Photography in India

Jodphur, Meherangarh Fort

Rajasthan – Colour and Life I have travelled a lot. I have been to most countries in SE Asia and I thought I was reasonably familiar with the frenetic pace of life in counties like Vietnam, Cambodia, Indonesia and Thailand. So when I was asked to accompany a photography group to India as Guest Artist I figured that I knew pretty much what to expect out on the streets. Well, as it turns out… not so much.

I’ve you have been to India then you will know what I mean, but if you haven’t, well, be prepared to be overwhelmed. It’s noisy, busy, frantic, smelly, colourful, oppressive, scary, spectacular, frustrating, tiring and altogether amazing – and that’s just in the first few hours after you arrive. From a photographer’s point of view it’s just sensational. I shot more images in the two weeks I was there than on any previous trip of a similar length, and, whilst it’s always hard to be totally objective about one’s own work, my companions and I came back with some wonderful photos. I thought I’d share a few thought on how to get the most out of such a trip – stuff that applies to all travel but particularly to India.

A Sadhu at Pushka, India

Getting Around Up until a few years ago I’d rock up to a new city and try to do the independent traveller thing, preferring to walk and get taxis rather than be locked in to some sort of itinerary. That changed for ever when I started working with local guides. A good guide can totally transform a trip. You will have access to someone who speak the language, who knows his or her way around (both geographically and culturally), who can find out things and, most importantly, someone who will help find the best places for photography.

Not all guides get this last bit – they will expect guests to want to see the usual sights. Photographers, on the other hand, or notorious for being distracted from the scheduled ancient temple visit by some grungy old car spotted at the side of the road. My guides have been seen to discretely roll their eyes when our visit to where everyone *else* goes has been cut short when someone spots an interesting alleyway or a weathered door.

markets at Peepal

That’s why a good guide is so important – they need to be flexible and respond to the slightly unusual requirements of photography enthusiasts. Hiring a guide, driver and car need not be expensive, particularly when you are travelling with a small group as I was.

You really would not want to drive in India – it’s a totally different mindset – so having a skilled driver not only ensures you keep your sanity but they will usually stay with the vehicle and look after extra gear. You are thus freed up to just leap out and start doing what you came to do, and that enjoy your photography without having to worry about the logistics too much. If having a car and driver sounds like an indulgence, trust me, you will see a direct benefit in terms of better photos, and more of them, when you are freed up to totally concentrate on the task in hand.

Metal worker in Jodphur

What to Take This is the $64,000 question – what gear to take on a trip. After thirty years I still wrestle with this but there are some principles I try to follow. – Take as little as possible but at the same time take as much as you need to shoot the images you have in mind. – Be aware that you’ll need to, a: get it there on the plane and b: carry it on the street. Airline restrictions vary and often this will dictate what you can pack.

– Always take two bodies – Murphy’s Law applies here and if you take only one you can bet your boots that you’ll either drop it or it will show an obscure error message.

– A 24-70mm zoom is incredibly useful – in a pinch I could probably manage with this one zoom lens. This should be the first lens you pack.

– A 70-200 or similar would be a second choice. Great for picking out details and shooting portraits without needing to get too close.

– A 16-35 would be my third choice, but only behind the 70-200 by a whisker.

– Primes – great if you can fit them in and are after a particular look. 85mm f1.4, 135mm f2.0 – these are superb for people photography.

– Primes are lenses you pack to indulge yourself – zooms are to get the job done. The balance between the two is up to you. I use the Leica M for my travel work these days so I use primes – 18, 24, 50 and 75 or 90 mostly.

– A tripod is a must for shooting outdoors in low light but is not essential all the time. Indian authorities have a strong aversion to tripods for some reason and whilst you can get a permit, it’s very common to see No Tripods signs at temples and monuments.

– I always carry a strong ND filter in case I want to do some long exposures. I rarely use a polariser but I take one just in case. Take one filter at the max size you need and take step rings to adapt it down to smaller lens sizes.

– I took a flash on this last trip but never used it. I did take a medium reflector and I did use that a few times. Not essential but nice to have when you have time to shoot some portraits at a relaxed pace.

– Backpack or bag? Backpacks are great for moving around but no so much for working out of on the street. You *really* don’t want to put anything on the ground in India! I use a photographer’s vest with lenses in pockets together with a small waist pouch. Yes, I know it looks daggy, but I don’t care because it’s so damned useful.

Saris for sale, Jodphur

Shooting on the Street Once again, being used to SE Asia I was expecting a certain way of working – approaching people on the street, asking permission, sneaking a few candids once in a while. In India, people approach you asking you to take their photograph. One the station platform at Jodhpur we were surrounded by a group of passengers who all wanted their photos taken – it got a bit crazy for a few minutes but then the train started to pull out and everyone had to jump on.

Seriously though, shooting on the street was very easy. Sure, some folk were not keen to be photographed and you have to respect that. In the main a gentle enquiry was all it took, or better still, our guide would ask politely in Hindi and the usual answer was ‘of course’. The most difficult part of shooting on the street was trying to get images other than portraits. Street scenes are great for vibrant colour and the rich textures of life here but catching a shot where no-one is looking directly at you took some timing and a bit of good luck. Knowing your gear was critical, often the only way to get a genuine ‘moment’ was to be ready and either shoot from the hip or be quick enough to get the shot before people noticed.

Spice Market, Jodphur

Future trips to India are planned through the Leica Academy (Australia) for which Nick is Principal Instructor.