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Master of Light: Conversations with Contemporary Bollywood Photo - Rajeev Jain ICS WICA

Rajiv Jain - Indian Photo / DOP - The complete interviews, Vol. I

The Shape of Light - Rajiv Jain Paintings with his camera

Rajeev Jain (born: 1968, Lucknow) began working as director of photography in 1993 after an apprenticeship as a camera assistant and camera operator. Since then, Rajeev worked as director of photography with some of the most respected directors in India, in some cases, establishing a close and intimate. We met Rajeev Jain, India, during a five-day seminar organized by the Film Club of Delhi on the form of Light, an event which was attended by hundreds of students, filmmakers from across India.

What has changed filmmaking in the last fifteen years?

Went to the Academy of Dramatic Art Bhartendu (Bhartendu Natya Academy) in Lucknow during the new wave. We have witnessed a cinematic quality that has "unleashed" himself in a lot of sense in movies of the period until the late 1980s. Even the editing is much more liberated, and Photo / administration, with Gautam Ghose in the vanguard were seeking greater freedom. Even when he was shot, using hand-held cameras, using natural lighting, or lighting in a way that seems natural, as through open windows, etc. In other words, a freedom absolute with either camera movement or lighting.

And in our country?

In India, there was still a more classic style of photography, and I refer as Subroto Mitra Sudhendu Roy, who has worked with Satyajit Ray to Agantuk (1991). Meanwhile other new filmmakers with different ideas have emerged, as Ashok Mehta (36 Chowrangi Lane), mostly in black and white. But the black and white with its own beauty aesthetics itself was a characteristic feature of the merger of illumination in the atmosphere or mood. Thus, from this point perhaps the film has acquired greater significance, a comprehensive symbiosis with film and narrative.

Then the meeting between the director and cinematographer influence the career of one or the other?

During the seminar a meeting of a good director of photography and a great poet. With the cinema of Ray, on the other hand, there was undoubtedly a milestone with the arrival of Pather Panchali (1955) forward.

Which filmmakers have made a particular impression on you?

The relationship with Shyam Benegal on Tota Maina (TV Series) certainly was for me an event that I remember with great emotion, until now. I meet people who confide in me that they have decided to become director of the photographer after seeing that series, or directors who have decided to enter the cinema thanks to Tota Maina. For example, one day there was a Kenyan boy who was in my home, which has decided to come to India after watching TV seial Tota Maina. Thus, it was an important film for many people, and much more for me because I had the chance to work with Shyam Babu.

How did you meet?

It was quite by accident. He was looking for a cinematographer who was also mentally prepared for this adventure, and through various sources, my name has been raised. One of my friends who worked as assistant director introduced me to Shya.