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Prashanth Vishwanathan: Dynamic Storytelling

Prashanth has always seen and photographed in colour, which he thinks is much more complicated than shooting in black and white. Photograph/Prashanth Vishwanathan

Prashanth has all the time noticed and photographed in color, which he thinks is a lot more difficult than taking pictures in black and white. Photograph/Prashanth Vishwanathan

While in dialog with Prashanth Vishwanathan, Conchita Fernandes reveals out how his pictures breathe lifestyles into the other vistas of India.

Sometimes, the most productive issues in lifestyles come within the type of sudden applications. You don’t actively search it, however the second ultimately comes round and envelops you. Prashanth Vishwanathan too, stocks a identical tale.

In 2006, when he was once interning within the Sales division at Reuters, he took place to bump into the company’s pictures unit. He describes the instant as being mesmerised by means of all of the pictures in entrance of him.

Learning From the Best
Later, on the finish of the internship, Prashanth made up our minds to take a daring step. Instead of attempting to find a role, he picked up a camera.

He realised the significance of finding out from the most productive early on, and so, he made positive to wait workshops by means of the likes of David Alan Harvey and Swapan Parekh. He additionally skilled beneath a number of senior photographers like Arko Datta, and it wasn’t lengthy earlier than he realised that this was once the career for him. “18 months later, I joined as a stringer for Reuters cord provider, and feature been freelancing since then,” he says. Apart from this, he additionally actively contributes to Time, Newsweek, The New York Times, International Herald Tribune and a number of other different publications.

According to him, a memorable photograph is one that freezes the ever fleeting moment, which is then chiselled with an artistic eye, and later filtered through the experiences and motivations of the photographer. Photograph/Prashanth Vishwanathan

According to him, a memorable {photograph} is one who freezes the ever fleeting second, which is then chiselled with an inventive eye, and later filtered throughout the studies and motivations of the photographer. Photograph/Prashanth Vishwanathan

His Third Eye
When he isn’t taking pictures for assignments, Prashanth prefers documenting the day by day backward and forward of lifestyles within the quite a lot of towns in India. Since he travels 10–15 days a month, he reveals himself drawn against the unexpectedness of on a regular basis lifestyles.

The cell phone, he mentions, lets in him to simply merge with the group. “As a side road photographer and a photojournalist, one needs to be invisible in order to not disturb the topics and the environment. Cellphones are small and folks don’t take you critically. Fortunately, over time, the standard of the camera at the instrument has stepped forward vastly. So a lot so, that lately, I elevate my telephone all over the place and shoot with it even on skilled assignments.”

“When I began out, I actually admired the paintings of Robert Capa and Henri Cartier- Bresson. But as my adventure advanced, I found out the works of Elliott Erwitt, James Nachtwey, Sebastião Salgado, and others. They have all influenced my paintings and the way I shoot and. Among the Indian masters, I’m deeply in love with the color paintings of Raghubhir Singh.”

Planting the Seed
However, his pastime in pictures didn’t simply spur from a possibility come across. His youth had so much to do with the way in which he makes photos lately. When requested how, he selected to cite Ansel Adams, “You don’t make {a photograph} simply with a camera. You convey to the act of pictures all of the photos you may have noticed, the books you may have learn, the tune you may have heard and the folk you may have beloved.” To this he provides, “I’ve all the time been within the financial divide of guy, his interplay with nature, and his overlook for human rights within the quest for construction. I’ve to credit score the Sri Sathya Sai Institute of Higher Learning, for instilling in me the foundations of equality and team spirit.”

Priceless Advice
One factor that Prashanth cherishes essentially the most is a work of recommendation given to him by means of Arko Datta, “While strolling in the street, whilst you flip round and take a look at one thing two times, know that there’s a doable there for {a photograph}.” And so, he assists in keeping his eyes peeled for the faintest presence of irony, satire, humour, love or thriller, in the street.

A Little of Everything
What is actually discernible about his cell phone paintings is its simplicity. Keeping in thoughts what he does for a dwelling, I love that his photos don’t scream of the run-of-the-mill journalistic paintings that almost all people are used to seeing. In reality, there’s a sure sobriety to his photos, which don’t intend to surprise or galvanize their audience. Adding to this, his personal remark at the pictures, both within the type of fascinating anecdotes or poetic verses, wraps it up completely.

“One will have to now not keep away from clichés. Shoot as a lot of it as you’ll, and get them from your device. This will mean you can develop as a photographer.”

Accelerating Upward
In a span of just about a decade, Prashanth has traversed a number of thrilling roads. In 2008, his {photograph} of the Mumbai assaults seemed at the quilt of Newsweek mag, an enormous accomplishment for any individual who simply began out.

He likes that the cellphone does not threaten or interfere with people or their emotions. Photograph/Prashanth Vishwanathan

He likes that the cell phone does now not threaten or intervene with folks or their feelings. Photograph/Prashanth Vishwanathan

However, so far as perfecting his taste is worried, he nonetheless thinks that he has a protracted method to move. “In the start, I took some time to know what’s it that I love to shoot, and shoot it smartly. The adventure nonetheless continues, and I’m nonetheless understanding my topics and my taste. But I believe I’ve advanced a bit of within the adventure.”

Tips on Making Everyday Photographs of Your City

  • Be Observant: Sometimes in essentially the most chaotic surroundings, you will see endless solitude. It is just a subject of seeing the connections proper in entrance of you.
  • Experiment as Much as Possible: Just as a result of they’re side road pictures, it does now not imply that you can not experiment with bureaucracy which can be summary and surreal.
  • Find Humour within the Everyday: The side road is dynamic and so, there may be all the time one thing humorous going down always. Make positive that you simply’re there to seize it.

About Prashanth Vishwanathan
His paintings makes a speciality of documentary pictures and comprises occasions, weddings, political activism, visible sociology and information photojournalism. Some of his favorite motion pictures are Turtles Can Fly, City of God and Taxi Driver. He is recently studying books by means of Reza Aslan, P Sainath and Amartya Sen. His all-time favorite tv collection are Twin Peaks, The X-Files and Breaking Bad

Find Prashanth right here:

• Instagram: @prashanthvishwanathan
• Website:
• Facebook:

This article at first seemed within the March 2015 factor of Better Photography.

Tags: Interview, Perspective, Mumbai, india, Arko Datta, photojournalist, David Alan Harvey, photographer, time, Swapan Parekh, Documentary, street, Conchita Fernandes, Advice, Cellphone Profile, The New York Times, Newsweek, March 2015, Prashanth Vishwanathan, Reuters, International Herald Tribune

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