PhotoTalkies Magazine - February 2015

talkies

PHOTO February 2015

Issue 13

A Joint Initiative of Kunzum and ZEISS

POSTCARDS FROM NORTH-EAST INDIA

SEARCHING FOR BOKEH

Visual Aesthetics of Everyday Food LUMINOUS LANDSCAPES

PHOTOGRAPHY IS ABOUT PASSION I was sitting with a good friend and a senior photographer, Mr. Ashok Kochhar, talking about teaching photography. When I enquired how his workshops were doing, his response surprised me – and did not surprise me. “I must have trained at least 4,000 students over the years but have not met one who had the same passion for photography as I have. I don’t take workshops any more,” he said.

I could not agree with him more. An overwhelming majority of photographers in India seem to fall into two categories: * Those who want to flaunt themselves as photographers by sporting expensive equipment but not putting in the effort to practice and learn continually. * Technically very skilled in the photography, but churn out ‘art’ that gives you a sense of déjà vu; that originality in content and style is missing.

Before I continue, I must doff to hundreds and maybe thousands of photographers who are not in either of the above categories; they will always inspire me and other photographers.

I would like to add: Enthusiasm is not the same as passion. It is easy to enthusiastic. But most enthusiasts just stop at expressing a desire to do something. Passion goes a step further – this is where the effort comes in. Like everything else, there is no short cut to success. You have to put in the labour, and be smart about it. Just lugging bricks like a mule does is effort wasted if you don’t add inputs from your heart and mind into it.

If you fancy yourself as a photographer – amateur or professional – get the passion in. Else don’t make any pretences about it – go ahead and shoot mindlessly. You need to make your money (spent on gear) and time pay – all it needs is your soul to feel the art of photography.

Let’s click together.

AJAY JAIN ajay@ajayjain.com

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A Joint Initiative of Kunzum and ZEISS

CONTENTS

www.kunzum.com/phototalkies

Postcards from North-East India

05

Searching for Bokeh

17

Visual Aesthetics of Everyday Food

25

Luminous Landscapes

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Ping us at mail@kunzum.com Disclaimer: All articles and photographs in this magazine are the opinions of the respective contributors. It is understood that they own the copyright to the same, or have the rights to offer the same under their bylines. ZEISS is not responsible for the authenticity of any of the articles and photographs, nor will be held liable for any disputes, claims and liabilities arising out of ownership or copyright issues of the content in the magazine.

POSTCARDS FROM NORTH-EAST INDIA AJAY JAIN

Setting a trap to catch birds for dinner in Arunachal Pradesh

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The North-East of India does not figure on the travel itinerary of most travellers - and they can only be seen as the poorer for it.

Mostly virgin, the North-East is a beautiful blend of natural features, wildlife, habitats, people, culture, festivals and more.

Here are 10 postcards from the region to whet your appetite; for the main course, you will have to head out yourself.

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1. The Hornbill Festival in Kohima, Nagaland If you want a glimpse of Nagaland’s 16 recognized tribes, book yourself (well in advance) for the annual Hornbill Festival that takes place from December 1 onwards at Kisama heritage village a little outside Kohima. The event is a perfect primer into Nagaland’s cultural and social fabric; there are countless sub-tribes by the way!

These tribes put up a colourful and animated display of their costumes, dances and music. The tribes enact their stories, their heritage, and their battles. Each tribe has a representative morung (sleeping hut) with thatched roofs, bamboo furniture and log drums; the last mentioned are still the communication tools in some interior villages. Sample their foods and home-brewed rice beer, and meet the tribals up close.

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A Naga tribal of the Sumi tribe blowing a horn to mark the start of the Hornbill Festival

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2. Mokokchung, Nagaland: Living in Misty Mountains The Ao tribe could not have picked a better setting than Mokokchung in Nagaland to make their home and cultural hub. Located about 4,347 feet (1,325 m) above sea level, it is truly the land of the misty mountains with its perfect climate; the maximum temperature hovers in the mid-20s degrees Celsius for much of the year. While you are there, visit the nearby villages of Longkhum, Mopungchuket and Ungma for the peek into the lives of Nagas - and see how tradition and modernity exist side by side.

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A view of Mokokchung in the evening

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3. Kaziranga, Assam: India’s Best National Park Is Kaziranga the best national park in India? Most wildlife enthusiasts would answer with a resounding yes. The reserve is no less than a carnival of animals and birds living amidst forests, tall grasses, reeds, marshes and shallow pools. While you are there, ask your guide to take you to the Gibbon sanctuary - home to the Hoolock Gibbons. You will not find these apes anywhere else.

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A baby rhino in Kaziranga

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4. Manas National Park, Assam: A Hidden Wild Gem Manas is one of the richest and most beautiful of protected forests in India, and home to the maximum number of endangered animal species anywhere in the country. It is a designated reserve for the Tiger, the Rhinoceros and the Elephant - but spotting any is no less than a treasure hunt.

And that adds to the charm of Manas. The landscape is covered with thick forests, tall elephant grass and swamps. It is one of the few parks where you can take your car in (with a Government appointed gun-toting guard only to scare away any unfriendly animals) - the safari itself is exhilarating as you drive over mud tracks, crossing streams and being alert for any sight of animals and birds in the growth. Don’t get out of the car though - a tiger could well be camouflaged a few feet away from you. Manas is home to about 80 cats including Tigers, Clouded Leopards and Golden Cats.

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Elephants being given a bath in Manas National Park

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5. Kibithu, Arunachal Pradesh: The Eastern-Most Motorable Point in India Kibithu village in Arunachal Pradesh is an army outpost on the Chinese border and is the eastern-most motorable settlement in India. The drive to reach Kibithu is spectacular - you cross traditional tribal villages, drive over dry river beds, and take ferries to cross rivers. The landscape is spectacular - mountains, water bodies, tea estates and more. The drive is a must-do; but be prepared for only basic accommodation along the way.

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The landscapes along the road to Kibithu

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6. Say Hello to the Apatani tribals in Ziro, Arunachal Pradesh Ziro Valley, home to the Apatani tribe of Arunachal Pradesh, in truly a hidden wonder on this planet. A region undergoing a transition, you will find many of the older women still wearing nose plugs and men tying their hair in a knot. Many have tattoos on their faces. The younger lot are different though. No tattoos or nose plugs for them. What is still unchanged are their homes. They continue to live in houses made the traditional way – on bamboo stilts, with a central fire serving as a kitchen and to keep warm, with few rooms. Pigs stay in the space between the ground and the house floor levels. And their festivals and ceremonies are still as they always were.

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Apatani tribals in Ziro, Arunachal Pradesh

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7. Try crossing this bridge at Pangin, Arunachal Pradesh How do you cross a suspension bridge? Just walk across it, right? In theory, yes. In practice, a very different proposition – at least in the case of the one at Pangin, 29 kms from Aalo (formerly Along) on the way to Pasighat in Arunachal Pradesh. Built for locals to cross over the fast flowing river Siang, just the sheer drop from the bridge to the river below can give one the creeps. When crossing it, the persistent wind drafts cause that pendulum swinging movement – something you feel only when you are actually on the bridge. What certainly doesn’t help matters is the state it is in: ground below (if you can call it that) is made of bamboo and some planks. All somehow put together but shaky in many parts. Non-existent in some. And looking like all coming apart. You don’t watch your footing and the leg could go through.

No, it is unlikely you will take a plunge to the rapids below – the mesh holding it up looked sturdy – but a twisted ankle or a broken leg could well ruin your trip.

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The suspension bridge at Pangin

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8. The art of crossing rivers without a bridge Driving in the North-East is always full of adventure; you never know what to expect. Rivers go dry, and bridges get washed away. How do you cross rivers in case of the latter? I got my answer at the Debang river - you hire a raft to take your vehicle across. Amazingly the raft, rowed by four, took my SUV and a tractor with a trailer all at one go. And everyone was so patient: When I said I was eating lunch at a shack, everyone including the tractor driver agreed to wait and even catch a wink. Life moves at such an easy pace here.

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Crossing the Debang river in a raft

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9. The World War II Cemetery in Kohima, Nagaland: A Moving Experience During World War II, the Japanese had overrun Burma and were advancing into India when British forces, ably assisted by Naga troops, finally forced them to retreat at Kohima. The site of one of the war’s bloodiest battles, Garrison Hill in April 1944, now has a War Cemetery with 2,337 graves and memorials to the soldiers who laid down their lives. It is a moving experience just walking there, reading the tombstones. Approximately 13,000 Japanese soldiers battled against a 9,000 strong opposition; roughly 3,000 Japanese and 4,000 British casualties were counted at the end of it. Many of those martyred were Nagas (mostly belonging to the Angami tribe) but there are no statistics for them. The War Museum in nearby Kisama has a well curated display serving as a narrative to the battles fought. Do drop in at Kohima’s impressive Catholic Cathedral, partly funded by families and friends of deceased Japanese soldiers when they learned that the congregation prays for the fallen of both sides.

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The War Cemetery in Kohima

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10. A drive to Khonoma village in Nagaland When in Kohima, don’t miss out on a side trip to Khonoma village, 20 kms (13 miles) away, and home to Angami Nagas. Its natural beauty is enhanced with forests and stepped rice fields on the slopes around. Khonoma stands at 3,937 feet (1,200 m), surrounded by peaks as high as 9,842 feet (3,000 m). A steep climb takes you to an old bastion, marking the spot where the Nagas fought their last battle with the British in 1879 before the latter emerged victorious. Go for nature walks, chat up the locals, and buy an authentic Naga spear if you like.

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View of the Khonoma village, Nagaland

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SEARCHING FOR

BOKEH FASCINATION BOKEH

Nina Romani loves to explore cities and landscapes. Whether at home or when traveling she is constantly on the lookout for special bokeh with her camera and her Planar T* 1,4/50 always at her side.

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Punta del Este is a popular beach resort on the Atlantic Ocean situated at the mouth of the Río de la Plata (Plata River), around 140 kilometers (87 miles) from Montevideo. Nina Romani often comes here to take pictures. “One time on the way to Punta del Este, I saw an old blue car parked along the street. It was just after noon and very hot; the light was extremely bright. Normally, I avoid taking pictures at that time because of the hard contrasts. But on that day, after a few attempts, I was able to take a very atmospheric shot. The hood of the car, blurred in the soft bokeh of the Planar T* 1,4/50, is ‘full of longing’ as it faces the sea.”

Blue car in midday sun, view of the ocean along a coastal road in Uruguay 18

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Nina Romani likes to wander around aimlessly during her travels, especially with with her camera. Whenever she walks through a town or drives on a country road, she focuses her gaze on moods that others might overlook. This is how she explores places and landscapes in her own special way. “With the aperture of the Planar T* 1,4/50 almost wide open, the railing at the marina of Punta del Este appears as little more than a small, focused spot of wood. But who might be standing on this jetty and looking out into the distance? What might that person be thinking about? About the space, the evening air, or taking a ride on one of the boats whose sails are illuminated at dusk?�

Wooden railing in the evening sun, marina in Punta del Este, Uruguay 19

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Strawberries displayed in front of a flower shop, Stockholm “It’s the small details – a view for the essential – that fascinate me during my travels. I always look for very special places and small things that give me joy and a sense of calm. Then I linger and try to capture the moment with its emotional aura.” The background of her pictures often flows into the unknown — into a bokeh that directs your view to the front of the image and makes you curious about what is hidden behind. In the picture of a flower shop, for example, you can deduce a person in the bokeh, a pedestrian on the streets of Stockholm. Did that person just leave the flower shop? Or is he or she going there to buy a strawberry plant?

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Perhaps the imaginary person whose figure disappears in the bokeh paused for a moment on the way home to admire a pink tulip — tulips like the ones pictured here, shot in London’s St James’s Park. Romani: “Flowers play a big role in my photography. Whenever I discover such a flower bed in the middle of a city, I lose all sense of time. And this image shows very well why I enjoy taking pictures with the Planar T* 1,4/50 so much: its contrast-rich color rendering combined with an extraordinary bokeh which allows me to give my pictures something really special.”

Tulips in St. James’s Park, London 21

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Red bicycle, Stockholm

That ‘special something’ is also visible in the image of an old bicycle that appears before a ‘lonely’ grey marbled background in the streets of Stockholm. Or in the classic, circular bokeh that appears behind a cup of Wiener Melange, enjoyed in a Paris café after a long day of taking pictures. “Several years ago I first discovered how to play with bokeh and to work with a fixed focal length, such as the Planar T* 1,4/50. Ever since then I have experimented a lot and read about that technique. With the right bokeh, you can create images with a magical, but also cheerful, character. An interesting area of blur can stimulate the viewer’s imagination, allowing him or her to think about the next possible step in the scene, and to make the picture a part of their own story.”

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About Nina Romani Nina Romani was born in the Argentine capital of Buenos Aires.

She studied computer science at university and has worked in the computer industry ever since. Romani, who taught herself photography, loves to take her camera with her when she travels.

Her passion is photographing appealing corners of small towns and big cities. Romani aims to give herself and those who view her pictures a ‘time out’ from hectic everyday life. www.flickr.com/ninasclicks

ninasclicks.tumblr.com

Wiener Melange, Paris 23

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A mix of documentation and ar t JIANG XIAORAN’S VISUAL AESTHETICS OF EVERYDAY FOOD “That was a real stroke of luck,” says Jiang Xiaoran over the fact that he was born in China and studied in France, “because both countries are famous for their excellent food.” Yet as a photographer his love of food is not only driven by how it tastes, but also by how it looks. So his camera, which is equipped with a ZEISS Distagon T* 2/28, remains a constant companion. Jiang likes working best with an open aperture, but is not willing to compromise when it comes to sharpness; and he likes an excellent bokeh. With the help of his ZEISS Distagon, that is all possible — which only whets Jiang’s appetite further to create new pictures.

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Traditional food photography stages food, making it an object of art, mostly under studio conditions. For Jiang Xiaoran, too, food is clearly ’artwork’; but at the same time it is about more than pure nourishment. The way food is produced, its colors, how it is arranged, the way people eat it, and the things that surround them during the meal — tables, chairs, the atmosphere in a kitchen or restaurant. All of the factors that contribute to a food ‘culture’ interest Jiang as a photographer.

Distagon T* 2/28 (f/2.5, 1/125, ISO 500) One of his favorite pictures was taken during Chinese New Year while preparing ‘Jiǎozi’ together with his wife. Jiǎozi are dumplings filled with meat and vegetables, and traditionally served on this important holiday. At first Jiang simply took pictures of the finished dumplings, but he wasn’t satisfied with the somewhat sterile result. So he decided to get closer with his camera to the ‘production process’ and his wife’s hands.

“The ZEISS Distagon T* 2/28 is perfect for my style of photography. The lens’s closest focusing distance is relatively short, which allows me to get very close.

On my D90, the focal length corresponds to around 42 mm, and therefore almost that of a standard lens. That comes very close to the type of lens normally used for ‘traditional’ food photography, and yet I can still capture more of the surroundings than with a 50 mm. On my D800, I’m able to take full advantage of the angular field of the T* 2/28 and place the subject within a larger context.”

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One morning, when visiting a bakery for a cup of coffee, Jiang’s eyes fell upon the warm bread that had just come out of the oven. That is the origin of this picture, which is about more than just the appetizing-looking fresh French bread. The two bakers in the background as well as the interior of the bakery are all out of focus. As a result, the bread becomes the central reference point in the picture, placed within the context of its origins. “In addition to the allure of the out-of-focus area, which remains very recognizable in this image, there are four main reasons why the ZEISS Distagon T* 2/28 is an important lens and a valuable companion for me.

First, its special three-dimensional imaging performance, which almost makes it seem as if you could touch the photographed food. The second reason is the enormously high resolution that you can achieve with this lens, which allows me to take pictures of food showing all their details. Third, I really like the pretty, luminous way that colors are rendered with the ZEISS Distagon. And the last reason: the Distagon is a manual lens that’s very easy to handle. Since food obviously can’t move, I don’t need any autofocus, so I can concentrate fully on composing the image. The Distagon’s pleasant, smooth-running focus ring, which is also very precise, almost makes you forget all the technology inside the lens.”

Distagon T* 2/28 (f/3.2, 1/100, ISO 500) 27

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Distagon T* 2/28 (f/4, 1/1250, ISO 250) 28

On a trip to Bordeaux, Jiang was taking a Sunday stroll when he discovered a very colorful motif: a box full of macaroons. These typical French meringue pastries are made of almond flour colored in various bright colors and then filled with butter crème, ganache or jam. “This picture shows very clearly the lively color rendition that makes the ZEISS Distagon T* 2/28 such an indispensable tool. The colorful macaroons in the shop window contrast wonderfully with the blue of the sky. This photograph combines not only different color tones, but also two important aspects of French culture: food and architecture. The buildings reflected in the windowpane are for me just as typically French as the brightly colored macaroons.”

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Water is food in its purest form. It is transparent and colorless – a complete contrast to the brightcolored macaroons. But it is this reduced simplicity which made Jiang grab his camera one late afternoon in Brest. “I was sitting right near the window and the setting sun gave enough light to create this fascinating, transparent effect of the water’s surface.

This is an excellent characteristic of the ZEISS Distagon T* 2/28 that surprises me again and again — the ability to create an image that is very transparent, yet at the same time achieving a pleasant bokeh.” The water and light playing on the bottle almost seem within your grasp. The view looking outside loses itself in the bokeh, accentuating the bottle of water even more.

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Whoever thinks of still lives when viewing the last two pictures does not really do justice to Jiang’s approach. “I consider my photography more documentary than art. Whenever I see an interesting subject — a plate of food, cookies or cakes, or an arrangement on a table — I never touch it. I change nothing, rearrange nothing and use no artificial light. I want to show the food in its natural state and context. My most important tool for composition is the photographic technology itself. With perspective, environmental light and of course the excellent imaging performance of the ZEISS Distagon T* 2/28, I try to capture the subject in such a way that the pictures look irresistibly appetizing and mouth-watering. After all, I only take pictures of things I would want to eat or drink myself.”

About Jiang Xiaoran Photography has long been Jiang Xiaoran’s main hobby, but it was only in 2010 that he bought his first single lens reflex (SLR) camera. Since then he has become more and more demanding, and his photographic interests are today very diverse. Whether he is taking pictures of food, architecture or people, Jiang believes it important to embed his subjects in their cultural context.

Jiang, who was born in southern China, is currently studying at the Engineering school of Télécom Bretagne in Brest (France). http://www.flickr.com/photos/xiaoran26/ Distagon T* 2/28 (f/2.8, 1/40, ISO 1250) 30

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LUMINOUS LANDSCAPES COLORFUL WORLD Paul James was 12 years old when his father, a photo journalist for the U.S. Army, gave him his first camera to try out. But his real passion for photography came later when his father turned his bedroom closet into a darkroom. Today, Paul James is a landscape photographer with his own photo gallery. His specialty is taking pictures of luminous, vivid natural spectacles at sunrise and sunset. For years he has sworn by the Vario-Sonnar T* 2,8/16-35 ZA. This high-speed wide-angle zoom lens gives him exceptional possibilities to compose images with extreme angles of view.

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Toroweap Canyon, Arizona, February 2012 – Vario-Sonnar T* 2,8/16-35 ZA

It was a very cold winter afternoon. To reach the location atop Toroweap Canyon, Paul and his friends traveled 100 kilometers on a muddy dirt road, getting stuck several times on the way. But for this panoramic view, the arduous journey proved well worth it when the last clouds suddenly disappeared. Just before sunset, the sky opened wide as if in a film. The bone-chilling cold was a stark contrast to the warm colors that the final daylight cast on the reflecting canyon walls and the river. The line patterns that Paul has skillfully rendered give the viewer a sense of infinity as the river carries on into the horizon.

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“Without my Vario-Sonnar T* 2,8/16-35, I would be lost. With it, everything is extremely sharp, from the foreground of the picture to the back. The excellent ZEISS quality is something I couldn’t do without.”

Shark Fin Bluffs is located about 50 kilometers north of Santa Cruz, California. Although the bay is easy to reach, it has remained an insiders’ tip for photographers, as it is not visible from the road. Paul James arrived before sunrise and set up his camera in the water. As it began to get light, the colors exploded. “Shooting coastal images can be challenging,” Paul explains. “You have to watch out that the water doesn’t splash on your lens. In addition, your tripod sinks into the sand as the water passes under you, and there is the general unpleasantness of being wet most of the time. But it was worth the effort,” he adds as a true professional. The trick in this case was to have one good picture of both the receding water and the sky in order to seamlessly blend them together later as if they were one image. To achieve such results, the images could not be shot too long after one another because the home position of the camera kept changing due to the shifting ground.

Shark Fin Bluffs, California, March 2012 – Vario-Sonnar T* 2,8/16-35 ZA 34

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Mount Evans, Colorado, August 2012 – Vario-Sonnar T* 2,8/16-35 ZA

Mount Evans is around 50 kilometers from Denver. The nature park is only open in the summer months; during the winter the access road is impassable due to the snow. What makes this shot so special? Normally there is little light in this area because it lies in the shadow of a mountain.

But on that day, the clouds and sun guided Paul to the right place at the right time. “I love how ZEISS lenses catch the sun as a star, even at lower f-stops. Many of the lenses I have used in the past require f- stop 2.2 and the refraction softens the image.” For this image, Paul used a polarizer filter to reduce the reflection in the water and bring out the details of the underlying rocks.

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Moraine Park, Rocky Mountains, Colorado, August 2012 – Vario-Sonnar T* 2,8/16-35 ZA

With its lakes and rivers framed by the surrounding peaks, Moraine Park is one of the most beautiful areas in the Rocky Mountains. Early-morning conditions usually consist of wet fog and mist in the valleys, which intensify the colors of the rising sunlight. Paul used a long exposure to make the water look very smooth. But it was not just the light that was spectacular that morning. The wind was also just right: with no wind at all, he did not have to worry about blur from moving blades of grass during the long exposure (22 seconds).

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Sometimes you need patience as a photographer and sometimes just plain luck. For this picture of Palouse Falls, Washington, Paul positioned himself with his camera before sunrise. But as the sun rose, he was disappointed: the thick clouds refused to budge. Paul was just about to pack up his gear when the sky suddenly began to open up after all. Quickly grabbing his equipment, he ran to the other side of the falls, suspecting that the light would be better there. The sprint paid off. Paul was just in time to capture the spectacular colors of the sky before they disappeared. “That day taught me like no other: when nature is not on your side in the direction you’re shooting, you must change your perspective.”

Using a photo editing program, Paul blended the three exposures together. He used luminosity masks and then adjusted the white balance, color saturation and contrast. During the processing, he also had a pleasant surprise: “I discovered several small marmots that I hadn’t noticed while shooting.”

Palouse Falls, Washington State – Vario-Sonnar T* 2,8/16-35 ZA 37

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For anyone who likes to photograph the fall foliage in its full colorful glory, Paul recommends you visit in Colorado. “The color intensity of the aspen trees is amazing,” he enthuses. This image shows Crystal Mill, an abandoned mill maintained by the local community.

“Every landscape photographer who comes to the area should stop here and add it to his repertoire.” www.pauljamesphotography.com www.500px.com/pauljamesphotography www.heritagegalleryndesign.com

Crystal Mill, Colorado – Vario-Sonnar T* 2,8/16-35 ZA 38

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About Ajay Jain

Ajay Jain is a full time writer and photographer, and has authored eight paperback books and over 30 e-books. He promotes his photography as collectible art, runs the popular Kunzum Travel Cafe in New Delhi and publishes e-magazines on travel and photography.

He is also a regular speaker on Mindful Travel, Personal Branding, Photography and Business Networking. All his creative ideas came to the fore only after he started travelling - mindfully.

He has pursued careers in Information Technology and Sports Management before he took up journalism and writing. He holds degrees in Mechanical Engineering, Business Management and Journalism.

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More on Ajay Jain at http://ajayj ain.com.

Connect with him at ajay@ajayja in.com +91.9910044476. Or call his offic e at +91.9650702777.

T-49, GF, Hauz Khas Village New Delhi 110016, India Tel: +91.9650 702 777 / +91.11.2651 3949 mail@kunzum.com Timings: 11:00 a.m. - 7:30 p.m., Mondays Closed