In conversation with photographer Randhir Singh, we discuss the critical aspects behind the cognisance of capturing a pertinent architectural photograph, as well as the methods which assist the process.
The following text is the edited transcript from the conversation with Randhir Singh, conducted on February 10th, 2021
Chapter 01: ORIGINS [00:20]
Part I – Education [00:27]
I studied architecture – in the US – and I worked as an architect for fifteen years, in New York. While I was working there, I started photographing the projects that our office was doing, (and) I photographed projects that my friends were doing, and it built that way. In college, I did a semester abroad in Italy, and that was actually the first time I really made pictures with any sort of seriousness. I had a little Cannon film camera, and we traveled all over the country and spent a lot of time in Rome.
In conversation with photographer Bharath Ramamrutham, we discuss architectural photography as a discipline and a passion, and the various processes underlining a meaningful photograph.
The following text is the edited transcript from the interview with Bharath Ramamrutham, conducted on July 10th, 2020.
I. Origins [00:15]:
Bharath Ramamrutham [BR]: I grew up in a very simple traditional family. I was very fortunate because my father – an engineer and a marketing man – had a very keen sense of design. He also had an abiding interest in architecture, as well as photography.
I remember when I was about 14 years old, I asked him to get me a camera and he bought me an Agfa Click 3 (one of those really old-fashioned things, then for 35 rupees). It used to shoot monochrome film. We converted one of the bathrooms at home into a dark room and he bought an enlarger. We started processing film and making prints at home. He also travelled a lot around the world and Continue reading Bharath Ramamrutham: On Architectural Photography→
Through a visual journey, acclaimed photographer Ram Rahman talks about a critical time for architecture in India – from Independence to Economic Liberalization – as we observe the anxiety of architectural positions in times of uncertainty and struggle for identity.
In India, masters are revered and apprentices forgotten. But it is the apprentices who religiously took the message, the art and the knowledge across India from the first generation of experimenters till the generation of architects and designers who work in an economically liberal India.
This video [with Ram in the background narrative] takes one through an incredibly rich history of the architecture of post-independence India when the socialist ideology worked through democracy creating a fertile ground for experiments in housing and civic architecture. This time stands in stark contrast to the present as the patterns of patronage change and the state becomes increasingly impervious to the core issues.
Ram Rahman is a photographer, designer, curator and activist based in Delhi. He has been an observer of modern movement in architecture in post-colonial India. Using photography as a window to history and the present, he observes the changing landscape of architecture, design and art in India.
He is one of the founding members of the Safdar Hashmi Memorial Trust. Ram Rahman has studied Physics from MIT followed by Graphic Design from Yale.
This presentation is excerpted from a closed-door session with MoMA‘s C-MAP Asia Group in June 2015.
A photo-narrative by Sneha Parthasarathy of the quintessential Indian village culture, lifestyle and architecture, against the backdrop of the Godavari River Festival.
The Pushkaras, occurring annually, are river festivals celebrating in a cyclic manner each of the 12 important holy rivers of India. This year was that of the river Godavari and was said to be a ‘Maha Pushkara’ – occurring once every 144 years. The 12 day festival saw over 11 crore devotees, from Telangana-Andhra region rush to the river banks of Godavari to take the emancipating dip and pray for departed souls of their loved ones. There is something very powerful and beautiful about belief but mass hysteria and hype is worrying. Worrying because it leads to herd mentality; when you do something not because you deeply believe in it but because you do not want to be left out. Continue reading Dharmapuri→