In this, the last installment of a 3-part blog series, I'll unveil the final images that I selected for my upcoming educational resource, 'The Photographer's Mindset: India.' This comprehensive resource will include a digital book along with enriching audio lessons.
Today, I'll share more about my evolution as a photographer, emphasizing how my approach to photography matured over the years and multiple trips to India.
In 2011, for my 30th birthday, I set off on a motorcycle journey through the Western Himalayas. My photography career continued to do well, allowing me to explore different countries for personal projects. These experiences broadened my perspective, and I drew inspiration from my travels to places like Vanuatu, Indonesia, and the Philippines. I incorporated ideas, philosophies, and approaches from these experiences into my photography in the Indian Himalayas, further refining my style along the way.
A big part of the Indian Himalayas are the landscapes. Nowhere else I had been to that point were the landscapes so visually dramatic. I just had to include at least a couple of images with landscapes, which is quite rare for my time in India.
At the start of my India trip, I was deeply focused on capturing portraits. I was passionate about photographing people, highlighting their faces and traditional attire in favorable lighting conditions.
In other places I traveled to, I didn't always come across as many photogenic individuals as I did in India. This led me to adjust my photography style, focusing on capturing more of the everyday lives of people through reportage and documentation.
When I returned to India, I encountered the same types of characters I had seen before, with their strong presence, vibrant clothing, and warm hospitality that allowed me to immerse myself in their lives. During my Himalayan journey, I aimed to combine the best of both worlds, showcasing these photogenic characters and their traditions while creating photos that had a stronger sense of story by showing these people in their surroundings.
I brought along a 16-35mm wide-angle lens that I had used during a previous trip to the Philippines. I also used it in the Indian Himalayas to get close to the action and capture the feeling of being right there with the people. Although I hadn't used such a wide-angle lens in a while, it proved valuable for shots like the ones above, where you feel immersed with the subjects, all thanks to the lens.
As I mentioned, the landscapes were a significant part of the Indian Himalayas. Throughout my journey, I was always searching for ways to capture the region's breathtaking geography. While I have many photographs, some of which I'll include briefly in the digital book "Photographer's Mindset India," my ultimate selection aims to showcase photos that go beyond merely showcasing the natural beauty of these landscapes.
In the village of Dankar, I discovered a spot with a stunning view that was also the route taken by the village’s goats and sheep on their way to grazing pastures. I came back to this spot over a couple of different days so that I could capture the photograph above.
“Although I adopted a reportage, documentary-style approach, my photos still captured the elements I cherish in people photography – their faces, clothing, and the echoes of tradition.”
During my journey through the Indian Himalayas, what really stood out were the homestays in the Spiti Valley. They provided a unique window into people's daily lives, a subject that continued to deeply intrigue me. Staying with the same family for a couple of days allowed me to observe and document the life of a grandmother and her granddaughter.
Although I adopted a reportage, documentary-style approach, my photos still captured the elements I cherish in people photography – their faces, clothing, and the echoes of tradition. The difference was that this style also prompted me to pay more attention to their surroundings. These photos conveyed a more compelling sense of story, with the interplay of light enhancing their visual appeal in a style I favor.
The landscapes in the Indian Himalayas were stunning virtually wherever I turned, but I wasn't particularly fascinated by landscapes alone. I was constantly searching for something more, something that could convey a stronger sense of the location, a sense of story. I aimed to capture images where the landscape played a role in communicating that sense of story.
When I discovered a viewpoint at the edge of a Buddhist monastery where monks would gaze at the valley, I knew I had the potential for a meaningful photograph.
I'm a photographer who's aware of the work done in the places I visit. I knew that Zanskar had seen many photographs of monks and monasteries, with Olivier Follmi creating a powerful body of work in the region. Although his work had greatly inspired me, I didn't want to replicate it or include similar photos in my book.
This is the only photograph of monks I've included. It goes beyond a straightforward image. It documents everyday life as monks take a tea break from their classes, but it also captures the ambiance and interplay of light and darkness in the rustic interior.
“I started noticing subtle nuances and details that I might have overlooked before. This new perspective gave me a fresh appreciation for the world, especially India.”
Three years later, significant changes had occurred in my life. I had begun experimenting with a mirrorless camera, but the most important change was the birth of my daughter. Her arrival shifted my perspective on life, including my approach to photography. I started noticing subtle nuances and details that I might have overlooked before. This new perspective gave me a fresh appreciation for the world, especially India.
Switching to the smaller mirrorless camera system meant I could carry it everywhere, even in situations where I wouldn't have taken photos previously. This gave me the opportunity to experiment more and, most importantly, have a powerful tool with me at all times.
In 2014, I led a photographic workshop. Varanasi, one of India's holiest places was definitely on my itinerary. With the small Fuji X100S in hand, I roamed the streets for countless hours, always ready to capture something. I focused on photographing the everyday moments that I had often overlooked in my previous trips to India.
My hunger for experimentation had been growing over the years, and the small mirrorless camera allowed me to explore it more consistently and easily than ever before. While walking along the Ganges Ghats, I’d notice opportunities like the one above. After some attempts I came up with this minimalist image: silhouetted figures by the river, seen through a vibrant, transparent sari.
In the same year, towards the end, I revisited Varanasi, India. My previous visit during the workshop had rekindled my appreciation for the city's unique and magical essence.
“One of the main objectives of this trip was to capture the unexpected, those little surprises that I might not have noticed in the past, even though they had always been right in front of me.”
Once again, I felt my photography skills grow, my maturity deepen, and my perspective on the world evolve, influenced in part by my role as a father. I uncovered even more fascinating subjects and locations. My confidence in my artistic direction had increased, while my willingness to experiment remained intact.
One of the main objectives of this trip was to capture the unexpected, those little surprises that I might not have noticed in the past, even though they had always been right in front of me. I had never given them the importance they deserved to be preserved in a photograph.
There's an important point to make about the image above. In my earlier trips, I would never have captured it due to the unconventional poses of these men. They didn't appear perfect; in fact, they seemed awkward and somewhat goofy. However, in 2014, that very awkwardness became the reason why I wanted to take the photo. I grew to appreciate these subtle nuances—the awkwardness, the slightly oversized uniforms of the men. These details infuse this image with life. They make it feel authentic and genuine. Yes, it may be awkward, but awkwardness is undeniably authentic.
“When a few individuals emerged from the haze, and a dog sat in the middle of the road, bathed in the backlight from a motorcycle, I knew I had the potential for a truly special and atmospheric photo.”
In December, Varanasi was often shrouded in fog, creating a captivating atmosphere. The top image in this post was taken in these foggy conditions, giving it a distinctive and moody quality.
I seized every opportunity to work in the fog, despite it being considered unfavorable lighting by some photographers. For me, it presented a chance to capture photos infused with a strong sense of mood and atmosphere. I’d roam the streets, seeking whatever I could find to photograph in this misty environment.
On one foggy night, I was struck by the interplay between the fog and the headlights of approaching vehicles. When a few individuals emerged from the haze, and a dog sat in the middle of the road, bathed in the backlight from a motorcycle, I knew I had the potential for a truly special and atmospheric photo.
The image above exemplifies my newfound appreciation for the small details, which had grown since the birth of my daughter, and my passion for experimentation. By adjusting the camera's shutter speed to a slightly longer exposure, I captured this whimsical, ethereal photograph of an everyday scene in Varanasi: a sari billowing in the wind, seagulls soaring over the river, and boats navigating the Ganges.
My most recent trip to India took place at the end of 2015 and extended into 2016. This time, I focused solely on exploring Gujarat, one of the states I had visited in my early journeys. I had changed my camera to one with a flip screen, which allowed me to effortlessly capture photos from low angles.
“ I continued to photograph familiar subjects, particularly people engaged in manual labor, but I aimed to push the boundaries of experimentation even further.”
While I made similar shots before, it had been more challenging. Now, with the new camera, I could capture these perspectives with ease, which I thoroughly enjoyed. I continued to photograph familiar subjects, particularly people engaged in manual labor, but I aimed to push the boundaries of experimentation even further.
During this trip, I managed to make several valuable photographs, which I will also share in the digital book part of The Photographer’s Mindset: India. However, I have previously discussed them in my educational resources and I wanted to keep this latest resource as fresh as possible.
“Experienced travelers in India often say that it’s a country where everything seems to change, yet nothing really changes.”
This is the last photo I've included in this blog post. It once again features a familiar subject, a traditional cattle herder, possibly belonging to the Rabari tribe. However, the setting is different this time. I aimed to capture the contrast of the man with his cart pulled by oxen on a highway with cars and motorcycles whizzing past.
Experienced travelers in India often say that it's a country where everything seems to change, yet nothing really changes.
I've come to understand the meaning behind this statement. While you still encounter timeless subjects like this man with his cart and oxen, there are now more highways, increased development, and a larger population. In some places, modernity exists side by side with enduring and timeless traditional elements. I expect that when I return to this incredible country, I will delve even deeper into exploring this juxtaposition.
I hope you’ve enjoyed this series fo blogs. If you want to learn much more about these images, about photography and the many nuances that are important to being a great photographer, then… SIGN UP for The Photographic Process to receive a notification of when The Photographers’ Mindset: India is going to be pre-launched.
