I started my cinematic journey as an amateur photographer with a point and shoot camera. At this stage, I was trying my level best to capture images in the same style as those found in the National Geographic Magazine. I was, of course, failing miserably at this, but this is also what piqued my interest in learning more about the details of this majestic technique.

​During one of my random photography stints, my mother commented offhand, “Why don’t you give cinematography a shot?” She began talking animatedly about some scene that was shot in a unique manner in a movie she had watched recently. Her excitement got me thinking. A little bit of research later, I was curious enough to want to explore the world of photography in motion pictures. That’s what led me to undertaking a professional course in Cinematography at Whistling Woods International, a film school started by Mr. Subhash Ghai.

I further enhanced my skills under the tutelage of veteran cinematographer, Mr. K U Mohanan. I began my career as an assistant with him, and grasped various aspects and nuances of cinematography.

​But I’d always aimed to go down a different route in my quest to be unique, and that is what led me to train as a scuba diver and work with Priya Seth, a distinguished cinematographer, renowned for her underwater photography. With her, not only did I broaden my spectrum of skills and techniques to shoot underwater, but also developed a better sense of understanding light and the art of storytelling through the camera.

I have always viewed cinematography in an organic manner, one that is driven by a naturalistic instinct. I believe every move the camera makes is for a reason driven by the story. I strive to create a natural environment – one that helps keep the story at the forefront. Cinematography must take the story forward rather than overpower or overwhelm it.

Narrative work offers more in terms of story-telling, but I thoroughly enjoy commercial advertising work as well, which cuts away from realism, with the aim of trying to make things beautiful and pretty in every frame.

 

If I had to describe my style, I’d say I aim to keep it simple and real. Subtle impressions are the best impressions. You know you’ve done something right, if years from now, people can watch a film again, not just for its story but also for its cinematography. And that, is my endeavour.