Gross National
Happiness Swati Rawat
The Silhouette Master
Erich Caparas
The Animals Wolf Ademeit
On The
Streets
Leroy Skalstad
Chiiz Gallery
Best of chiiz.com
Gear Review SIGMA 14mm 1.8 Art
Navneeth Unnikrishnan
THOSE WHO MADE IT POSSIBLE
DISCLAIMER: ALL PHOTOGRAPHS PUBLISHED BY CHIIZ MAGAZINE HAVE BEEN AUTHORIZED BY THE RESPECTIVE ARTISTS AND ARE PROTECTED UNDER THE COPYRIGHT LAWS. IT IS FORBIDDEN TO COPY THE MATERIAL OR RESELL IN ANY FORM WITHOUT WRITTEN PERMISSION FROM THE ARTIST. ALL PRODUCT NAMES, TRADEMARKS, LOGOS, BRANDS AND OTHER DATA PUBLISHED IN THE MAGAZINE ARE THE PROPERTY OF THEIR RESPECTIVE OWNERS. EDITORS ARE NOT RESPONSIBLE FOR ANY CONTENT IN THE ADVERTISEMENTS. CHIIZ BELIEVES IN PROMOTING THE BEAUTY OF HUMAN FORM AND BODY. WE, UNDER NO CIRCUMSTANCES, PROMOTE VULGARITY OR OBSCENITY IN ANY FORM. READER'S DISCRETION IS ADVISED. FOR ANY FURTHER DETAILS VISIT US CHIIZ.COM OR WRITE TO MAGAZINE@CHIIZ.COM. PUBLISHED BY MANSA INC. CONTENT PROVIDED BY CHIIZ.COM.
Editorial
Arturo Lopez Illana Prakhar Garg Priyashi Negi Ankit Tyagi Chief Visualiser
Sheetal Mann Design
Bhavyaa Parashar Analysis
Prateek Kashyap Writers
Aditi Puranik Navneeth Unnikrishnan Shrey Malik Swati Rawat Shimran Epari Nivedita Joshi Technology
Sachin Arora Rishabh Jain Bharat Bhushan Aditya Baghel Business Development
Rajesh Basu Amit Ghosh Dimas Fajar Sales
Krishna Srinivas Amit Gupta Marketing
Kanika Maurya Anurag Khaneja Public Relations
Barkha Chandra Staff Photographers
Surbhi Sharma Susana Gomez Tarundeep Singh Urshita Saini Finance
Neelu Singh Consultant
Apratim Saha Mansa Inc. CEO
Editorial From times immemorial, portraits have been used for more than just keeping record. They have been used to show power, importance, virtue, beauty, wealth, taste, learning or other qualities of the subject. Since then, the art of capturing faces have come a long way. It takes just a moment in time to capture a face on the film. The lines on the faces trace back to the past experiences, the raw emotions and so many narratives. Eyes that hold embers amidst the swell of oceans, speaking the language of the soul. The freckles like the galaxy of stars, waiting to be explored. The magic that lies between the contours of jawlines and cheekbones and the secrets hidden in the strands of hair. The sunshine smiles and the raindrops on golden hair all depict beauty in its eminence. Drawing from the most expressive muse, Chiiz introduces its next instalment on Faces. We have incorporated the works of many proficient photographers to bring to you this month’s issue. The wildlife portraits by Wolf Ademeit gives wildlife photography a whole new dimension with stupefying animal portraits. Erich Caparas’ exquisite fashion portraits are as aesthetically pleasing as they are immaculate. The black and white homeless faces captured by Leroy Skalstad reflect the stories that one looks for in an artwork. JP Stones’ and Marco Vendittelli’s tribal portraits are breaking new ground with the innovative thought process that went behind creating such portraiture. Rupa Sutton’s portraits on pets is beyond adorable and a sight for sore eyes. Vedat Satilmis’ and Puneet Jain’s work on monochrome Faces is awe-inspiring and epitomize the true theme of this issue. We have the exquisite work of Leo who has contributed by sharing his tasteful work on birds. The portraits by Harshawardhan Nevkar depict the Indian street portraiture in all its finesse. Alexandre Sattler’s portraits characterize travel and culture and each frame is extraordinary beyond measure. One cannot help but marvel at the Underwater portraiture by Alex Ribeiro and how his pictures give an altogether different edge to underwater photography. Saumalya Ghosh’s avant garde work on street is one that will leave the viewer entranced. Suniel Marathe amazes with sensational boudoir photography that is staggering in itself. Overall this issue is replete with amazing portraiture that will leave you in awe and admiration, looking for untold stories in the masks that people wear. For the deep furrows on the face are a remembrance of events that transpired during a lifetime. How tears sometimes flowed parallel to the lines of happiness. Etched on the face and the forehead is a sanctuary of bygone eras. The face tells it all.
Mukesh Kumar Cover Photo
Erich Caparas
Regards, Arturo Lopez Illana
Contents Classics Old is Gold Boulevard du Temple
28
Louis Jacques Daguerre
Movie Review Rear Window
36
Alfred Hitchcock
Triggers 14
Leo
16
Alex Ribeiro
20
Alexandre Sattler
24
Puneet Jain
30
Wojtek Stark
38
Rupa Sutton
42
JP Stones
46
Marco Vendittelli
62
Arturo Lopez Illana
64
Harshavardhan Nevkar
65
Mayank Gandhi
68
Lt Col Vijay Singh
72
Saumalya Ghosh
82
Joan Carol
86
Lidia Vives Rodrigo
Cover Story The Silhouette Master Erich Caparas
94
Feature The Animals Wolf Ademeit
8
On the Streets Leroy Skalstad
32
Gross National Happiness Swati Rawat
50
Vedat Satilmis (Collection)
58
Hall of Fame Model of the Month Tanvi Manjunath
88
Figure Study Suniel Marathe
Tools 56 Gear Review SIGMA 14mm 1.8 Art Series
App of the Month 66 AfterFocus
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The Animals
Wolf Ademeit talks about his popular style of wildlife photography and how it is different than other genres
Wolf Ademeit was born in Oberhausen, in the North Rhine-Westphalia state of Germany. He started with photography during his lithographic education. In 2007, he began photographing zoo animals for a series he titled ANIMALS. His trademark style includes the artistic representation of animals in black and white, and a black background to create emphasis on the subject. This style has inspired several photographers worldwide, who have adopted it to create dramatic images.
Cheese F/6.3 1/160s ISO3200
Q. Love towards wildlife and getting no special privilege while in zoo, what is your opinion on this? A. I am always asked if I have special privileges in the zoos in which I photograph. Well, I have no special privileges. My pictures were taken as a normal zoo visitor during the normal visiting hours. This note was intended for my workshops. Some participants may otherwise 8
FEATURE
expect special access or privileged treatment, such as a backstage pass at concerts. It is also possible as a normal zoo visitor to photograph aesthetically demanding pictures.
or privileged treatment, such as a backstage pass at concerts. It is also possible as a normal zoo visitor to photograph aesthetically demanding pictures.
Q. Using animals as models and portraying their sharp expressions can be challenging. How do you plan your shoot? A. Unfortunately, you cannot plan otherwise expect special access
Q. Using animals as models and portraying their sharp expressions can be challenging. How do you plan your shoot? A. Unfortunately, you cannot plan good luck.
much more intense than the black and white version. Personally, I like the black and white pictures better. Q. Which animal has been the most difficult subject in your photography experience? How did you managed to capture it? A. Animal photography is difficult in principle, because you can not plan. Mostly you can only wait for a suitable opportunity. Unfortunately, sometimes very long. My picture, Vortex, for example, took a few years to make it all fit like I imagined. When I started to shoot for the ANIMALS series, I saw a lying zebra and the strong graphic effect of the vertebra when the head is turned. Unfortunately, neither my point of view nor the light was suitable. But every time I visited the zoo I looked for this opportunity. After a few years of waiting it finally worked out. Q. What post processing skills do you use to give the final touch to your photographs? A. I prefer to work with Lightroom because I always want to click my pictures in RAW format. I use Photoshop only when I need to sharpen the final images or when it is necessary to use functions that do not exist in Lightroom.
Q. Most of your work is in black and white, is there any specific reason for choosing black and white for wildlife photography? A. Before digital photography, I photographed, almost exclusively, black and white. For me, it has always been important to control the whole process. For color proofs, I would have had to delegate a part of the workflow to a lab. The aim of the “Animals” project is to
portray zoo animals more artistically than individuals or species. The series should not be documentary. Black and white is a good option. The black background serves to restrict attention to the animal. The “Animals” series was initially black and white only. Since I photograph digitally in RAW format, there is of course always a color version. For some pictures, for example the Mandrill, the color version is also
Q. According to you, what are the common mistakes amateur wildlife photographers make while photographing the wild? A. Often the effort is completely underestimated. Due to the daily flood of images and sophisticated animal documentaries on TV, many people think that it is very easy to photograph a great animal picture. The fact that nature photographers are often on the road for weeks, or wait for a suitable opportunity is overlooked. At my workshops, I always see if the participants have the necessary patience and concentration. Sometimes, you have to wait a long time until something interesting happens. FEATURE
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Gaehnial F/6.3 1/400 ISO800
Hi Human F/6.3 1/360 ISO1600
His trademark style includes the artistic representation of animals in black and white, and a black background to create emphasis on the subject. This style has inspired several photographers worldwide, who have adopted it to create dramatic images.
Oommmm F/6.3 1/320 ISO1600
Hello World F/6.3 1/320 ISO200
The Baboon F/7.1 1/500 ISO1600
His photographs have been chosen by artists as templates for drawings, paintings and tattoos.
Gimme Some F/6.3 1/320 ISO500
Not Human F/8 1/500 ISO1600
Chimpanzees Don’t Share F/6.3 1/320 ISO3200
In 2016, Wolf ’s images were exhibited in Milan (Italy), as part of a fundraising initiative by the Elephant Action League, a nonprofit that fights wildlife crime across the world. The sale of his pictures raised a five-digit sum for the organization.”
Prateek Kashyap prateek@chiiz.com
Saki F/6.7 1/400 ISO1600
An adventure seeker by heart, his passion for photography was ignited in the Great Himalayas. Clicking clear frames and solving the mysteries of life, he just wants to spend his time as a confused photographer.
Taitung Firethorn Nikon D4S 600mm F/5.6 1/640 ISO800
Scimitar Babbler Nikon D500 600mm F/5 1/2000 ISO1400
Osprey Nikon D500 600 mm F/5.6 1/1600 ISO200
Leo is an amateur bird photographer. Currently living in Taiwan, an island with beautiful scenery, small but yet populated nearly 600 kinds of birds. It is the colorful and vivid bird ecosystem that keeps me motivated and thrive to capture every moment in the past 20 years.
Kingfisher Nikon D4S 600mm F/5.6 1/3200 ISO2200
Honey Buzzard Nikon D7100 600mm F/4 1/2000 ISO1000
One among many Nikon D810 105 mm F/18 1/250 ISO100
Alex Ribeiro is a teacher, entrepreneur, organic farmer and a yachtsman, who left Portugal in 2014 for a Southeast Asian adventure as a dive instructor and professional photographer. Coming from an Art-History background, he’s been documenting ways of life and traditions, while exploring the Indo-Pacific ocean and working with the most exclusive resorts. His images have been travelling the world, literally, on airline magazines and on more than 20 international prestigious travel and luxury lifestyle magazines. Blue Ribbon Eel Nikon D810 105 mm F/22 1/200 ISO100
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Last year, he based himself in Amed, Bali and dedicated almost exclusively to underwater photography and product reviewing in collaboration with SeaLife Indonesia and Elab / Nauticam Bali.
Two Happy Friends Nikon D810 105 mm F/45 1/250 ISO100
Puffer School Nikon D7200 60 mm F/16 1/200 ISO100
Find Alex Ribeiro’s work Website: alexribeiro.co Instagram: alexribeiro.photography Facebook: AlexRibeiro.photography
Goby on a Tunicate Nikon D810 105 mm F/18 1/250 ISO64
Skeleton Meal Nikon D810 105 mm F/32 1/250 ISO80
Barracuda at the Dentist Nikon D7200 105 mm F/14 1/250 ISO100
Na XI Nikon D810 Nikon 24-120 mm F/4.2 1/250 105mm
The Lover Nikon D810 Nikon 24-120 mm F/5 1/400 48mm
Red Zao Nikon D810 Nikon 24-120 mm F/4.2 1/250 105mm
Pipe Burning Nikon D810 Nikon 28-300 mm F/4 1/125 66mm
Dolma Nikon D810 Nikon 28-300 mm F/11 1/100 29mm
Mamy Coconuts Nikon D500 Nikon 18-105 mm F/8.6 1/80 92mm
Alexandre Sattler’s main subjects are travel and cultural immersion through photography and radio documentary. Born in 1980, Alexandre grew up in the mountains. His playgrounds were the forests and neighbors’ farms. He developed his care for all living beings at a young age. His love for nature led him to naturalist studies. His adventurous soul brought him to Africa at the age of 20. He returned to France to finish his naturalist and mountain guide diplomas and hit the road again as soon as possible, with his camera. During his several peregrinations, Alexandre always remained focused on sharing his life experiences, largely through photography. In 2006, he gave birth to the French NGO “Regard’Ailleurs”, sticking with his will to share diversity that may either tear humans apart or unite us. Today, he has published many articles and portfolios mostly about environment, ecology, education and spirituality.
The Smoker Nikon D810 Nikon 24-120 mm F/1.8 1/200 50mm
My Friend Nikon D810 Nikon 24-120 mm F/4 1/125 66mm
My Bird Nikon D810 Nikon 28-300 mm F/5.6 1/100 300mm
Age slows things Nikon D750 85mmF/4 1/400 ISO320
Tired of waiting Nikon D750 112mm F/4 1/80 ISO400
Puneet Jain is a Delhi based professional photographer who gets inspired from the energy of his amazing city and its people. Photography allows him to meet so many interesting people and he feels blessed that there is no typical day in his life, no 9 to 5 shift and no mundane stuff. His camera keeps him on the move and the day completes only when it gets some great shots.
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Invisible tarts are hard to wipe Nikon D750 70mm F/2.8 1/250 ISO800
Waiting for long Nikon D750 50mm F/2.8 1/200 ISO100
Afraid of losing life Nikon D750 80mm F/2.5 1/60 ISO100
Photography is a way of feeling, of touching, of loving. For me it adds up as a way of living.
Thank you for smoking Nikon D750 50mm F/1.8 1/2000 ISO320
Watching the world fall apart iPhone 6 4.15mm F/2.2 1/100 ISO50
Calm but not from within Nikon D750 85mm F/2.8 1/320 ISO320
Happy to die young iPhone 6 40.15mm F/2.2 1/105 ISO32
Old is Gold Louis Jacques Daguerre and his most celebrated creation Boulevard du Temple
Louis Daguerre Portraits have been the most demanding photography genre ever since the beginning. Everyone feels the need of a well captured portrait of themselves for personal as well as official work. But have you ever thought about the beginning of portrait photography? Here comes the answer to this question. Louis Jacques Mandé Daguerre popularly known as Louis Daguerre (18 November 1787- 10 July 1851), was born in Cormeilles-en-Parisis, Val-d’Oise, France. Not only was he a photographer, but also an apprentice in
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Architecture, the first French panoramic painter, and a celebrated designer for the famous Diorama theatre. One of the fathers of photography, he is best recognized for the invention of the daguerreotype photography. An inland revenue officer turned a scene painter for the opera, he also pursued acting but could not achieve much praise in it. There was some big invention waiting for him which later culminated as the Diorama, an exhibition of pictorial views, with various effects induced by changes in the lighting in 1822. He also opened a similar establishment in Regent’s park but unfortunately it was destroyed by
Top: Louis Jacques Mande Daguerre Below: Boulevard du Temple
Left: by 1835, Daguerre fire in 1839. In 1829 Daguerre met Nicéphore Niépce, an inventor who had produced world’s first Heliograph in 1822, and the oldest surviving camera photograph in 1826. He had been attempting to obtain permanent pictures by the action of sunlight since 1814. While Niépce was fascinated about Diorama, Daguerre too had an idea about capturing an image from the camera obscura. The individual efforts of both became much more worthy when the two became partners in 1829, and continued to work together until the death of Niépce in 1833. By 1835, Daguerre had discovered that if a copper plate coated with silver iodide was exposed to light in a camera, then with fumes of mercury vapor fixed by a solution of common salt, a permanent image would be formed. This process reduced the exposure time from eight hours to thirty minutes. The results were not permanent because whenever the developed picture was exposed to light, the unexposed areas of silver darkened, until the image was no longer visible. Daguerre put all his efforts in his goal and finally he made it. He made a crucial discovery when he found that an invisible faint “latent” image created by much longer exposure could be chemically “developed” into a visible image. Daguerre, on seeing the image exclaimed, “I have
seized the light, I have arrested the flight”. In 1839, Daguerre used his invention to capture what is thought to be the first picture of a human. The shoe-shiner on the street of Paris’ Boulevard du Temple, wasn’t actually aware that he is going to make history when Daguerre clicked an image of the shoe-shiner and a customer on the street. Perhaps the street might be filled with a lot more people moving around on the streets, but the anonymous Frenchman and the shoeshiner were only two to stand still for a period of 10 minutes. It needed Daguerre to expose the silver plated sheet of copper for several minutes, develop it and then finally fix the image using chemicals. The second version of Boulevard du Temple was taken later in the same day judging from the position of the shadows. This was a big day indeed because this was the first time when a human being was pictured; until now only ‘art’ had served the purpose. By mid-19th century a large numbers of pictures, especially portraits, were created by the process. This technique was supplemented by the Wet Collodion Process. Thereby, Daguerreotype became the first successful form of photography. Daguerre achieved great heights after his discovery. Some of his surviving works include the view of the rear of Notre-Dame Cathedral
and the surrounding areas, Paris, the photograph taken from Louis Daguerre’s third floor apartment of the houses on Saint Martin Boulevard in Paris, still life collection of sculptures presented to King Ludwig I of Bavaria, Still life collection of sculptures including one of Jupiter Tonans. Presented to prince Metternich of Austria, a still life of sculptures. One of these photographs was also presented to Nicholas I of Russia, 1839. Besides these, Louise’s work on earliest portraits has also been found. Few of them are the portraits of an artist in 1843, two portraits of undefined men (1840-1845), the portrait of American inventor Samuel Morse, 1854 and another portrait of Madame Louise Georgina Daguerre, wife of Louis Daguerre. In this way, Daguerreotype made huge success and it kept on increasing Louise’s virtue day by day. Louise breathed his on 10 July 1851, at Brysur-Marne, France and is still revered as one of the founding fathers of photography.
Aditi Puranik aditi@chiiz.com
A budding journalist, Aditi watches the world with wonder in her eyes. Talented but lazy, introvert but sarcastic, she is a nature lover, continuously trying to work on her photography and writing skills.
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Blue Eyes NX1 F/2.8 1/80 ISO400
A Woman NX1F/2.8 1/200 ISO250
Wojtek Stark is a trained sculptor and therapist for people with autism from Germany. He is interested in portraits since his childhood. His passion for street photography was born and is still growing up since he started to travel in India, it was 5 years ago. He never thought before, he would ever do photography, but India taught him how to do it, in a way, he would never expect before. India offers many gems for street photographers, especially the huge ethnicity, opposites, colours and differences. He got into it all very fast.
A Woman 2 ILCE-7RM2 F/2.8 1/1000 ISO200
A Wise Man NX1 F/2.8 1/640 ISO320
N I C E NX500 F/2.2 1/100 ISO320
Leroy Skalstad grew up on a small farm west of Holy Hill Wisconsin. Now known affectionately as “Cameraman” by those experiencing homelessness, Leroy has worked on the St. Ben’s Community Meal Program annual calendar for the past 21 years and works each year for Help-Portrait M i l w a u k e e , which offers free photo shoots for underprivileged families in December. He says that his life as a photographer has been an incredible 61-yearold journey.
Needful Face Canon EOS 5D F/8 100mm 1/250 ISO800
The Thoughtful Mind Canon EOS 5D 105mm F/5.6 1/30 ISO500
On The Streets Poor Situation Canon EOS 5D 135mm F/5 1/250 ISO400
Q. We came to know that you are a veteran and have served in the Vietnam War and have also experimented with photography. Please share your experience with us? A. It was kind of a golden time for me when it all happened. I did photography in Vietnam but only when I used to get free time. In Vietnam, we have the monsoon rains and there you can do some great photography. I used to go in the cities and the villages and when you are an infantry soldier it becomes difficult to carry a 35mm camera with us. But we did have the Kodak 126 Instamatic cameras and it took a lot less space while carrying. We used to keep it in our backpacks and the 35mm mostly stayed at our basecamps. Q. How long have you been living on the streets and photographing
Leroy Skalstad talks about his experience of living on the streets and about his journey of becoming a photographer
the street life? A. It has been over 30 years that I have been living in the streets. It all happened when I started having problems in keeping jobs. I couldn’t handle the stress of a normal work-day; I shared it with the doctors and they diagnosed post-traumatic stress disorder but I had to go through a lot of struggle as I had to get an approval to get the compensation. The approval process takes a couple of years and that’s when I spent time living in the streets. When you love photography and you don’t have a camera, you would just look at people who are in the streets. When you are homeless, you don’t often talk to people and just make eye contact. I always used to think to myself that, God I wish I could just capture this as a portrait in my camera. So eventually when I got a place to live, I went
and bought a 35mm Pentax k1000 camera for about $40 as the camera was a bit old and then I went on with photographing the streets. Q. How has living on the streets helped you to acuminate photographic eyes? A. There are young people on the street and they actually don’t talk to you as you are a stranger. But you make eye contact with them and you get to know them with their expressions. I am aware of my surroundings and there are children and teens that are rejected by their families due to their physical or cognitive disorders and sometimes because of their sexuality. When you get to know their story and share your own story with them you can really relate to how they feel. When it comes to photography you have to first know your subject and without using words you tell their FEATURE
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Helpless Canon EOS 5D F/6.3 1/250 ISO400
Solitude Canon 5D Mark III F/8 1/125 ISO400
story. The real stories are mostly present in the streets, the homeless have experienced a lot and I always try my subjects to comprehend what photography actually is. That is when they give permission to do photography. Q. What is your main focus when you subject the homeless? How do you differentiate your work from the non-homeless photographers when they make the homeless their subjects? A. A lot of times what happens is that when I find something interesting, I ask people if they would have a cup of coffee and then we talk about our stories and share our experiences. That is when we really get to connect with the homeless and it becomes more interesting. I bring up my story, where I come 34
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from and my struggle in life from being a veteran to a homeless person. That is how I develop a mutual trust with my subjects where we can actually relate to each other. There are complications related to using the homeless as subjects as the circumstances can be different and I personally have had situations where conversations transitioned into portrait sections. I like to think that sometimes when my subjects ask me how do I want them to pose. My answer always remains the same, just look at my lens as you are sharing your life story with other people. My subjects don’t always look directly in the camera but when they do, they are really sharing their life story with other people. According to me that’s the hallmark of my work and that’s what I do.
Lonely Look Canon EOS 5D F/5 1/250 ISO400
Q. Who has been your inspiration in life and in what ways do they inspire you? A. My mom has always been my inspiration in life and she is the one who taught me the value of freezing time and the value of archiving photos. I knew that my mother created our modest life on a small dairy farm which would be valued as the years go by. My favourite artist has been Gordan Parks and his work is so inspiring that I have kept his work in my apartment too. He had a way of using his equipment as per the subjects. His hallmark was how he brought the story at forefront, if you look his work it’s so natural people are at ease while working with him and that’s where all my inspiration comes from. I just cannot define his work in words.
The Homless Canon EOS 5D 85mm F/4.5 1/125 ISO400
To be known as “Cameraman” Leroy says, is both humbling and rewarding. His mother was a photographer, as a 8-year-old, the concept of “freezing time” was the most incredible thing.
Down-and-out Canon EOS 5D F/4.5 1/250 ISO800
In His Thoughts Canon EOS 5D F/5 1/250 ISO1600
Ankit Tyagi ankit@chiiz.com Ankit has intense love towards photography and is now working as an Asst. Editor with Chiiz. He has been writing for us for a long time now and believes in the power of words. The dream is to explore and find different perceptions in life. He likes watching classic movies and is inspired by Alfred Hitchcock as a director.
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Movie Review Rear Window Duration: 01hr 55min IMDB Rating: 8.5/10 Released: 1954 Writer: John Michael Hayes Directed: Alfred Hitchcock Genre: Mystery, Thriller
Plot A photojournalist L.B. “Jeff” Jeffries, famous for his work in the magazine is trapped on a chair with a broken leg. The movie starts with Jeff sleeping with his broken leg on a chair in his tiny, sweltering courtyard apartment. The role of Jeff is played by none other than James Stewart, a well-known name in the history of Hollywood. Jeff is a restless man of action who is confined to his apartment and spends weeks looking out of his window at his neighbours across the courtyard. As being a photojournalist he is great with the skills of a spy. Through his window Jeff carries out the act of voyeurism. He has two regular visitors, his nurse Stella (Thelma Ritter) who is assigned by the insurance company and his elegant model and designer girlfriend Lisa Fremont (Grace Kelly). His girlfriend has been trying hard to get him committed to marry her. But Jeff looks at his surroundings and gets to know that life after marriage is very hard to carry. He is lectured by Stella as she also wants him to marry as she thinks that Jeff will change and will stop peeping into others life. As Jeff takes a look outside his rear window he gets to observes a flamboyant dancer along with a middle aged women, a pianist, married couples and it’s very interesting that every character has a different life story altogether. One window showcases a married couple who is oversexed while on the other hand, there is a bachelorette who goes dateless every night. There is another married couple which Jeff sees through his window, this is Mr. Lars Thorwald (Burr) and his nagging wife. One night there is a thunderstorm and Jeffries hears the scream of a woman and later sees Thorwald with a trunk and find out that Mrs. Thorwald is missing. Jeff is convinced that Thorwald has killed his wife. There are a lot of questions that come up in Jeff’s mind about whether Mrs. Thorwald is really dead? And if she is dead, how can it be proved? The plot revolves around the mystery of Mrs. Thorwald missing and the lives of Jeff’s neighbours. If you want to know what happens to the mystery puzzle of the death of Mrs. Thorwald then you have to watch this amazing mystery thriller movie with an act of voyeurism. 36
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The act of voyeurism is highlighted with artistic nature of the movie and the cinematography is uniquely blended by director Alfred Hitchcock. One will not get bored as the movie begins with a lot of intensity. There is a lot of suspense from the very beginning and doesn’t leave the spectators till the end, so the interest of viewers will not be lost. Voyeurism is the act of observing the lives of others, but not always for sexual gratification. The process through which people gain more satisfaction from viewing than living. There is a little bit of a voyeur in all of us but the way Alfred Hitchcock has presented it in the movie is just marvellous. Review Rear Window is perfect combinations of thriller; mystery and cinematography which will not make the viewer’s lose their interest. The suspense which starts from the beginning is carried till the end and the way camera portraits Jeffries’ point of view is just great to see. The title of the movie ‘Rear Window’ is justified as most of the shots are either of the windows or from the window. If you are classic movie enthusiast, then Rear Window by Alfred Hitchcock is a must watch movie.
Nivedita Joshi nivedita@chiiz.com
A content writer by profession. Nivedita is the girl next door who likes to refer to herself as a potboiler and has an avid love for the Korean culture. She enjoys her Netflix and Chill with a cup of chai.
Snowy Finn Canon EF 100 mm F/3.3 1/400 ISO3200
Pippa and Mirror Sigma Art 50 mm F/2.2 1/500 ISO640
Rupa Sutton is a mother to 3 human, 6 fur and 4 feathered kids. Through photography she has been able to combine her two passions, animals and art. Her favorite thing with animals is to capture the interactions and antics naturally as they happen, to tell a story and show the personality of her subjects. She enjoy sharing the adventures of her crew with so many through social media platforms and print. With her fairytale like images, she hope to make people smile as she does each day thanks to these beautiful souls she’s surrounded by. Freya in Blue Scarf Canon EF 135 mm F/2 1/1600 ISO320
Rocco and Pippa Sigma Art 500 F/4.5 1/200 ISO3200
Eva and Luca Canon EF 200 mm F/2.8 1/1000 ISO200
River and Rain Canon EF 135 mm F/5.6 1/320 ISO2000
River and Rain(close up) Canon EF 100 mm F/10 1/500 ISO3200
High-Speed Cinebot - BOLT The Bolt high-speed Cinebot – for precise camera moves at ultra-high speeds!
World’s fastest high-speed camera robot ‘The BOLT Cinebot’ is now available in India through Stereovision. A combination of speed, precision, portability and repeatability, this is one robot for the perfect cinematography experience. The high-speed camera robot can move from standstill to high-speed motion and back again in fraction of a second. The arm of Bolt allows the camera to literally follow falling objects and capture images which would be impossible by hand or any other method. Along with the award winning software, the Bolt can do very precise work which would be very difficult or time consuming to create shots in seconds. Mark Roberts Motion Control (MRMC), UK has certified this robot for the best high-speed motion capturing and the best cinematography. The Bolt is a multi-axis precision motor-controlled robotic arm fixed to a stationary base, which, in turn, can be moved on hi-tech rails at the speed of four meters per seconds and the arm can swivel in a 180-degree arc, in any direction. The camera at the end of the Bolt arm is positioned at the beginning of the sequence of movement that has to be filmed. All these features are programmed into the software and the machine facilitates movements in such a way that they can be repeated precisely and accurately as many times as required to get the perfect take. MCRC can provide large range of different sized robotics systems to allow for payload from 1kg to 1000kg, while giving a full 6 degrees-of-freedom, at speeds that can literally be faster that the eye can see. MCRC makes Bolt as well as the flair software that operates the Cinebot. Flair facilitates 128 axes of motion for the robotic arm.
Operating Envelope Maximum Height
2.45m
Lowest Position
.0m
Maximum Reach (from rotate centre)
1.5m
Practical Shooting Speeds 1m vertical move
For more details log on to: stereovision.biz info@stereovision.biz 1800 425 2774
Complete 180 degree arc with Half a second a 75cm radius Complete 180 degree arc with 1.5 seconds a 45cm radius
KEY FEATURES SPEED: Bolt Cinebot is the fastest high speed camera robot. Turntables: Interfacing to camera, external triggers, model movers and turntables for extreme precision timing. Lighting: Contral DMX lighting. Tabletop: shoot commercials, tabletop work, film or television. LENS MOTORS: High-speed, high-tarque lens motors capable of precision lens control. TIME CODE: Trigger from time code. REPEATABLE: Every camera move under complete control- precisely repeatable. MAYA: Take moves planned in Maya and feed them into the Bolt. FLAIR INTERFACE: Interface with real-time virtal and augmented reality graphicsall through flair software.
TRIGGERS
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Sitting or Waiting Canon EOS 5D Mark III F/8 1/500 ISO160
J P Stones has spent much of his life traveling from one country to the next. While on this journey, he became aware of how we seem to be moving towards a homogenous global culture of sorts. He saw photography as a way to capture and promote the uniqueness of both ancient and modern cultures. It was this seed of an idea that grew into Aztec Photography Workshops in Mexico: an opportunity to photograph locals who have retained their culture, customs and heritage, despite modern pressure.
Owns the Territory Canon EOS 5D Mark III F/1.8 1/200 ISO50
That Look Canon EOS 5D Mark III F/2 1/100 ISO100
Playing with Nature Canon EOS 5D Mark III F/5 1/100 ISO500
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TRIGGERS
In Search of Prey Canon EOS 5D Mark III F/1.8 1/250 ISO50
The Colorful Lady Canon EOS 5D Mark III F/2.2 1/100 ISO4000
Taneka tribe, Benin Nikon D750 35 mm F/2 1/250 ISO100
Fulani woman with traditional facial tattoos Nikon D810 35 mm F/3.5 1/200 ISO100
Bedouin in Adrar region, Mauritania Nikon D750 35 mm F/8 1/320 ISO100
Fulani woman from North Benin Nikon D810 35 mm F/2.8 1/250 ISO100
Marco Vendittelli is from Sorrento (Italy) and is a 30 years old traveller and amateur photographer. He loves to take the expressions and the feelings of people through his photos that he meet around the world from Eritrea to Nagaland. Without too many programs and with the backpack on his shoulder, he travel when he feels the need to leave. He takes an aero and builds incredible itineraries thanks to the people he meetsand those who accompany him. He moves from one city to another pursuing roads not too crowded by mass tourism. TRIGGERS
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Woman from Tamberma tribe, Togo Nikon D750 35 mm F/10 1/250 ISO100
Gross National
Happiness
Prateek Kashyap New Delhi, India
Kids of Phuensholing Canon 60D 90 mm F/5.6 1/200 ISO640
The lifestyle, the food, the places and of course the people, it’s all happy in Bhutan Happiness is a transient wave that we chase while living this limited life. A desire so potent which makes a man move to unfathomable distances. And yet, even when we momentarily embrace this fleeting phantom, it slips out of our grip like water leaving us gasping, panting, and desiring for more. I’m sure you’ve lived long enough to experience this. So let me ask you, how does your version of happiness looks like? I remember sitting on the balcony of my house and asking this question every single night before going to sleep. My version was simple - find your passion, be good to others, and love yourself. I knew I wasn’t the only person searching for it but I wanted proof. I wanted to validate my thoughts to know that there were other people around who consciously aimed to live and direct their entire life in fulfilling this goal. I was looking for a person, at max a group with mutual philosophy. I didn’t know that I would come across a country. 50
FEATURE
The first time I ever heard about a country called Bhutan was in middle school when my teacher asked me to locate this landlocked country on a map. I might not have passed that test but on that day, I was introduced to this tiny neighbor of ours. And now, 14 years later, I bumped into this acquaintance again only this time it happened through a friend. ‘...And Paro, Oh man the quaint Paro valley. It got me high man.’ My friend confessed after coming back from his backpacking trip with his grad mates. ‘High on what?’ I winked. He closed his eyes, sank back on the chair and exhaled with a smile, ‘Happiness’. That was it. If a place could literally take my cynical friend’s breath away, it could at least give me few bouts of peace. I was not at all prepared for what came next. The plane landed at Bagdogra airport and I mentally prepared myself for the roadtrip to Phuentsholing. I hadn’t slept all night to sort my work before this vacation and I could feel
sleep deprived crankiness sweeping through my mind. The last thing I needed was a nauseous road trip through the mountains. I took a deep breath and woman-ed up. I had to get through 4-5 hours of drive before hitting my face on a pillow at my stay. ‘4-5 hours Swati. You can do it. Maybe it’ll end sooner than you realize.’ I told myself. Never in my life did the universe ever respond so potently and delivered so swiftly. And never in my life I wish it hadn’t. The journey from Bagdogra to Phuentsholing felt like it was carved out of a sculptor’s imagination. With the mountains accompanying me throughout the journey, I didn’t feel tired or alone. I had a new travel buddy and a pretty mesmerizing one I tell you. The only time it disappeared while I was on the road was when it passed the torch to its other half and let it surround my vision with nothing but trees and wildlife. Yeah, that happens too. You cross three rich luscious forests and if you’re lucky enough, you could spot an elephant
or two on your way. I felt like a child visiting disneyland for the first time. Everything grabbed my attention and I was frantically peeking out through the window trying not to miss out on anything. It was such a rush of blood to the head that my fatigue left the room for wonder to fill that space. I spent the night at Phuentsholing and left for Thimpu the next day. Upon reaching Thimpu, I saw this woman at a restaurant where I stopped to grab some breakfast; Late 80s, having this peculiar look on her face as if she was amused. You know that look when you see an old picture and can’t help but grinning ear to ear even after putting it down? Yeah, she had that look since I entered this place. I was intrigued. I immediately wanted to talk and say Hi. Turned out, she was the owner of this neat little place and she didn’t realise that she was smiling. ‘I don’t know what you’re talking about. I was just cleaning the counter’,
Marjit Bhaskar Gupta Banaras,India
she said with the same curve rested on her face, as I pointed it out. She unknowingly made my day. I paid my regards to her and left, stealing her expressions for the day. A gush of fresh air swayed over me as soon as I stepped out and opened my eyes only to find myself standing at this picturesque spot surrounded by mountains and serene faces. Throughout that day, all I saw was this undefined curve and a sense of absolute calmness which everyone seemed to nonchalantly possess. To be honest, I was a little jealous and mystified. The next day I began my day trip to Punakha where the serenity stretched over the landscape. However, I couldn’t hide my excitement over visiting the temple of fertility after reading about it for so long and it was as peculiar as I expected it to be. With walls covered immensely with the art of phalluses of all shapes, sizes, and in all directions, I wondered if I would
ever get to see so many of them at one single place especially with such graceful undertone. And the best was kept for the last. A day later, I was in Paro valley and that was the time, I understood my friend’s remark in its purest essence. It felt like going into a serene coma, so overwhelming that you take in everything and nothing around you at the same time. I remember sitting outside and having a cup of tea when I saw a man carrying his toddler on his shoulders and telling him something with that same recognizable smile. He felt like a character from some silent indie movie involving lots of colors, lots of calmness, and lots of feelgood moments. I embarked upon my three hour trek to reach Paro Taktsang prominently known as Tiger’s Nest. A dreamer’s dreamlike journey introduced me to the diverse flora and fauna of Bhutan only to lead me towards one of most magnificent sight ever captured by my
Kids of Phuensholing Sony ILCE-3500 50mm F/1.8 1/400 ISO200
Prateek Kashyap New Delhi, India
Prateek Kashyap New Delhi, India
unfiltered eyes. The view welcomed me with a monastery embracing a side of the cliff. As soon as I entered that spiritual haven my senses were awakened by the aroma of the incense sticks and deep moaning chants. I felt rejuvenated and had immense gratitude to be able to witness this spellbinding experience. The following morning when I went for my very first hot stone bath experience, I thought a part my soul was healed. The next day, I had a flight waiting for me to take me home. But as I looked back at those mountains and smiles for the last time, I felt like I was leaving one instead. When I was doing my own little research before coming, I came across this term called Gross 52
FEATURE
Paro Valley Canon EOS 60D 18mm F/3.5 1/640 ISO100
Prateek Kashyap New Delhi, India
Woman of Phuensholing Canon EOS 60D 60mm F/5 1/200 ISO1250
Anand Suthar Mumbai, India
OLYMPUS E-PL1 40mm F/4 1/80 ISO1600
Punakha Canon EOS 60D 18mm F/3.5 1/200 ISO640
National Happiness. Throughout my stay here, I understood what it meant and I also found a better answer for my eternal question. This amazing journey of Bhutan was made even more incredible with Offbeat tracks. From the pick up service to guides and the homestays, everything flowed smoothly without any hassle. This uninterrupted and wholesome experience added even more charm to this mesmerizing journey. From making sure to keep us comfy with adequate blankets to providing us with authentic and nutritional diet, if my soul was recharged by Bhutan, then my body followed suit due to these amazing guys. Say hello to them here: offbeattracks.co
Swati Rawat swati@chiiz.com
A regular 24 year old stranger only with untamable curls battling existential crisis every waking hour. When I’m not working or sleeping or eating, I write to make sense out of my cluttered thoughts.
Anand Suthar Mumbai, India
Panasonic DMC-LX100 11mm f/14 1/320s ISO200
Radha Swami Banaras, India
NIKON D7100 1/400s ISO100
Radha Swami Banaras, India
Yamini Krishna Thane,India
NIKON D7100 24mm f/10 1/200s ISO100
Radha Swami Banaras, India
NIKON D7100 11mm f/2.8 1/640s ISO160
NIKON D7100 70mm f/6.3 1/100s ISO 100
Saptarishi Choudhary Kolkata,India
Playing while praying Canon 600D 24mm f/4 1/60 sec ISO:400
Jyoti Sharma Banaras, India
The sacred Tiger’s Nest Nikon D5200 20mm f/7.1 1/125s ISO 100
Jayesh Joshi Navsari,India
Jayesh Joshi Navsari,India
Monks on the Bridge Nikon D750 Nikon 24 mm F/10 1/200 ISO 100
Jayesh Joshi Navsari,India
Blood Pheasant Canon 6D 700mm F/5.6 1/30 ISO800
Traditional Dance Ura Festival Canon EOS 6D 24mm F/13 1/400 ISO100
Gear Review
SIGMA 14 mm 1.8 Art Series
S
IGMA has been making some serious lenses and recently after the launch of the ‘Art Series by SIGMA’, I was very excited to give it a try. I never thought such lenses would be made, like the 135mm 1.8 and 14mm 1.8. After the launch of 14mm 1.8, I decided to give it a try in astrophotography as the focal length and aperture of this lens are just perfect. I have used other lenses of 14mm range, but this one was special. Also, when photographing the night sky, you especially need more light to enter the sensor of the lens. So, I took the SIGMA 14mm for a test at Spiti Valley along with two other 14mm 2.8 lenses, to do a field test. Image Quality Just like other SIGMA Art Series, the image quality and sharpness are not compromised for wide aperture. The question that I had in my mind was, would the 14mm perform well at wide open 1.8? Well, it did a great job and the result was just amazing. The sharpness at 1.8 was crisp, even better than the other two lenses 14mm at 2.8 That’s a big deal as the other two lenses are also a great name in the market. 56
TOOLS
Other Lens’ Center Sharpness
SIGMA 14mm Center Sharpness
Edge Sharpness & Coma The SIGMA 14mm performed well and the edge sharpness and coma was well controlled. The SIGMA lens had very little coma as compared to the other two lens brands which is very uncommon to see.
Other Lens’ Sharpness
SIGMA Edge Sharpness 1.8
Build Quality The mix of matte and glossy black adds a nice feel to the lens, similar to other art series the build quality is not compromised. The lens hood does a pretty good job at cutting flares and also works as a protection. Price & Value The SIGMA 14mm is a must have equipment if you are into landscaping, time lapse and night sky photography. As compared to the other lenses out there in the market, from performance point-of-view to price value, it is worth every penny.
SIGMA Edge Sharpness 2.8
Focusing Like other SIGMA Art series lenses, the 14mm was pretty quick and silent in terms of focusing, with the well developed HSM (Hyper-Sonic Motor). The 14mm focus ring is smooth and can be used for precise manual focusing.
Navaneeth Unnikrishnan is an Indian Amateur Astronomer and Astrophotographer from Kerala. He is the SIGMA KOL (Key Opinion Leader) from India. He started photography as a hobby using a basic Canon DSLR and later specialized in imaging Deep Sky Objects. His images are frequently published in magazines and websites including National Geographic, BBC Earth, Space.com and he is also the winner of photography competition conducted by National Geographic Traveller India and National Students Space Challenge 2014, 2015 hosted by IIT Kharagpur. He has also been featured by Snapdeal in India’s Finest Photographers. Navaneeth is self-taught and has learned photography through experimenting and independent study.
TOOLS
57
Hello There
Canon EOS 5D Mark II 200 mm F/2.8 1/1600 ISO800
Leica Q 28 mm F/1.7 1/160 ISO100
Vedat Satilmis is a graphic designer and a street photographer born and raised in Istanbul Turkey. After graduating from American Inter Continental University in London 1997, he worked in his advertising agency for several years as a graphic designer and photographer. For years he worked in different areas but his passion to photography never ended, currently he owns a coffee shop and works as a freelance photographer. His focus is on portrait and street photography.
In His Thoughts
Canon EOS 5D Mark II 200 mm F/2.8 1/3200 ISO800
Help Me Sony ILCE-7 55 mm F/2.5 1/1600 ISO320
Let me Eat
Canon EOS 5D Mark II 50 mm F/1.6 1/3200 ISO250
Frightened Kid
Canon EOS 5D Mark II 85 mm F/1.6 1/500 ISO200
TRIGGERS
The Tiger Face
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Happy One
Canon EOS 5D Mark II 176 mm F/4 1/640 ISO200
Canon EOS 5D Mark III 200 mm F/3.2 1/800 ISO1600
There you are
Canon EOS 5D Mark II 200 mm F/5.6 1/200 ISO500
Wrinkled Lady
Canon EOS 5DS 200 mm F/2.8 1/500 ISO800
Don’t you Dare
Canon EOS 5D Mark II 135mm F/2.2 1/4000 ISO800
Salt and Pepper
Canon EOS 5D Mark IV 135 mm F/2.8 1/500 ISO100
Wow
Canon EOS 5D Mark III 200 mm F/2.8 1/200 ISO2000
Want Something Canon EOS 5D III 20mm F/3.2 1/1000 ISO1600
He loves blending into the streets and capturing faces that has emotions, expressions. Check out his work: www.thevedats.com The Addict
Canon EOS 5D Mark III 168mm F/3.2 1/3200 ISO2000
Street Life Canon EOS 5D Mark II 200 mm F/4 1/100 ISO400
It’s Cold out Here
Canon EOS 5DS 200 mm F/4 1/640 ISO400
Relieving Stress
Canon EOS 5D Mark III 160 mm F/2.8 1/1000 ISO1000
Mursi Old Woman Nikon D800 42 mm F/3.3 1/80 ISO250
Arturo Lopez Illana is a spanish photographer and freelance traveler living in Madrid. For him, these two activities go hand in hand. Going around the world with his camera is a way of life. Since childhood he was interested in photography and he was forming gradually, year after year, until in 2005 begin to publish stories about his travels and to consider photography as something more than a hobby. He has published and collaborated in different media, both magazines and travel books and specialized publications in photography.
Portrait(Calcutta) Nikon D800 44 mm F/3.5 1/1250 ISO320
Old Portrait 1 Nikon D800 44 mm F/3.5 1/1250 ISO400
Harshawardhan Sham Nevkar lives in Pune and he did MSc. Microbiology from Pune University. Currently he is working in TATA Chemicals innovation center as research assistant. All the portraits are from his home town Pune itself. If he gets a chance, he would love to travel and click portraits all over the world. He has a Nikon D5200 camera with 18-55mm and 55-200 mm lens. He bought this on Jan 2017 and from that day, his interest in portraits has only increased. Raw Life Nikon D5200 Nikon 18-55 mm F/3.5 1/500 ISO160
The Bland Look Nikon D5200 Nikon 18-55 mm F/4 1/100 ISO500
Old is Experience D5200 Nikon 18-55 mm F/4.2 1/125 ISO250
Curiosity Nikon D3300 50mm F/1.8 1/3200 ISO800
Gaze Nikon D3300 50mm F/1.8 1/500 ISO100
Mayank Gandhi is a freelance photographer and a digital artist. He Specialises in moody portraits. After spending a good 15 months into travel photography he developed a style that attempts to push the boundary between photography and dreams.
Innocence Nikon D3300 50mm F/3.5 1/100 ISO200
Smile Nikon D3300 50mm F/3.5 1/100 ISO200
App of the Month AfterFocus
Category: Rating: 3.5/5 Platform: iOS, Android Cost: Pro version for Rs 102.21
If you happen to be driving from Delhi to Gurgaon on the NH8, you’ll see huge banners proclaiming the great photographic capabilities of the IPhone X. Yes the lens is pretty good but major smartphone companies like Apple and One Plus have been claiming that now you can click DSLR like photographs right from your phone with their digitally rendered bokeh effects, adding a depth of field to your otherwise very flat smartphone photos. But guess who beat them to the race? Say hello to the app of the month AfterFocus. Released back in 2012, AfterFocus was developed by MotionOne and this app lets users transform their ordinary smartphone into a DSLR-like camera. This is all thanks to its DSLR-like lens and motion blur effects that help create a user’s ordinary snapshot into a professional picture. If you are using the app for the first time, there is a bit of a learning curve here with all the different settings to choose from. AutoFocus has three main image focusing modes: Smart Focus, Manual Focus and Double Photo. Choosing the Double Photo mode will automatically adjust the image focus for you. Snap a couple of pictures and Double Photo will allow you to compare the shots. Smart Focus is the easiest way to take a picture since this mode only requires you to paint roughly around the edges of the object, a portion around the object to set your focus for less intensity and a section in which you want to have a blurred background effect. Manual Focus, on the other hand, is the trickiest to set up among the three modes. Using this mode requires you to manually paint over the desired image you want to focus on but don’t worry, you can always hit undo in case you get it wrong. It’s easy to go overboard with the app leading to very artificial looking background blurs, for that reason the app provides two different levels of blur. That way you can easily divide your photo into three sections foreground, middle ground and the background. Once you have done all of this you can tweak the type of blur you want (lens, motion, zoom), change the aperture. The Motion blur, I think is one of the best around, for it truly gives that movement effect you were always looking for. The bokeh, conversely, could be better. There are options to add different filters although I personally think there are other apps 66
TOOLS
Before
After
that do a better job with all of that stuff, the USP of this app is a simple one and the name says it all. Now don’t get too excited, this app won’t magically transform photos clicked by your smartphone to pixel perfect DSLR like photos. Photons being captured through the optical lenses of those cameras and then being registered in the sensors, it’s quite a complex process. After all there is a reason those bulky things exist. Trying to imitate that level of depth and then digitally rendering it to photos clicked by your phones is an extremely challenging task, one that no company has really been able to achieve. Despite all that if there is an app that has the capacity to add that little bit of depth to your photos and make them look somewhat professional, it has to be this one. There are two versions of the app, a free one and the (free of ads) paid one that costs around 100 bucks. If you are a regular blogger who clicks a lot of photos from your phone and consequently share it with rest of the world, that price tag is worth it. In either case there is no doubt that your next instagram post could enjoy the advantage of looking professional.
Shrey Malik shrey@chiiz.com Self proclaimed intellectual, reluctant nihilist and a wannabe comedian. He is a graphic designer with impressive problem solving skills.
The Bishnoi Lady Canon 1200D 50 mm F/8 1/80 ISO1600
The Bright Eyes Canon 1200D 146 mm F/5.6 1/160 ISO640
Vijay Singh has been employed in a government job for 18 years and is an passionate photographer and traveler. He has been traveling the length and breadth of India for learning the culture and cuisines of the remarkably photogenic country. It’s the sheer passion of learning and photographing them so as to highlight the vivid diversity and the colorful romance which only India can showcase to the world. He is from Varanasi and as an Army kid, have has a home in most of the states of India.
Dreams Never Die Canon 1200D 35 mm F/4.5 1/50 ISO200
Greetings from Pushkar Canon 1200D 84 mm F/5.6 1/125 ISO200
In-Street is a collective of passionate street and
to participate in different street photography
of India, sharing a common passion – “walking
website.
documentary photographers, mainly based out the streets, seeing the seemingly common life around us in different, unusual and original ways
and representing the same through our own visual language”.
In-Street is committed to promote the works of InStreet members and overall street photography in India and beyond.
In-Street also encourages other photographers
programs, which will be showcased on In-Street
Finally, In-Street is a platform for collective learning and growing together as photographers.
The In-Street Collective Members are Manish
Khattry (Varanasi), Saumalya Ghosh(Kolkata), Raj
Sarkar(Kolkata), Sankar Ghose(Kolkata), Swarat Ghosh(Hyderabad), Zahir Abbas(Gurgaon), Jayati Saha(Kolkata) and Sreeranj Sreedhar(Dubai).
Canon 700D 25mm F/13 1/640 ISO800
WINNER Sohail bin Mohammad rajon009@gmail.com
For the Winning Photograph This image depicts the essence of freedom quite aptly. The longing of the dog from behind the fence to be free like the bird is beautifully portrayed and the black and white conversation adds to the mood as well. ~ In-street Collective
2nd PLACE Himanshu Singh Thakur himanshuthakur009@gmail.com
3rd PLACE Aniruddha Guha Sarkar ani60k@yahoo.co.in
Fujifilm X-T1 18mm F/4 1/500 ISO400
Canon 600D 19mm F/9 1/2500 ISO1600
Playtime F/7.1 1/125 ISO2000
Saumalya Ghosh is a Kolkata based street and documentary photographer. By profession, he is a software engineer. He loves to document different people, places, culture and everyday life. However, his common aim is always the same - to capture the human element. He believes that gear is important but vision and expression are more important in photography. For him photography is the visual expression of his feelings at a particular moment of time.
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TRIGGERS
He has won several awards including HUMANITY PHOTO AWARDS from UNESCO & China Folklore Photographic Association(2013, 2015) and CBRE Urban Photographer of the Year(2014). His work has been selected among the Finalists in different International Street and People Photography competitions like Miami Street Photography Festival 2017, Sun
Roadside Salon F/8 1/160 ISO1000
Francisco StreetFoto 2017, URBAN Photo Awards 2017, London Street Photography Festival 2017, SIENA International Photo Awards 2017 etc. His work has been exhibited in national and international galleries in Agra, Delhi, Kolkata, Guwahati, Chennai, Greece, China, London, San Francisco and Miami.
Happy Family F/4 1/200 ISO1000
Sleeping Time F/11 1/125 ISO1000
The Spectators F/5.6 1/160 ISO1000
“I really love to see the small drama of everyday life as it is staged on the streets. Common people are my heroes and heroines who play themselves in this drama. I’m just a keen observer, a mere admirer and my job here is just to capture the candid, unposed and unguarded moments of this fascinating ‘Real Life’ drama through my own vision. I don’t interrupt or influence this show. I accept it as it is, in its original and purest form. I believe that reality can be stranger and more fascinating than what I can think of. To me that’s the charm of photography.”
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TRIGGERS
Limbs F/8 1/70 ISO1600
Boy and the Dog F/14 1/250 ISO500
Nimai Chandra Ghosh Kolkkata, India
CHIIZ GALLERY To get published, upload your photos on chiiz.com
Joy of Nature Nikon Coolpix L16 15 mm F/4.4 1/192 ISO175
Abhishek Purohit Rajasthan, India
Stare Nikon D750 350 mm F/6.3 1/320 ISO200
Amit B. Dutta London, UK
Yamini Krishna Thane, India
Trance Nikon D3300 35 mm F/1.8 1/125 ISO400
Asit Kumar Ghatak Kolkata, India
Amit B. Dutta London, UK
Jejuri Saint Nikon D750 155 mm F/2.8 1/160 ISO640
Sampa Guha Majumdar Gujarat, India
The Ladakh Smile Nikon D750 54 mm F/4 1/60 ISO500
Nikon D3000 24 mm F/5 1/100 ISO200
The Face of Bhavnath Fair Nikon D810 35 mm F/4 1/500 ISO64
Haresh Patel Palghar, India
Welcoming Dance Nikon D750 42 mm F/4.8 1/125 ISO1600
Creator with his Creation Canon 5D Mark III 70 mm F/2.8 1/200 ISO500
Souvik Banerjee Abu Dhabi, UAE
Asit Kumar Ghatak Kolkata, India
Pinkesh Bhati Rajasthan, India
Nikon D3000 24 mm F/4 1/30 ISO200
The Fall Canon 1200D 50 mm F/3.2 1/1600 ISO800
Sadiqur Rahman Assam, India
Happy Face of Happy Land Nikon D7100 35 mm F/2.2 1/2000 ISO200
Radha Swami Banaras, India
The Painter Nikon D5100 36 mm F/6.3 1/200 ISO320
Somia Mallick Kolkata, India
Pinaki Ghosh Maharashtra, India
Young Shiva Sony Alpha 58 50 mm F/1.8 1/400 ISO400
The Human God Nikon D750 50 mm F/1.8 1/160 ISO100
Jevgenij Scolokov Riga, Latvia
Mona Singh Haryana, India
The Fairytale Canon 5D 85 mm F/2 1/1000 ISO100
The Pilgrim at the Gangasagar Transit Camp Fuji XT1 95 mm F/2.8 1/200 ISO100
Ritesh Ghosh Kolkata, India
Shibasish Saha Kolkata, India
Smiley Face Nikon D5200 48 mm F/8 1/100 ISO640
Vedran Vidak Croatia
Tender Ties Nikon D750 105 mm F/4 1/800 ISO100
Amit B. Dutta London, UK
The Cubian Nikon D750 75 mm F/4 1/80 ISO180
Mursi Woman Canon 5D 200 mm F/4 1/500 ISO1000
Yamini Krishna Maharashtra, India
Calm Nikon D750 95 mm F/4 1/250 ISO100
Mona Singh Haryana, India
The Journey of Innocence Nikon D750 24 mm F/4 1/200 ISO100
Satyam Roy Chowdhury Kolkata, India
Canon 500D 140 mm F/5 1/80 ISO200
Ă urea Canon 5D Mark III F/1.4 1/4000 ISO200
High Voltage Love Canon 5D Mark III F/1.6 1/1250 ISO250
Lets Basket Canon 5D Mark III F/1.8 1/250 ISO250
Joan Carol was born in 1983 in a coastal town of Girona Spain called Palamรณs. With more than 15 years in the field of photography, he is influenced by the movement and the four elements of nature. Perfectionist and never satisfied, he is always looking for surprise with each photography.
California Dream Canon 5D Mark III F/3.5 1/8000 ISO100
The Troublesome Canon 5D Mark III F/2.0 1/8000 ISO50
Woman I Pentax K1 Profoto B1 Pentax 70mm F/8 1/100 ISO100
Color Dust IV Nikon D90 Nikkor 50mm F/5 1/100 ISO100
Call Me Pentax K3 Sigma ART 21mm F/4 1/125 ISO100
Lídia Vives (January 29, 1991, Lleida) studied Fine Arts and is currently working as a fashion, musical bands and artistic photographer. Her work is characterized by pictorial environment, the use of color, to hide secrets in her pictures and the dreamlike quality. When she creates a photograph, her main interest is not only the technical effect, but also the anecdotal. The idea is to make it look disturbing and disruptive, it seems that the character will begin to move at any time, to make clear that they are only one frame of a sequence. Color Dust VI Pentax K3 Pentax 70mm F/5 1/80 ISO100
Her goal is to make people interpret her photographs, to create doubts. The viewer is forced to look photographs for a while to delve into history. She doesn’t want to create scenes, but new worlds .
Evil Mouse Nikon D90 Nikkor 50mm F/5 1/80 ISO100
Bing Bang Pentax K3 Pentax 70mm F/5 1/100 ISO100
Tanvi Manjunath She is a 24 year old PR professional from Bangalore, India. Apart from her strong taste for fitness, fashion and food, she always had a passion for modelling too. It brings out the essence that she never discovered before. Putting herself out there in front of the camera and getting into a character she has unimagined of is the best part about modelling. Life is about experimenting and rediscovering yourself, and she completely go by that. So every opportunity that comes my way will definitely go unmissed!
Stats
Height – 5 6’ Bust – 33 Waist – 24 Shoe size – 38 Body size – UK – 6 Dress Size – XS / S
The Denim
Tough Look
Blue Feeds
Attraction Factor
Back to Black
Nude Formation 1 Nikon D90 38 mm F/13 1/125 ISO200
One Step Up Nikon D800E 50 mm F/5 1/160 ISO64
One Step Up Nikon D800E 50 mm F/7.1 1/125 ISO64
Curved Edge Nikon D90 34 mm F/10 1/160 ISO200
Suniel Marathe started photography in year 2006. Pictorial photography has been his main subject of interest during the course of his photography journey. His works are mainly focused on indoors.His passion for photography started when he purchased his first film SLR in year 2006. Suniel Marathe received the distinction of PPSA in 2015 and EPSA in 2016. Cross Angle Nikon D800E 50 mm F/7.1 1/125 ISO100
The
Silhouette Master
Surbhi Sharma talks to Erich about how he has seen the graphic design industry evolve over the years
Erich Caparas was born in the Philippines but grew up in Northern Virginia/Washington DC area. He has a degree in Economics and Engineering. Professionally, he has worked as a graphics designer/photographer in Washington DC and New York and started photography in 1977 way before digital, back in the film days. He beta tested Photoshop and consulted with them when they introduced layers in 1993-94. Being on the cutting edge of technology gave him an opportunity to work with some of the most known names in the industry including National Geographic, Mobil, Smithsonian Institution, Discovery Channel, Victoria’s Secret, Ringling Brothers/Barnum and Bailey, Siegfried and Roy, and the White House.
Q. What changes have you seen from being a Beta tester of Photoshop in 1993 to the exciting innovations of the 21st century in Graphic Design industry? A. I consulted with Adobe when they introduced layers in 1993. That change was the turning point in Photoshop. It was, at that point , no longer just a digital darkroom but also as a raster software you can do design with. That breakthrough was monumental. It established and propelled Adobe into the 21st century. Q. What are the favourite gears you prefer the most while working? A. My favourite gear when shooting my photographic images is a camera. I can use any camera and have used plenty over the years. My gear of choice is a Nikon and I currently own a Nikon D810. I use Photoshop and Painter to edit my images but mostly Photoshop. Q. How do graphic designing skills influence your work? What post processing software do you prefer for giving the final touch to your work? A. I never let trends influence my work. I do what I like doing most of the time. But since I teach, I make note of the current trends. This involves the current toning and grading fads and post processing trends that most of my students like to learn about. I use Photoshop to edit my images from start to finish. Q. What are the common mistakes you see in the new photographers who attend your workshops? A. The lack of basic understanding of photography as a whole and image editing. Because of the internet, everything is available all at
Want A Partner NIKON D810 34 mm F/10 1/160 ISO100
once. This is good but sometimes it can be bad also. Because the student have the urge to run, they forget that one has to walk first before running. As a result, the information is not learned in the proper order it should be learned. Bad habits abound. And it’s usually harder to teach someone with bad habits already. Q. Is there any dream project which you have thought of working on someday in the near future? A. I stopped dreaming a long time ago. I just do what unfolds before me and I make the best out of them. The dream jobs and projects I’ve had over the years all turned out to be disappointments. So I don’t desire them anymore. Q. Please share your experience while working on your latest Tribal and Neon Makeup series. A. The is the most intense and creative work I’ve done. The tribal is a series put together by a dear friend. 30 professionals volunteered their time and talent into that epic series. Looking back at it, I wish I took more photos. I didn’t know that it will be one of the defining moments of my career as a photographer. I originally said no to photographing that series. I am so glad now, that I did. Thank you.
Surbhi Sharma surbhi@chiiz.com An adventurous girl who has a great love for street food. She is dedicated towards her work and is a self-inspired lady. She has a dream to travel the world alone.
Fight Me NIKON D810 70mm F/9 1/160 ISO100
Recent Credentials: Awarded the coveted Becker Memorial Award for Creative Photography, 2017 Highest Gold Award – Photographer of the Year 2017 from The Societies of Photographers (SWPP, UK) Diamond Photographer of the Year from Professional Photographers of America (PPC) and International Photography Contest (IPC) 2017 Selected by Team USA Photographic Cup, 2017
for
World
Master Photographers International (MPI) Competition, 2017: TOP Photographer of the Year (Overall) Commercial Photographer of the Year Digital Illustration Photographer of the Year
Floral Beauty NIKON D810 44mm F/13 1/160 ISO160
I See God NIKON D810 70mm F/10 1/160 ISO100
Candy Shop NIKON D810 105mm F/11 1/160 ISO100
Lost Soul NIKON D810 90mm F/9 1/160 ISO100
The Opposite One NIKON D810 55mm F/9 1/125 ISO100
Origami Crown NIKON D810 85mm F/16 1/160 ISO100
Not From this World NIKON D810 75mm F/11 1/200 ISO100