Oct 172012

Question by tigresavalialvi: How do you say mystic in indian?
what other languages can you say mystic in, that doesn’t sound like mystic at all?

Best answer:

Answer by Matthew H
In Mandarin 玄理 (Xuán Li3) Means “They Mystic Truth”

What do you think? Answer below!

Mar 122012

Question by Michelle H: Is it possible to mystic tan dark Asian Indian skin at Tanning salons?
Hi there! Like some of my fellow Indians I have the problem of multi-colored limbs and dark knees. Would it be possible for someone at a tanning salon to even out my color, or would it be impossible since I’m too dark. I am probably around Beyonce’s color. What are my options?

Best answer:

Answer by pelican
It might be. You need to ask at a salon.

Know better? Leave your own answer in the comments!

Oct 292011

Check out these ancient secrets products:

Herbal Hair Regrowth – Ancient Indian Hair Loss Herbal Treatment
Promote This And Make Money! Affiliates Go Here: Http://herbalhairregrowth.com/aff.html
Herbal Hair Regrowth – Ancient Indian Hair Loss Herbal Treatment

Free Secret Cash Course
Discover The Secrets All Of The Top Internet Marketers Use To Extract The Most Amount Of Money Out Of The Internet. Great Conversion Rates – Send Your Traffic For Big Commissions.
Free Secret Cash Course

Jul 292011

Check out these mystics products:

Indian Horoscope
Get an Indian horoscope by best astrologers of India. Experience a Horoscope Reading based on Indian Astrology.
Indian Horoscope

Mindfulness Approach Anger Management
An 8 week anger management program containing a 114 page E-Program and over 120 minutes of audio recording exercises. The program combines the skill of contemporary anger management processes with the transformative power of ancient mindfulness practice.
Mindfulness Approach Anger Management

Apr 232011

Question by fizzy: i am an Indian by nationality and studying bachelors in science(physics,maths,computers)how do i work for NASA
i have to work for Nasa its my dream,i hope yahoo will help me to chase it!

Best answer:

Answer by Kes
The source seems to indicate that NASA employees must be US Citizens except SES (Senior Executive Service). However it is possible to become a naturalized citizen. Good luck.

Add your own answer in the comments!

Feb 052011
ancient secrets
by rikaru

Question by samantha b: whats the ancient hair growing secrets of the indian brahim girls?

Best answer:

Answer by jum b
Oil Head massage…..

Head Massage For Fast Hair Growth


What do you think? Answer below!

Jan 162011

Question by Cupid: Who is Sri Aurobindo among recent Indian philosopher mystics?

Best answer:

Answer by ashok_sahu1953
Sri Aurobindo (1872-1950) is one of the most distinguished philosophers of India who after Adi Shankaracharya has added new chapters to the tenets of Sanatana Dharma or Universal Humanism which is the central theme of Indian philosophy or Hindutwa. His best works are Life Divine, Synthesis Of Yoga, Savitri, Integral Yoga, Secrets of the Veda and Essays on Geeta.

Add your own answer in the comments!

Dec 072010

Indian Buddhism in China and Tibet

Indian Buddhism in China and Tibet

Free Online Articles Directory

Why Submit Articles?
Top Authors
Top Articles
AB Answers

Publish Article

0 && $.browser.msie ) {
var ie_version = parseInt($.browser.version);
if(ie_version Hello Guest

Login via

My Home
Sign Out



Remember me?
Lost Password?

Home Page > Spirituality > Religion > Indian Buddhism in China and Tibet

Indian Buddhism in China and Tibet

Edit Article |

Posted: Jul 20, 2009 |Comments: 0
| Views: 102


Ask a question

Ask our experts your Religion related questions here…200 Characters left

Syndicate this Article

Copy to clipboard

Indian Buddhism in China and Tibet

By: Arjanyai

About the Author

Photo slide Love Submit website

(ArticlesBase SC #1052581)

Article Source: http://www.articlesbase.com/Indian Buddhism in China and Tibet

During Harsha’s reign, the great Chinese traveller, Yuan Chwang or Hsuan-tsang, visited India and spent fifteen years there (B.E. 1172-1187/629-644 C.E.) studying Yogacara philosophy at Nalanda University and travlling throughout the country. He was welcomed with great honour at the imperial court in the capital city of Kanauj. The account of his travels was written by himself in the work called “Buddhist Records of the Western World” which is regarded as one of the most valuable documents for the study of history and Asian civilization of the time.

On his return, Hsuan-tsang brought with him six hundred Sanskrit texts and manuscripts which, with the support of the Emperor Tai-tsung of Tang dynasty, he translated into Chinese during the rest of his lifetime. His effort was partly aimed at spreading the knowledge of the Yogacara doctrine which he himself favoured.

Also during this period, Sron-btsan-sgam-po (born in B.E. 1160 or 617 C.E.), the great ruler of Tibet, married two princesses, one from Nepal and the other from China. Both queens were devout Buddhists. They converted the king to Buddhism and thus made Tibet the last of the Mahayana countries to accept Buddhism. The king then sent a messenger called Thonmi Sambhota to India to study Buddhism and the Indian language, and to invent an alphabetic script for the Tibetan language. Thonmi was successful in the task. He then made the first Tibetan translations of Buddhist Sanskrit works and became known as the father of Tibetan literature. In spite of royal support, Buddhism did not take deep root in Tibet during the early centuries as it had to struggle against the native animistic religion called Bonpo, its superstitious beliefs and strange customs and traditions. A century later, two monk-scholars were invited to Tibet to teach Buddhism. One was Santarakshita, the then Principal of Nalanda University, who taught the true doctrine and translated many Sanskrit scriptures into Tibetan. The other was Padma-sambhava, whom Santarakshita advised the king of Tibet to invite to his country to remove natural calamities by magical power, and who introduced Tantric Buddhism into that land, replacing the Bon cult with symbolic worship.

Three centuries later, in B.E. 1581 (1038 C.E.), Atisa, the great scholar of Vikramasila University, as invited to live as a teacher of Buddhism in Tibet. Atisa reformed the Tantric teachings on the basis of the Yogacara traditions and founded the Kadampa school which stressed celibacy and strict observance of disciplinary rules, and discouraged magic practices. The Kadampa school was the basis for the Gelukpa school which Tsongkhapa founded some time after B.E. 1900 (1357 C.E.), and to which the Dalai Lama belongs. From the days of Atisa, Buddhism may be said to have truly become the national religion of Tibet and had an uninterrupted record throughout the later history of the nation.

To turn back to India, though Harsha was tolerant of all religions, his Brahmin ministers were displeased with his support of Buddhism. They made attempts on his life. In spite of failure at first and being let off from death punishment, they continued their attempts till the Emperor was assassinated in B.E. 1191 (648 C.E.).

After Harsha’s death, northern India broke up into a large number of separate states. Then the conditions were not favourable to the existence of Buddhism until the Pala dynasty established itself in Bengal at the beginning of the 14th century B.E. (in the middle of the 8th century C.E.). During four centuries of their rule (from B.E. 1303 to 1685/760-1142 C.E.), the Pala kings were devoted to the support and protection of Buddhism. They took Nalanda University under their patronage and founded four other universities of their own, namely, Odantapura, Vikramasila, Somapura and Jagaddala, in the first, the sec-ond, the third and the fourteenth reigns respectively.

Retrieved from “http://www.articlesbase.com/religion-articles/indian-buddhism-in-china-and-tibet-1052581.html

(ArticlesBase SC #1052581)

Arjanyai -
About the Author:

Photo slide Love Submit website

Rate this Article


0 vote(s)


Source:  http://www.articlesbase.com/religion-articles/indian-buddhism-in-china-and-tibet-1052581.html

Article Tags:
indian buddhism in china and tibet

Related Videos

Related Articles

Latest Religion Articles
More from Arjanyai

Introduction to Ashtanga – Natural Meditation

Tibetan Buddhism possesses one of humanity’s most evolved traditions of meditation – yet its highest and most powerful spiritual practice is also its simplest. On Natural Meditation, you will join Lama Surya Das to learn this form of meditation. (03:14)

Human Rights in China

Learn about human rights in China. (02:42)

WSYK #4: Dalai Lama

So if someone comes up to you and their like: “Hey, you know about the Dalai Lame?” This is what you should say… (01:39)

Learn about Buddhism

Learn about Buddhism in this short video. Buddhism was founded by Buddha. Buddhists aims to achieve nirvana by following the noble eightfold path. (01:09)

Learn about The History of Buddhism

Learn about The History of Buddhism in this educational video from dizzo95. (00:51)

Indian Buddhism in China and Tibet Part 2

In the rest of India, however, Hinduism, by this time, had gained ground against Buddhism. There were many causes of the decline of Buddhism. Under the rule of some Hindu kings, Buddhists were persecuted. Some other Hindu rulers supported Buddhist institutions, but as centres of learning and culture. Since the…


Jul 20, 2009

Buddhism of the Northern School

Under King Kanishda, a great Council, not recognized by the Theravada, was held in Kashmir or Jalandhar. It was regarded as the Third Council of the Mahayanists who did not accept the Third Council of Patฺaliputra, and as the Fourth Council of India. It was…


Jul 20, 2009

Buddhism In The Modern World Part 2

Dharmapala returned to Ceylon in May 2434/1891 and founded the Maha Bodhi Society in Colombo. In the same year, a mission was sent to Bodh Gaya and, then, an international conference of Buddhists was held there. In the following year a journal was launched and headquarters of the new society…


Jul 21, 2009
lViews: 104

Things to Do on Tibet Tour

The first stop for most Tibet tours is inevitably Lhasa, the capital of Tibet Province. Besides city Lhasa, Gyantse, Shigatse and Tsetang in Tibet also remain mystical in many people’s minds. Tibet is a truly a place to stir the senses and nourish the soul – of all the destinations in China.


Travel Tipsl
Aug 31, 2008
lViews: 306

Asia Travel Destinations – Tibet, A Land Of Enchantment

Tibet is one of the world’s most exotic and mysterious travel destinations. It is a realm of mystical and conceivable delights await one in every nook and cranny.

Sophia Linl
Mar 13, 2010

Buddhism: Thailand

Buddhism: More than 500 years before the birth of Jesus Christ, the Indian Prince Siddhartha Gautama attained Enlightenment and founded the great Eastern religion, Buddhism. Gradually spreading through Asia, Buddhism became the dominant spiritual force in Sikkim, Bhutan, Tibet, Mongolia, Ceylon, Burma, Laos, Thailand, Cambodia, Vietnam, China, Korea and Japan, where it…


Dec 04, 2009


Celestial gurus and saints do live for eternity and it is believed that they stay somewhere in the Himalayas and that these gurus can materialize out of no where and can vanish in thin air. It is believed that there are seven such celetial gurus or saints and that they keep a watch on humanity and when the earth is burdened with evil and when the people of this earth begin to play GOD themselves and Humans begin to looses all qualities of the most precious creation of GOD

Amlan Roychowdhuryl

Nov 11, 2010

New Song Healing Ministry in detail

You might have heard about Ministry of Economy, Ministry of Energy, and Ministry of Foreign Affairs and so on. They exist almost in each and every country. But what about Ministry, engineered by Holy Ghost? Yes, it sounds unbelievable, but it is a fact. Its name is New Song Healing Ministry.

Healing Ministryl

Dec 07, 2010

New Kind of Zoe Free Bible College

Zoe Free Bible College is a kind of school (college), which works together with New Song Healing Ministry – evangelical institution, which aim is to reopen old apostolic signs, to preach peace among the evangelicals and to remove any barriers stood between believers and Church of Christ.

Healing Ministryl

Dec 07, 2010

Near Eastern Accounts of Creation

The first chapter of the book of Genesis recalls the story of creation. But it provides far more than simply an Israelite cosmology. It offers an understanding of various Near Eastern cosmologies or the remnants of the former still existent in the memory of Israelite society

Jacob Lumbrosol

Dec 06, 2010

Angels Bridge the Gap

In the history of the world, there have always been great gaps, separators which isolate one land mass from another. As a result of these natural boundary lines, countries have been formed; ethnic cultures have developed; physical and social separation were created.

Bob and Pennyl

Dec 06, 2010

Personal Scandal?

It sounds so warm and fuzzy, it makes us feel as if we are not alone on mud-ball we call earth…..but might the mere idea of a “personal” God be the pinnacle of arrogance?

Kurt Schaall

Dec 06, 2010

Edit Your Thoughts

I think we do need a “thought checker.” We need to recognize when something we are thinking about is not productive. We need to stop allowing our experiences, or the odds, or our present circumstances to dictate how the rest of our life is to be.

Michael A. Verdicchiol

Dec 06, 2010


There is no doubt or any thoughts about our Lord, The One & Only Allah (SWT) Who is the magnificent Lord, The Creator of entire universe Has Told everything clearly about His existence and His glory

Craig Milesl

Dec 06, 2010

Who is Allah? (7) They are not equal

In the Quran, Allah says that they are not equal, the dwellers of the Fire and the inhabitants of Paradise. It is the owners of Paradise who are the winners; because they gained the Eternal Garden and were saved from the Eternal Hell.

Safaa Abdel-Azizl

Dec 05, 2010

Explanation of the Seventh Stage Part 4

Meeting the Buddha is like finding a pure gem, but being unable to receive the taste of the good Dhamma which gives rise to profit and gain is like intending to keep the gem for use in the next life. This is the type of demerit which is due to…


Oct 31, 2009

Short Aphorisms

The following are the sayings of some of the wisest of men, which are put down in order that one may clearly see the way to go: 1. One who is watchful of all his actions of body, speech and mind, is clearly aware of those actions which are of benefit…


Oct 30, 2009
lViews: 403

Short Aphorisms Part 2

7. The belief that we ourselves exist, and that other things belong to us, are, in the ultimate sense (paramattha), both wrong notions, because one cannot find nor come to know either of them. 8. The five aggregates have Belief-in-Self (Ahamkara) as their bounds of existence and as that which causes…


Oct 30, 2009

Short Aphorisms Part 3

16. Liberation [Moksha] is understood to be the attainment of the unchanaing, in which there is no Self [Atta and Atman] and no Aggregates. If you understand that this is what is meant by Liberation, and that it is the desirable state, then why do you not let go of the…


Oct 30, 2009

Explanation of the Sixth Stage Part 3

The Characteristic-of-Impermanence then becomes apparent. In other words, when the Citta has become steady or fixed, it will see the Citta which is unsteady (or impermanent). If. one can stop thoughts, one will see that all evil comes from thoughts. This is like a man who has given up taking drugs…


Oct 29, 2009

Explanation of the Sixth Stage Part 6

When one has stopped thoughts in the three times, knowledge still remains, and its nature is quite stable. It does not cease except when one lies down and goes to sleep, or one dies, or when the Noble Disciple (Ariya) enters the state of the cessation of consciousness (Nirodha). The…


Oct 29, 2009

Explanation of the Sixth Stage Part 7

The Aggregates as Oneself and the Aggregates Correctly Understood Concerning the truth of suffering it arises and ceases within the Aggregates which are on their own Do not becom involved with them; beware of the cause of suffering, for it will in due course give rise to suffering; therefore leave them…


Oct 29, 2009

Explanation of the Sixth Stage Part 8

8. Understanding-as-Equanimity-for-All-Formations (Sankhar-Upekkha-Nana). This means, that because one cannot prevent the aggregates becoming old, getting sick, and dying on their own accord; one should let go of them and allow them to follow their natural condition. This is also called: 9. Understanding-as-Adaptation (Anuloma-Nana), which is the highest form of understanding. The above…


Oct 29, 2009

Add new Comment

Your Name: *

Your Email:

Comment Body: *


Verification code:*

* Required fields


Your Articles Here
It’s Free and easy

Sign Up Today

Author Navigation

My Home
Publish Article
View/Edit Articles
View/Edit Q&A
Edit your Account
Manage Authors
Statistics Page
Personal RSS Builder

My Home
Edit your Account
Update Profile
View/Edit Q&A
Publish Article
Author Box

Arjanyai has 119 articles online

Contact Author

Subscribe to RSS

Print article

Send to friend

Re-Publish article

Articles Categories
All Categories

Arts & Entertainment
Food and Beverage
Home and Family
Home Improvement
News and Society
Self Improvement
Sports and Fitness


Feng Shui
New Age

Need Help?
Contact Us
Submit Articles
Editorial Guidelines

Site Links
Recent Articles
Top Authors
Top Articles
Find Articles
Site Map

RSS Builder
Link to Us

Business Info

Use of this web site constitutes acceptance of the Terms Of Use and Privacy Policy | User published content is licensed under a Creative Commons License.
Copyright © 2005-2010 Free Articles by ArticlesBase.com, All rights reserved.

Excerpts from “The Lotus in the New World: Buddhism in America”, Part One – The Three Jewels, featuring Geshe Michael Roach. This has been a work in progress since 1997.

Find More Buddhism Articles

Sep 172010

The Written Word: Rajeev Jain (Indian Cinematographer) Visual wizardry….


The world just got a whole lot smaller. I am still in a state of total disbelief. The horrific crimes of recent suicide bomb blasts were beyond comprehension and human logic. How is it that our goals and aspirations can be so different in spite of coming from the same mould? As a father, I am always trying to encourage my two little angels Abigail Jain (17yrs.) and Kimberly Jain (13 yrs) to work hard, be fair, be honest, be kind and humane and most importantly, be open minded and tolerant of other people.

The terrorists who executed this deadly plan lied, cheated, murdered and judged all others who did not subscribe to their twisted perversion of faith and morality.

This is a very difficult time to be positive, but the future of our children and rights of a free democracy depends on everyone continuing to protect the choice to pursue what is important and right for every individual. 

The marketplace is in a total state of flux. Everyone in our business is scrambling to firm up existing clients and struggling to keep what they have. Add the challenge of preparing for HDTV and the plethora of format choices to the equation and you’ve got a difficult situation.

Climbing to the higher planes of the industry was not overnight. A native of Lucknow and a graduate of University of Lucknow and Bhartendu Academy of Dramatic Arts (Bhartendu Natya Academy/ Bhartendu Natak Akademi), My career has taken me over the years from Lucknow, to Mumbai / Bombay in pursuit of my dreams. And the companies have ranged from organizations, TV stations to ad agencies and Features. Despite all my accomplishments and obviously varied skills, I remain very true to my first love, and that is the love for cinematography.

I believe that the DOP has one primary job: to serve the director s vision of the story. Some DOP seem bent on making a different movie than the one the director is making – such behavior is completely unprofessional, even silly. I strive to maintain a fully professional attitude whether we are shooting 16/ 35mm film, High Def 24P or Video. Shooting is shooting, I try to make every shot the best it can be.

One of the great pleasures of filmmaking is the collaboration. I take great pains and efforts to put in nothing but the best i can into each shot. I try to understand the vision that the director is striving to bring to the fore- front, presenting that vision in all its totality and making it as realistic as possible then becomes my sole purpose.

Some directors prefer to control every aspect of the image, and at the other extreme, some prefer to concentrate on directing the actors and pretty much leave the photography up to me. Most commonly, of course, majority of director s fit in somewhere the middle. I am completely comfortable working either ways.

The DOP has another job, of course, and that is to help the production to stay on schedule and within the prescribed budget. I take those responsibilities very seriously as well. Being a Director of Photography is much more than just being good at lighting and camerawork (although those are primary, of course); it is also very much a “management” job: you are in charge of a number of people, different departments, equipment, schedules etc. My experience on productions large and small; from very simple to very complex shoots gives me the experience to handle the various responsibilities and keep the balance.

I am as big a gear head as the next guy, but please!

The reality is that you had better know your client and be honest with yourself about which marketplace your doing most of your business in. The mistake a lot of people make is dreaming about what might be and not concentrating on what is.

For me, I have an eclectic mix of works. I continue to shoot Commercials, Feature Films and Music Videos.

I personally believe that you better enjoy what you are doing and have as much fun as you can while doing it. I have been very fortunate to hook up with a bunch of great people, both crew and production houses.

I have noticed that instinct is starting to rule my life. I no longer fret about the “what if s”, I just do what feels right and amazingly it seems to work out. The old rule is true, if it sounds to good to be true…. Hard work is the only substitute for lack of natural luck, hell I do not even know how to spell luck. As a freelancer, you have got to make your luck, you have got to sit back and think about what type of work you want to do and then make the contacts, place the calls and pursue what it is you want.

There are a hundred ways to go wrong and only a few to go right. There is only one goal: Beautiful pictures that serve the story and flow together in the edit.

It has been a weird year (2009). I lost a number of commercials in Africa, Asia, Europe and Middle East due to the downturn in the economy, war and terrorist extremism.

And finally, this year (2010) I turned 43.

So, if you get a call from me one day, do not be too surprised.

To use my skills, experience and professionalism to provide productions with distinct and compelling cinematography.


I work out the complicated problems in prep to execute simple solutions in production. From location scouts, shot listing, story boarding, script meetings, watching rehearsals, testing stock, lenses, makeup and wardrobe, to scheduling and collaborating with department heads – I do not wing it. I prepare to the point where I can use my intuition to respond to the unexpected, rise above the game plan and take the film to the next level.

What gets me excited – is to work with passionate directors who take risks. Whether the film is meticulously storyboarded or improvisational, from prep to wrap, I try to unlock what the director has in their head, understand it, refine and capture it.

I know how to collaborate with a producer to get a dollar out of fifteen cents. Whether it is tapping my extensive contacts to efficiently scheduling the crew and equipment; to finding innovative and resourceful ways to shoot a film; to nailing a shot on take one – I take no expense for granted.

I have the contacts to put together a camera and lighting crew for most any sized project and the experience to delegate and supervise them. My roster have skills and aspirations bigger than their job titles; but also have the attitude to keep it fun. I hire crew that take initiative, love movies and read the script.

I hope I am not accused of it. I want the audience to feel what I shot, not to pay attention as to how it was shot.

I shoot for the edit. I frame for the drama.

I believe there is no best way to light. Every film has its unique demands. Some directors may want 360 degree dollies while others do not move the camera at all; others like to work with marks while some do not; some schedule 20 shots a day while some just 10. In all cases, I have to find an approach that reinforces the director s instincts, stays within the production s resources while at the end the day, elucidates the drama.

Whether it is Super 16, HD or 35mm, I am format agnostic. I work closely with the director and producer to not only choose a viable format; but also, to exploit it to the fullest.

Through my contacts with vendors and rental houses; my collaboration with key personnel; and from years of shooting at a variety of levels – I keep productions from paying for unnecessary gear, while making sure we have what we need. But I also believe in finding ways to get the most of what you got.

My job does not end on the set. I supervise the look of the film from dailies to digital intermediate through release prints. In post, the DP s eye is critical in creating the finishing touches as well as maintaining a visual continuity and integrity.

From classics to new release, from horror to romance, I know my films and genres. It’s the experience of escaping into a great film that I’m passionate about. I’m not a gadget head, don’t fall in love with shots or obsess about technical matters. I do obsess about films that move me and do all I can to be part of making them.

Quotes from some famous DP’s……

… I Believe

” I admit a fondness for commercials. It is the perfect blend of many skills. You have 30 seconds to sell an audience a product or idea using the visual techniques of lighting and camera movement to reflect and comment upon current culture. “

” Every director brings a different viewpoint to spot work. Their backgrounds vary as much as the products do and that diversity is what makes every job different and unique. My challenge as cameraman is to capture that special uniqueness on film. “

” I never wanted to be pigeon-holed in commercials. I don’t care to restrict myself to shooting just cars or tabletop. My background is still photography, documentaries and theater. I’ve traveled my whole life and I want to incorporate that into my work. Commercials reflect constant change in markets and audience. This medium demands that one be aware of the evolution in lenses, film stocks and accessories as well as to be actively involved in the quickly evolving technology of digital imaging. “

“Filming kids is the ultimate in spontaneity. You have to be ready at any moment for something to happen. It all has to do with lighting and planning. You also have to find the right place for the camera so that the kids can work in a given space and be comfortable without a lot of noise and distraction… finger on switch. “

“If you know how to light, it doesn’t matter what you shoot. If you don’t know how to light… it does not matter what you shoot.” – on shooting film vs. shooting High Def:

“Cinematography is the art and craft of the authorship of visual images for the cinema extending from conception and pre-production through post-production to the ultimate presentation of these images. All and any processes, which may affect these images, are the direct responsibility and interest of the cinematographer. Cinematography is not a subcategory of photography. Rather, photography is but one craft, which the cinematographer uses in addition to other physical, organizational, managerial, interpretive, and image manipulating techniques to effect one coherent process. Cinematography is a creative and interpretive process, which culminates in the authorship of an original work rather than the simple recording of a physical event. The images which the cinematographer brings to the screen come from the artistic vision, imagination, and skill of the cinematographer working within a collaborative relationship with fellow artists”.

“Cinematography is the process of capturing a vision on film. As both an art and a craft it is a dynamic process that involves the composition of light, shadow, time and movement. For the cinematographer this requires a synthesis of technical skills and creative sensibility”.

“A great deal of work happens between scouting and shooting and it can be a very tedious process. In the end, if any of that behind the scenes work shows in the final product, then I think that work has not been for nothing.

Q&A With Rajeev Jain, ICS WICA Indian Cinematographer On Film

Indian Director of Photography, Rajeev Jain, ICS WICA is a Cinematographer based in Mumbai, India. Rajeev specializes in shooting television commercials in the 35mm motion picture film format as well as HD Digital formats. Rajeev started in the early days of the music video revolution, before venturing into narrative filmmaking. His eclectic body of work includes Army, Badhaai Ho Badhaai, Carry on Pandu, Kadachit, Kalpvriksh – The Wish Tree, Mirabai Notout,  Pyar Mein Kabhi Kabhi and Rasstar .

QUESTION: Where were you born and raised?

RAJEEV: I was born in Lucknow, India. There was no seminal event that happened to me as a young person that made me want to be a cinematographer. It certainly wasn’t the quality of the light in Lucknow. I remember it was gray; was stained brown from the traffic and the sky dark. But as I say that, I realize the suppressed palette of the place did affect me emotionally. Saturates leaped out against that neutrals, as in a dream or a post-industrial nightmare.

QUESTION: What did your parents do?

RAJEEV: My parents were just ordinary folks. I don’t think they were particularly ambitious for me. Their main concern, I think, was that I wasn’t an embarrassment. We moved to the Etawah and then back to Lucknow, where I completed my education. My degrees were in Theatre Arts.

QUESTION: Did you have a career goal at that point in life?

RAJEEV: I wanted to be a writer, but like Mohan Rakesh I thought too much and wrote too little. That is too say I was more a reader then a writer, more academician then poet. I got very interested in semiology and structuralism (the study of how language encodes ideas). Initially I studied how the spoken and written language worked, but then became more interested in how codes worked in other languages, like the language of film. My interest in film language led me in a rather convoluted way to cinematography.

QUESTION: That’s interesting. Can you be a little more specific?

RAJEEV: I became very interested in understanding how in altering light, composition, camera angles and camera movement a cinematographer alters an audiences perception of the visual event, and thereby the audience’s emotional response. It is a difficult thing to quantify. I remember specifically thinking back to seeing Pather Panchali  when I was a child, and how its images had always remained in my imagination, not only for their pure beauty and sublime scale, but because they affected me emotionally, striking some unconscious but responsive cord. Later I saw Ray’s “The Apu Trilogy”. I had much the same response, but now my understanding was informed by my studies. It would be accurate to say that the cinematographers of these two films, Subroto Mitra, were those who most influenced my decision to become a cinematographer.

QUESTION: How did you make a connection between words and photography?

RAJEEV: In writing essays and articles about film. I realized that film images worked very much the way the spoken/written language works. You want to express certain ideas. There are culturally agreed and understood codas. These shapes, which we call letters, have agreed upon pronunciations. These letters form words. These words have agreed meanings. But it is of course arbitrary. The word “cat” has no innate “catness” about it, but on hearing this word the listener forms an idea in their brain. A cat. We can then add adjectives, and qualifiers, to make it a black cat, or an angry black cat. These words are codes, but not universal codes. They are specific to a culture that shares that language. Photography in some respects is a much more complex language system. The denotative (specific) or connotative (symbolic or implied) meaning of an image can be ambiguous, but also complex. Perhaps the best literary analogy is the Haiku poem. The fewer words have greater potential meaning — the more words that are added in longer literary forms, the more specific the meaning. An image offers both specific and non-specific meanings. It can work on many layers, conscious and not.

QUESTION: Did you have any mentors or were you totally self-taught?

RAJEEV: I’ve learned a lot from other DP’s. But it’s mainly from studying their work. Ashok Mehta and I talk a lot, and he’s given me a great deal. But I was self-taught. I studied art extensively, particularly early 20th century artists, and late 19th century artists. I learned a lot about light from them. I’ve stolen an idea from every good film I’ve seen, probably. Particularly the work of  Subroto Mitra (ISC), Ashok Mehta (ISC), Binod Pradhan, and Santosh Sivan (ISC).

QUESTION: Do you think of yourself as an artist, a technician or both?

RAJEEV: I think that’s a very important distinction. I don’t want to sound pretentious, but if you consider the nature of art, it is meant to give us new eyes to see the world. I want audiences to respond viscerally to what our intentions are for a film. I think that cinematography works very much like music in that it is difficult for us to measure or quantify why audiences respond to what we do. So it is an art. And its practitioners must therefore be artists.

QUESTION: Tell us more about your analogy of music and cinematography.

RAJEEV: I can sit in dailies and I can see the other people watching the film with me respond physically and emotionally to the images; but it is very difficult quantifying what they are responding to. If you watch people listening to music, they may also respond, but you would hard put to quantify why they are responding.

QUESTION: I’ll borrow a phrase from Subroto Mitra, who said, cinematographers are the authors of the images. But, that isn’t widely recognized.

RAJEEV: Part of the problem lies with our collective culture. Films are reviewed as theatre rather than as a unique art form. Critics will talk about scripts and performances. They talk about things they understand, but they understand them because their own cultural antecedents are principally in traditional theatre, though they may not recognize that. In this context, cinematography and music aren’t understood, except to say they were beautiful, because there is not a particular language developed within criticism for their description. Unfortunately, many reviewers don’t recognize how decisions made by the director, cinematographer and composer made a profound impact on the visceral reactions and intellectual responses of audiences. I’m not saying that cinematographers aren’t recognized. We are, at least within the industry, but not in the consumer press. I don’t think I read a single review that mentioned the significance of Subroto Mitra’s (ISC) decision to use 16mm film and other formats in certain scenes in The River, yet that made a profound impact. I consider that a significant artistic decision worthy of comment, in fact, essential to an audiences understanding of the film’s artistic treatment.

QUESTION: The collaboration between directors and cinematographers is unique.

RAJEEV: An important thing about that collaboration is that cinematographers have to integrate their vision for a film with the director’s vision.

QUESTION: Do the many music videos you shot influence you today?

RAJEEV: Not really. None of my films look like music videos, but the great thing about music videos was that we could experiment with different lighting, film stocks, lenses and filters. We would decide to try putting four filters on the lens, force process the film, or put a negative through a reversal film postproduction process to see how it comes out, and then try it again the other way around. It was a great way to learn.

QUESTION: Are there other cinematographers whose work you follow?

RAJEEV: I can mention all the obvious names, but the truth is I learn from all cinematographers. I can watch a television program shot by a 29-year-old cinematographer and find something that he or she did that is quite interesting. I’m constantly learning from other people. I still read every magazine and journal about cinematography and photography that I can lay my hands on. I still study art. I collect books of photographers and paintings. But it’s not just the good work that others do that I learn from. I learn from my own mistakes that I have had ample opportunity to make over these last 20 years. When my son Adam was in the seventh grade, he wrote an essay in which he was required to say who his hero was. He said it was me. “My father is my hero because he messes up all the time, and he lets me see it.” So I feel o.k. about messing up. I think that’s a hugely important lesson to learn. It’s o.k. to mess up, and you will sometimes mess up if you’re willing to push the limits of your craft.

QUESTION: Did any other mentors influence your thinking?

RAJEEV: I was a graduate from the University of Lucknow for a short while. That’s where I met Renu Saluja who was a really important mentor. She pointed me down some really interesting avenues as regards film theory.

QUESTION: How do you decide that something is a film you want to do?

RAJEEV: Early in my career anything that was offered was a film I wanted to do. Today, two things are likely to affect my decision. One is my first meeting with the director. That relationship is like a marriage only, oddly, much more intense. You have to decide whether you’re going to be able to get along with that person for the long time that you’re going to be together. I think I have gotten along well with over 90 percent of the directors I have worked with, and many have remained friends. The second thing is the photography. I’m always interested in doing new and different things. If the project is very much like what I have done before, and the script is not great, then it is less likely I will be interested. Sometimes a project comes along that is just so interesting it is impossible to resist.

QUESTION: What do you tell students and other young filmmakers when they ask you to share the secret of success? Do you tell them the truth about the odds?

RAJEEV: I think you have to be patient, and not let yourself believe that things are going to happen quickly. You need integrity and honesty about who you want to become. That way, even if you fail, you can fail with some dignity. If you compromise and fail, what do you have left?


Rajeev Jain, ICS WICA – Indian Cinematographer / DOP, Talks about … Kalpvriksh – The Wish Tree – Your Dreams Are Just a Touch Away

Like any artist, Rajeev was born with innate talent burnished by experience and cultural influences. Born in 1968, his first introduction to movie magic came while observing his uncle as a projectionist at Ravindralaya Theatre, Lucknow. “I remember sitting in that little projection room and watching films with my uncle,” the Indian cinematographer recalls. “It was like watching silent movies because you couldn’t hear sound in the booth. I just saw the images and would try to understand the story. My uncle would show us Charlie Chaplin movies, which, of course, were silent. There is no doubt that he put his dream of becoming a cinematographer into my heart.”  Originally from India, cinematographer Rajeev Jain ICS WICA studied at the Bhartendu Academy of Dramatic Arts in Lucknow, India.

The day after completing his studies, Rajeev went to work as a trainee on an anamorphic picture. He contributed to ten more movies as assistant cameraman before becoming a DOP. “From that moment on I considered the camera to be like a pen that you use to draw images,” he states. “Operating a camera is mainly about composition and rhythm. I also operated the camera for Bollywood songs. It was very primitive. While we were shooting, someone with a watch was timing every pan and zoom. He would say, ‘You have 5 1/2 seconds to do that zoom.’ It was a great lesson for me, learning to make each element of a shot work in that amount of time.”

I thought it was fascinating that film speaks a common language that everyone in the world can understand,” he recalls. “That’s especially true for cinematographers, because we are communicating with the audience non-verbally.” “To me, making a film is like resolving conflicts between light and dark, cold and warmth, blue and orange or other contrasting colours. There should be a sense of energy, or change of movement. A sense that time is going on — light becomes night, which reverts to morning. Life becomes death. Making a film is like documenting a journey and using light in the style that best suits that particular picture… the concept behind it.

The first important decision regarding the visuals was to shoot in anamorphic (2.4:1) format, as they had done on Kalpvriksh – The Wishing Tree. Rajeev explains that Manika likes to manipulate the subjective and objective viewpoints, sometimes in the same frame or even at the same time. In a simple example, a shot will begin on a subject, and then an actor will step into the frame, creating an over-the-shoulder shot, changing it from subjective––in which the viewer sees what the character sees––to objective. “One of my first suggestions was shooting Kalpvriksh – The Wishing Tree in Super 35 format,” Rajeev continues. “I felt that would give the film an edge that you don’t expect to see in Drama. I felt we could use the wider frame to create a claustrophobic feeling in the Shabana’s cave and more interesting composition showing Shabana in the world.” She, director Manika Sharma, designer Mansi and other members of the creative team discussed the possibilities for composing Kalpvriksh – the Wishing Tree in widescreen format, while drawing upon such visual references as another drama with an improbable theme. Though Manika storyboarded scenes, Rajeev utilized the sketches primarily as a communications tool. While shooting, the director remained open to veering from the storyboards to take advantage of unexpected opportunities. “Our production designer Mansi and costume designer gave us rich sets and costumes. Even though pushing two stops in the development sometimes is not as faithful to colours, their collaboration with this technique allowed us (especially in the dinner / fantasy sequences) to have a warm and yellow-looking scene, as if all that was lit was candle light,” he says.

In one dramatically lit scene, the school principal (Mahabano Kotwal) is sitting on the chair, looking out a window at the falling rain. “The whole scene was lit with one hard day light, an ARRI  6K,” says Rajeev. “We brought one light through the window. In order to light the door, we used a 4 by 4 mirror just out of frame to the right. The light is modulated by the rain on the window, and it stretched over to the book. We were ‘gathering chestnuts.’ It was serendipitous, and it all worked out with one light.” “For fill light on this movie, we used either very, very little or absolutely none,” he adds. “I find that with the film stocks we were using, if you’re overexposing a little bit, you can read the shadow detail incredibly well. When I saw the picture at Theatre on the 70-foot-wide screen, on the dark side, which is dead black, you can actually see hairs going into actors’ heads. I found it very interesting. I hope it works on a subconscious level for the audience.” Even though Rajeev knew that he could not shoot wide open at a T2 or a T2.8––because the Super 35 format chosen has a shallower depth––he still wanted this tool to give the story a greater stage presence. The bigger negative allowed him to push the envelope. And, he knew the grain would still be acceptable, if he stayed within the T2.8 to T4 ranges on interiors. “We could still use real sources and it wouldn’t be hard for our camera crew to follow focus,” he says confidently.

Like many of his colleagues, cinematographer Rajeev Jain has many concerns about changes that can be introduced to imagery during the post process of our electronic age. Such considerations only become intensified when one is dealing with a profusion of visual effects, which was the case with Kalpvriksh – The Wishing Tree. “I tried to make a concerted effort to stay as involved in postproduction as possible – which is sometimes tough because it’s ‘off to the next job’ – to work with the digital effects and optical house to ensure that there wouldn’t be any problems with the answer printing process. “You don’t see any lights in the master shot,” he says. “The master shot that we started out with was an impossible shot to light. We were jammed back in the corner with a 35 mm lens and there was a two-way mirror in the background. So we used a technique Rajeev Jain called a ‘driller.’ Simply put, you’re normally shooting horizontally across a room, and there are horizontal surfaces, like the tops of mantels and tables. If you come from directly overhead with a light and drill it down onto that surface, it works quite well. It doesn’t seem wrong. If light comes from a place that’s not normal or usual, people seem to accept the element that’s being illuminated without really figuring out what’s going on in terms of a source. Shadows go straight down, so they don’t end up looking strange or calling attention to the source. You see it on the table and then it comes off the table and lights the faces to a degree. It’s interesting because you’re not lighting the people at all. You’re lighting the environment that they’re in.

Anamorphic gives you the space in the frame to do that,” Rajeev says. “Manika has no problem filling an anamorphic frame in a contemporary picture. The story also has an elegiac aspect, so it seemed better to tell it without rock video cutting and frenetic camera movement. With the amazing cast, we knew this film would be about the performances. All those ideas––as well as ‘if it ain’t broke, don’t fix it’––factored into our decision to shoot anamorphic.” To determine a visually appropriate approach for the various moods needed in Kalpvriksh – The Wishing Tree, Manika and Rajeev chose to forego in large part the usual business of viewing other films during prep. “We used a lot of book work, referring to other kinds of artists working in two-dimensional forms, still photography and drawings mainly,” Rajeev relates. “This was a nice and different way to prep. Looking at movies to see how a particular sequence worked is great, but this approach started me on this incredible round of self-education, covering still photography from 1890 up ’til now. Now I can’t stop myself from buying the books. It is amazing how much visual reference source material is out there when you go back to basics. These were great jumping-off points for us.

The cinematographer also had to avoid telltale reflections of camera gear and personnel on the water surface. Along with a disciplined crew, that required careful light placement and camera angle selection. He discovered that putting the plastic at the right distance from the lens for tighter shots from Shawn’s point-of-view rendered slightly distorted images with a hint of grain, which amplified the look that he and director Manika desired. Rajeev also occasionally added reflections of characters and objects on the water’s surface to draw attention to the barrier separating the boy from other people. Sometimes the camera takes a subjective, spectator-like stance while other times the audience seems to share Shawn’s life-in-the-bubble experience. “There was no simple formula for deciding when to put the audience inside the bubble with Shawn. It was a question I asked the director for each shot in every scene. Are we with Shawn inside the bubble, or are we outside looking in?”

I didn’t believe this and obviously neither did neither director Manika Sharma nor producing company Rhombus Films. Another picture shot in an old house in Bollywood required us to actually operate two generators to power all of the lights. By the time we were done, however, I was able to shoot two-thirds of a long sequence by dollying along with the reflections seen in a long fishpond at night (Shabana’s cave). “I think it’s a visual reflection of the fact that one’s position in life can change almost instantaneously,” he says. “It’s extremely effective visually. It seems to work on a number of different levels. Using this different approach seems to freshen up all your overs and reverses. There’s a very interesting scene between Shabana and kid that was staged on an under the tree, and there’s a sense of disquiet and possible aggression. It’s very ambiguous, yet the spatial dynamics really underscore the feeling.”

There is a great advantage in working on location versus a studio. For example, the muslim house I mentioned had real marble floors. An experienced DOP knows how to utilize this reality something he can only simulate in a studio,” mused Rajeev. Reflectors were used extensively throughout the film, usually on the fill side to pick up some ambience or an edge of the keylight, and to redirect some of that light to the fill side. In most cases it was very subtle, however, just reflecting in the shine of the skin. “We used the reflectors as almost more of an eyelight,” Rajeev says. “There is such tension between these three characters. There are a lot of internal emotions beneath the surface of this movie. I felt that the audience needed to have access to the internal life of the characters, so I tried to keep eyelights going, especially when we’d get in close. Often it was done with a small reflector thrown in at the last moment.

One of the most important aspects included previsualizing the character of Shabana herself. “To nail her down, we started off by working on storyboards with an artist,” says Rajeev, “who drew terrific boards and is a brilliant artist as well. We told him our thoughts on how the Shabana looked and he set to work. Manika credits him with creating a good part of the final look, since his drawings were used to communicate to hair, make-up and wardrobe departments what Manika wanted for his look.” Part of Cave ‘ guise involved the use of a wig that often obscured the actor’s face – which on occasion made for a less than ideal lighting situation. “During hair and make-up tests, I saw that while Shabana looked amazing, they were going to be difficult to deal with for 2 weeks. She had a big headgear and a huge costume also, so there was a question of whether we were ever going to be able to really see her. I told Manika that at times she was on the verge of becoming a headgear with hair. Being very sensitive to the needs of actors, Manika didn’t want to get the hair out of her face, so we tried not to mess with her and solve it on our own.”

On Kalpvriksh – The Wishing Tree, Rajeev opted for Vision 200T (5274) for everything but night exteriors, explaining that the smooth grain of this non-intrusive emulsion records deep blacks, true colours and a wide tonal range. Rajeev shot day exteriors on Eastman EXR 100T (5248), using an 81 EF filter to half-correct and retain the cool blue of winter. Daylight-balanced 250D (5246) Vision stock was selected for day interiors, while he exploited Vision 500T (5279) on most night interiors and exteriors. Since shooting, the cinematographer did extensive tests with different materials to search for the right thickness and translucency. “It’s the same as using a cheap filter on the lens and we realized that any distortion or loss of focus would be magnified when the lab optically ‘squeezed’ the images into the 2.40 aspect ratio. In addition to selecting the right plastic, it was important for us to record a strong negative with properly focused images. We were shooting through filters at least 90 percent of the time.

While shooting forest scenes with the lead actor, Rajeev employed what he calls a Nine-light sandwich. “Others might call it a book light, but in any case, we were bouncing a Nine-light Maxi Brute off a piece of bead board, then letting the light pass through a diffusion frame usually fitted with either 216 or light grid. The resulting soft light striking He had a very beautiful quality, plus some serious pounding of foot-candles. This soft light had enough to punch through Shabana’s hair, and I could control the amount of light just by clicking off various globes. But it also required a lot of flagging and took up much space.” On other occasions, Rajeev illuminated the Forest by directing the light from more extreme angles. “I came in much lower and more frontal with his key than I would have normally, but the approach succeeded in letting her hair fall naturally, so, while it was tough, it worked. It did make me thankful for the scenes when Shabana is dressed up with her hair pulled back, since I could get a nice edge on her through side lighting.”

When kids arrive at tree before the climax, production established the famously setting by filming the actors in front of blue screen and green screen. Those elements were digitally composited with stock background plates culled from Ladakh. Harry and Arjun from Red Chillies’ in-house facility supervised the visual effect shots. “I don’t think these scenes could be any more believable if we had travelled to Ladakh to film them live,” marvels Rajeev. “How can you miss when you begin with 70 millimetre background plates? We matched everything to those plates.”

There were a few daylight scenes in there, so we decided that cracks in the cave roof let hard sunlight in,” he continues. “I put some signs of this in on the walls behind the actors and let some light bounce off the floor. For the most part though, the cave scenes are set at night – lit by firelight or lanterns or the imaginary glow coming off, which isn’t plugged into anything. For the Water, I chose to use a slightly blue key light on the actors but didn’t put any flickering movement in because I felt that it was distracting. The only flickering on their faces comes from the actual water. What I did add was a slight flicker effect on the walls, which I found to be more pleasing while lending a bit of realism.

Front-end lab work was done by Gemini, which provided film dailies. “After her experiences in the commercial world where you work on a monitor all the time, Manika loved watching film dailies – it opened up a new world for her,” says Rajeev. “For example, there is a shot of a Shabana delivering a line at the end of a long shot under the tree. When Manika saw it played back on the monitor, she didn’t feel good about it. She seemed too small in the shot. She remarked that maybe her line would have to disappear in editing. After some time, Manika saw it projected on a big screen and loved the shot.” When asked if such glad tidings extend to the on-screen drama as well, Rajeev smiles, and says, “Would you be surprised if I said there is a happy ending?”

The cinematographer does not use diffusion on the camera lens, instead preferring to soften his subject as needed by selectively affecting the light source. “I’ve never liked it in films when the overall resolution of the lens changes visibly during cuts in to a close-up during a scene,” he declares. “The whole business of putting heavy diffusion in front of the lens to make [an actress] look ‘better’ is just crazy to me. I don’t want to see the cinematographer’s effort to make someone look good. Instead, I want to see the character look well, and I think that happens when the actor is both integrated into the scene properly and lit in a flattering manner. My solution is to soften at the source of illumination, and let the image be as clear as possible. Some people think Primo lenses are too sharp, but I love all that perfection. When you combine years and years of research and development on the film stocks from Kodak, with what has gone into these Arri lenses and the lab work at Gemini, and then put all that into a film being projected properly on screen, the result is such awesome perfection! So I take a lot of pride in delivering a really perfect negative. We may want to mess it up later, and that’s fine, but I believe in starting with something well-exposed and sharp.”

With all the many visual treatments necessary to depict the Shabana’s perceptions, Rajeev and Manika needed to settle on parameters early on for the more elaborate manifestations requiring visual effects. “We’re telling a story that is seen in part through the eyes of a crazy person,” offers Rajeev. “She’s an incredibly brilliant crazy person, but crazy nonetheless, so there’s a sense of the fantastic about these visions, but they are not in the tradition of science-fiction movie effects. We had submitted a wish list of visual effects for budgeting, but it came back priced four or five times higher than we hoped. This meant we had to pull back, and that decision ultimately worked better for the film we wound up making. Most of the effects are things we did ourselves, with practical light cues, or as a combination of those cues with digital enhancement.”

I’m glad that this movie’s look seems interesting to the eye, but I’m also pleased that the visuals don’t supersede the story. Early reviews are praising Shabana’s performance as one of the best she’s ever given, so it wouldn’t make sense to do anything that took away from that aspect. Lots of films now seem overwhelmed with effects, but Manika isn’t one to tell that type of story.

When Indian Cinematographer Rajeev Jain, ICS WICA is asked if, he would do anything differently today, the master artiste replies, “Ninety-nine percent of the time when I see my old films I am serene. It was the best I could do at that time of my life with what I had to work with. What’s important is your life and how you evolve as a human being and as an artist.


Kalpvriksh – The Wishing Tree – Yours Dreams Are Just a Touch Away

Two-time Winner Indian Cinematographer Rajeev Jain ICS WICA Creates Special World of Light, Shadows in his recent film Kalpvriksh the Wish Tree Yours Dreams Are Just a Touch Away

Rajeev Jain has a way of seeing that takes an image to its outer limits. In his years as assistant, electrician, grip, and in the past 16 years as director of photography, he has developed a visual sensitivity and expertise.

Rajeev takes his inspiration from directors such as Satyajit Ray (Pather Panchali) and cinematographers Ashok Mehta, ISC (36 Chowrangi Lane) and Binod Pradhan (Parinda) for their use of colour and lights and shadow to amplify the emotional content of stories. I find the ability to allow the characters to operate in shadow is a real art, he says. Ashok Mehta allows his characters to function in darkness. He lights everything so the blacks are really rich – yet you can see everything.

His work in Kalpvriksh, a film by director Manika Sharma exudes a period quality with an edge. Rajeev was especially intrigued by the non-narrative, fragmented script, because it offered a myriad of visual possibilities. Shooting primarily on Kodak to give contrast to the exterior scenes, Rajeev experimented with warm and blue filters to get the look he wanted. The result is a stark, almost surreal journey into the minds and actions of the film’s bizarre characters.

Up-front collaboration on any film is essential, Rajeev emphasizes.

It’s important for me to go through the script scene by scene with the director Manika Sharma, Rajeev says, to try to see what is in her mind. I want to know what the scene is saying, who the most important character is at that moment, and how the characters move through the scene. We also share photographs and movies, which gives us a visual base to work from.

A graduate of Bhartendu Academy of Dramatic Arts in Drama and a beginning still photography, Rajeev took a course in filmmaking. Intrigued by the film medium, he saw the possibilities of combining his interests with film in commercials. Searching for a way to learn camerawork, he offered his assistance (unpaid) to cameraman Subroto Mitra to learn the craft.

He taught me about his SR package, what the lenses were, and how to load magazines, he said. Then he started me by working on Shyam Benegal’s documentary on Nehru.

In 1996, Rajeev got the first opportunity to shoot a film, Army, with Mukul Anand. After eight weeks of stressful shooting – his every move was watched.

After 6 more features, then came Kalpvriksh in 2007, allowed Rajeev to explore a new visual technique to add nuance to the story. The film includes a dreamlike journey that Rajeev wanted to give a dreamlike quality. We tested filters and a bleach bypass process to give that section of the film its own special look,” he says. “Instead we decided to use a swing tilt, a view camera attachment that allows the operator to change the plane of focus. It let us throw different parts of the frame out of focus, which is difficult to do in a wide shot because of increased depth of field.

Rajeev is currently finishing production on Carry on Pandu, a feature being shot in Mumbai, as well as doing Commercials.


Indian, Cinematographer, Dop, Kalpvriksh, Rajeev, Jain, Wishing, Tree

Surendra Rahi was born and raised in Delhi, India, surrounded by pet animals. After twenty years as a farmer, he turned to teaching and then to writing children’s books.
Rahi writes mostly about animals: farmyard fantasy, as he likes to call it, often about pigs, his special favorites. He enjoys writing for children, meeting the children who read his books, and knowing that they get enjoyment from what he does.
Among his well-loved books is Kid, The Gallant Kid, which was recently made into a major drama, and was nominated for an Award.
Surendra currently lives with his wife in a small cottage, about three miles from the house where he was born.

Find More Wizardry Articles

Powered by Yahoo! Answers