secondly, there is a lot of negative space in
the frame which does not add any value
in terms of detail, colour or ambience.
Thirdly, the equipment you have access to
will allow you to create sharp, detailed and
memorable images. You could have used it
to your advantage.
The Smiling Twig
A close crop, with
the subject off-centre
would have made the
frame effective.
Tilting the camera to the
top would have gotten
more of the branches in
the frame.
This branch provides a
nice balance to the one
on the right, which may
have looked too empty.
The out-of-focus sun
in the background
looks like a giant ball of
mesmerising light!
The strange structure of
the leaves has ultimately
provided the frame
with character.
101
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The Panelists
101
Vineeta Muni
is a commercial
artist and nature
photographer. She is
also an accomplished
and trained
mountaineer, and
has participated in
21 expeditions to the
Himalayas. She is one
of the rst women to
have trekked the entire
length of the Himalayas.
Supriya Joshi
makes photographs
which are much like
herunusual and quirky,
with a fascination for
the extraordinary in the
mundane. She is not
fussy about gearit
could be a DSLR or even
a cellphoneas long as
what she is shooting,
makes her smile.
By Parthajit Datta,
Agartala
Camera: Nikon D40
Aperture: f/7.10
Shutterspeed: 1/1000sec
ISO: 400
Vineeta Muni: The Rule of Thirds nds
good application in the photograph.
The silhouette of the two gures is
captured well. However, the picture lacks
punch. The hay that is being carried
by both the gures is merging with the
treetops that are at the horizon. Also, the
nearly central position of the sun and
the power lines take ones attention
away, resulting in an image that is not
very interesting.
The grey triangle caused by two blades
of grass between the two gures in the
foreground is also disturbing. A careful
selection and study of the back ground and
foreground would have helped achieved a
much better image.
The Long Walk
Supriya Joshi: The thing I liked about
the image is the presence of geometry,
which probably stands out the most in this
photograph. The silhouettes are also quite
strong, which adds a certain character to
the frame. Apart from these points, I nd
the image to be quite bland. The colour of
the sky looks too drab, if you had made this
shot a little earlier in the day, you might
have found a good colour gradation in the
sky. Moreover, it is too emptyperhaps you
could have waited for a stray cloud or a bird
in ight.
The low angle you have employed shows
that you certainly have taken the effort to
frame the image, but a little more patience
could have yielded fantastic results!
The tree in the
background is merging
with the bale of hay.
A different vantage point
would have helped.
The frame breaks
away from traditional
landscape imagery,
yet remains a unique
example of the same.
The leaf adds a nice
dimension to the
photograph, almost
leading the viewer into
the sunset.
This stray piece of hay
is touching the edge of
the frame. A bit more
breathing space on the
left could have helped.
Amrita Ganguly-
Salian
befriended the camera
22 years ago, and
continues to inspire
many students of
photography. Her critique
is rooted in classical
theories and balances
the photographers
opportunity with the use
of technique.
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PHOTOCRI TI QUE
B E T T E R P H O T O G R A P H Y B E T T E R P H O T O G R A P H Y
Vineeta Muni: This image beautifully
depicts the gradation of the lower
foothills to the high Himalayan peak.
Unfortunately, the colour of the sky looks
too unnatural.
The evenness of the sky was probably
caused by the wrong use of a lter to
enhance the rst rays of light on the
peak. This, in turn, made the image very
dull. This is a very common mistake
in landscape photography. Using a UV
lter and a circular polariser would have
helped with more natural picture with
accurate colours.
First Light On Kanchanjunga
Supriya Joshi: At rst sight, this image is
truly breathtaking. Moreover, I appreciate
the fact that you woke up really early to
capture the sunrise! However, more than
the photograph itself, I would attribute
the moment to the wonder of Mother
Nature. Having said that, I would like to
appreciate the fact that the composition
is effective and shows the richness of the
mountain. The orange light on the white
snow also looks spectacular.
Despite the shortcomings of the image,
I will give you credit for the fact that you
made the photo with a compact camera.
Experimenting with
White Balance presets
could have resulted in
unique results.
A 16:9 frame could
have worked better
in the case of
this particular image.
Waiting for a little
while more would have
allowed the sky to turn
more dramatic.
The green hill looks
distracting, and could
have been eliminated
from the image.
The billowing clouds
help give the frame
a wonderfully
dreamy effect.
By Arup
Bhattacharjee,
Guwahati
Camera: Canon PowerShot
S3 IS
Aperture: f/6.3
Shutterspeed: 1/15sec
ISO: Not Available
103
JUNE 201 3
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My India
Vineeta Muni: What I really liked
about this image is the unique way
in which the photographer has
represented his idea of India.
Apart from showcasing agriculture
as a big part of the Indian economy,
the image also puts across the orange
of the sky, the green of the elds
and the white cloth to symbolise
the tricolour beautifully and quite
simply. This simplicity is what works in
the image.
The wind owing through the
crops and the child in motion depict
rapid growth, youth and vitality
of the nation. The photographer
has executed his idea well, and has
managed to capture a nice moment.
Amrita Ganguly-Salian: This starts off as a
happy image of a child playing in the eld
and there is sunny play of light. It is a safe
and simple enough frame. It effectively
used Rule of Third for subject placement
and creates momentum by having the
child leave the frame. The fabrics motion
is lyrical too. While the movement creates
dynamism, it falls short of technical
perfection.
Critical focus is missing and the motion
blur hasnt been effectively implemented
either. Last but not the least, I nd the
tricolour imagery somewhat forced.
Whether this frame was created in an
incidental manner or if everything
was deliberately induced, the image
seems unnatural.
The white cloth looks like it
is emerging from the girls
head. Her hand should
have been a little higher.
The girl against the
direction of the wind
makes the frame
dynamic.
The various hues of
the sky present in the
frame makes it dramatic
in nature.
By Soumya
Sankar,
Kolkata
Camera: Nikon D3000
Aperture: f/8
Shutterspeed: 1/125sec
ISO: 200
The choice of location
has worked, due to
the different kind of
foliage visible.
Critics
Choice
Award
e
urs
h,

The Indian tricolour
imagery is an
interesting touch, albeit
unnatural looking.
BLOOMING FIELDS
Anonymous
Wider apertures like
f/2.8 will throw the
background out of focus,
thus emphasising on
your pet and the owers
in the foreground.
Where there are
owers, there will be
butteries. Include them
in your frame to
capture a part of the
elds beauty.
All About Focus
Fields of owers make for beautiful
photography subjects. You can make an
effective frame by keeping a small section
of the owers in focus, and throwing
everything else out of focus.
Add your Pets
Pets love taking a walk and just being
outdoors, in general. You can add a dash
of interest to this everyday activity by
capturing them running amongst elds
of owers.
You can also carry your pets favourite
toys like rubber chew toys or balls and let
them play with them. Just make sure you
do not cause any harm to the owers while
you are shooting.
Go Silly
Recreate your favourite Bollywood
movie sequences, which were made
popular in owery elds. Get your
friends to dress up and pose in a cheesy
manner. Such silly photographs work
in the long run, because they serve as
great memories.
In fact, if you have a tripod, turn the
camera to yourself and make humorous
faces as you run through the owers.
Looking Upwards
Lie down on the ground, point your
camera upwards, compose a frame and
shoot. From that angle, owers look really
big. You can wait for a while for a bird
to swoop through the sky and add it to
your frame for an effective photograph.
From that angle, you may even be able to
nd small insects which inhabit the stems
of owers.
Alfred Borchard
Want to share your ideas and tips? Write to
The Editor, Better Photography
Network18 Publishing
Ruby House, A Wing
J K Sawant Marg, Dadar (W)
Mumbai-400 028, India
Email: editor@betterphotography.in
104
JUNE 201 3
If you do not have a
macro lens, switch on
your cameras Macro
mode for ideal settings
to capture owers in
close up.
QUICK TIP
A New Approach to Macro
Who needs a macro lens when you can
use a scanner to create stunning close-ups
of owers? The optical resolution of most
atbed scanners can exceed 5000 pixels
per inch. The depth-of-eld of a scanner is
about 12mm, and the subject closest to the
glass bed is captured sharp, which can give a
whole new spin to close-ups of owers.
Work in Darkness
The reach of the scanners light is not strong
enough to capture anything beyond the
subject. However, even the slightest amount
of external light can disturb the frame. If you
want the background to be black, you need
to work in a darkened room. Black acts as a
neat, clean background and draws attention
to the owers, giving them more emphasis.
Alternatively, you can use any background
you want like chart paper or coloured fabric.

Dry or Fresh?
Since you are scanning them, you
can choose to scan any kind of ower
you want to. You can use dry owers,
fresh owers... the ideas are endless!
Scanographs can also serve as a
record of all the various owers you
have encountered.
Colour Gradient
The part of the subject closest to the
plate appears brighter than the area that
is farther away. So, if you place a bunch
of owers on the scanners glass plate,
SCAN YOUR IMAGES
Brian Haslam Brian Haslam
Adriana Glackin
Composition matters
even in scanographs.
And the best part is, you
can modify your frame
any way you want!
Scanographs truly
allow your subject to be
the centre of attention.
Sometimes, even B&W
images of owers can
be just as effective as
their colour versions.
B E T T E R P H O T O G R A P H Y
105
JUNE 201 3
Tiny insects often
frequent a owers
core. If you wait enough,
you will be able to
photograph them.
Different parts of the
owers lend themselves
to abstract frames.
Anonymous
Raj Lalwani
those parts of the ower which are not in
contact with the plate, will look like they
are fading away to blackness.
Approach with Caution
Before you begin making scanographs,
gently wipe the surface of the glass plate
with a lint-free cloth, so that there are
no smudges, dust or spots visible in the
nal photograph.
Be careful with the thorns of some
owers, as they can potentially harm
the glass plate of the scanner and leave
scratches. Also when you are done
scanning, gently wipe the surface again
with a cloth.
Up Close and Personal
You can still practise macro photography
without the lenses... Invest in
close-up lens lters. They work identically
to reading glasses, allowing lenses to focus
more closely. They are available at various
strengths, the higher the strength, the
closer you can get to your subject.
Reaching Out
Another budget-friendly option for
macro photography is extension tubes.
YOUR MACRO KIT
These hollow tubes t between the lens
and camera body and allow you to make
macro photographs. However, you may
have to compromise on your cameras
metering system.
Keeping it Steady
Even the slightest movement can ruin a
macro photograph. Therefore, keeping
Raj Raj Raj Raj R jj La La La Lalwa lwa wa lwa lw ni ni nii nnn Dipak Shelare
B E T T E R P H O T O G R A P H Y
106
JUNE 201 3
I made this image while traveling between two villages
in Northern Bengal. The weather there is very patchy...
it can rain at any moment. It had rained just before
I made this frame, which is why there are drops of
water visible on the plant.
While this photograph may resemble a macro
image, it is, in fact shot from the telephoto end of my
kit lens. This frame is a crop of a much larger one.
The lighting conditions were also very poor. But what
matters is if you have observed a scene and found
a frame that fascinates you. After that, the settings
do not really matter. Of course, I had to keep myself
very steady while I made this frame. Small details
like the water droplets and the scattered petals just
brought the frame together. If you are going to attempt
a similar photograph, I recommend you isolate your
subject to truly emphasise on what makes this a sight
worth remembering.
Riddhi Nandy
READERS TIP
Isolate for Effect
When shooting owers
on a windy day, use a
slow shutterspeed to
capture movement.
QUICK TIP
Shooting owers and plants is quite possible even without a macro lens.
Riddhi Nandy
Extreme close-ups
of owers allow you to
showcase a world that
many may never have
seen before.
Under the Hood
Buy a hood for your lens. These drastically
reduce lens are, which can sometimes
ruin the frame.
Reect!
A reector can greatly enhance a owers
macro photograph, adding a whole new
dimension to the image. Portable reectors
can be used in order to reect available
light to the subject.
An economical alternative is a mirror!
Mirrors can dramatically modify the light
and can even work as the main light source
to illuminate the frame.
Anonymous
your frame steady is a must. Invest in
a sturdy tripod to make sure you dont
miss the moment. Other alternates
include monopods, gorillapods or even
steady surfaces.
Watch the Background
Sometimes, isolating one ower from
a bunch can make for a more effective
composition. You can use a coloured
card paper or bright fabrics as makeshift
backgrounds for your photographs.
If you know which ower you will
be photographing, you can choose a
background with a complementary colour.
For example, a red rose will stand out
against a yellow background.
Lighting Matters
If you are shooting indoors, use
off-camera ash units to illuminate the
frame. You could also couple your cameras
on-board ash with a diffuser to give your
photograph a soft, dreamy effect.
Going in Reverse
If you do not have a macro lens, worry not.
Do you know that you can reverse your
normal lens and make it a macro lens?
All you need is a reversal ring, and you are
good to go!
B E T T E R P H O T O G R A P H Y
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JUNE 201 3
Want your doubts cleared? Write to
The Editor, Better Photography
Infomedia18 Limited
Ruby House, A Wing, J K Sawant Marg
Dadar (W), Mumbai-400 028, India.
E-mail: editor@betterphotography.in
Outdoor Location Shoots
I am a 22 year-old attempting to do a
fashion shoot for an online publication.
Can you give me a few outdoor location
suggestions as to where I could shoot?
Suhani Kaur, Mumbai, via email
The location sets the mood of the shoot.
The kind of location you choose will largely
depend on the clothes that the online
portal wants showcased. Explore your own
locality for interesting spaces and you will
automatically come across corners that may
interest you. The simplest location you can
use is the terrace of your building. The clear
blue sky can make for a great backdrop.
If you want to present a western, gritty
style of clothing, you can use the interiors,
staircases of abandoned buildings or make
use of grafti-covered walls. If you can make
do without assistants, then the pavement of a
busy street can also be the ideal location to
shoot casual street wear.
Leaf Shutter In Cameras
Some digital cameras have a leaf shutter.
What is the big deal about these shutters?
Rohan Gupta, New Delhi, via post

A leaf shutter uses a small number of identical
overlapping metal blades, called leaves, and
hence the nomenclature. Leaf shutters are
highly specialised and found only in certain older
cameras and medium format camera systems,
as opposed to focal plane shutters that are found
in regular SLR cameras. In the digital world,
some recent cameras like the Fujilm FinePix
X100 and X100S have incorporated a leaf shutter.
There are two signicant advantages to leaf
shutters. Most SLR cameras have a maximum
ash sync speed of 1/250sec. Beyond this,
one can use a High Speed Sync mode, but this
adversely affects the resulting power from the
external ash. The leaf shutter mechanism, on
the other hand, allows you to sync ash, even
at 1/1000sec. This makes it much easier for you
to completely overpower bright ambient light,
even with a basic ashgunsomething that
would otherwise need a far more powerful light.
There are a few disadvantages you need to keep
in mind, though. The maximum shutterspeed
A leaf shutter
mechanism of a camera.

Prevent a Tripod From Toppling Over?
HOW TO
While setting up a tripod, there are a few
basic things that we must take care of. We
think that that setting up a tripod is easy, only
to nd it toppling over after a while. Here
are a few things you should check in order to
prevent the tripod from toppling:
Find a at steady surface to set up the tripod.
Unlock and extend the the thicker sections
of the legs rst for adjustments and
added stability.
While extending or shortening the legs of the
tripod, make sure they are levelled properly.
Ensure that you lock the tripod
legs correctly.
Secure the base plate rmly to the tripod
otherwise the camera can slip and fall if it is
not screwed on correctly.
Use the centre column of the tripod only
if neccessary. Usually, it has a tendency
of tilting. This column maintains balance.
It should be vertical and straight even if the
tripod is on uneven ground.
Due to their size, telephoto lenses are more
prone to falling if the tripod is not properly
balanced. Attach the lens collar to the base
plate to avoid this.
While shooting, point one of the tripod legs
such that the leg is in the same direction
as that of the lens. This will prevent the
tripod from toppling forward when you look
through the viewnder. This position of the
Besides resolution
does the le size
depend on any
other factor?
The le size depends on
the compression applied
to an image le and the
number of elements that
are there in the scene.
BRI EFLY
tripod will also let you stand comfortably
in between the two rear legs of the tripod.
It will also prevent you from tripping on the
tripods legs.
B E T T E R P H O T O G R A P H Y
108
JUNE 201 3
JUNE 201 3

possible with these cameras is usually only
around 1/1000sec. This may necessitate the
use of an ND lter when shooting at the widest
aperture in bright daylight.
Lens Cleaning Cloth
The front element of my lens has a lot of
dust on it. What kind of a cloth should
I use to clean it?
Shivani Kandhari, Mysore, via email

Microbre cloth will help absorb any oily matter
on the lens without being abrasive or leaving a
residue on the lens element. One can even use
lens cleaning tissues. The only disadvantage
of using lens cleaning tissues is that they are
meant for one time use only. In comparison, a
microbre cloth is easy to maintain and will last
longer as you can simply wash it in warm water
with a mild detergent.
Need For a Camera Bag
Can a simple sturdy cloth bag be used to
carry my camera?
Aashi Sinha, Bengaluru, via email
Whether it is a DSLR or a compact, both should
be carried in a secure camera bag or pouch.
A good camera bag comes with sturdy straps
and padding within, which a cloth bag does not.
You can safely walk through busy crowds and be
assured that the camera will be safe despite a
few knocks. However, whatever kind of bag you
use, it is even more essential that the camera
is packed securely. There should be no other
sharp objects kept in the same compartment.
So, ensure that chargers, card readers and other
wires are stored in their respective sections.
Getting Good Colours
How do I get good colours in my images
without editing them in the software?
Rajeev Menon, Chennai, via email
Almost all cameras come with sufcient settings
to produce good colours. Standard, Vivid,
Neutral and Monochrome are some of the
Picture Settings you can nd inside your camera.
These can be further ne tuned. Certain Scene
modes like Sunset and Pop Art also allow you
to manipulate colours. Besides these, the White
Balance setting can be used to make a certain
shade warmer or cooler. You also have the option
of underexposing by half a stop if you want the
colours to be deeper. But most importantly,
remember that the light you shoot in nally
determines how colours are rendered.
What is purple
fringing?
Fringing is a lens aw
which occurs in certain
lenses. The effect is an
outline of purple or red
when rays of light of
different wavelengths
focus on different planes.
BRI EFLY
Send in your
queries to Better
Photography. If your
letter wins Question
of the Month, you
stand to win a Lexar
8GB 100x SDHC
media card!
I have been shooting weddings for my friends for
a while now. This has helped me land my rst paid
assignment. What should a photographer wear to
the wedding they are shooting?
Purab Mahesh, Mumbai, via post

While what you wear is the last thing on any clients mind,
this does not mean you attract too much attention to your
clothes. At weddings, your attire is a way of presenting
yourself as a professional photographer. For any wedding,
you should dress as if you were one of the guests.
You need not necessarily wear a tux or a suit, but a pair
of formal pants and a nice shirt is good enough to blend in
with the crowd. The point is to never look sloppy. Do take
care of the colours you choose to wear. Bright shades
attract a lot of attention, so, opt for slightly pastel shades.
If you have to wear an Indian outt, you can wear
a simple kurta as it is quite comfortable to shoot in.
Whatever you may wear, never compromise on the
footwear. Make sure the shoes you wear are comfortable
to walk and run in. Also, many Indian wedding rituals
require you to remove your shoes. Therefore, see that the
footwear you wear is easy to get out of.
While you prepare your attire, weigh the practicality of
actually shooting in it. Remember that an event is a window
to meeting many other potential clients.
A Wedding Photographers Attire
John Nyberg
109
Saibal Das
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In a midsummers untailored rendezvous, Saibal Das shares his
photographic impressions with Priyanka Chharia.
Tales From Elsewhere
B E T T E R P H O T O G R A P H Y JUNE 201 3
PROFI LE
110
PROFI LE
ShowCase
Saibal explores the
everyday truths of
circus life, rather than
deliberating upon its
spectacular character.
B E T T E R P H O T O G R A P H Y
PROFI LE
111
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PROFI LE
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Dario Mitidieri
Covering conict
and streetscapes
116
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Are you one of the
category winners?
122
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Samsul Alam Helal
Discovering stories and
images in the studio
138
The juxtaposition of
age, gender and vantage
point highlights the
distinct role of every
individual in the circus.
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TIPS BY SAIBAL
W
hile turning the pages
of Saibal Dass Circus
Girl, I beheld an occult
world, a world full of
unknown secrets and
mysteries. As I scanned one image after the
other, I felt an energy resonating from the
black and white photographs. I admired the
skillful coalescence of Saibals persuasive
imagery with the lyrical text of Nola Rae, an
acclaimed performance artist. The fervent
gaze of the circus girls bore into me, as it
simultaneously brought back memories of
girlhood. Powerful, potent and thought-
provoking, Circus Girl cast a charming spell
upon me.
His images bridge the
gap between the realities
and pretences of two
parallel worlds..
B E T T E R P H O T O G R A P H Y JUNE 201 3
PROFI LE
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GADGETS & GEAR
Saibals images
are reexive and
profound because
of an unmistakeable
use of irony.
A Labour of Love
What does it take to make an exultant
photo project? Well, this question was
always on my mind, and after seeing
Circus Girl, I could not help but quiz
Saibal on the same.
Making a project is not a hit-and-run
thing. It is a far more nuanced and in-depth
experience. In addition, it teaches one to
work on a self-imposed deadline. You learn
to work as a photographer, a creator,
a visionary, all at the same time, he says.
Circus life makes it
difcult to distinguish
work from play.
113
B E T T E R P H O T O G R A P H Y JUNE 201 3
GIF=@ C<
Life in the circus
seems to be an arduous
journey of countless ups
and downs.
A great
photograph
needs to be more
than just a good
looking picture.
While working on the project, Saibal
travelled for more than a year and
photographed some of the most prominent
circuses in India. His journey began in
Jaipur, and picked up pace in Kolkatas
Park Circus Maidan.
Living in the circus is tough and
sporadic. I used to photograph everyday
while documenting the nomadic circus
life. I was guided by my own vision, and
explored something new every day.
Outsider vs Insider
Photography is balance. The harmonious
juxtaposition of objectivity and subjectivity
distinguishes a good photograph from a
great photograph. But, how does one attain
this perfect equilibrium? Is observation
just as important as friendship?
Well, yes, absolutely. I photographed
the circus in Jaipur as a visitor. However, as
I began travelling with troupes from all
over the country... my experience evolved
from that of an outsider to a welcomed
insider. As my subjects started to open
up, I became more of a friend than
a photographer to them, he says.
Memories of Yore
Saibal grew up in a culture of
photography, and began photographing
at home. In many ways, he still retains
the charms of an esrtwhile tradition of
making images. And till today, he fondly
recollects the times when he used to
photograph with his family members.
My father Sasankasekhar Das and
uncle Panchanan Dutta owned a camera,
and they would constantly make pictures
at home. We had our very own projector
and every once in a week, the entire
family would gather and watch the visuals
together, he says.
In fact, Saibals interest in the
circus originates from his earliest
childhood memories. I remember
how, every winter, the circus came to
our little hometown of Chandernagore
in West Bengal. Through the day,
performers, clowns and all sorts of exotic
animals would move through the town
announcing their long-awaited arrival.
Those were the days of magic and glitter!
114
B E T T E R P H O T O G R A P H Y JUNE 201 3
GIF=@ C<
Saibal captures the
little moments of magic
that come unannounced
and unforeseen.
I used to
photograph
every day while
documenting
the nomadic
circus life.
I was guided by
my own vision
and explored
something new
each day.
Coming Full Circle
Circus Girl stands for Saibals journey from
an inquisitive youngster to an ardent
photographer. His images document the
backyard of magic, and manage to say
something original on an oft photographed
subject matter. Circus Girl was born out
of the blue, as I began to photograph
after being awarded the National Media
Fellowship in 1996.
I interacted with Raghu Rai, Pablo
Bartholomew and Prashant Panjiar, who
helped shape the project. Over the years,
I saw Circus Girl grow from a nascent idea.
As I leafed through the book once again,
I began to comprehend the depths of this
exquisite spell. I seized a wonderful idea,
witnessed a discerning method and beheld
a graceful implementation.
I found many of my questions answered
as I savoured the treasures of an effective
conversation. What does it take to make
an exultant photo project? Why should
we not let our dreams die? Why should we
walk that extra mile? What makes a good
photograph? Why must we keep looking
through the viewnder? And, why should
we continue making magic?
115
B E T T E R P H O T O G R A P H Y JUNE 201 3
PROFI LE
116
Dario Mitidieri
Conchita Fernandes uncovers the crudeness of war and
street life through the photographs of Dario Mitidieri.
GREAT MASTERS
116
JUNE 201 3 B E T T E R P H O T O G R A P H Y
GREAT MASTERS
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JUNE 201 3 B E T T E R P H O T O G R A P H Y
State of Eritrea, 1991:
A young boy plays with
an abandoned forces
tank in Massawa.
118
B E T T E R P H O T O G R A P H Y
GREAT MASTERS
JUNE 201 3
GREAT MASTERS
B E T T E R P H O T O G R A P H Y
118
Federal Democratic
Republic of Ethiopia,
1991: A young shepherd
plays with his dog
around an unexploded
bomb dropped by forces
in Tigray, north Ethiopia.
Republic of
Angola, 2002:
Children are seen playing
in the Lixeira area of the
Angolan capital Luanda.
When handling
children, you
need to be a
kid with them
and respect
them. They will
respect you
back eventually.
T
he year was 1992. Dario Mitidieri
came across a 12-year-old girl in
the red light area of Mumbai (then
Bombay). You could see that
she wanted to get out but did not
know how. He promised that he would
return and get her out of the place. He went
the next day and kept waiting but she never
came back. I really regret not helping her
while I could.
Going the Extra Mile
This brief encounter with the girl is one of
many instances that have become part of
Darios collective memory of his Mumbai
journey. But there is a lot more that instances
like these reveal.
There are photographers who only go
as far as capturing the moment. Then you
have Dario Mitidieri who does not just
stop at freezing the moment but pushes
one step further. While some of his images
are haunting juxtapositions, he lets the
viewer sink deeper into the visual till
they understand the message he is trying
to convey.

Getting Past Hurdles
Mumbai was one such photographic
mission. Every day was a new experience.
When I would leave my hotel room,
I would not know where to go but I would
just go out there and follow my instinct.
He befriended a former street kid,
Mahendra, who became his mouthpiece
and helped him understand the street
kids on a personal level. But this journey
was not going to be a simple one.
Photographing subjects like street
children is not the most commercially
valuable thing. He also realised that
this project is not going to be something
that he could complete in a few weeks
time. Dario had to win the W Eugene
119
Republic of Angola,
2002: A young girl sells
mirrors in the Lixeira
area of Luanda.
Democratic Republic
of Congo, 1994:
An orphaned child
receives medical help
in a refugee camp for
children in Goma.
119
JUNE 201 3 B E T T E R P H O T O G R A P H Y
GREAT MASTERS
Smith Award in Humanistic Photography
in order to begin the Mumbai project.
This allowed him to spend a year in
the city.
However, the problems did not end
right there. Even after the project came
to an end, getting a publisher was hard.
He goes on to mention how it was
necessary for him to win awards in order
to receive gramts to fund his projects.

Balancing it Out
But there is much more to Dario Mitidieri,
other than Mumbai. In 1989, he won the
British Press Photographer of the Year
Award for covering the Tiananmen Square
massacre in Beijing. Besides this, he has
also documented conicts in Ethiopia
and Iraq, including the 2004 tsunami
in Indonesia, amongst many others.
For someone who has captured
poverty and conict through the eyes
of its sufferers and inictors, it raises an
important question. How does he deal with
his emotions while still being objective?
I have seen horrible things in my life.
But I have no regrets. He explains how
it is important to be emotional if you
are undertaking a project of this nature;
otherwise it is too difcult to keep a clear
mind. His images are a reection of a
man who did not treat his work like a
job but as someone who wanted to make
a difference.
The Common Thread
His will to bring about a change along
with his ability to get down to the subjects
level, made it possible for him to have a
special connection with children. There is
Mumbai, 1992:
Suresh and Ramesh are
dragged apart by an
amused crowd during
a ght at Chhatrapati
Shivaji Terminus.
Mumbai, 1992:
Street children
Muthu, Bunty and
Laltamatar approach
the Chhatrapati Shivaji
Terminus by train.
B E T T E R P H O T O G R A P H Y JUNE 201 3
GREAT MASTERS
120
a strong inner child in me. Having grown
up in a little village in Italy, I had a
fantastic childhood.
More than photographs, Dario creates
narratives of these young innocent
beings, ravaged by war and poverty.
By photographing them in their natural
element, he captures the resilience of these
children; a thread he thinks binds kids like
them together, across the world.
Hopes and Memories
He goes on to mention that if given an
opportunity, he would always prefer to
take up assignments with a social cause.
The truth is that I am not busy enough
My generation
of photographers
used to go
on foreign
assignments
and send lms
back by courier.
Everybody is a
photographer
these days.
Mumbai, 1992:
Two street children look
at a Hindi lm poster in
one of the many cinemas
at Grant Road.
Mumbai, 1992:
A street child begs
on the steps of the
Chhatrapati Shivaji
Terminus, as commuters
pass by.
121
B E T T E R P H O T O G R A P H Y
GREAT MASTERS
JUNE 201 3
to choose the assignments I would
like to undertake, so sometimes I have
to compromise. However, amongst the
wide plethora of photographic work,
he documented the issue of teenage
pregnancy in the UK.
Coming back to the Mumbai project,
Dario fondly remembers the kids calling
him uncle. Eventually, he even earned
the nickname of Dario mujhko mat
dekho referring to his constant advice
to the kids, dont look into the camera.
For someone whose photographic
reportage has spanned over three
decades, Dario Mitidieri has evolved
from a photographer to a humanitarian.
I want to do something right with my
photography. He has, indeed.
The one year
that I spent in
Mumbai with
these kids was a
great eye opener
for me.
WPOY 201 2 NOMI NEES
B E T T E R P H O T O G R A P H Y JUNE 201 3
122
BRIDAL PORTRAITURE
WPOY 2012 Nominees
J
oy, laughter and apprehensioncan you
imagine a wedding photo album without
these precious moments? A wedding is not
just the celebration of a marriage, it is the
solemnity with which two souls join their lives
in perfect harmony. While the family is busy making
preparations for wedding functions, it is indeed the
wedding photographer who captures the intimate
moments that would otherwise pass unnoticed.
Each year, the Wedding Photographer of the Year
awards celebrates the efforts of those who enliven the
most beautiful day in the life of the bride and groom,
with their photographs.
A Difcult Profession
There was a time when any family member would take
it upon themselves to record the rituals of a wedding.
Today, wedding photography is easily one of the most
important, respected and difcult professions one
could choose. Over the past few years, weddings are
becoming more extravagant and the photographer
needs to cater to the customised needs of the to-be
married couple.

Six Exciting Themes, An Extensive Judging Process
We received an overwhelming response of 22,678
entries in six different themes. This time around, our
panel consisted of 110 judges which included married
couples, parents of brides and grooms, photographers
belonging to various genres, renowed wedding
photographers, stylists and fashion designers!
An intensive online system was created so as to have
judges from various parts of the country and world.
Here are the top six nominees from each category.
We are back with Indias biggest wedding photography awards, the
Canvera-Better Photography Wedding Photographer of the Year 2012.
Abhinav Parvathareddy
Amit Kulkarni
Paromita Deb Areng
Nominees:
ABHINAV PARVATHAREDDY
Student, Hyderabad
AMIT KULKARNI
Photographer, Aurangabad
DEEPAK KUMBHAR
Teacher, Kolhapur
PAROMITA DEB ARENG
Wedding Photographer, Mumbai
STEVE DSOUZA
Photographer, Mumbai
TARUN CHAWLA
Wedding Photographer, New Delhi
WPOY 201 2 NOMI NEES
B E T T E R P H O T O G R A P H Y JUNE 201 3
123
COUPLE PORTRAITURE
Nominees:
ANIRBAN BRAHMA
Wedding Photographer, Kolkata
CHENTHIL BHARATHIMOHAN
Wedding Photographer, Bengaluru
SAVIO COLACO
Wedding Photographer, Chorao
SNEHA JAYATHEERTHA
Wedding Photographer, Bengaluru
SULABH KALA
Wedding Photographer, Jodhpur
SUNITHA NADIG
Wedding Photographer, Bengaluru
FAMILY & FRIENDS
Nominees:
EDRIC GEORGE
Wedding Photographer, Margao
RAHUL SHAH
Textile Dye Bussiness, Ichalkaranji
RAJKUMAR CHARLES
Photographer, Ooty
RISHIKESH EKBOTE
Wedding Photographer, Pune
SNEHA JAYATHEERTHA
Photographer, Bengaluru
VIVEK VICTOR SEQUEIRA
Wedding Photographer, Manglore
Sneha Jayatheertha
Anirban Brahma Sunitha Nadig
Edric George
Rahul Shah Rajkumar Charles
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BEHIND THE SCENES
Nominees:
ANDREA FERNANDES
Fine Art Documentary Photographer, Mumbai
KARTHIK BALASUBRAMANIAN
Wedding Photographer, New Delhi
NIKLESH MALKANI
Wedding Photographer, Mumbai
RIDDHI PAREKH
Wedding Photographer, Mumbai
SANGEETA MAHAJAN
Wedding Photographer, Nagpur
SANOJ KUMAR
Wedding Photographer, Kochi
EMOTIONS
Nominees:
AMANPREET KAUR
Wedding Photographer, New Delhi
CHENTHIL BHARTHIMOHAN
Wedding Photographer, Bengaluru
KINJAL THAKAR
Wedding Photographer, Ahmedabad
PRADEEP RAJAM
Commercial Photographer, Bengaluru
PRASANTA SINGHA
Wedding Photographer , Kolkata
SANGEETA MAHAJAN
Photographer, Nagpur
Mark Swaroop
Kinjal Thakar
Chenthil Bharthimohan
Niklesh Malkani
Sangeeta Mahajan
Amanpreet Kaur
Sangeeta Mahajan
Karthik Balasubramanian
Andrea Fernandes
PHOTOSERIES ON A SINGLE WEDDING
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Nominees:
ANBU JAWAHAR
Wedding Photographer, Bengaluru
CORIOLAN WEIHRAUCH
Commercial Photographer, Auroville
SANDIP KUMAR
Wedding Photographer, Bengaluru
SUTIRTHA BASU
Wedding Photographer, Kolkata
VINAY SEQUEIRA
Wedding Photographer, Mangalore
WILLIAM CHANG
Commercial Photographer, New Delhi
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PHOTOSERIES ON A SINGLE WEDDING
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PHOTOSERIES ON A SINGLE WEDDING
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B E T T E R P H O T O G R A P H Y
POY 2012 Nominees
T
he award season is back, with
Indias biggest photography
contest! The Better Photography
Photographer of the Year 2012
awards saw not only great
quantity, but also superior quality of
entries. We received 72,864 entries this
year, which included both, print and
online entries.
These images were initially shortlisted
by the BP team, and then, 16 renowned
photographers were given the task of
shortlisting the nominees. After a lot of
deliberation, they nally reached the top
six images in each themeand we got a
grand total of 48 nominations!
Eight Unique Themes
This year, the Photographer of the Year
awards challenged photographers with
eight interesting themes. Moreover, we
introduced a new theme where all images
were to be shot using a cell phone!
The Winning Entries
The nominees are those that truly stood out
for the judges. The theme winners will be
own to the scenic locales of Kenya for the
Final Face-off. The winner will be declared
the Better Photography Photographer of the
Year 2012.
To find out who wins the final title, look out
for our next issue.
Nominees:
ARUN TITAN
Freelance Photographer,
Chennai
NILESH J BHANGE
Scientic Ofcer, Indore
PRANAB BASAK
Telecom Technical
Assistant, Kolkata
SENTHIL KUMAR
Photographer, Chennai
SHANTANU BEDARKAR
Software Engineer, Pune
SUDIP SAHA
Production Manager,
Kolkata
PORTRAITURE: FACES
Shantanu Bedarkar
Senthil Kumar Sudip Saha
With over 70,000 entries, Indias biggest photography awards, the Better Photography
Photographer of the Year awards, are back with a bang.
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POY 201 2 NOMI NEES
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Nominees:
ABHISHEK CHATTERJEE
Manager, Vadodara
ANUROOP KRISHNAN
Marketing Manager,
Bengaluru
NITIN R
Student, Bengaluru
ROHAN PANDIT
Research Fellow, Pune
SANTHOSH KUNDESHWAR
Businessman, Kundapura
SHANTANU BEDARKAR
Software Engineer, Pune
Nominees:
AMIT KUMAR
Publishing Professional,
Ghaziabad
INDRAJIT BHATTACHARYA
Businessman, Kolkata
KUMAR MANGWANI
Architect, Pune
KUNAL CHAUDHARI
Client Servicing
Professional, Jalgaon
SANDEEP DHOPATE
Freelance photographer,
Mumbai
SHAILENDRA RAWAT
Army Ofcer, Mumbai
MACRO: OUR TINY UNSEEN WORLD
STILL LIFE: SPACES & THINGS FROM HOME
Indrajit Bhattacharya
Abhishek Chatterjee
Nitin R Santhosh Kundeshwar
Amit Kumar
Kumar Mangwani
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POY 2012 NOMI NEES
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B E T T E R P H O T O G R A P H Y
Nominees:
KUSHAL GANGOPADHYAY
Computer Operator,
Kolkata
MUKESH SONI
Technologist, Bengaluru
PLABON DAS
Software Engineer, Kolkata
RAJIV KUMAR SOLANKI
Photographer, New Delhi
SENTHIL KUMAR
Photographer, Chennai
SUTIRTHA CHATTERJEE
Freelance
Photographer, Kolkata
Nominees:
AJINKYA GADAVE
Horticulturist, Pune
BIJIN DAS
Graphic Designer, Kochi
HEMANTKUMAR SOLANKAR
Automobile Engineer, Navi
Mumbai
MOHAMED ARIF
Photographer, Tirur
PIYUSH JAIN
Software Engineer,
Bengaluru
UMESH GOSWAMI
Photojournalist, Mumbai
STREET: PEOPLE AT THEIR WORKPLACES
LANDSCAPES: FORM, SHAPE, COLOUR
Bijin Das
Piyush Jain
Plabon Das
Kushal Gangopadhyay
Sutirtha Chatterjee
Mohamed Arif 130
POY 201 2 NOMI NEES
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Nominees:
AMIT KAMAT
CEO, Bengaluru
HARSH NAGPAL
CEO, New Delhi
JAYANTHKUMAR H V,
Surgeon, Bengaluru
KIRAT MUNDLE
Civil Engineer, Nagpur
MANISH TRIVEDI
Clerk, Jamnagar
RAJENDRA DHAGE
Wildlife photographer, Wai
WILDLIFE: ANIMALS & THEIR HABITAT
Kirat Mundle Jayanthkumar H V
Amit Kamat
Harsh Nagpal
Manish Trivedi
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POY 2012 NOMI NEES
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B E T T E R P H O T O G R A P H Y
Nominees:
R MADHU GOPAL RAO
Photojournalist, Hyderabad
MITUL KAJARIA
Photographer, Ahmedabad
PARTHA SENGUPTA
Art Director, Kolkata
RAJIV KUMAR SOLANKI
Photographer, New Delhi
RAKESH SONI
Scientic Ofcer, Mumbai
SWARAT GHOSH
Senior Development
Engineer, Secunderabad
PHOTOESSAY: A DIFFERENT KIND OF FAMILY ALBUM
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B E T T E R P H O T O G R A P H Y
Nominees:
ADITYA NAIR
Advertising Professional,
Mumbai
ALOK RAI
Social Worker, Pune
PRAYASH GIRIA
Architect, New Delhi
RAM MORRISON
IT Consultant, Bengaluru
UPASANA JAIN
Photographer, Mumbai
PHOTOESSAY: CELL PHONE DIARIES
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All photographs by Upasana Jain
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136
Rane Ashish,
Mid Day
Soul Sisters
On 31 March, in a ceremony at the Parle
Tilak School in Mumbai, Lata Mangeshkar
felicitated Asha Bhosale with the Hridaynath
Mangeshkar Award. The photographer
has captured a beautiful moment shared
between the two singing legends.
A selection of some of
the best images from the
Indian mainstream media
At What Cost?
On 31 April, on the eve of World Labour
Day, a man is seen cleaning a clogged drain
in Andheri, Mumbai. The extraordinary
image highlights the lack of protection for
the worker who had to immerse himself in
the lthy water.
Puneet Chandhok,
DNA
B E T T E R P H O T O G R A P H Y JUNE 201 3
137
Stuck in Time
A touring talkies was set up at the Jambori
Maidan in Worli, Mumbai on 24 April.
Due to insufcient visitors, it has been losing
its charm over the years. Not only is the
photograph a beautiful juxtaposition of the
changing times but is a nostalgic reminder of
an era gone by.
A Breath of Relief
A building collapsed in Mumbra, Mumbai
on 5 April which resulted in the death
of several of its residents. Despite the
circumstances, a 11-month-old girl was
rescued from the rubble and was greeted by
a loud applause from the rescuers.
Narendra Vaskar,
The Indian Express
Hemant Padalkar,
DNA
Samsul Alam Helal
was one of the seven
Bangladeshi artists
exhibiting at Chobi
Mela VII. He was
brought up in a family
where his brother
owned a studio, and
photography came as a
natural curiosity.
Love Studio
Samsul Alam Helal makes pictures of the fantasy world, hopes and dreams
of the people working in an industrial area in Dhaka, Bangladesh.
PHOTO
FEATURE
Redoy (a 16 year
old): My series
indirectly deals with
the issues that migrant
workers face in the
modern world.
B E T T E R P H O T O G R A P H Y
138
JUNE 201 3
J
urain is an industrial district where
hundreds of people work for a better
life, yet nothing changes for them.
They remain unnoticed, ordinary.
But, when they walk into a studio,
it transforms into their very own personal
world. They become heroes, kings, rockstars
or any other character that strikes their fancy.
On observing the old studios in my area,
I realised that only a certain type of people
frequented these studios. Most of them
came from villages or were unemployed.
They posed in front of colourful backdrops
of landscapes, villages, houses and so on.
When I spoke to the studio owners
and backdrop painters, I found that
these people aspired for a perfect world,
but were not always granted their wish.
They came to these studios to create their
dream world and preserve it in the photos.
So, I built my own studio, and invited
people to come in, and dream.
I tried to give
my subjects
some space to
breathe in, and
in turn, felt
liberated myself.
Rupa (a 13 year old):
Not only do these people
create their own world
in the studio, they also
take back the photos and
carefully preserve them.
B E T T E R P H O T O G R A P H Y JUNE 201 3
PHOTOFE ATURE
139
Goat: I enjoy
representing reality in
an alternate space. I try
to delve into the ctional
aspect of reality.
Palash (a 32 year
old): In their daily lives,
these people struggle a
lot. But there is a stark
contrast between their
struggling selves and the
princely manner in which
they pose in the studio.
around 21,000 inhabitants
in 2003. He had no phone
and moved around on
foot. His monthly salary
was Russian Ruble 600
Kadir (a 45 year old): In
my studio, people are free
to transform into their
true, yet ctional selves.
B E T T E R P H O T O G R A P H Y JUNE 201 3
140
PHOTOFE ATURE
Ruma and Suchona:
My work looks very
dramatic, yet all I have
used is two studio lights
and a few backdrops.
You need to have some knowledge of studio
lighting, balancing colour and also, the history of
studio photography.
You need to establish a personal relationship
with the subject. Let them talk for the duration of
the shoot if that helps you get a great picture.
Shoot from your heart. Be truly interested and
involved in the stories that your subjects are telling
you. Poses, compositions and striking frames may
evolve out of such conversations.
Do not rush people. Sometimes, it takes awhile for
the ice to break, let it be so.
How to Truly Capture Your Subjects Personality in a Studio Environment
Mintu and Mony:
My subjects were
free to do what they
wanted, including
getting married!
Kamrul and Ruma:
It was amazing how
quickly people shed their
inhibitions and just let
themselves go.
Rubel (a 29 year old):
These images are about
hopes and dreams.
And so, I leave them open
to interpretation.
Abul (a 56 year
old): The trouble
lies with balancing
dreams and reality.
B E T T E R P H O T O G R A P H Y JUNE 201 3
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PHOTOFE ATURE
Photofeature_Samsul Alam Helal_Studio December 12_01.indd 141 13-05-2013 21:44:25
YourPictures
B E T T E R P H O T O G R A P H Y JUNE 201 3
144
Want your photographs showcased?
Send in your photographs to
The Editor, Better Photography,
Network18 Publishing, Ruby House,
A Wing, J K Sawant Marg,
Dadar (W) Mumbai-400 028, India
Email:
entries@betterphotography.in
Your Pictures_June 13.indd 144 13-05-2013 21:57:45
B E T T E R P H O T O G R A P H Y JUNE 201 3
145
A Play of Light
and Shadow
Hemant Dixit, Chennai
As I observed this scene
during a sunny day,
I noticed how the leaves
were creating a lovely
contrast of light and
shadow. I made a tight
crop and shot this image.
Camera: Nikon D5000
Aperture: f/11
Shutterspeed: 1/160sec
ISO: 200
Twists and Turns
Anant Aggarwal, Dehradun
The tendril knotted up in
twists and the tiny water
droplets came together
to form a striking
frame. I grabbed the
opportunity and made
this photo.
Camera: Nikon D90
Lens: Nikon AF-S DX
18105mm f/3.5-5.6 G
ED VR
Aperture: f/9
Shutterspeed: 1/125sec
ISO: 400
Your Pictures_June 13.indd 145 13-05-2013 21:57:49
B E T T E R P H O T O G R A P H Y
146
JUNE 201 3
YOUR PI CTURES
Veins of Nature
Jaya Kumar, Chennai
If you observe a leaf
closely, you will notice
scores of veins running
beautifully through it.
I decided to frame this
natural beauty by going
in close and by using
the onboard ash to
illuminate the subject.
Camera: Nikon D90
Aperture: f/22
Shutterspeed: 1/125sec
ISO: 100
The Maze
Samten Kabo, Kalimpong
The formation of these
leaves reminded me of
the weaves in a basket.
The scattering of shadows
added a wonderful tonality
to the frame.
Camera: Nikon D80
Lens: Tamron AF
70300mm f/4-5.6 Di LD
Macro Zoom
Aperture: f/5.6
Shutterspeed: 1/200sec
ISO: 200
Your Pictures_June 13.indd 146 13-05-2013 21:58:02
B E T T E R P H O T O G R A P H Y
147
JUNE 201 3
Mellow Yellow
Vishwanath Birje, Mumbai
This photo was shot at
Maharashtra Nature Park,
Mumbai. The combination
of the bright yellow leaves
with the subtle green
background made for
a striking frame.
Camera: Canon EOS 1000D
Lens: Tamron AF 90mm
f/2.8 Di SP A/M 1:1 Macro
Aperture: f/6.3
Shutterspeed: 1/100sec
ISO: 200
Monochrome Beauty
Rahul Jain, Agra
Nature is bursting with
colours, yet it has its
sombre moments too.
The entire frame is green
in colour, yet because of
the varying tones, the plant
manages to stand out.
Camera: Nikon D3000
Aperture: f/5.6
Shutterspeed: 1/250sec
ISO: 200
Your Pictures_June 13.indd 147 13-05-2013 21:58:07
W
I
N
!
BLOG OF THE MONTH
Last months winning entry
This is the best way to hold a camera!
Juzer Kalangi, via SMS
Provide a caption for this picture, photographed
by Ravi Shankar Dutta, to get a chance to win
Camelion batteries and charger worth Rs. 1455.
The selected entry will be published in the
July 2013 issue of Better Photography.
In todays day and age, learning about the laws and
regulations that govern the world are very important
for photographers. Sometimes we might just make
a mistake unwittingly. The Law Tog is a great blog to
keep photographers updated with the various laws
and regulations.
The blog has been started by Rachel Brenke, a
photographer, lawyer, business consultant and social
media marketing strategist from El Paso, Texas.
Through the blog, she puts out extensive blog posts
about the legalities behind photography, Q&As with
readers and even photography tips. Her posts are
timely, and the blog is updated on a daily basis.
She even has a free eBook called Legal Lens, which
one can download from her blog.
The amount of learning you can gain from this
blog is immense. For instance, one of Rachels latest
posts called Understanding the Terms and Policies
of Pinterest and What it Means to Photogs lists out
the Terms of Service, Privacy Policy, and Copyright
& Trademark Policies of Pinterest. However, she
simplies the legal jargon in a way that can be
understood by a layman. This blog is a must-visit for
every photographer to keep themselves updated.
Learning the Law
During the early
stages of photography,
exposure time used to
span minutes, making
portriat photography
difcult. Even the
slightest movement by
the subjects would result
in an unsightly blur in
the nal photograph.
To combat this,
photographers came up with several solutions
like clamps that would attach to the back of their
subjects heads to keep them still. An interesting
method was to give subjects opium. It would free
the subjects from being conscious of the camera,
and a photographer could make their images with
relative ease.
DID YOU KNOW?
Photographers Gave Subjects Opium
to Sit Still.
Send your captions to
E-mail: entries@betterphotography.in,
or SMS BP Jun <your caption> <your name> to 51818
(for eg. BP Jun Butt Wait! Gaurav Gohil)
Last date to receive entries
5 June 2013
C
A
P
T
I
O
N

T
H
I
S
!
www.thelawtog.com
B E T T E R P H O T O G R A P H Y JUNE 201 3
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Photofinish_June 13.indd 217 14-05-2013 19:11:27
218
Ever considered publishing an eBook on photography? Ketan Kundargi
tells you how to go about the process of publishing one easily and quickly.
P
hotographers wanting to publish
their work are often scared of
the challenges and costs one
has to face. Not very long ago,
this would require a signicant
investment of money and time and the
backing and approval of a publisher.
This would result in many photographers
handing over the ownership of these
images to the publishers or simply
forfeiting their project. But today, with
Make sure that
you have an
attractive cover
that immediately
grabs the
attention of
the reader.
eBook Publishing Made Easy
For Photographers
the internet-led democratisation of the
publishing industry, you can have a book
to your name with a few simple clicks of
a button.
Simply put, an eBook or electronic book
is a digital cousin of the traditional printed
book. You can view them on almost every
device with internet access. You could
be reading one from the comfort of your
desktop computer or carry an entire
library packed in your smartphone.
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MARKET SENSE
Market sense_june_ 13.indd 218 14-05-2013 19:10:07
219
Choose a
platform which
lets you decide
the price of
the book.
What Book Can I Make?
If you thought being a photographer
meant you can only bring out a photobook,
think again! Photographers around the
world are being innovative. Instead of a
photobook, you can publish your thoughts
on the nuances of photography. From a
simple book on the basics of composition
to a specialised one on how to sell your
photographs, you can ePublish a book on
just about everything.
If you want to stick to a photobook, you
can still experiment. Instead of publishing
your usual work, make a book of behind the
scenes of a shoot or your cellphone work.
With eBooks, there is a huge and diverse
market. So do not shy away from bringing
out something completely new.
How To Make One?
Putting together an eBook is very simple.
While there is a fair amount of coding
involved, most of it is handled by various
software. When printing a photobook, you
can use Adobe Lightroom which comes with
its own Book module. Select the images,
adjust the size, add some text and your
book is ready. A textual book is even easier!
You can write the book as a simple Microsoft
Word document. Select a font and add some
images before you publish it as a PDF book.
Where Do I Publish It?
Did you know that 90% of all eBooks are
read on Amazons Kindle, Apples iOS
devices and the Barnes & Noble Nook?
While the latter two use a standard EPUB
format, the Kindle uses its own proprietary
format. You need to convert your PDF
le into either of these formats before
you decide to submit your book on these
bookshelves. While the PDF le can stand
on its own and can still be read, it does not
display well on digital readers.
If you want to put the book on the
Kindle store, Amazon offers a free
software called Kindlegen to convert it to
the required format. On the other hand,
Calibre is a free software that will allow
you to convert your Word document into
the EPUB format. For a small fee, you can
publish this nal version on these virtual
stands for your readers to download.
What Do I Do With My eBook?
Writing an eBook is only one half of the job.
The second and often the more different
bit involves marketing the book. And
more importantly, marketing it to the right
audience. If you want to simply showcase
your body of work, you should distribute
the book through multiple channels rather
than simply putting it up on your website.
You can always direct the readers to your
website through it.
While selling books will help you earn
money, there is more to publishing a book
than just that. A photography eBook is a
unique way to showcase your work. Instead
of lugging around with a portfolio or
emailing individual images, your can simply
send your clients an eBook of your work.
And whats more? You can make multiple
eBooks of different bodies of work at a very
reasonable cost.
The eBook market is still new and
continously evolving. More readers today
are opting for eBooks. Since the costs
involved are minimal, you can publish
niche, personal projects that may otherwise
not make monetary sense. For all you know,
it might just be the next big bestseller.
Five Free Photography eBooks You Must Read
Ultimate Field Guide
to Photography by
National Geographic
Beginners guide to
understand basics
of photography.
Photojournalism,
Technology and Ethics
by Scott Baradell
A perspective on
whats happening to
photojournalism.
Lighting 101 by
David Hobby
A very simple guide
to master the use of
a ashgun on and off
the camera.
Overcome Your Fear
of Shooting Street
Photography by
Eric Kim
31 days exercise to
shoot with ease.
2013 Photo Business
Plan Workbook
by PhotoShelter
Tips and tricks for
an effective photo
business in 2013.
JUNE 201 3 B E T T E R P H O T O G R A P H Y
MARKET SENSE
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B E T T E R P H O T O G R A P H Y
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The Most Viewed Image Ever
R
eports suggest that till date over a billion people from all over the world
have seen this image. It is the default desktop wallpaper for the Windows
XP computer operating system. And yet, never for a moment did the former
National Geographic photographer, Charles ORear think that this would
become one of the most recognised photos on the planet. Titled Bliss,
the image looks so serene and perfect, that most people assume it is a digital painting.
However, it is indeed a photograph with no manipulation at all.
Now 69, ORear was driving down the road in 1996 to his girlfriends house from Napa,
California when he made this image. Struck by the greens of the grass, the white clouds
and the perfectly blue California sky, he pulled over and immediately took out his camera.
He said,I drove the same route between Napa and San Francisco a couple of times a week
earlier, but this was January, when the grass is the most brilliant green, so I jumped out
and took a couple of shots and then carried on my way. However, all he wanted to do was
document the wine-making process in the Napa Valley.
Charles ORear was not very hopeful about the image after he made it. He thought it
was just another ordinary shot. But after a few days, he was informed by his photo agency,
Corbis, that Microsoft had chosen this image to be the default desktop screen of the then
new Windows XP system. The amount Microsoft paid for the image is still unknown but
it was the second costliest image till that date. Since then, several photographers have
attempted to recreate the image at multiple locations across the world.
Photograph by:
Charles ORear
Image Source:
Wikimedia Commons
JUNE 201 3
Goldin and Senneby located the exact spot from
where ORear made Bliss and rephotographed it.
The view looks disappointingly dreary now.
DID YOU KNOW?
Simon Goldin and Jakob Senneby Shot
the Same View a Decade Later
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Simon Goldin
Stoy Behind the Picture_Bliss_June-13.indd 220 14-05-2013 18:56:44
RNI No: 66339 / 1997
222
Back Cover_June 13_Stand.indd 222 14-05-2013 15:06:43

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