His lens bears testimony to several pressing moments that have gripped the country’s conscience, which have been effectively captured. Having written over 18 books, been featured internationally, and awarded the Padma Shri, one of India’s most iconic photographers, Raghu Rai, talks to ANANYA BORGOHAIN about his journey of 50 years
Photographer Raghu Rai has been privy to most of the riveting — and critical — moments modern India has faced. His image of the burial of an unknown child in Bhopal in 1985 went on to become the symbol of the Bhopal gas tragedy, his photos of Indira Gandhi, Satyajit Ray, Balasaheb Thackeray, Mother Teresa, the Dalai lama etc have been some of their most iconic images. Having covered wars, riots, celebrations, dissent, harmony alike, Rai’s career of five decades is no less than a chronicle of India’s socio-political trajectory.
Born in 1942, his family migrated from Jhang in Punjab, Pakistan. He became the chief photographer of The Statesman in 1966 and that’s where his career started. Having worked in other organisations in pivotal photography posts, he has also been on the jury for World Press Photo, and twice on the jury of UNESCO’s International Photo Contest. He has written more than 18 photography based books and has also been part of documentary films. His photographs have received international coverage and his photo-essays have appeared in reputed newspapers and magazines such as The New York Times, The Independent, Time, Sunday Times, life, GEO, Newsweek, and The New Yorker. He was awarded the Padma Shri in 1972. In 1992, he won the Photographer of the Year award from the US.
Based in Delhi, Rai recently released his newest book, Picturing Time, in which he has put together his most fascinating photos. In a freewheeling interaction, he narrates his historic journey.
Is it true that photography happened to you accidentallyIJ
I was a civil engineer and had a Government job, but I was least inclined towards it. So I came to live with my brother who was then the chief photographer at The Indian Express in Delhi. Kishore Parekh was the chief photographer at Hindustan Times and I worked with him for a year, after which I joined Rajinder Puri at his evening paper named lok. Unfortunately, in just a few months lok ran short of funds. My parents didn’t know I had left HT. I escaped to Corbett Park for a week. Finally, when The Statesman’s chief photographer was retiring (in the 1960s), I applied for the job and got it.
But when I was doing nothing, I decided to accompany one of my brother’s friends, Yog Joy — who was a photography enthusiast and also a landowner — to his village, which was 50 km from Delhi. I asked my brother to lend me a camera; it was an Agfa Super Silette. In his village, I noticed a baby donkey with a strange appeal. As I moved closer to take a photograph, the donkey started running. I chased him to amuse the children nearby but after a point the donkey was genuinely exhausted and stopped. That is when I took a close-up shot in soft focus. That was my first photograph. My brother sent it to The Times in london, and Norman Hall, who was then the picture editor, printed it as a half page photo for the weekend with my byline. With that, my identity as a photographer began.
And yet you have been credited with some of the most iconic photos of modern India. Was that difficult to attain, given that you were not trained for itIJ
I think the basic techniques are configuring light and focus, clicking the picture, processing the film and printing it out. These were quick, natural aspects that I cultivated with ease. What was most crucial was to have a vision, the inner conviction in an image. If you do not have a perspective and don’t practise it, then there’s no point in pursuing photography. Creativity goes beyond ideas, thoughts and philosophies. Eyes and mind could reproduce a situation that already exists but eyes and heart could feel it and capture it more powerfully.
How did you keep photography and photojournalism separateIJ
How photojournalism differs is that you have to listen very carefully to your editor’s instructions. You have to abide by the editorial guidelines. But in my case, once I get into the situation, I tend to forget it all and only rely on my feelings. It’s important to have fire in you. Over the years, when someone asked my father what his sons did, he would say, “I have four sons, two of them have gone photographers!” in the same vein as “have gone mad”!
A very frequent dilemma for photographers is also whether they capture images of a dangerous situation or give it up to rescue someone in need. Famous example would be of Kevin Carter who won the Pulitzer for his photo of a vulture approaching a famine-stricken child in Sudan, but he committed suicide soon after in guilt.
Well, my first decision would be to bring it to the authorities’ attention. For instance, I will call the cops in an edgy situation. I am not a social worker, photography at that moment will continue to be my priority. But in case I am the only person at that time who can rescue another person, then I will give up my camera and do the needful.
What has been your most memorable incident in your journey as a photographerIJ
Oh there has been so many that it’s nearly impossible to pick just one. It has been over 50 years since I started. In my book, I have tried to showcase some of my finest works. I remember meeting Mother Teresa for the first time; I also remember covering the Bangladesh war (1971), the Emergency, and many such poignant moments in Indian politics.
This book carries snippets about my interaction with Jarnail Singh Bhindranwale whom I used to call paaji. His followers would visit him at the Akal Takht inside the Golden Temple and throw down coins in devotion. After they left, he would pick them all up and put them in his pocket. I also remember meeting His Holiness the Dalai lama for the first time; taking the photo of the burial of that unknown child in the Bhopal gas tragedy; clicking an image of a very calm Ayodhya just a day before the demolition of the Babri Masjid. Then I also covered the Kargil war. Why they were popular was because they were all authentic and straight from the heart.
Why do we not hear more of women in this fieldIJ
Women are doing well. At times, women have their own inconveniences, I think. While the advantage is that they can enter almost anywhere (whereas men are often disbarred), their disadvantage is that our social conditioning is such that women tend to feel very conscious and so they become apprehensive in becoming paglas in public. But then we have had women like Ketaki Sheth, Dayanita Singh etc who have excelled in this field.
Can the visually impaired be good photographersIJ
They are limited to sound, touch, and feel, besides occasional workshops and technical assistance, but their hearts are far gentler. They visualise an image with their mind. Their ideas are uncorrupted.
What do you think of the young photographersIJ
I think technology is now so enhanced and the younger lot is well supported by many facilities to produce good photographs. I could never go back to film camera after I started using digital cameras!
What camera do you useIJ
I use Nikon D750 and D810 with a medium zoom lens. I don’t carry too many equipments with me; just one lens. And I usually do not indulge in prior programming.
What are your suggestions for the young photography enthusiastsIJ
Choose your profession with care and sensitivity. It should suit your temperament and you should be at it all the time. Mann ki aankhon se dekho, don’t take those good pictures that others have already taken. Do not carry too many items with you on the job. look ordinary, do not grab attention. Technological experimentation could be creative but know how not to ruin the charm of a photograph.
Most of your popular photos seem to be desaturated; any particular reason why you prefer black and white imagesIJ
Actually, back then, there were no photographs with colours at all!
What interests you other than photographyIJ
I like to spend time with my family. I like gardening and am very fond of classical music.
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