You are a well-established architect and an acclaimed wildlife photographer. What inspired you to become a wildlife photographer?
My journey into photography was a natural process. At a young age, my interest was primarily in drawing and painting. Art practice was always a part of my daily routine. The school I studied also helped to develop my art practice. My curiosity towards the camera brought me into contact with photography during my school days itself. But access to the equipment was virtually nil. The only means of learning photography was to depend on old magazines. But even then, I never got the chance to make images or use a camera. But my interest in the medium grew over time. My inspiration was all the fantastic images that got published through Malayalam newspapers those days. At that stage, my interest was primarily photography. I was not familiar with wildlife photography as exposure to that category was limited. But interest in the natural world was always a part of me as I lived in the fringes of a small town then. It was surrounded by paddy fields and the ambience was more or less that of a village. I am talking about Kerala in the eighties. Exposure towards wildlife photography began during my architecture studies at Hosur, near Bangalore. I had the chance to join an old organization Youth Photographic Society at Bangalore. It had as its members, the masters of Indian wildlife photography like TNA Perumal, Hanumantha Rao etc. Through YPS, I got a chance to visit Bandipur National Park, Karnataka. That trip became a turning point in my photography journey. I, who was doing architecture, travel and pictorial images stopped all other types of photography and started doing nature photography. That began my journey in nature photography. During those times, I didn’t have long lenses or fancy cameras. All equipment used to be borrowed from seniors at YPS. My interest or passion in nature photography grew over time and I must acknowledge the support of the senior photographers at YPS. I was introduced to the fascinating world of animal behaviour and the techniques of nature photography those days.
Have you received formal photography training, and if not, how did you get to where you are now?
I was very clear that I wanted to do an art based profession. My alternatives then were either to be an architect or a cinematographer. My first attempt at learning architecture failed as I didn’t get admission for the course I wanted. So, I decided to learn still photography before making an attempt to learn cinematography. I did a 6 months diploma in black and white still photography. And started working in a studio in Thrissur my home town. During that time, I got admission to architecture. I should thank my parents who always supported my decisions. While doing the diploma I got access to professional camera and darkroom. I started my technical studies of photography with a large format camera and then shifted to a medium format and later to a 35mm slr. This also helped me during my architecture studies in the documentation of architecture. Those days most documentation was done on slide film for the purpose of projection. The knowledge I gained from the diploma was into the technical aspects of photography. The artistic approach to photography was self-taught. The exposure to painting and drawing helped me develop the creative aspect of photography. I studied the work of masters through books and journals. I got more exposure when internet became more accessible. This process of learning continues even today. I buy books of photographers whom I admire and study their approach in detail. I don’t limit my learning process to nature photographer.
I also look into interesting works of fellow photographers and make sure I watch a good number of images each day. The learning process is an integral part of my daily routine. Learning alone isn’t enough in making who you are. It is equally important if not more, to adopt the knowledge gained into a style of your own and express your inner voice and thoughts through your pictures.
In comparison to more wildlife documentary photographers, your work emphasizes creativity. Please share your thoughts with us on the merits or otherwise of this strategy.
Like every wildlife photographer I too started my journey by documenting wildlife – species, behaviour, habitat, etc. But as time passed, I looked at my work and tried to see what was new/ unique in my work as compared to the earlier work done by me and others wildlife photographers. This is a process I always do even today. I would call it expressing oneself rather than creative approach. Creativity always has a comparative aspect. Analysis of any creative approach is subjective – a subjectivity that is bound by our talent, experience and knowledge. An image may be creative by personal standards but unknown to us some other person may have created a similar image. So in reference to that, your image isn’t creative or new. I believe that the challenge of an artist is to try and create something new or different.
In my work, I try to bring in a different aspect by expressing my thoughts through images. This, I believe brings a unique, personal perspective into that picture. It’s not just about what is there in the image. Though the subject is important, the emphasis is on the aspects which go beyond the mere depiction of the subject. Images should lead to thoughts beyond the obvious. This is the idea that I am currently working on. This approach of image making is there in other categories of photography but not much explored in wildlife photography. Since my interest is in nature photography, I use nature as a subject to express my thoughts about humanity, nature, abstract ideas like dream, movement, time, freedom, peace, emotions like care, sorrow, belonging etc. I have been on this personal journey for some time now.
As time passes, the process of making images also changes, likewise my thoughts as well. My evolution as a human being also reflects in my art as a photographer. I also think that nature photography all over the world is getting to be stagnant because it is getting restricted into mere documentation. The only difference to be seen is perhaps in the usage of technology in the process. For example, remote photography using detection sensor, drones that give a different perspective etc. This is nothing new if we look into the history of nature photography. The first wildlife images that were published were made by using trip wire remote triggering and the artist was George Shiras lll. Many photographers used helicopters and smaller flying machines to make aerial images of wilderness. So then, how is present day work conceptually different. I believe in an approach which captures images, that is one’s response to a situation. This is not about depicting what one sees but what one feels about the situation. It can also be images that can trigger universal thoughts. I am sure, this present approach of mine is also temporary.
What kind of photography do you like, colour or black and white, and why do you prefer one over the other?
My journey into photography started with black and white. As mentioned before, I did my diploma in black and white photography. During the earlier days I had access to darkroom. When I went to architecture school, there was no facility for doing black and white photography. Then my work shifted to colour negative film and transparency. My film negatives were printed by a renowned print maker Mr.B Srinivasa from Bangalore who was a senior YPS member. Later in 2004, I shifted to digital photography. The chance to learn the craft of digital imaging was very difficult during those days as information was scarce. Later when internet became common, more information was easily available and the learning process became faster. The style I followed was more or less documentary and pictorial type of wildlife photography. Later when I gained enough knowledge about the digital process, I slowly shifted my practice to monochrome imagery. I then realised that if I didn’t consciously do this process, I will never get enough hold over the craft of making images in its required perfection. So, I continued the process of making black and white images. Also, my approach towards image making shifted over time and monochrome images helped me to express my ideas more effectively than in colour. Monochrome photography gave an instant abstraction in images by removing the layers of colour which depicts realism in the images. The absence of colour breaks down the images into shapes, texture and light. Composition becomes more evident. It becomes the language in the image. My monochrome journey still continues. I also do some work in colour these days. Colour not for the colourfulness but for the expression of colour. Colour and what it expresses becomes a part of the imagery. Even when my practice is monochrome, I look into work of eminent masters in colour photography like Ernest Haas, William Eggleston, Alex Webb, Frans Lanting, Saul Leiter, etc most of whom are not wildlife photographers.
Tell us about your journey to becoming a world-renowned professional. What were the major turning points in your career that propelled you forward?
Frankly speaking I have not become a world renowned professional as I make no earning from wildlife photography. What propels me forward is my love for nature and the art of making images. I like spending time in nature, It gives me lot of peace and energizes me as well. It has also helped me to become what I am today as a person. The act of making images is a very intense meditation. The whole world at that point of time comes down to a small viewfinder. Obviously, the thoughts that go in my mind during the process are also very enriching experiences. I mean the intellectual aspects and not the technical. Definitely there will be technical challenges that need to be addressed.
What is your greatest achievement as a photographer so far?
I do not participate in photography contest any more. Earlier days I did but not anymore. One of the events I did recently was an exhibition of my 15 years’ work on elephants named KARI which mean black in Malayalam. The first exhibition was held in 2020 December at Lalithakala Academy, Thrissur. It was a collaborative exhibition with an artist. Some of the works were installations combining painting and photography. The process helped me to put a temporary stop on a long time project that I was doing. The second exhibition was done in 2021 march as a solo exhibition at Long Time Art Gallery, Trivandrum.
These don’t in my reckoning account for greatness or achievements. More than achievements I value the time spend with nature and making images. I also feel that the moment an artist feels that his art has achieved greatness that can’t be surpassed by any future creation of his; it sure means the end of his serious work. I am compelled to explore more by the imperfections I see in my work. It drives to think in depth about the process of making images. On one hand, efforts will be to avoid the errors made previously and on the other hand push my own boundaries to newer realms. This is what keeps me going as an artist.
In terms of visual representation, what do you consider to be your crowning image? Tell us more about the history of this image.
I would say that there is no specific picture that’s crowning. I approach all my images with the same intensity. But the end result may be rewarding or an utter failure of the thought process or execution. This can happen due to various situations that develop on the field or lack of clarity about what I am trying to portray. There have been many situations where the idea was perfect but the necessary elements to build the narrative were not there. Then the idea can’t be translated effectively. There will be situations that pose technical challenges as well. One image if needed to give as an example of success is that of the lone tusker in the background of mountain ranges made in Corbett National park, Uttarakhand. The early morning, mist laden landscape was perfect in terms of lighting and setting. But there was nothing other than the landscape and atmosphere. When the last layer of mist was about to vanish, I saw a lone tusker walking into what I thought was a perfect position or frame. The composition became complete only when the tusker walked into the frame from nowhere.
What has been the most amusing thing that has happened to you during your wildlife photography journey?
Engagement with nature is a very emotional and spiritual act for me. Nature expresses its valour and glamour at all times but always unpredictably. These surprises also engage me. But I also value the subtle expressions of nature like the grass dancing in the wind, the music created by flowing water, or the birds calling, the smell of blooms and first rain etc. All these have a reason to be doing what they do but to me it is very spiritual and emotional. I try to include all these moments as a part of my images.
Is there someone you admire, a role model, in wildlife photography?
I don’t have a role model as such. As mentioned earlier, learning or discovering new things is an on-going process for me. I follow not just photographers but other artists from different genres of visual art. I get inspiration from all these and that has moulded my visual language over time. For example I study works of war photographers for the reason that both wildlife and war photographers have no control over their subject and situations. There is an anticipation of what may happen from observation, experience and presence of mind. I study the paintings of medieval artists to see how they use light, study contemporary artists to see how they address current issues in an abstract way. One photographer who influenced me during the early days of my nature photography was Vincent Munier from France. The images he produced at that time had a lot of space in them. I also liked making images with a wide canvas of blankness. Some of his award winning images gave me confidence to continue my journey. This was some 20 years back.
Is there a specific message you want to convey with your photography?
There is a saying that every photograph speaks 1000 words. But in present times, if every photograph was to speak 1000 words then, there would be too much noise. Sometimes it is good to be silent. I mean, visuals can be silent. Not say anything, but try and give an expression through the visual. Consider listening to musical instruments playing a musical composition. If asked at the end what we understood from the performance, what would be our response? The music said nothing but gave us a feeling that may have touched our inner being at various levels. A visual also can evoke similar feelings perhaps with less intensity. What I try to convey through my images are not loud but subtle emotions. Questions that stay in your mind long after your engagement with the image – subtle aspects in nature like harmony, coexistence, differences, sharing common space, respect etc. I also believe that we need not do anything for nature to survive other than leave it as it is and not disturb the harmony.
What animal have you yet to capture that you would like to?
Rather than a specific animal, I would like to say that I wish to visit the polar region and observe the landscape and life there. I have not visited any national parks outside the Indian subcontinent. A lifetime is not enough to observe our Indian wildlife and varied habitats.
According to you, to be a good wildlife photographer, what are the most difficult obstacles one must overcome?
Curiosity and observation should be a continuous part of the process. Even when you study and get influenced by other photographers, copying them shouldn’t be taken as an easy way to success .With the influx of information available today, particularly in social media, it is very difficult, particularly for beginners not to get influenced. I feel that the new generation of photographers are easily attracted to these new trends and as a result lose focus. More time should be spent in understanding finer aspects of the subject that we choose to work on. Gaining technical knowledge is the easiest part in the image making process today. Listening to one’s own voice and developing an individual style should be the focus. Not all may develop individual style, but it is more important to develop an aesthetics which is not influenced by mass media or trends. Approaching the subject should be based on the aesthetics that we have developed on our own. There is an inherent aesthetics in everyone. But finding it and enriching should be worked on.
What are your best tips for photographing wildlife in its natural environment?
Understanding animal behaviour is the first process in wildlife photography. All animals connect to their macro and micro atmosphere. That’s how habitats are developed. Not all animals can survive in every habitat. The immediate habitat is their world. Without enough knowledge of these basics, we cannot venture in to making images. Even if made, it will lack in serious content. The ideal way would be to keep away from photography that involves feeding and baiting animals. It not only affects the natural behaviour of the specie that is being photographed but also the person who is photographing it. He forgoes the highest reward of nature photography which is forging an © Praveen P Mohandas intimate bond with nature in its deepest expressions. No photograph is more important than the well-being of the specie that is being photographed. Even when we are in wilderness, one has to take care not to disturb the environment in the least way possible. Disturbing or provoking an animal for the purpose of photography will never yield good results. I personally don’t photograph charging animals or animals looking into the lens or animals running away in fear because of the presence of the photographer. We have to be calm and quiet with minimal movement while in the field. Initially the animals will be curious or wary about our presence. But once they realise that we pose no threat, they go back to their natural behaviour. That’s when real photographic opportunities open up. Spending long time with animals gives more opportunities. Revisiting places during various seasons also gives better results and varied perspectives.
We conduct wildlife photography workshops. According to you, what is the main point you want your students to remember in wildlife photography?
Becoming a good human being is the first thing that every individual should aspire for. Being compassionate to nature comes next. Care for nature comes only out of this compassion. Nature doesn’t want to be photographed. Photography is our need. So our photography process should not be a hindrance to the wellbeing of nature. Pay less attention to techniques and equipment. Don’t try to take the easy way, like looking for tips and tricks. Understand the requirement and work towards the solution. That brings a strong foundation for your photography. It is easy to build over this foundation than the short cuts we take to ease our way. Focus and dedication to art and craft of the medium is very important. Studying the history of the medium is also an important aspect. It is good to know what has been done before for us to venture forward in our own journey. Such journeys alone give immense and true satisfaction as an artist.
What advice would you give to young photographers just starting out who are thinking about a career in wildlife photography?
I would like to tell them that they should take time and make lot of images and not to look for instant success during the early stages of their journey. Failing in a new path is more rewarding than following successful paths. Build a strong foundation in the medium. Gain as much as knowledge about the subject that one is interested in working. Make long time projects and work with focus on them. Never try to fit into someone else’s shoes. Listen to your own voice. Winning contests should not be set as benchmark for success.
What kind of gear do you have in your kit bag?
Presently working with Nikon digital cameras and lenses. Both mirroless and DSLR. Various lenses ranging from 16mm to 600mm.
