A tripod is a must with landscape photography to ensure sharp images. Exposure: 1/160sec at f/5.6 (ISO 200). Photograph/Nafe Ram Yadav

With few guidelines in photography being as crucial as sharpness, Aditya Nair explores the fuzzy concepts behind sharp images.

Take a moment to look around and observe your surroundings. The coffee cup on the table is in sharp focus. Your eyes move on to the spoon lying next to it, which is now in focus. Now imagine for a second, living in a world where everything you see is hazy, out of focus and unsharp. When we start observing hazy objects around us, almost immediately a headache ensues.
It is for this reason why poorly focussed images can be visually disturbing. It is also the reason why HDTVs are amazing! While a deliberate blur can look beautiful, here are some easy tips to ensure your images remain tack sharp.

A fast shutterspeed has enabled a perfect capture of the net being thrown. Exposure: 1/250sec at f/11 (ISO 100). Photograph/Sharath Vanam

1. Half Press to Focus
We often press the shutter-release button without focusing. Half press the shutter-release button to achieve focus and avoid making blurred images.

2. Face Detection
When photographing people, use the Face Detection mode of the camera. When set to this mode, the camera will only look for and focus on the faces in the frame.

3. Avoid Camera Shake
To reduce camera shake while shooting handheld, choose a shutterspeed that is equal to or faster than the inverse of the focal length. Therefore at 50mm, a shutterspeed of at least 1/50sec will suffice.

4. Factors that Affect Camera Shake
While the aforementioned is a good guideline to follow, there are situations where it might not work. If you are in a cold environment or in a moving car, you will need to use a faster shutterspeed.

5. Switch on IS
Cameras or lenses with stabilisation will allow you to use shutterspeeds that are two to four stops slower while shooting handheld. At 50mm you will be able to shoot sharp images even at 1/12sec instead of 1/50sec.

Using a narrow aperture helps keep the foreground and background in focus. Exposure: 1/125sec at f/11 (ISO 200). Photograph/Anil Risal Singh

6. Is Digital IS Useful?
Digital stabilisation merely boosts the ISO, allowing faster shutterspeeds. Therefore, it will add noise to the image and sometimes even cause softening.

7. A Clear View
Use a lint-free cloth to clean dust and fingerprints off the lens. If you are not using the lens, store it in a dry environment or with desiccant bags to prevent fungus from growing on your lens.

8. Capturing Moving Subjects
With a twirling dancer, you may need a shutterspeed of 1/250sec, but for a car speeding across the frame you may need a shutterspeed of 1/2000sec to freeze motion. Also, remember that stabilisation will not account for moving subjects.

9. The Lowest Possible ISO
A higher ISO setting tends to reduce apparent detail in the image. Sharp edges in the images begin merging due to colour noise. So, you should use the lowest possible ISO setting that allows you to handhold the camera.

10. Capture a Burst of Images
The Burst mode is useful when you have to use a slower shutterspeed. Later, you can choose the sharpest image from the set that you have shot.

By composing the image so that the sun was partially hidden by the tree, the photographer was able to avoid lens flare. Exposure: 1/400sec at f/16 (ISO 100). Photograph/Godwyn Varma

11. Use a Flash
A flash is an effective way to freeze the subject. If you are using a slow shutterspeed to capture ambient light, the use of a flash will ensure that the subject is rendered sharply.

12. Flash for Portraits
If you are attempting Slow Sync Flash photography with people, use a second curtain flash. We tend to instinctively move once the flash is fired. Here, as the flash fires at the end of the exposure, your subject will remain still through the exposure anticipating the flash.

13. While Shooting with Light Cameras
We often shoot with just one hand when using a phone or a compact camera. Instead, use both hands to support the camera. It will help reduce camera shake.

14. Holding a DSLR
Grip the DSLR with your right hand and support the base of the lens with your left hand. Keep your elbows tucked in to stabilise the camera.

15. The Right Posture
Position your feet so that they are shoulder width apart. This will give you better stability. Control your breathing while you shoot. Inhale, release the shutter and then exhale once the image is made.

Steady the camera using the support of a ledge or railing when using slow shutterspeeds to minimise camera shake. Exposure: 1.6sec at f/10 (ISO 100). Photograph/Abhijit Dey

16. Tripods are Incredible!
With noise free images at higher ISOs, one may think that tripods are no longer necessary. Using a tripod, however, is the single best way to shoot tack sharp images, when slow shutterspeeds are required. Monopod and flat surfaces can also help you shoot at slower shutterspeeds.

17. Weighing the Tripod
It is better to use a tripod that is three times heavier than the weight of the camera and lens. Newer tripods, however, are designed to be far lighter while being able to carry heavier cameras.
Make sure that the weight of your camera and lens does not exceed the maximum load-bearing capacity of the tripod. If it does, you can weigh the tripod down by attaching a counterweight to the hook provided.

18. Switch off IS When Using a Tripod
If you are using a tripod to shoot, it is better to switch off any stabilisation. The IS system will cause a disturbance in the image as it tries to stabilise nonexistent camera shake.

19. For Long Exposures
In addition to a tripod, using the mirror lockup function of the camera along with a remote release will further minimise camera shake. If you do not have a remote trigger, you can use the Self Timer function of the camera.

20. Choose the Right Depth
What kind of photograph are you planning to make? If you are shooting a portrait, a wide aperture will help you keep the person’s face sharp while the background recedes into a blur. On the other hand, if making landscapes, the choice of a narrow aperture will ensure sharpness throughout the frame.

Using a high ISO setting would have caused the colours to bleed thus reducing the sharpness of this image. Exposure: 1/80sec at f/4 (ISO 80). Photograph/Jayanta Khan

21. The Right Amount of Blur
Often, choosing the wrong aperture setting will mean that the background will not be completely blurred and will continue to distract. Conversely, by overdoing the blur, the secondary element in the frame may not be as sharp as you want it to be.

22. Preview the DOF
Often overlooked, the DOF preview button is in fact very handy when you want to judge the depth-of-field at a

23. Use a UV Filter
A UV filter is a great way to prevent dust and fingerprints from appearing on your lens, which can make images look soft. At the same time, using a cheap quality filter can also reduce the sharpness. particular aperture value. The button is usually found on the camera near the base of the lens.

Making Sharp Blurs

27. Emphasising the Sharpness
If the background is sufficiently blurred the main subject will automatically seem sharper.

28. The Sharpest Point
Lenses do not produce the sharpest images at the extreme ends of the aperture range. Usually, the sharpest images are produced at apertures that are two to three stops less than the widest aperture.

29. Better Optics
Instead of buying an expensive camera and a cheap lens, invest in lenses with better optics as they produce sharper images. Additionally, with cameras that have high megapixel counts, you will also need lenses with better optics to produce sharp photographs at full resolution.

30. A Prime Lens
With a prime lens you can shoot at wider apertures which is useful when shooting in low light. These lenses also weigh less and have better optics. Zoom lenses with great optical quality tend to be expensive and are considerably heavier.

Use a midrange aperture setting to avoid softening due to diffraction. Exposure: 1/250sec at f/5 (ISO 200). Photograph/Karan Parwani

31. Hyperfocal Distance When Shooting Landscapes
This technique is great for landscape photography when you want everything in the frame to be sharp. If there are foreground elements close to the lens, however, ensure that the hyperfocal distance covers these elements as well.

32. Hyperfocal Distance While on the Streets
If you do not want to be bothered by having to change the aperture constantly while shooting on the streets, simply set the focus ring to the hyperfocal distance and then you can continue shooting.

33. Avoid Using the Widest Apertures
With wide apertures like f/2.8 the hyperfocal distance will be far away and the corresponding DOF will be shallow.

34. Capturing Sharp Bokeh
Circular bokeh is considered to be the mark of a good lens. That said, sharpedged bokeh can also be pretty interesting, especially if the bokeh is the main subject. You can create such bokeh by shooting a pointillistic source of light using a midrange to wide apertures.

35. Use a Lens Hood
Lens flare reduces the contrast in the image and makes it look hazy. Even a properly focussed image can look unsharp due to flare. A lens hood will help reduce the flare in situations where the source of light is at the periphery of the frame.

Keep the eye of the subject sharp to maximise impact, unless your concept demands otherwise. Exposure: 1/200sec at f/2.8 (ISO 200). Photograph/Deepak Malik

36. Underexpose to Reduce Flare
Flare is also caused when the light source is a part of the frame and can reduce the sharpness around the edges of the light source. Slightly underexposing the frame will help reduce the flare.

37. Single Shot vs Continuous AF
With moving subjects like birds, using Continuous AF will ensure that your camera adjusts focus whenever the subject moves. While shooting stationary subjects such as a traffic signal in the midst of moving traffic, use Single Shot AF so that your camera does not refocus every time a car whizzes past the frame.

38. Focus at a Point
Using Single Point AF will help you select the exact spot you want to focus on. On the other hand, Multiple Point AF is designed to focus on a subject in the foreground. It works well when the background is distinct. However, it is easily confused when the subject is only a small part of the frame or if the subject is getting merged with the background.

39. Clean the Sensor
Over time, a camera’s sensor accumulates dust which can result in soft images and spots on your pictures.

40. Try the AF-lock Button
If you do not want to keep switching between AF modes, you can use the AF-lock button as a substitute for Single Shot AF. As long as you keep the shutter half pressed, the AF-lock button will hold the focus.

It is not always necessary to shoot portraits with blurred backgrounds. A well defined background can help tell a story. Exposure: 1/125sec at f/10 (ISO 400). Photograph/Abhijit Chakraborty

41. Ensuring Accurate Autofocus
In low light, the AF may not focus properly. The AF-assist beam will not be able to help you when the subject is far away from the camera. In such a situation, use a torch to help the camera focus properly.

42. Manually Focus the Lens
In situations where the AF might get fooled due to multiple elements or the presence of fog, MF can give precise results. With the Live View mode switched on, digitally zoom into the frame to perfect the focus.

43. Minimum Focusing Distance
Lenses have a minimum focusing distance. If the subject is closer than this distance then the lens will not focus on it. If you need go close to a subject while using a compact camera,use the Macro mode.

44. Move the Camera
For macro and close-up photography, set the focus ring at the minimum focusing distance and then physically move the camera till the subject comes into focus.

45. Sharpen Images
While software like Adobe Photoshop give you options to sharpen images, these cannot fix an unsharp image. They merely enhace the appearance of sharpness to a certain degree. The only way to ensure sharpness is to get it right in camera!

With unconventional compositions where the subject is at the edge of the frame, use Single Point AF. Exposure: 1/400sec at f/7.1 (ISO 400). Photograph/Sudip Bhar

46. Choosing a File Format
With RAW files you have the maximum amount of image information. If you do not have the option of shooting in RAW, then choose a JPEG Fine or JPEG Superfine.

47. Switch off Noise Reduction
Switch off high ISO and long exposure noise reduction as it will cause image softening. If needed, use a software to reduce the noise later as you will have more control and can minimise softening.

48. Effects of In-camera Sharpening
Cameras allow you to sharpen images in-camera. However, use this feature carefully as the image may end up with oversharpening artefacts and halos, which can look disturbing.

49. Check for Image Sharpness
Periodically look at your photographs while shooting to check that the images are sharp. Zooming into an image on the LCD will help you find out whether the camera is focussing properly or if there is visible camera shake.

50. Displaying the Images
If you are uploading an image on the web, you can use a slightly unsharp image as long as it is downsized properly. For large prints, however, the photograph needs to be tack sharp.
Once you have captured sharp images, the fun really begins. Go ahead, make a large print and explore each and every detail!

The best photographs are those that have a strong first impact and make us say, “Wow!” Photograph/Asis Kumar Sanyal

Photography is not just about pressing a button. It involves developing the eye, making choices, thinking creatively and a lot of self critique. Raj Lalwani joins you on the journey to becoming a better photographer.

To read through the various tips, head on to the stories below:

1. Look, Do You See?

2. Basics of Creative Control

3. Try This!

4. View Review

“It gives impetus to record the moment as it exists.”—K Madhavan Pillai

Photography is all about freezing moments in time or framing portions of space because they are meaningful to us in some way. Going by this description, releasing the shutter is an act of documentation. One may wish to distinguish between the reasons for documenting based on some immediate or long term need. For instance, you could shoot pictures to chronicle an event. Or it could be to establish relationships, to differentiate, to prove a point, to justify, to testify, to report, or to authenticate.
To me, the motive to capture images as a means of preserving for remembrance, or for posterity, is the most straightforward and guileless of all reasons. This makes it honest and, therefore, the most significant. If we remove all other intellectual rationale for taking a picture, we realise that we shoot to hold on to a moment for a while—to keep the memory of it alive—simply because we enjoy something within that moment.
This sense of enjoyment comes from our ability to appreciate and then, to cherish. Our capacity to be deeply appreciative on an emotional level is what differentiates us from other species. It allows us to choose the moments and spaces we wish to remember. It gives impetus to record the moment as it exists. In fact, most of us begin photography for this very reason.
As time passes, we intellectualise the act, to give it deeper connotations. We try and learn the rules and attempt to master the tools, so that we may seize the opportunities that come our way. We focus all our energies on singular themes, and occasionally end up narrowing our own perspectives instead.
Creation is born from appreciation, but it can be process intensive. After all, we would not know what step comes next unless we know where to go. And we find ourselves enjoying the journey as much as the destination. Yet, it comes as a surprise when some of our most appealing photographs are the ones that we shot just for the pure joy of it… without consciously adhering to rules and guidelines, and without thinking too much.

I shot this image of a Sabretooth above downtown Los Angeles. It took a fair amount of adventuring to get this view, but it was worth it! Exposure: 92sec at f/16 (ISO 100). Photograph/Darren Pearson

Darren Pearson brings back the prehistoric age by creating dinosaur fossils with light in modern-day Los Angeles.

My Assignment

• Description: To use the light painting technique conceptually.
• Duration: One month, between August and September 2011.
• Notes: I try not to use a lot of postprocessing (if any at all) so as to keep the look of the light fossil as natural as possible.

Ever since I have been aware of their existence, I have loved everything about dinosaurs. It has been the same way with light painting. With this set of photographs, I wanted to create something that is unconventional and innovative in order to push technique into the realm of art. With my choice of subject and deliberate use of technique, I wanted this project to be an art form on the level of painting and sculpture.

My Perspective
I first discovered light painting after seeing the photos of the famous LIFE photographer Gjon Mili. He had captured legendary artist Pablo Picasso sketching with light in a photo called Picasso draws a centaur. In this manner, I can actually say that Picasso’s experiments influenced me in creating my own light-based paintings.
With my first project itself, I wanted to give myself a real challenge, and so, I thought of creating dinosaur skeletons with light. Instead of doing this against a plain background, I decided to combine the prehistoric era with the modern-day backdrop of Los Angeles.

While my impression in the frame breaks the traditional rules of light painting, I think it enhances this image of a Plesiosaur. Exposure: 186sec at f/16 (ISO 100). Photograph/Darren Pearson

The Process
To get started, the first thing I do is scout for locations. I make sure that the location has minimal ambient light, because excessive illumination can ruin a light painting photograph. To decide what kind of dinosaur to sketch, I ponder over it all through the day, make a few scribbles and then research what they look like.
At the location, I first set up the tripod and focus. This process is challenging and crucial, because there have been occasions where I have spent a crazy amount of time painting a particular fossil, only to find that the image has been out of focus all the time!

The pine cones and trees helped as markers while composing this light sketch of a Velociraptor. Exposure: 263sec at f/16 (ISO 100). Photograph/Darren Pearson

Then, I get an idea of what the scene looks like, and where the borders of the frame lie. The choice of aperture is important too. A narrow aperture ensures that the image is sharp all throughout, but I sometimes use a slightly wider setting, to control how bright the light looks. Then, I put the camera on the Bulb mode, and start the shot by remote. My perspective is towards the camera, so I have to make sure I point LED lights at the camera, or it will not pick up the light lines.
Each photo takes about two to five minutes to create. Sometimes, I get lucky and the image comes to me within the first try or so. On other occasions, I may attempt the same photo for hours before achieving an image I like. Creating these light fossils is a one-man job, but it is much more fun with friends around. It is a performance, and the end result is always a surprise!

To show this Pterodactyl in flight, I had to use stones and twigs on the ground to mark where the pieces came together. Exposure: 301sec at f/16 (ISO 100). Photograph/Darren Pearson

My Equipment: For this series, I used a Canon EOS 7D with a wide angle lens. I used a tripod and a remote shutter control to trigger the shutter, in order to avoid camera shake.

Get Started on Your Own Light Paintings

• Let Your Imagination Run Wild: Like long extinct dinosaurs, you can bring so many other subjects alive, like animals, movie scenes and fictional characters.
• You Do Not Need to be Outdoors: You can create wonderful pieces of art on the terrace or even in your own room!
• Keep a Black Card Handy: If there is excessive ambient light, or if a car passes by, use a black card to cover the lens so that the frame does not get overexposed.

To view more of Darren Pearson’s light fossils, as well as his other works, visit http://www.dariustwin.com/

Beauty is all around us. You just need to be able to see it. Photograph/Anupam Pal

Can you sense a photograph without actually shooting it? Raj Lalwani urges you to open your eyes to the world around you, even when your camera is away.

Most people assume that photography is all about pointing the camera and capturing an image. Actually, it is a lot more than that. The art of making pictures actually begins much before you pick up the camera. After all, what do you see when you see the world? Is your vision and perspective the same as someone else’s?
Learning to see is the most crucial step towards becoming a better photographer. A few simple exercises in your daily life will help you develop that vision.

Different places spur different moods in our minds. The use of lines, patterns and colours can be used to convey this. Photograph/Anil Risal Singh

1. Read About Photography
Many great photographers have published their musings on the subject. Autobiographies, shoot diaries, artist statements and blogs—these writings help bring some perspective. They open up a world wherein you can understand the way a photographer thinks, and his ideas and opinions.
Besides photographers, there have been other people who have written on the medium too, including American writer Susan Sontag (On Photography) and singer Jim Morrison (Notes on Vision).

2. Frame the World
Exercising your vision is a good idea, even when you are not carrying your camera. Try to identify frames around you. Do you see? If you see a lovely moment in front of you, identify the fact that it would make a great frame and store it in your memory. Ironically, you may ‘see’ more frames when the camera is not around, as compared to the time you are actually shooting.

3. See a Lot of Photographs
The easiest way to learn how to shoot is to look at photographs. Study the works of the masters and keep looking up more contemporary work on the internet. The point is to absorb different ways of seeing—not so that you can imitate them, but for being able to appreciate a variety of styles and perspectives.

4. Observe the Sun’s Position
Even if you have forgotten your camera, you should not stop seeing. Observe the sun’s position at different times of day to understand how the play of light changes the mood of a place.

5. ‘Guesstimate’ Exposure
There is a famous camera advertisement with the tagline, “I gaze at the sunset with the woman I love and I think f/8 at 1/250.” Of course, if you are constantly thinking on these lines, it is best not to tell your friends or loved ones—they may not entirely appreciate it!

While seeing pictures of commonly shot subjects, decide how you will interpret the subject differently. Photograph/Jayachandran Cherpu

6. Be Open to Other Art Forms
A mistake that most photo enthusiasts make is that they only study photography. You should enjoy other art forms too, as they can help you imagine and visualise certain frames. Seek inspiration from poems, books or even from dance recitals, Ravi Shankar’s sitar work or cinema!

7. Identify Stories as You Pass Them
You may be in a hurry and may not have time to shoot, but keep spotting potential photographs and photo stories when you pass them. When you have time, you can revisit the place and capture what you had in mind.

8. Be Curious
In fact, not just curious… each one of us should be like a child. Kids are always eager to learn and observe things more closely, because everything is new for them. Ask questions, think of possibilities and find out more about the world around you.

9. Befriend Diverse Individuals
Try to hang out with people who have diverse interests. The exchange of ideas will broaden your vision. Also, this may open up some great opportunities. For instance, if you have a friend who works in a mall or café, he may help you get permissions to shoot there!

10. Study People Around You
She looks up when she is in deep thought. Her fist is clenched when she is restless and once you know her, you can almost predict when she is going to smile. Studying gestures and body language is the first step towards being a great portrait photographer.

The world looks different when you are lying back, looking up or staring at the ground. Photograph/Sudipto Das

11. Keep Walking
It is said that the great street photographer Henri Cartier-Bresson would walk for six hours everyday, at the end of which, he would be delighted if he shot one great picture. There is no better way to explore any place.

12. Keep Your Ears Open
It is not just about seeing. All your senses should be heightened. After all, sensing a photograph is all about sensing life. For example, do not use earphones to shut out the chaos as the sound may help you predict any action.

13. Keep Scouting for Locations
So you have a meeting in one part of town, a coffee date in another and a party to attend elsewhere? Observe every place and imagine what it would be like, at a different time of day, or even in a different season.

14. Make a Scrapbook of Ideas
All of us think of stunning ideas all the time. We just do not remember them. Make a bank of ideas and note down anything that appeals to your senses. It could be a photograph you enjoy, an inspirational quote or a random idea you wish to develop. Reading and reviewing ideas always helps you think of more!

15. Carry a Notebook
The art of writing is something that every photographer must consider. Putting your thoughts down on paper—whether they are about photography or not—helps you gain clarity.

At times, a photograph may not show the subject clearly, but still convey an abstract emotion. Photograph/Ignatious Sunil P A

16. Meet Other Photographers
Photography is usually a solitary exercise, but this is not always true. Share, interact, inspire—you can meet photographic peers once in a while, or approach senior photographers. Even a simple conversation has great nuggets of learning that you must note down.

17. Have a Sense of Humour
Photography is serious business, but it is a good idea to find humour in adverse situations. This will make you positive, improve your perseverance and also help you spot light-hearted contrasts that you may otherwise ignore.

18. Keep Thinking
What does photography mean to you? How should you break past a creative boundary? How should you execute that brilliant idea? Keep your mind racing with such thoughts, especially when you are travelling or not doing anything else.

19. Do Not Think
Of course, there are times when you should just relax and concentrate on having fun. Even before an actual shoot, you should not think so much that you overstress yourself. Sometimes, the charm of photography is in its spontaneity.

20. Explore All Genres
You may aim to be a fashion photographer or a wildlife photographer, but it is important that you do not close your mind towards other genres. There is something to learn, appreciate, enjoy and savour in every kind of photography.

You may be at a particular place everyday, but have you tried viewing it from an unconventional perspective yet? Photograph/Gaurav Sawn

21. Be Aware of All Around You
You may be reading this magazine right now, but do you know what is going to happen in your neighbourhood a couple of hours later? Keep abreast of the latest news and go through any local listings of social and cultural events. You never know what photo opportunity you may find!

22. Experience Life
It is not just about photography. Instead of keeping your camera to your face all the time, it may be worthwhile to keep it aside, sometimes. Do not see everything through the viewfinder. Feel the moment. Live it, cherish it. Not only will this make you a better person, it will also reflect in your images.

23. Have a Zest for Travel
Travelling to new places and meeting people is not just about photographing them. It opens up your mind to the magical diversity that the world has to offer. Travel has the power to educate, illuminate, delight and humble.

24. Use Your Individuality
We may often look at a master’s images and lament that we may never be able to shoot like them. But then, why do you need to? All of us are special. We think in a particular way, and depending on where we work, we have first-hand access to certain subjects. Always make pictures that are truly your own.

25. Fall in Love
If you do not love and enjoy what you are shooting, you will never do a good job of it. The idea of being in love with someone is all about being able to relate to them. Love makes you want to appreciate everything around. You start noticing beauty in the ordinary, and that is the first step to creating extraordinary photographs.
Great writing is not just about the words. Music has more to it than just the right notes. Similarly, photography is not just about shooting. Learning the ability to see is a never-ending process, and that is probably what makes photography so fascinating.

Music may remind you of photographs and vice versa. Use your favourite tunes as inspiration. Photograph/Udayan Kapur

Getting Out of a Creative Block
If you are stuck in a rut, try these simple tips to get the ideas flowing.

1. Listen to Music: Music is almost always the best way to inspire yourself when nothing seems to work.
2. Give Yourself Weekly Assignments: Select a topic that is simple, but focused and concentrate only on photographing that.
3. Travel: Everything seems new when we travel, and almost every subject becomes a potential photo opportunity.
4. Take a Break: If none of this works, keep your camera aside for some time. Engage yourself in some other hobby for awhile. Come back and shoot once you are refreshed.
5. Watch Movies: We have compiled a list of movies every photographer must see. You can find them here!

Continue reading the story in the next section: Basics of Creative Control.

What looks like a spacious room is actually a cramped workshop that produces dresses for a high-end market. Photograph/Gareth Kingdon

Gareth Kingdon explores the slums of Dharavi and discovers that entire ecosystems thrive within the confines of these tinder box houses.

"This project is my endeavour to bring out the positivity of those living in such harsh and challenging environmental conditions."—Gareth Kingdon

Dharavi is the world’s most densely populated urban neighbourhood with an estimated 1.2 million people crammed into 1 square mile. Situated in the heart of Mumbai, Dharavi has been absorbed by the city. However, since it is a prime location that is close to offices, parks and commuter railway lines, it appears doomed to be demolished and turned into middle-class apartment blocks.
These 360° panoramic photographs are an attempt to share the lives of people living in the slums. Each image is constructed by using 20 individual frames, making the actions of subjects more prominent and self explanatory.
The use of the expanded image format is an attempt at challenging the stereotypical notion of a slum. Usually, when one thinks of a slum, one thinks of overcrowding, illness, sanitation issues and marginalised communities.
However, there are entire ecosystems that can thrive within a slum. It virtually functions as a city within a city—a hidden city of sorts. This project is my endeavour to bring out the positivity of those living in such harsh and challenging environmental conditions.
My greatest desire is that Western viewers belonging to developed nations, look upon the lives of slum dwellers and realise that in this global neighbourhood, the residents of the slum are just like everyone else. Instead of focusing on the great differences between the two worlds, people need to highlight their togetherness and desire to work as one combined culture.

This is a typical grocery store in Dharavi. Every morning, a lorry struggles down the narrow road to deliver fresh produce to the shop. Photograph/Gareth Kingdon

A Few Things to Remember While Shooting Panoramas in Cramped Spaces

• Make it a practice to overlap consecutive frames. This will help you edit your work more efficiently and will also make sure that you do not end up losing minute details.
• Use the Manual mode and use Custom White Balance. Doing this will prevent the metering system from automatically adjusting the exposure and spoiling the continuity of the panorama.
• Try using a hot shoe spirit level to avoid problems like skewed orientation. This will help you obtain straight horizon lines, while shooting indoors. Shoot around 20 images. It is better to stay on the safer side and stitch the images at leisure.

Dharavi is off the municipal map. Due to this local groups and NGOs run schools in Dharavi. Photograph/Gareth Kingdon

About Gareth Kingdon
Gareth Kingdon is a documentary photographer with a strong passion for African and Indian communities including townships and slums. He has won and been nominated for 12 international awards over the last two years.

To view more such images and Kingdon’s other works, log on to garethkingdon.photoshelter.com/

Scene Modes like Sunset are ideal for capturing photos in which you want deep orange tones. Photograph/Subhrangshu Bhandary

There are so many options you have when you are out on the field. Raj Lalwani discusses how working towards the perfect picture and achieving it is all about making the right choices.

Photography is all about having a personal, intimate connection with life. However, in our pursuit to capture what we envision, there are a number of questions we need to answer. These are options or choices that lie in front of us, ready to be used as creative tools.

Long exposure times are needed when you wish to shoot light trails or streaks of lightning. Photograph/Abhay Nawani

26. Digital or Plain Old Film
For sheer convenience, you cannot beat digital. It is also ideal for shooting handheld in low light. But if you want to make large prints that are tonally rich, or want the ultimate in black and white photography, it is film all the way. Film is also a great medium to learn on!

27. Compact Camera or SLR
Compact cameras are light, inconspicuous and easy to use. SLRs, on the other hand, are for any kind of photography that needs you to respond quickly.

28. f/2.8 or f/16
Wide apertures like f/2 are great for low light, and also to constrict your plane of sharpness. Use f/16 if light is abundant and you want a picture that is sharp from foreground to background.

29. Stop Action or Creative Blurs
While shooting moving objects, you can use a fast shutterspeed like 1/500sec to freeze the motion—almost as if you have stopped time. On the other hand, a slow shutterspeed like 1/8sec will cause a motion blur, making it seem as if time has not stopped, but is passing by.

30. Single Shot or Multiple Bursts
If your subject is not moving, a single shot should suffice. Capture multiple bursts while shooting fast movement or if you are not sure of sharpness.

31. Wide Angle or Zoomed In
A wide-angle perspective is great for establishing the relationship between a person and his habitat. If expressions are what you want, it is best to zoom in.

To get great colours straight from the camera, increase the saturation settings. Photograph/Raj Lalwani

32. Centrally Placed or Otherwise
Place the subject a little off centre, such that it interacts with the rest of the frame. Centrally placed subjects work well in wide-angle shots when the subject is close to the camera.

33. Left Eye or Right
Have you ever thought about this? While using an SLR, do you put your left eye to the camera or the right one? Studies suggest that over 90% of photographers use the right eye. But then, you should try keeping both eyes open. Keep one to the viewfinder and the other one to figure out whether anything is entering the frame.

34. LC D or Through the Finder
Since Live View is rather slow in most cameras, it is preferable to use the viewfinder. However, Live View is great for shooting from unusual angles or to confirm manual focus while shooting macros.

35. Natural or Artificial Light
The wonders of natural light are something you should always explore first. It is easy to work with and free of cost! In some cases, artificial light can add its own mood, be it ambient artificial light or the use of flash and strobes.

Instead of placing the subject as per the Rule of Thirds, you can experiment with the composition as well. Photograph/Swarup Dutta

36. Fill-in Light or Slow Sync
For portraits, use a Flash Exposure Compensation of around –1EV and merely use the flash to add some fill-in illumination. Moving subjects are best captured using the Slow Sync mode, that combines a still and motion look.

37. On-camera Flash or External
The on-camera flashgun is good enough for fill-in light and general Slow Sync effects. But for creative lighting where the light source is not frontal, you may need to invest in an external flashgun.

38. Fixed Lens or Zoom
Fixed lenses are usually lighter, sharper and better for low light shooting. If the situation does not allow you such freedom, stick to a zoom lens.

39. Handheld or Tripod
It really depends on your approach to the subject and how you pack your camera bag. For subjects like nature, landscapes and architecture, a tripod is invaluable. When carrying extra gear is cumbersome, it is best to shoot handheld.

40. Average Metering or Spot
Most everyday situations can be shot using Average metering, which is also called Evaluative or Matrix. Spot metering, on the other hand, is ideal for subjects that are too dark or too bright.

The time of day you choose changes the feel of the place drastically. Photograph/Shyamal Das

41. Same Exposure or Compensate
While shooting dark subjects, a compensation of –0.7EV works better. Underexposure also makes colours more vibrant. When there are too many whites in the frame, you would rather use +0.7EV.

42. Soft Light or Harsh
Soft light makes people look really good. It brings out textures, depth and colours. Harsh light, on the other hand, can be used effectively for drama or for high contrast B&W shots.

43. Indoors or Outdoors
Look at the world outside! Is it raining? Or are the skies really beautiful? Maybe you should head out! On the other hand, if you wish to work in a controlled environment, it is advisable to do the shoot indoors .

44. AWB or Presets
In most general situations, Auto White Balance does a good job of delivering neutral colours. When you want a deliberate cast, use presets like Cloudy for an orange feel and Tungsten to heighten the blues.

45. Crazy Colours or Subtlety
A subtle treatment is almost always better than an overprocessed look. Crazy colours will look good only if the composition is simple and the colour is the main subject.

Instead of allowing Auto White Balance to neutralise the colours in your frame, you can use Shade White Balance to enhance the orange tint. Photograph/Kamaljeet Chugh

46. Auto Mode or Manual
Instead of using the Auto mode, try using the Program mode. It is automated to a large degree, but allows you some crucial control. If you know the technicals and wish to work towards your vision, switch to Manual.

47. In-camera Modes or Software
If you do not want to waste any time on the computer, you can use incamera settings for Contrast, Saturation and so on. That said, postprocessing in software gives you much greater control.

48. Default Ratio or Something Else
The 3:2 aspect ratio is supposed to be pleasing because it resembles the way our eyes see the world. For more impact, you can crop your image into a square, panorama or even a vertical strip.

49. RAW or JPEG
If you have plenty of storage, shoot in RAW. You can fine tune the photos to a large degree, and the quality is better.But while shooting action, it is best to shift to JPEG so that the camera does not slow down.

50. To Shoot a Lot or Not
Experiment with various subjects, techniques and keep brushing up your skills. However, it is better to shoot ten great photos than to capture a random burst of 100, of which one may be decent.

Every film, be it colour or B&W, has its own distinct look. Photograph/Rabin Chakrabarti

51. Autofocus or All Manual
AF is your safest option in most cases. But for many situations, including macros, low light, street photography and capturing bokeh, manual focus is useful.

52. Multi Point AF or Just One
While shooting casually at a party or wedding, you can easily use Multi Point AF. Single Point AF is ideal for more critical subjects, like portraits or wildlife.

53. High Contrast or Not
High contrast is gritty and eyegrabbing. Reduced contrast, on the other hand, gives a calm, relaxed feel.

54. All Colour or Mono
Whether to shoot in B&W depends on whether you can see in monochrome. The world around us is in colour, which is why B&W always helps attract attention. You can always break convention and use different settings. But it is essential to remember these creative choices because it reminds us that photography is actually quite simple.

Besides the obvious technical choices, you need to ascertain the best vantage point too. Photograph/Ansar Padikkalakandy

A Few Common Gear Mistakes You Must Avoid

All of us tend to assume that we need to have a great camera to get good pictures. On the contrary, constraints can make us creative too.

Leaving the Camera at Home
Always carry a camera with you. It need not be a DSLR all the time. It could even be a compact camera, or you could make pictures with your cell phone!

Not Packing Essentials
Ensure that you have not forgotten to charge the battery, or empty the memory card. Also, carry backup batteries and storage.

Carrying Too Much
If you do not need a particular camera or lens, you should rather keep it at home. A lighter camera bag will mean that you are more agile, and will let you concentrate on the final photograph.

Underestimating the Kit Lens
The basic 18–55mm lens is lightweight and inexpensive. For its price, it is actually quite sharp and can be used for a variety of genres, including landscapes, close-ups, portraits and more.

Not Using Compact Cameras
Just because you may own a DSLR, you should not look down upon compact cameras. They are tiny, convenient, inconspicuous and a lot of fun!

Being in a Hurry to Upgrade
Unless you are shooting professionally, chances are that your current piece of equipment is good enough. Concentrate on upgrading your skills, instead.

Giving Gear Too Much Importance
If you were not able to capture a particular picture, do not blame your equipment for the same.

Continue reading the story in the next section: Try This!

Silhouettes need not be shot only at dawn or dusk. This mid-afternoon photograph combines an element of intrigue with an alternate way of seeing wildlife. Photograph/Jayanth Sharma

Once you get past the basics, start thinking out of the box. Raj Lalwani shares some unique ideas to get stunning photos with ordinary gear.

Photography is not just about making the right choices, but also about breaking rules. It is time to go beyond the obvious, think out of the box and most importantly, have fun. How do we do this? For starters, you can try these.

55. Switch On and Shoot
Do not think of composition, light and moment. Just switch on your camera and shoot. It could be close to your eye, at your hip or just have the lens peeping out of the camera bag. The resultant photograph might surprise or even shock you. A series of such images would make a unique set of ‘happy accidents’.

56. Shoot a Picture Every Hour
Have you ever observed how places change every hour, or for that matter, every minute? Shoot one picture every hour, from the same spot. Alternatively, while going about your daily routine, stop every hour and shoot a picture of the place you are in. Not only will it be a fun record, but also narrate an interesting story.

57. Or One a Day
You can make a series of shots of the same place over a period of six months, or a year. Once you are done, the pictures can be put one beside the other, placed on a calender or even made into a stop-motion video!

58. Program Your Camera to Shoot
Some cameras have a built-in Intervalometer function that makes a picture a second, or at any designated time interval. If your camera does not have such features, you can do this manually. Just get a friend along, in case you get bored or tired halfway.

59. Or Even Use a Webcam
So you have a webcam and are chatting to a particularly cute friend of yours. Ask them to smile and pose for the webcam! All you need to do is to press the PrtScr (Print Screen) button on your keyboard. Alternatively, you can download a software that programs your webcam to shoot at specific intervals. This can create a rather eerie video of the goings-on in your room through the day.

60. Through Interesting Glass
Glass can be transparent, reflective and sometimes, depending on the light, both. Make use of this. Also, try shooting through sunglasses, coloured bottles and even a magnifying glass to get really close.

Some Vaseline applied on the filter of the lens can give a surreal feel to any regular scene. Photograph/Raj Lalwani

61. Create Vehicular Abstracts
Ever sat on a ferris wheel and felt the world go around? Now imagine if your camera feels dizzy in the same way. Strap the camera to a ferris wheel, bicycle, car’s rearview mirror or even your own body. Just be careful that it does not fall!

62. Get a Monopod’s Perspective
If you wonder how to shoot crazy perspectives wherein the camera seems as if it is in the air or near the wheels of a moving car, it is actually simple. Mount the camera firmly on a monopod. Now, stretch out the monopod and shoot. You will need to use the Self Timer mode or a cable release to trigger the photo.

63. Shoot Like a Child
Imagine a two year old kid seeing a tall man bending down to speak to him. Perspectives can be quite unique—whether it is a child’s or a bird’s eye view. Get down on the floor or climb a tall building and make the ordinary look stunning.

64. Add Some Vaseline
Applying Vaseline on the lens’ filter can create a soft, ethereal look. You can also apply it to a specific part of the filter such that a part of your frame is sharp and the rest is blurred—something like a tilt-shift effect.

65. Blow on the Filter
Your lens may get fogged up while moving out of air conditioning or you may choose to blow air on the filter yourself. This creates a surreal, foggy atmosphere and makes light sources look like large, round circles.

Did you know that you can shoot landscapes handheld, at slow shutterspeeds? This is the effect you will get. Photograph/Chris Friel

66. Use a Tripod, But Get Blur
Blur can be random, but have you ever thought of using it methodically? Keep the camera on a tripod and move it after half the exposure is over. Alternatively, pan the camera really slowly during a long exposure.

67. Get a Picture Inside a Picture
This is simple and fun. Find an image of a friend you really like—a lovely photo memory. Now, ask your friend to pose with the photo print in front of their face! You can also try using sketches inside the frame, or including a television set.

68. Create a Collage from Prints
Now, it is time to get really creative. Make a really large print of your favourite photo. Tear it up and then place each piece close to each other, almost like a jigsaw puzzle. If you enjoy this, look up the work of legendary photo artist David Hockney.

69. Pose Inside a Trial Room
Just ensure that this does not get you into trouble. Trial rooms in shops and malls have multiple mirrors that can show six or seven reflections of you. Once you are done trying that new shirt, point the camera and capture a self portrait!

70. Twist the Camera
Conventional zoom burst involves moving the zoom ring during the exposure. But then, you can try holding the lens with your left hand and twisting the camera around. This will give you a unique radial blur. This technique is great for shooting lights at night.

You can capture a photo of a photo, or if you can draw, include a sketch within the frame. Photograph/Ben Heine

71. Shoot and Move in Circles
While shooting trees or overhead decorations, use a long exposure and move around in a circle. The resultant blur will look like a whirlpool!

72. Get Others to Shoot You
Whenever you meet someone, ask them to make a portrait of yours. The resultant series will show how different people capture the same subject. Try entering photo booths and direct yourself.

73. Hold Mirrors in the Frame
Bend reality. Reflections in our daily life are common, but if you make a person hold an actual mirror within the frame, the resultant image can be unsettling, yet memorable.

74. Visit a Gorgeous Location
This is the simplest thing you can do. There are some places that are so beautiful and offer so many opportunities that you just cannot go wrong.

75. Accessorise your Compact Camera
Add a red gelatine paper to your compact camera’s flash for some superb effects. Alternatively, attach a mirror such that you are pointing the camera in one direction, but actually shooting something else.

Blur, smoke, haze and the use of colour are elements that add a sense of magic to the scene. Photograph/Munna Sherpa

76. Shock the Viewer
Include something that the viewer does not expect to see—something that is in stark contrast to the mood of the photo. Or, exclude an element and just include its shadow in the frame.

77. Put the Camera on a Skateboard
Tape a compact camera firmly to a skateboard and ask your friend to do some stunts. Place some tape on the shutter release button such that the camera shoots continuously from that crazy angle.

78. Have Fun with Video
When ideas run out, just switch to video! You can pretend you are shooting a picture and wait for the person to pose, or just shoot a minute-long clip of a quiet landscape.

79. Explore Cell Phones
Modern-day cell phones have a lot of applications that allow you to add creative effects to your photos, including oversaturated colours, fake light leaks, film-like processing or even a Lomo look. The best thing about shooting with a cell phone is that it is so easy!
These are just a few of the things that you can do. Sometimes, a specific technique may work really well, while at times, you should throw technique out of the window and just think of a great idea. The point is to experiment and then form your own ideas and techniques. So the next time someone looks at your photograph and says “Wow!” you can ask them, “Have you tried this?”

Ask yourself whether you want to capture reality or if you wish to make the picture look like a dream. Photograph/Chris Friel

Seven Photo Projects You Can Take Up Now

Photo projects are a lot of fun. While working towards a particular theme, you should monitor your own progress from time to time.

365 Days
Capture a self-portrait everyday, for an entire year. You can try a new concept each time to really challenge yourself. Alternatively, shoot from the same angle every day, and then place them side by side.

At the Same Time
This is a project that you can attempt along with a group of friends. Preplan a particular time, and each of you should shoot a picture at that very moment— whatever you may be doing. This can result in some really funny photos!

100 Strangers
Approach people on the street and ask them if you can make their portrait. Talk to them, ask them about their lives and even make some friends!

Document Your Family
Sometimes, we forget the basic essence of photography—to document people we love. Shoot at home everyday and gift the pictures to your loved ones.

Pick a Colour
You can spend an entire fortnight trying to shoot red subjects. The next week, try blue.

Or a Letter of the Alphabet
Choose a letter and look around for subjects that begin with the letter. This will not only challenge your imagination, but also your observational skills.

Weekend Walks
If you are too busy to shoot dedicatedly, try alloting an hour a week to photography. It should not be too difficult and you can try visiting a different place in your neighbourhood each week.

Continue reading the story in the next section: View Review!

A part of an ongoing project on the Narmada river, this image was made during a mass wedding of Baiga tribals in Madhya Pradesh. Photograph/Hari Mahidar

Neha Mutreja speaks to renowned industrial photographer Hari Mahidhar, to know how he adds the flavours of life to ordinary subjects.

“No matter what you do, remember that learning the basics is key to your success.” —Hari Mahidar

While I have spent only three years in the field of photography, I often find myself wondering, how do the biggest names in photography reinvent themselves even after spending decades in the field? I found my answer when I met Hari Mahidhar, one of India’s most famous industrial photographers. Not only did I find him full of enthusiasm, but also brimming with curiosity. Harendra, or Hari as he is known to the world, has spent years practising various genres, bestowing his knowledge upon whoever approached him. He even sold his house and made plenty of other compromises for something he was very passionate about—photography.

Destiny’s Child
Unlike his brothers who took up the family business, Mahidhar was very keen to learn painting. However, his father was against the idea and would rather that he joined the merchant navy. He appeared for the tests and cleared them all, except for a mathematics test. “My mind had turned completely blank and I could not even perform simple calculations. Maybe, destiny wanted to take me somewhere else.” He failed an interview to join the army as well, because they thought he was too temperamental.

And Photography Happened…
Then, he came to Mumbai to join Sir J J School of Art, but since he was late in taking an admission, he had to opt for an evening course in photography. “I felt that photography would provide me with great reference material for my sketches.” It was only when Mahidhar got married in 1964, did he get his first camera—it was a gift from his father-in-law. 

In a quirky series called Dancing Ducks, Mahidhar used dried shells to portray a pair of ducks! Photograph/Hari Mahidhar

A Choice was Made
Mahidhar’s brothers asked him to make a decision—he had to choose between the family business and the medium. “I decided to take up photography in 1967. Six months later, I was assisting Mitter Bedi, the famed industrial and architectural photographer.” When Bedi told him that he would not pay him, Mahidhar said that he would pay to learn from him, at which Bedi chuckled.

All for a Hasselblad
Soon, Mahidhar joined Sistas, an ad agency and by 1978, he was taking up individual assignments. “I had to sell the house that I had just purchased just to buy a camera… because wherever I went, clients would ask me whether I had a Hasselblad.” Soon after, assignments started pouring in and he had no dearth of work.

“Usually, when people tell photographers that their images look like paintings, they tend to take offence. But, for me, it is a great compliment. ”

Essaying Various Roles
“Yes, I conduct workshops, but do not call me a teacher. I just want to discuss the art of photography with people. I enjoy doing this, out of sheer love for photography.” His affinity towards the medium extends to a solid understanding of equipment and technique. Halfway through, he takes me to a cabinet that is full of cameras, old and new, of different types and companies. Sometimes, he simply dismantles these cameras and lenses and makes new gadgets. 

This image is a great example of how Mahidhar transforms an otherwise dull industrial landscape. Photograph/ Hair Mahidhar

Looking Towards the Future
Mahidhar is one of the foremost names in industrial photography in the country. While not on assignment, his graphic industrial aesthetic merges with his artistic roots and shows up in his personal work. Besides a book on aerial views of landscapes and pictures made in a circus, he has several other series. He has also created and photographed elaborate installations that look like people—only comprising of paper clips!
More recently, he says that the iconic Bollywood song, Chhora Ganga Kinaare Wala made him realise that his childhood, too, was heavily influenced by a river, the Narmada. This is why he decided to start documenting the rituals as well as the many moods of the river.

New Ideas and Quirky Experiments
Almost anyone who has met Hari Mahidhar has been a victim of his sharp wit and straight-faced sense of humour. I think I see the same humour in some of his photographs… colourful and attractive abstracts that make you wonder how exotic the subject must be… until you realise that it is just an onion! It is this constant urge to experiment that has made him photograph everything around him, from springs, pistons, iron nails and plugs, to strands of saffron and even dried peels.
Once, when he was sitting amongst his peers, he was asked what sort of photography he liked to practise. Frank and deadpan, he simply said, “photography.” He kept repeating the answer every time he was asked to explain. His perspective on this defines all that Hari Mahidhar really is. He elaborates, “if I am an actor, I would like to play different roles. Then, why does being a photographer need me to specialise in a particular genre? What if I am a versatile artist? This is what I have always aimed to be.” 

Would you believe that this a photo of onions? Mahidhar was shooting spices for stock, and thought of portraying their unique textures. Photograph/Hari Mahidhar

“If you can make a gift of the right picture of the right moment at just the right time, the value is priceless.”—K Madhavan Pillai

The way I rate the worth of a camera is through the kind of pictures I shoot with it. For example, if I were to buy a new camera worth a lakh of Rupees, I will consider it a worthwhile investment if I make at least a hundred excellent photographs with it.
For me, a fabulous, prize-winning shot is worth about Rs. 5000. A good shot that can be published is worth Rs. 1000. If I manage to photograph ten prize-winning shots and a 50 good shots in one year, then I recover the cost of my camera. Of course, this is a very clinical way of looking at the worth of a camera, but I find it a good measure of how much one should consider investing. Often, photographs also have a great sentimental value. Regardless of whether you are a hobbyist or a professional, if you can make a gift of the right picture of the right moment at just the right time, the value for the one who is receiving it is priceless. So, if I make about ten prints every year and gift them to people, I recover another ten or 20 percent of the value of my new camera.
In this issue, we have listed the 30 best cameras available across price segments and camera categories— from basic compacts to pro-level DSLRs. The type of camera you buy depends on the kind of photographer you are and your immediate requirements. However, do not compromise on the quality of camera you buy. If you are a hobbyist and you need a DSLR, buying an advanced compact will not serve your purposes.
Your buying decision also depends on how much you can really afford. If you find that you cannot afford the camera that you need, you can start saving up for it. It would probably do your soul some good to know that the only DSLR capable of delivering the same level of quality as that of 35mm film costs over Rs. 5 lakhs! You could simply stick to an inexpensive, second-hand 35mm film SLR and make your pictures. You would have recurring costs of film, processing and printing. And the camera is not going to do any of your work for you. Yet, this will also probably make you a better photographer by the time you save up enough for a good DSLR.