The Timeless Tapestry of Hoysala Sculptures: Stories Etched in Stone

The Hoysala temples, located in the centre of Karnataka, are silent storytellers. The elaborate sculptures that adorn their exterior walls tell timeless and beautiful tales. These walls are more than just stone constructions; they are canvases where art and devotion coexist and where mythology, gods, and the human soul all dance through the ages.

Walls as Canvases of Devotion

The exterior walls of the Hoysalas’ temples were much more than just defensive structures. They served as a sacrifice, a stone-carved dedication, and a tapestry of spiritual symbols and holy myths that adorn and protect the temples. Every corner speaks a legend, and every wall recounts a tale. Thus, the Hoysalas left behind more than just temples in their intricate sculptures; they also bequeathed a legacy that will inspire future generations with its message of faith and inventiveness. In this blog, I will share a small set of the sculptures from these walls!

Narayana Seated on Adishesha: Divine Balance and Poise, : Lakshminarayana temple, Hosaholallu

The sculpture of Narayana seated on the seven-headed Adishesha at Hosaholalu radiates a sense of calm authority. Captured with a Nikon 24mm tilt-shift lens using the tilt functionality, the shot emphasizes the depth and detail of Narayana’s divine posture. Narayana sits gracefully, with one leg resting on the ground and the other comfortably positioned on the coiled body of the divine serpent. His left hand rests gently on his knee, adding a relaxed yet powerful posture of authority to his form.

Shot with Nikon 24mm Tilt Shift, The tilt-shift effect enhances Narayana’s balanced poise, isolating the intricate sculpture against the background and drawing the viewer’s focus to the sculptural details. This composition captures Narayana’s balanced poise, embodying his role as the preserver. The sculpture stands as a testament to the devotion and skill of the artisans who brought this vision of divinity to life, transforming stone into a symbol of cosmic order and serenity.

“Lakshmi Narasimha: Divine Grace at Hosaholalu” : Lakshminarayana temple, Hosaholallu

The sculpture of Lakshmi Narasimha at Hosaholalu captures a scene of both gentleness and strength. Goddess Lakshmi sits gracefully on the lap of Lord Narasimha, her serene expression contrasting with Narasimha’s powerful presence. The intricacy of Lakshmi’s delicate features and Narasimha’s fierce, protective form symbolizes their harmonious union, embodying both compassion and valor.

Shot with a Nikon 24mm tilt-shift lens using the tilt functionality, the image draws focus to the divine duo, enhancing their three-dimensional relief and depth against the intricately carved stone backdrop. This perspective sharpens the details—the finely carved jewelry adorning Lakshmi, the lion-like intensity in Narasimha’s posture, and the layers of symbolism in every curve. The tilt effect allows for a unique emphasis on their expressions and fine craftsmanship, celebrating the beauty and complexity that Hoysala artisans sculpted into each detail.

Airavata and Indra: A Majestic Union in Stone : Lakshminarayana temple, Hosaholallu

The sculpture of Airavata carrying Indra is a breathtaking representation of divine power and grace. Airavata, the mythical white elephant is carved with majestic details—its muscular frame adorned with ornamental motifs, capturing the grandeur and elegance of this celestial creature. The intricacies of the adornments around its body highlight the skill of the ancient craftsmen.

Seated atop Airavata is Indra, the king of the gods, holding his vajra (thunderbolt) with a regal posture. His divine armor and robes are carved with precision, flowing gracefully as if caught in a celestial breeze. Indra’s expression, one of authority and calm, signifies his role as the protector of the heavens. The union of Airavata and Indra in this sculpture symbolizes strength and leadership, portraying the bond between a god and his vahana (vehicle).

This depiction, with its attention to fine detail and balance, showcases the artistic excellence of Indian sculptors from the era, capturing the divine connection between the deity and his celestial mount.

Lakshmi Narayana: Divine Grace and Balance in Stone Lakshmi Narayana: Divine Grace and Balance in Stone

The sculpture of Lakshmi Narayana captures a scene of divine harmony and elegance, where Lakshmi sits gracefully on the lap of Narayana (Vishnu). The depiction showcases a moment of celestial unity, with Lakshmi resting comfortably, her serene expression mirroring the calm and composed demeanor of Narayana. Her feet are delicately placed on a lotus, which is sculpted to appear gently bent, as if bowing under the weight of her divinity, emphasizing the balance between grace and power.

Narayana is carved in a protective and loving posture, his hand supporting Lakshmi while his other arm rests confidently. The intricate details of their attire, from the delicate jewelry to the flowing garments, display the artistry of ancient Indian sculptors. Lakshmi’s crown is adorned with fine floral patterns, while Narayana’s crown is regal, reflecting his status as the preserver.

Gaja Lakshmi Narayana: The Divine Couple with the Royal Elephant : Lakshminarayana temple, Hosaholallu

The sculpture of Gaja Lakshmi Narayana depicts the divine union of Lakshmi and Narayana with an added touch of grandeur and symbolism. In this magnificent carving, Lakshmi is seated on Narayana’s lap, her feet resting gracefully on an elephant (Gaja). The elephant, a symbol of prosperity and strength, supports the goddess with a gentle posture.

Narayana, seated in a protective and commanding position, gazes ahead with a composed and serene expression, while his arm holds Lakshmi gently. The jewelry on both deities—cascading necklaces, armlets, and intricately detailed crowns—demonstrates the fine artistry of the sculptors, capturing the elegance and divinity of the pair

Garuda’s Divine Flight: Narayana and Lakshmi Carving: Lakshminarayana temple, Hosaholallu

In this exquisite sculpture from 1250 AD, Garuda, the mighty bird vehicle, carries Narayana with grace and strength. Seated on Narayana’s lap is the Goddess Lakshmi, radiating divine serenity. The intricate details of their jewelry catch the eye—delicate chains, earrings, and armlets, all meticulously carved into the stone, showcase the brilliance of Indian artisans from this era. Each piece of jewelry, whether it’s the layered necklaces or the ornamental crowns, reveals a mastery of craftsmanship, making the figures appear almost lifelike despite being etched into solid stone.

The artist’s ability to bring out such fine detail in the jewelry, clothing, and expressions of the deities reflects the artistic and spiritual sophistication of the period. This sculpture is not just a portrayal of divinity but also a celebration of the skill and devotion that went into temple art, leaving a timeless legacy of Hoysala brilliance.

Divine Artistry: The Dancing God of Somnathapura : Channakesava Temple , Somnatapura

No photograph can truly do justice to the exquisitely carved dancing god at Somnathapura, a masterpiece that was created around 1268 AD, over 750 years ago. The details are breathtaking, with even the finest pieces of jewelry intricately sculpted into the stone. Each curve and contour brings the divine figure to life, showcasing the incredible skill and craftsmanship of our Indian ancestors. This stunning piece of art leaves one in awe, wondering about the dedication and talent that went into its creation.

Somnathapura is not just a temple; it’s a testament to India’s rich cultural heritage and artistic brilliance. For anyone passionate about art, history, or spirituality, this place is a must-visit. It stands as a heaven for art lovers, where every stone tells a story of devotion and artistic mastery.

intricate Cloth Designs of Hoysala Sculptures, Lakshmi Narashimha temple , Nuggehalli

The intricate cloth designs carved by the Hoysala artisans at the Nuggehalli Temple glorify the opulence and elegance of 12th-century India. Each garment sculpted in stone appears to flow naturally over the figures, showcasing an array of floral motifs, geometric patterns, and ornate weaves. The borders of these garments are adorned with symmetrical rows of tiny beaded patterns, giving the appearance of embroidery that seems to defy the rigidity of stone.

The artisans paid meticulous attention to every fold and pleat, creating a sense of movement and texture that breathes life into the stone. The delicate engravings along the borders and the layered textures of the clothing demonstrate the weavers’ art transmuted into stone, making it appear as if these celestial beings are draped in rich fabrics. The interplay of light and shadow on these carvings emphasizes the depth and three-dimensional quality of the designs, making the garments look almost tangible.

These exquisite carvings stand as a tribute to the grandeur of Hoysala artistry and the cultural richness of the era. By immortalizing the textiles of 12th-century India in stone, the sculptures at Nuggehalli glorify the kingdom’s artistic heritage and mastery, offering a timeless representation of divine beauty and elegance.

Mahishasura Mardini and the Graceful Apsara: Nuggehalli Sri Lakshmi Narasimha Temple

The 12th-century AD sculpture of Mahishasura Mardini (Durga) at the Nuggehalli Hoysala Temple is a stunning depiction of divine power. Durga is shown stabbing the demon Mahishasura with her trident in one hand, while the other hand holds a sword with the lifeless body of a foe hanging from its tip. Her feet are firmly pressed against the bull that Mahishasura is riding, asserting her dominance and triumph over evil. Every detail of her fierce expression and dynamic stance captures the intensity of this divine confrontation.

In sharp contrast, the adjacent sculpture of the Apsara exudes an aura of serenity and elegance. She stands in a relaxed pose, completely devoid of any clothing or ornaments, her form flowing naturally as she plays with a delicate creeper in her hands. The lack of adornment draws attention to her ethereal beauty and graceful curves, symbolizing the gentle side of divine femininity.

This juxtaposition of Durga’s formidable power with the Apsara’s tranquil beauty exemplifies the duality of divine femininity, captured masterfully by the Hoysala artisans at Nuggehalli.

Legacy of Art and Spirit

“The sculptures of Hoysala temples are more than relics; they are reminders. They remind us of an age when art was as much a part of worship as prayer, when stone was not merely hewn but transformed into something that could transcend time. Each carving, every motif, is a chapter in a story that the Hoysala artisans crafted to outlast even the temples themselves, offering us today a window into their world, a glimpse of life captured in the dance of shadow and light across stone.

In the presence of these sculptures, we are reminded that art, when made with devotion, lives on forever. The Hoysala walls stand strong, not just as ancient structures but as immortal testaments to the spirit of a people who saw beauty in every inch of stone and who carved their dreams and their gods into the heart of the temple walls.”

if you like the blog, you can leave a comment on Home page.

Cheers ,

Goutham Ramesh

25/07/202425/07/2024

Photographing Monuments and Sculpture at Hampi During Monsoon

Reflections of Devotion: Hanuman Temple Amidst Monsoon Clouds

A Memorable Drive from Bangalore to Hampi

Traveling to Hampi in the monsoon brings together the excitement of seeing historical sites and sculptures with the delight of preserving their enduring beauty. In Bangalore, Harish, GR Pandith, and me, Goutham Ramesh, embarked on our journey in a Suzuki Jimny, full of anticipation for the scenic journey that lay ahead.

The Road to Hampi

Bangalore and Hampi are about 350 km apart, and depending on traffic and weather, the trip takes six to seven hours. With its reputation for toughness and small size, the Suzuki Jimny turned out to be the ideal car for this trip, particularly given the erratic monsoon weather. The ambiance for our picture adventure was created by the abundant foliage along the path, which was occasionally broken up by showers of rain.

Capturing the Essence of Hampi

A photographer’s dream come true is Hampi, a UNESCO World Heritage Site. The old ruins are given new life during the monsoon season, when the rains highlight the stone’s textures and colors.

The magnificent backdrop created by the cloudy skies highlights the monuments even more.

Images from Hampi

The Vijaya Vittala Temple, with its iconic stone chariot illuminated by the first light of dawn and the sun’s rays shining through the gopuram, is a breathtaking sight. This masterpiece of Indian artistry, carved from stone, showcases the extraordinary skill and creativity of medieval Indian artists. It stands as a timeless testament to their greatness, capturing the essence of an era where art and architecture flourished in harmony. The beauty of this scene, bathed in the soft glow of dawn, reflects the enduring legacy of Hampi’s rich cultural heritage.

Warrior and Myth: The Stone Chariot and Yali of Vijaya Vittala Temple

At dawn, the Vijaya Vittala Temple complex in Hampi transforms into a mesmerizing sight, with the stone chariot bathed in the soft morning light. Next to the temple, on the Ranga Mantapa, stands a sculpture of a warrior riding a mythical yali. The yali, a majestic creature combining features of various animals—often with the body of a lion, the head of an elephant, and the tail of a serpent—symbolizes power, protection, and a blend of various strengths. Its fierce and graceful depiction in the sculpture adds a dynamic and mythical element to the scene.

With its recognisable stone chariot, the Vijaya Vitthala Temple complex in Hampi serves as a moving reminder of the area’s turbulent past as well as its rich cultural legacy. I wanted to convey a narrative that combined the architectural magnificence of the stone chariot with remnants of a bygone era characterised by both glory and devastation, which is why I included a broken elephant sculpture in the foreground.

The Rhythms of Eternity: Natya Mantapa’s Elegance

In the heart of the Vittala Temple complex lies the Natya Mantapa, an exquisite pavilion where stone seems to breathe life into the art of dance. Its intricately carved pillars are adorned with celestial dancers, musicians, and mythological figures, each depicting stories from the ancient past and capturing the essence of divine rhythms. The delicate craftsmanship showcases the mastery of Vijayanagara artisans, with every chiseled detail revealing an unparalleled dedication to art and spirituality. The Natya Mantapa stands as a testament to a bygone era, where art, devotion, and architecture converged to create a harmonious symphony in stone, inviting all who visit to immerse themselves in its timeless beauty.

In the ancient heart of Hampi’s embrace, where the sacred stones whisper their tales, the demigods dance with celestial grace, their forms etched in eternal detail. Behind them, the stone chariot stands, majestic and timeless in its regal repose, a testament to the hands that shaped this land, where history and art in harmony compose.

Perched atop Hemakuta Hill, the Hanuman Temple stands against a backdrop of brooding monsoon clouds, its silhouette striking against the dark sky. The temple, dedicated to the monkey god Hanuman, is a simple yet sacred structure that exudes a sense of spiritual serenity. The rain-soaked terrain surrounding the temple creates small puddles, capturing reflections of the temple and the swirling clouds above.

Reflections of Eternity: Monsoon Dreams Over Hemakuta

When it rains on Hemakuta Hill in Hampi, small puddles of water form and overflow, creating gentle trickles down the hill. The reflections of the clouds in these puddles, combined with the majestic Gopuram of Virupaksha Temple in the background, create a breathtaking scene. The dark monsoon clouds add a dramatic touch, enhancing the beauty and serenity of the landscape.

Monsoon Majesty, Reflections of Hampi’s Heritage

On top of Hemakuta Hills in Hampi, monsoon clouds gather thickly in the sky, their dark, rain-laden masses creating a dramatic backdrop for the ancient landscape. In the foreground, a water puddle forms on the rocky terrain, perfectly reflecting the turbulent sky above. Nearby, a traditional stone Mantapa stands, its intricately carved pillars and timeworn roof echoing the architectural splendor of the region. In the background, the towering gopuram of the Virupaksha Temple rises majestically, a testament to the grandeur of the Vijayanagara Empire.

Majestic Anantha Padmanabha: A Testament to Hampi’s Heritage

On the way to Hemkuta Hill in Hampi, one encounters the lesser-known but magnificent Anantha Padmanabha sculpture, nestled among the rocky terrain. This intricate carving, often overlooked by the usual throngs of tourists, stands as a testament to the rich heritage and artistry of Hampi. With the monsoon clouds rolling in, the dramatic backdrop enhances the beauty and mystique of this ancient site. The nearby Sasvekalu Ganapathi Temple further enriches the historical landscape, making this spot a serene and poignant reminder of the grandeur that once defined the Vijayanagara Empire. Amidst the monsoon’s embrace, this sculpture and its surroundings capture the timeless spirit of Hampi, inviting those who venture off the beaten path to witness its silent splendor.

The Ugra Narasimha statue in Hampi is a monumental 6.7-meter tall sculpture, depicting the fierce incarnation of Lord Vishnu as Narasimha, the half-lion, half-human deity. Carved out of a single granite boulder, the statue radiates raw power and divine ferocity, with its bulging eyes and majestic mane. Despite being damaged over time, the statue remains a symbol of the Vijayanagara Empire’s artistic brilliance and spiritual devotion. Set against the backdrop of Hampi’s ancient ruins , the Ugra Narasimha exudes a timeless aura, captivating all who behold its magnificence.

Floral Elegance at the Entrance of Hazara Rama Temple

At the entrance of the Hazara Rama Temple in Hampi, a delicate flower embellishes the ancient stone frame, adding a touch of natural elegance to the historic structure. This floral motif, intricately carved by skilled artisans of a bygone era, stands out against the weathered stone, symbolizing the harmonious blend of nature and artistry. As sunlight filters through the temple courtyard, the flower’s details come to life, offering a glimpse into the rich cultural heritage and artistic mastery of the Vijayanagara Empire. This exquisite carving serves as a reminder of the temple’s spiritual significance and the timeless beauty of its architectural design.

The Enchanting Courtyard of Hazara Rama Temple

The courtyard of the Hazara Rama Temple in Hampi is a captivating space that echoes the grandeur and spiritual essence of the Vijayanagara Empire. Surrounded by intricately carved walls that depict scenes from the Ramayana, the courtyard serves as a tranquil sanctuary, inviting visitors to step back in time.

Storytelling in Stone: The Outer Wall of Hazara Rama Temple

The outer wall of the Hazara Rama Temple in Hampi is a magnificent tapestry of stone carvings that brings to life the epic tales of the Ramayana. These intricate reliefs, carved with remarkable precision, depict scenes of divine battles, royal processions, and mythical creatures, showcasing the artistic excellence of the Vijayanagara artisans. Each panel tells a story, inviting visitors to trace the narrative of Rama’s journey through the skillful hands of ancient craftsmen. As light and shadow play across the weathered stone, the carvings reveal their timeless beauty and historical significance, offering a profound glimpse into the spiritual and cultural legacy of the Vijayanagara Empire.

The Octagonal Water Pavilion at Hampi stands as a testament to the ingenuity and grandeur of the Vijayanagara Empire. This architectural marvel, with its unique eight-sided design, is set amidst lush greenery, creating a serene oasis that captivates visitors. The pavilion, once part of the royal enclosure, showcases a harmonious blend of form and function, highlighting the empire’s mastery in water management and architectural aesthetics. As sunlight dances on the surface of the ancient water tank, the pavilion reflects the timeless beauty and rich cultural heritage of Hampi, offering a peaceful retreat and a glimpse into the past.

On a monsoon day atop Malvantha Raghunatha Hill, the Shiva Temple stands serenely amid the wet rocks . Heav clouds loom overhead, casting a mystical ambiance over the landscape. The rain-soaked ground around the temple forms puddles that perfectly reflect the temple’s majestic structure and the brooding sky above. These reflections create a mirror-like effect, blending the earthly and the divine…

Dawn’s Glow on Hampi’s Cobblestone Pathways

At dawn, the medieval cobblestone roads of Hampi come alive, creating a breathtaking scene as the first light of the day spills over the ancient landscape. These historic pathways, gracefully aged and partially covered with lush grass, whisper tales of bygone eras. The soft morning light casts a golden hue on the stones, highlighting their uneven surfaces and revealing the vibrant greens that weave through the cracks. As the mist lifts, the tranquil ambiance and rich history of this UNESCO World Heritage Site unfold, offering a mesmerizing glimpse into the past amid the serene beauty of the present.

Echoes of Ramayana: Sugreeva’s Cave and the Footprints of Legends

In the heart of Hampi lies Sugreeva’s Cave, a place steeped in legend and history. This cave is believed to be where Sugreeva, the exiled Vanara king, sought refuge. Hampi itself is often identified as the ancient kingdom of Kishkinda, the realm of the Vanaras from the epic Ramayana. Near Sugreeva’s Cave, visitors can find intriguing sculptures of two feet, thought to commemorate the presence of Rama and Lakshmana during their quest to rescue Sita. These footprints, etched in stone, serve as a poignant reminder of the timeless tales and heroic figures that have shaped the cultural and spiritual landscape of this enchanting region.

Monsoon’s Embrace: The Linga by the Tungabhadra River:

Carved on the banks of the Tungabhadra River, the Linga stands amidst the lively dance of monsoon breezes that ripple across the water. The river, touched by the refreshing gusts, swirls energetically around the ancient sculpture, creating a dynamic interplay of light and movement. With Rushya Mukha Hill rising majestically in the background, this scene becomes a vivid reflection of Hampi’s timeless beauty and spiritual depth. The combination of the lively river and the serene backdrop offers a profound sense of peace and connection, inviting contemplation amid the vibrant energies of nature.

A Bonus Trip to Daroji Bear Sanctuary

On our first day, we took a diversion to the Daroji Bear Sanctuary after the first session in Hampi. The Indian sloth bear resides in this sanctuary, which is roughly 15 kilometers from Hampi. The 82 square-kilometer Daroji Bear Sanctuary was created in 1994 and offers a safe refuge for bears like these as well as other animals like hyenas, leopards, and numerous bird species.

We had the good fortune to see several sloth bears searching for food with their babies while we were there. During the monsoon, the sanctuary’s lush, green scenery was a joy to behold and offered fantastic chances for wildlife photography. The informed staff at the sanctuary assisted us in learning more about the behavior and conservation activities pertaining to these amazing animals.

Images from Daroji

A Heartwarming Encounter with a Sloth Bear Family

In the serene wilderness, we were fortunate to witness an enchanting sight: a sloth bear with her playful cubs clinging to her back as they navigated the rocky terrain and forest floor with grace and curiosity. The mother bear, ever watchful and protective, carried her cubs over the uneven ground, their tiny paws gently wrapped around her fur. This unforgettable moment,epitomized the raw beauty and tender bond of wildlife in their natural habitat.

The female Painted Spurfowl (Galloperdix lunulata) is an understated beauty, adorned with earthy browns and subtle patterns that provide excellent camouflage in her natural habitat. Unlike the more vividly colored males, the female’s plumage consists of muted shades and intricate markings that blend seamlessly with the rocky hillsides, dry deciduous forests, and scrublands where she resides. These ground-dwelling birds are adept foragers, searching for seeds, insects, and small invertebrates among the underbrush. The female’s elusive nature and preference for dense cover make her a rewarding but challenging find for birdwatchers and photographers. Her quiet elegance and vital role in the ecosystem highlight the intricate balance of biodiversity in the Indian subcontinent.

Tips for Monsoon Photography in Hampi

Carry Weather Protection: Ensure your camera and lenses are well-protected from the rain. A weather-sealed camera or protective cover can be very useful.
Use a tripod: The low light conditions during the monsoon can result in longer exposure times. A tripod helps keep your shots sharp. However, it’s important to note that using a tripod within the protected monuments requires permission from the Archaeological Survey of India (ASI). Make sure to obtain the necessary permits beforehand or be ready to use higher ISO.
Explore Different Perspectives: Wet surfaces can create beautiful reflections. Look for puddles and wet stones to add a unique perspective to your shots.
Capture the Mood: The monsoon season adds a mystical aura to Hampi. Embrace the moody skies and the interplay of light and shadows.

A Journey to Remember

There was more to our monsoon vacation to Hampi than merely taking pictures. Exploring the rich history and architecture of this historic city was like taking a trip back in time. From the breathtaking trip in our Suzuki Jimny to the breathtaking views of Hampi’s monuments and sculptures, Harish, GR Pandith, and I relished every second of it. The addition of a layer of enchantment by the monsoon made our recollections and photos much more spectacular.

Whether you love history or photography, a trip to Hampi in the monsoon season is sure to enthrall and inspire you.

Thank you if you like the blog, You can leave a comment on Home page.

Cheers ,

Goutham Ramesh

16/07/202216/07/2022

Kashmir and Ladakh road trip-2022

Dream that came true.

Some dreams come true as a surprise. I always wanted to visit Kashmir and Ladakh for a long time and had been pestering my colleague and buddy Tanveer to take me there. Tanveer is a tech entrepreneur, an avid traveler and photographer. One day during lunch in office we just decided to escape this madness called corporate life and travel to this beautiful place and the tickets were booked within minutes. (Yes, we booked tickets without even planning). The plan was to drive from Srinagar to Ladakh!

Planning:

Next came the planning, Tanveer with his excellent planning skills created a plan for the trip which was fool-proof and amazing with the minutest detail.

Bengaluru to Srinagar:

With great excitement we took an early morning flight to Srinagar on Day-1 and immediately I started clicking some pictures from aircraft.

Tanveer and Myself at Bengaluru International Airport

Nandi Hills, Near Bengaluru after take off

In India, wheat crop is grown mainly in the Northern states, with Uttar Pradesh being the top-most contributor of wheat with a total production of 25.22 million tonnes, followed by Punjab (15.78 MT) and Madhya Pradesh (14.18 MT). Here is the aerial shot of wheat fields of Punjab

As we fly into Kashmir Valley, we fly through “Pir Panjal Range”. The Pir Panjal Range is a group of mountains in the inner Himalayan region, the largest in the lower group of the majestic Himalayas. It lies south of the main outer Himalayan chain of mountains.

Pir Panjal Range extends from the Nilam River in western Kashmir, to the upper Beas River in the North-Western part of Himachal Pradesh. Running from the West-Northwest direction to East-Southeast direction, the Pir Panjal Range covers a distance of more than 200 miles or 320 kilometres

Once we cross Pir Panjal Range, the beautiful Kashmir valley can be seen and it is a sight to behold.

The Kashmir Valley, also known as the Vale of Kashmir, is a valley concentrated in the Kashmir of India, it is bounded on the southwest by the Pir Panjal Range and on the northeast by the main Himalayan range.

Jammu & Kashmir is an agri-horticulture state where a large population is economically dependent to agriculture and horticulture, directly or indirectly for livelihood, food and nutritional security. Rice, the staple food of majority population is cultivated in diverse agro-ecological situations extending from subtropical area of Jammu, through temperate valley to cold high altitudes regions of Kashmir, and therefore rice biodiversity is rich in Kashmir.

Day 1-2 : Srinagar

Once in Srinagar, we started exploring the local tourist places and also the famous gardens and Dal Lake.

Khawa

Khawa is a Kashmiri tea flavored with cinnamon, cardamom, and saffron. It is a great drink to sip on cold winter days but can be had throughout the year. Khawa is served in a traditional samovar! A samovar (Kashmiri: samavar) is a traditional Kashmiri kettle used to brew, boil and serve Kashmiri salted tea and Khawa. Kashmiri samovars are made of copper with engraved or embossed calligraphic motifs. The Samovar is an all-time favourite domestic utensil in the entire valley of Kashmir. It is one of the finest examples of the splendid art or craftsmanship and is known for its superb quality and distinct design.

Chashme Shahi

Chashme Shahi is one of the Mughal gardens built in 1632 AD around a spring by Ali Mardan Khan, a governor of Mughal emperor Shah Jahan as per the orders of the Emperor, as a gift for his eldest son Prince Dara Shikoh. The garden is located in the Zabarwan Range, near Raj Bhawan (Governor’s house) overlooking Dal Lake in Srinagar, Kashmir, India.

Pari Mahal

Pari Mahal or Peer Mahal, also known as The Palace of Fairies, is a seven-terraced garden located at the top of Zabarwan mountain range, overlooking the city of Srinagar and the south-west of Dal Lake

Day 2-3 : Gulmarg

Our next stop was Gulmarg! Gulmarg also known as Gulmarag in Kashmiri, is a town, hill station, popular skiing destination, and notified area committee in the Baramulla district of Jammu and Kashmir, India. It is located at a distance of 31 km from Baramulla and 49 km from Srinagar.

Shiva Temple with Mount Afarwat in the background

Kongdoori ( Gulmarg )

Kongdori is a bowl-shaped area that lies between Gulmarg and the summit on the Apharwat mountain range. Kongdori is also a stop or a station during the Gulmarg Gondola Cable Car journey. The popular cable car’s first stage was a transfer to the Kongdori Valley station (10,500 ft); the optional second stage takes visitors to the Afarwat Mountaintop (13,500 ft). There are glorious views of the rolling meadows at the foot of the Afarwat Mountains, in the Pir Panjal ranges surrounding Gulmarg.

Day 3-4 : Sonamarg

From Gulmarg we drove to Sonamarg.

Sonamarg or Sonmarg, known as Sonamarg in Kashmir, is a hill station located in the Ganderbal District of Jammu and Kashmir, India. It is located about 62 Kilometers from Ganderbal Town and 80 kilometres northeast of the capital city, Srinagar and it is on the way to Leh.

Thajiwas Glacier

No Visit to Sonamarg is complete without visiting Thajiwas Glacier. Thajiwas Glacier, located at an altitude of 9,186 feet at a short distance from Sonmarg in Jammu & Kashmir, is enormous and blessed with magnificent beauty. Overlooked by the Thajiwas mountain and surrounded by meadows, conifer trees and frozen lakes, it is one of the most beautiful sights you will ever come across. Tourists visit Thajiwas Glacier for enjoying its breathtaking sights, building snowmen & enjoying a sledding ride. You can also take a short hike to the several waterfalls surrounding the Thajiwas Glacier

At the glacier area you will find lot of Bakarwal tribe with their sheep. The Bakarwal community is listed as Scheduled Tribes along with Gujjars in Jammu and Kashmir in 1991. They are a nomadic tribe and they spread over a large part starting from Pir Panjal Range to Hindukush to Ladakh located in Himalayan mountains of South Asia. They are goat herders and shepherds at large and seasonally migrate from one place to another with their herds. They are found in the entire Kashmir region between India and Pakistan, and in the Nuristan Province of northeast Afghanistan

Thajiwas landscape dotted with Bhakarwal Tents

Day 5 : Sonamarg to Leh

This was an adventure of a lifetime, we drove from Sonamarg to Leh via Zoji la pass.

Zoji La is a high mountain pass at an elevation of 3.528m (11,575ft) above the sea level, located in the Kargil district of Ladakh, in India. This strip of rock is not the place for a Sunday drive. It’s said to be one of the most treacherous passes in the world.Don’t go by my image , this was after we passed shivering and chilling mountain pass.

The road over the pass is termed as the gateway to the majestic Ladakh.

Towards Ladakh a drastic change in landscape

The drive through Srinagar to Leh is amazing and it lets you experience a wide variety of landscapes like green valley surrounded by snow covered peaks to mount passes , but once you cross kashmir valley the landscape of Ladakh is so different , desolate yet beautiful . This drive from Srinagar to Leh is highly recommended for ppl who love driving.

As we drive towards Leh, not only the landscape changes but also the culture and you can see many small stupas dotting the landscape. Stupas are a monument, originally in the shape of a hemispherical mound, that contains the bodily relics or possessions of the Buddha or a revered teacher

Monasteries in Ladakh are much more than religious centres. Located in heaven that Ladakh is, these famous monasteries are purifying havens where one can find inner peace. This is one such Monastery that dots the landscape .

Indus River, Tibetan and Sanskrit Sindhu, Sindhi Sindhu or Mehran, great trans-Himalayan river of South Asia. It is one of the longest rivers in the world, with a length of some 2,000 miles (3,200 km). Its total drainage area is about 450,000 square miles (1,165,000 square km), of which 175,000 square miles (453,000 square km) lie in the ranges and foothills of the Himalayas, the Hindu Kush, and the Karakoram Range;

The Indus river originates in the Tibetan Plateau near the Manasarovar range, whereas the Zanskar has its source in the Zanskar valley. Both the rivers kiss each other near the scenic Nimmu valley, that falls between Leh and Kargil. The rivers are clearly distinguished by their colours and the confluence can be best viewed during the spring-summer months, from March to May.

Lamayuru or Yuru Monastery is a Tibetan Buddhist monastery in Lamayouro, Leh district, Ladakh, India. It is situated on the Srinagar-Leh highway 15 kilometres east of the Fotu La at a height of 3,510 metres.

After a 12 hour journey we reached Leh

Day 5-6-7 : Leh

Leh is the joint capital and largest city of the region administered by India as a union territory of Ladakh, Here we had to rest at acclimatize for 2 days to get used to Low oxygen levels. But we did some local sightseeing alone with some rest.

Shanti Stupa

Shanti Stupa is a Buddhist white-domed stupa (chorten) on a hilltop in Chanspa, Leh district, Ladakh, in North India. It was built in 1991 by Japanese Buddhist Bhikshu, Gyomyo Nakamura and part of the Peace Pagoda mission. The Shanti Stupa holds the relics of the Buddha at its base, enshrined by the 14th Dalai Lama. The stupa has become a tourist attraction not only due to its religious significance but also due to its location which provides panoramic views of the surrounding landscape.

Matho Monastery

Matho Monastery, or Matho Gonpa or Mangtro Monastery or Mangtro Gonpa, from the Tibetan “mang” that means “many” and “tro” that means “happiness”, is a Tibetan Buddhist monastery located 26 kilometres southeast of Leh in Ladakh, Northern India, on the banks of the Indus River. The village of Matho is located at the mouth of a deep gorge running out of the Zanskar Range and across the Indus. It is directly opposite Thikse Monastery.

Sindhu Ghat

Sindhu Ghat is the banks of the Indus River in the Ladakh. It is a very peaceful river-bank in the surreal landscape of the Ladakh. Sindhu ghat is quite close to Leh and can be easily combined with a visit to Shey palace and Stok village.

Teju!

Tejaswini is a cousin of mine and I met her in Leh! She is a a brave and adventurous soul who stayed Himalayas for couple of months and who travelled Himachal pradesh and Ladakh on a scooty. You can see her images on her instagram page. https://www.instagram.com/tejaswini_manohar/

Day 7-8 : Leh to Nubra

After 2 days of acclimatization we started driving towards Nubra Valley.

Leh-Ladakh- Land of high passes is the epitome of unlimited adventure and unfathomable beauty. One of the gems of this newly made union territory is the mesmerizing Nubra Valley. This is a fantastic stretch of trail and Leh to Nubra Valley is enjoyed by every traveler. Starting from the capital of Ladakh you get to cross one of the highest motorable roads- Khardung La. From there you will go ahead to Khalsar which is another wonderful spot on this trail.

Crossing the Shyok River, you then have to ride along the Nubra River to reach Nubra Valley. It is a tri-armed valley that sees a separation from Shyok and Siachen Rivers. Nubra is unlike any other valley in the entire country because of the magnificence it has on offer. This breathtakingly beautiful valley is popular for its picturesque landscapes and cold desert. Being the top tourist attraction of Ladakh, Nubra Valley is also famous for Hundar Village and Diskit Monastery. These are two of many go-to attractions in Nubra Valley.

Khardungla Pass!

Khardung La or Khardung Pass is a mountain pass in the Leh district of the Indian union territory of Ladakh. The pass is on the Ladakh Range, North of Leh, and connects the Indus river valley and the Shyok river valley. It also forms the gateway to the Nubra valley, beyond which lies the Siachen Glacier. A motorable road through the pass was built in 1976, and opened to public motor vehicles in 1988. Maintained by the Border Roads Organisation, the pass is important to India as it is used to carry supplies to the Siachen Glacier. The road is one of the world’s highest motorable roads

At 17,600 Ft above Sea level and health advisory

Blood Oxygen at 67 %, This means time to move on

Nubra

Known for its orchards, scenic vistas, Bactrian camels and monasteries; Nubra Valley is the Northernmost part of Jammu and Kashmir. Situated about 150 km from Leh, Nubra Valley is known as the Orchard of Ladakh and was originally called Ldumra which meant the valley of flowers.

Surrounded by snowcapped Himalayan ranges, Nubra valley lies sandwiched between Tibet and Kashmir. The view of the valley is picturesque and breathtaking. During winter, the whole valley looks like landscape of the moon (reason for calling Moonland) and in summer full of greenery.

Hunder

Nubra Valley in Ladakh holds so many surprises for the visitors. One such surprise awaits you at the Hunder Sand Dunes, located about 10 kilometers from Diskit village. Usually, people think of brown sand & one humped camels when the word desert visits their mind, but a different picture awaits you in Hunder. They are famous because of their white rolling sands, with a river flowing close by, trees & snow-capped mountains in the distance. It is unbelievable, when one thinks of it, that a desert could exist at so high an altitude! Equally surprising is the sight of the double humped Bactrian camels, whose two humps enable them to develop resistance to cold, drought & high altitudes. As the evening approaches, and the barren mountains are covered with the crimson hues of the sun, you wonder how such a place could exist in this mad chaotic world of ours.

As sun sets, the colors that the mountains take are breathtaking and with bactrian camels dotting the landscape its a paradise.

The Bactrian or double-humped camel is one of the last remnants of the Silk Road trade in India. These camels, from China and central Asian countries such as Mongolia and Kazakhstan, would carry heavy loads along the rugged terrain of the trade route via Ladakh.

With the closure of the Silk Road, many were left abandoned in Ladakh’s Nubra Valley. The development of modern transport facilities in the remote areas meant the animals weren’t needed anymore. Overlooked and uncared for, their numbers dwindled, pushing them to the brink of extinction in the country.

Since the early 2000s though, the number of Bactrian camels in Nubra has increased—thanks to the residents of the Hunder village in the valley. In 2003, they decided to start camel safaris. As the initiative grew in popularity, the villagers formed the Central Asia Camel Safari, a registered cooperative society in 2009. Other villages in the region, such as Sumoor, Diskit, and Tigger, also jumped on the bandwagon, forming their own camel unions.

Today these safaris, whether along the breathtakingly beautiful Shyok River in the Nubra valley or in areas close to the base camp of the Siachen Glacier, are a big draw with tourists.

Camels with Diskit Monastery in the background

Day 8-9 : Nubra – Drass

The return leg of our journey started from Hunder to Drass. It was a fantastic drive back and we drove through Kargil and stayed at Drass.

Drass

Dras (also spelt Drass) is a hill station in the Kargil district of the union territory of Ladakh in India. It is on the NH 1 (former name NH 1D before renumbering of all national highways) between Zoji La pass and Kargil town. A tourist hub for its high altitude trekking routes and tourist sites, it is often called “The Gateway to Ladakh”. The government’s official spelling of the town is Drass.

Traditionally, Dras is known as Hem-babs, which means “snow land” with the word “Hem” meaning snow. The average temperature of Dras in winter is -20 degrees Celsius and Dras is the coldest place in India, experiencing an altitude-influenced Continental Mediterranean climate.

Pizza at D’Meadows Drass ( One of the best I ever had )

Day 9-10: Drass- Srinagar

On this day we drove from Drass to Srinagar and also passed through Zojila pass again and had a view of Baltal Base camp and Draupadi Kund

As a child, I often wondered if destinations described in mythical stories were real. One such destination en route Drass from Zoji La, is Draupadi Kund, a magical little lake, surrounded by capped peaks and the misty blue sky. There are many stories attached to this lake. A belief exists that here in Pandaras, a village on the outskirts of Drass is where Draupadi, the daughter of King Panchala in Mahabharata, bathed before finally ascending to the heavens in reach of the higher Himalayas.

You might easily miss this place while you drive, so look out for boards.

Srinagar Dal lake

Dal is a lake in Srinagar, the summer capital of Jammu and Kashmir. It is an urban lake, the second largest lake in Jammu and Kashmir, and the most visited place in Srinagar by tourists and locals.

Day 11 : Srinagar- Bengaluru

We concluded our trip by returning back to Bengaluru and I took some shots of Pir Panjal Range again!

Credits

That’s all, readers. Before I conclude I would like to thank Tanver and this trip would not have been possible without Tanveer, who organized this and I learnt a lot from him.

Also my thanks to Mr Javed ( Javed Bhai ) our driver who was with us for 10 days and also let me drive his car at times.

Thanks if you like the blog, you can leave a comment at Home Page

Cheers

This image has an empty alt attribute; its file name is TransparentImage-4.png — Goutham Ramesh

Comments:

From: Hema Narayanan ( https://www.hemanarayanan.com/ )

Subject: Travel is oxygen…

… to me! It always has been. It seemed, after reading your travelogue, that it is for you and Tanveer too. I am so in awe with your images. Having been to Ladakh 5 times, I never get enough dosage of oxygen, blame it on the altitude:). I liked the way you measured the O2 level at Khardungla.

Nothing beats a drive towards Leh. And you both have explored both Kashmir and Ladakh like true “travellers” and this is the best way to explore a land. Be it the authentic Khawa brewing tea pot or the bactrian camels at Nubra, I could feel the pulse of your travel. Well written Logue.

I have one request to both of you – next time, take me along :-).

A fellow traveler,
– Hema

09/06/2022

Art and Science of Image critiquing

I have been a creator and moderator of a photo critique and sharing platform called CPA (https://creativephotoartist.org/) for last 14 years and the whole idea was to create a platform for photographers to share images and comment on them constructively. While the site has seen its good and bad days the whole crux of the platform was to provide a critique on the images and this made me wonder what is the best way to critique an image. This write up is all about science and art of image critiquing.

In photography, we have use the term “photo critique” to judge an image and provide feedback to the photographer about that image!

Now, “judge” may be a strong word to use, but the term simply implies that we create a conclusion about something based on a standard. Now what is that standard there must be basis for that standard and what should be the basis for that judgement?

In art forms which photography is one such form it becomes a subjective issue and we can’t keep subjectivity out of it and the same picture might be judged differently by different people. Some may critique based on technique and technicality, whereas others may use intuition. A few more will use pure bias or feelings, and there are those who will even critique based on their favourite colour. If we want to provide critique effectively, it’s good to be aware of what you’re using as your standards of judgment, even if they’re subjective.

Is there a method?

Yes there is a method for giving critiques as well as receiving it and I will list out some of them.

For the critic:

First understand why you are giving a critique, here intention matters: Most of the time the author would have posted an image not only to get the viewers impression of it also to get the advice from the viewer with respect to what it means to him and how a picture can be improved. So the first intent of a person giving a critique should be as constructive as possible and explain what the pictures conveys to him and how it can be improved. Great care must be taken to avoid misunderstanding and sarcasm ( we see this a lot) , please do understand photography more or less in art form is a personal feeling, Sarcastic comment or a poorly written comment can be concluded as an assessment of the photographers ability (or lack of it) and it also reflects poorly on the critic as a person.

Some tips:

Study the image technically as well as aesthetically and take your time to understand the reasons behind the shot. Also consider asking these questions “What works? and “What does not work ?).
Analyse the image based on fundamental areas ( camera knowhow, composition, lighting, visual storytelling, subject selection, post-processing, and specific areas of study).
After studying the image , list out the technical and aesthetic qualities of the image that appeal and also that do not appeal.
Start the critique by writing what you like about the image. It is a misconception that a critique should only nitpick.
List out the technical and aesthetic qualities of the image that needs improvement.
Whenever possible offer suggestions and improvements.

Points to avoid:

Sarcasm: Being sarcastic and taunting is a strict NO. it indicates a person with high ego and narcissistic mentality and it’s of no use to the author.
Personal comments: Avoid making personal comments on the author; an image is not an reflection of a person. In civilized world personal attacks and comments do not hold any value and will undermine your intent.

For the Photographer:

Let us also discuss how we should receive a critique. First understand receiving a critique is all about learning and it’s feedback to improve.

Points to consider:

Do not post images and expect only affirmation (Great Image , Lovely etc. ).
Respect the person who is critiquing the image, after all he is taking his time to critique an image.
Leave your EGO behind: we are humans and sometimes critiques can hurt your ego especially if it is negative feedback given by someone who you do not like or whose work you do not appreciate! Please remember every viewpoint is important to improve, photography is a viewer’s art, and every view should matter.
Study the critique and do the following:
- What does the feedback tell me about what I can improve on?
- Based on what I need to improve on, what specific skill in photography do I need to learn more about?
- Ask questions if you do not understand and seek help
There might be times where you do not agree, do not get into arguments take it sportively.
Remember no comments is worse than negative comments.
Get sociable.

Credits

https://www.naturephotographers.network/the-art-of-image-critique/

https://photzy.com/learning-the-art-of-effective-photo-critique/

Thanks if you like the blog, you can leave a comment at Home Page

Cheers

01/01/202201/01/2022

Shilabhalika’s of Belur

The sculptural details on the walls of the Chennakeshava Temple, Belur is captivating. An aesthete is often drawn to this famous Hoysala temple town.

The graceful statue of Chennakeshava, mesmerising Mohini, the details in the ceiling make the temple interiors most beautiful among the Hoysala temples.

However the bracket figures, popularly called madanike or Shilabhalike , on the outer walls make me spend hours for their intricate details; They represent beautiful damsels in various moods representing feminine charm and grace, this perhaps are one of the best creations of the Hoysala sculptors of the Belur temple

In this blog I will show most of the madanike or Shilabhalike I captured recently! Hope you will like them as much as I did capturing them.

This is a the most popular all the Shilabalike’s The Darpana Sundari is right at the main entrance of the temple and it is lady holding mirror in her left hand and looking at her beauty in it.

This is a beauty with a pet parrot talking to it .. Shuka Bhasini means sweet talker.

This beautiful sculpture has her one hand damaged and missing maybe she was holding a color pump ( Pichkari ) , As per local guide looking at the smaller form on the right , filling color this might have been a figure playing holi .. so in 11-12 century AD maybe playing with colors was predominant in south india also

This Balika has dressed like a gypsy girl as per the hair style and she has a parrot on her arm.

This Balika has dressed like a gypsy girl and chasing away the monkey which is pulling her dress , the feet is decorated with anklets and toe ring like all other sculptures.. this one is just shows a very pure feminine posture.

A beautiful Balike aiming het arrow at a bird sitting on the canopy

She is dressing her hair after bath. The attendants are holding flowers and toiletry. This madanika has washed her hair and is squeezing the water out of it. This depiction is seen on a sculpture inside the temple too

A lady is dancing stylishly by bending her body into three portions, one from the waist downward, other from the waist to the chest and another upwards. This is said to be the most difficult one to exhibit. This is apparently one of the most difficult postures to achieve in Bharatanatyam

She holds in her left hand a drum and she is playing upon it with her right hand.If you look closely , the hand that is holding the drum is inside the strings that hold the membrane .. such mastery over sculpting is worth noticing

She is playing on her flute. Her maid on the left side is accompanying her to the tune of the flute with her own flute

If you look closely she is singing with her mouth open and there are musicians with instruments accompanying her.

This is one of the most beautiful shila balika .Her hands and legs are cut out very nicely. Look at the canopy above her left shoulder. You can see a jackfruit and a fly on it ( If zoom , this picture does not do justice to this amazing art ) .

She is a Musician . She is standing holding the instrument (Rudra veena) in her left hand. Her maids are arranging for a concert

She holds a mirror having a handle. She is arranging the curls on the forehead with her right hand finger

She is plucking a mango with her right hand, unfortunately not much is known, this one is damaged more than others with one hand missing and also her maids are missing.

Women of ancient india were skilled warriors as well , this is one sculpture of a warrior beauty with her bow , she must have been a great archer.

This is a drummer looks like a female dressed as male or male drummer with feminine pose and ornaments or a young girl . its anybody’s guess . One thing is sure this is different from other shilabalika and stands out.

This is one of many dancer shila balikes , one hand is missing and she is accompanied by drummers.

Dancer , vaishnava pose of feet with drummers

This is one of many dancer shila balikes , Beautiful feminine form with a dance pose where The feet are kept two and a half Talas apart from each other. One of them should be on the ground in the natural posture, the other is lifted and turned sideways with the toes stretched and turned towards the shin, its called vaishnava pose of feet

She is like a Goddess . She holds a rod with skull at the top in her left hand and her head is dressed with a band of skulls.

Beauty with a bow, a hunter with her fellow hunters.

This is one of few shilabalika shown with a bow , here the bow is damaged , but looks more intricate , the arrow in the other hand is also damaged , the accompanying images show a female hunter with a deer kill .. It shows in 12/13 century India women also participated in hunting and were very skilled hunters . The toe is also very delicately posed .. indicating a delicate movement required for hunting … amazing.

She is practicing her dance. Her maids are helping her by playing on their instruments.

The figure illustrates the epic story of God Vishnu who took the form of Mohini

Shilabalika Draping a saree / cloth, getting dressed

Shilabalika draping a saree or a cloth

This looks like she is a queen or princess , who is getting dressed up by a maid.

She is holding in her left hand palm leaves and and the right hand is in speaking pose.

She is holding in her left hand something that looks like a banana and in her right hand a fan

This madanika is holding a ‘nagaveena’. A veena with one end shaped like a snake.

She is fully dressed and has put on all sorts of ornaments on her body. She is looking at her beauty in proud through a mirror. This madanika is called Abhimani… the proud one. Symbolizing someone who has a lot of pride in her beauty and is also very conscious of it. The sculpture at the left (at her feet), holds up a mirror but is looking away – kind of telling her ‘woman, reality check’.

Shilabalika Dancing with a imaginary flute

Dancing with an imaginary flute ; This one has an imaginary flute in her hand. Look at the details on the ear ring , beauty

Dancing with a damaru in left hand and tala vadya in right hand

She has tied her hair into a fine knot, and she is holding a mast of some kind.

The lady has put on her best dress and ornaments and is ready to go for a dance.This one depicts whose is being adorned by a toe-ring. she is holding onto a vine for balance.

This is one of the few odd one out with male form , with beard and moustache playing a drum , have a look at the fingers of left hand inside the strings that hold the membrane together .. master sculpture

She is holding a playing a taala vadya instrument with other musicians accompanying her

The Arch Dancer, She is dancing to the tune of the fun of her accomplice on both her sides

This is one of the most beautiful shilabalika found inside the temple and this is of Queen Shantala devi , an expert dancer and a very able administrator and an inspiration for all shilabalikas , being a dancer she used to dance in Navaranga inside the temple and she was an Queen.

She is dancing here . See the canopy behind. She is wearing a gem just above the middle of the forehead.

This Inside the temple

A lady holds a creeper in her right hand. A parrot is sitting on the fore palm of her left hand. She looks as if she is having a conversation with the parrot. She is having a bangle on her right hand and can MOVE UP AND DOWN ( Can really move !)

This Inside the temple
She is wringing her hair to squeeze the water after her bath. You can see the drops of water collected at the tip of her hairs.

This Inside the temple

She wears on her forearm, a good number of bangles, which give an impression of moving to and fro.

Thanks for patiently reading and seeing the images as I humbly bow with a sense of awe and admiration wondering at the architectural excellence of the Hoysala craftsmen! Incredible India and it shows what rich culture we come from.

If you like the blog, you can leave a comment at Home Page

Cheers

22/12/202122/12/2021

My Nikon Zfc!

Not all decisions in life have to be rational, my decision for buying “Nikon Zfc” was just that!

In this post, I will share my experience with this beauty and what I personally think of this beauty and share some pictures shot with this beauty.

Nikon says “Classic design meets modern engineering” when they introduce this camera on their website. I personally agree with this, it is the retro design that was the biggest factor for me to buy this camera. Having used old film cameras in the past I just fell in love with the design and all the controls on the top of the camera.

Important Specifications:

Lens mount: Nikon Z mount

Image sensor format: DX (Crop Sensor)

Image sensor type: CMOS

Total pixels: 21.51 million

Effective pixels: 20.9 million

My Take :

Some Images and what I did to shoot these images; Please note I use different kind of lenses and usually prefer lenses with no electronics and completely manual, so this is not a exhaustive review, however i will try to share my experiences with this beautiful camera and lenses I used.

Usage with Kit Lens (with Z DX 16-50mm f/3.5-6.3 VR):

The first thing I wanted to do was check the kit lens and this is what I shot with it.

Exposure : 1/15 sec at F3.5 ISO 200 Shot at 16mm

First thing i did was check the Kit lens and how it performs at fully open aperture and I was pleased to get a decent shot with good color tones and decent sharpness.

The NIKKOR Z DX 16-50mm f/3.5-6.3 VR is the smallest and the lightest lens available for the Nikon Z mount.Sporting an all-plastic construction and plastic mounts, these lenses are specifically designed to be as small and as lightweight as possible, while taking advantage of the short flange distance of the Z mount. At a mere 135 grams, it is impressively light ; in fact, it is the lightest DX / APS-C lens Nikon has produced to date! Optically, the lens is comprised of 9 elements in 7 groups, four of which are aspherical elements, and one of which is an extra-low dispersion element. Similar to other Nikon Z lenses, the 16-50mm VR comes with a stepping motor, which delivers quiet and fast autofocus performance. Nikon incorporated optical image stabilization into the lens, and it is supposed to compensate camera shake by up to 4.5 stops ( Yes 4.5 Stops ) .

Considering all this it produces decent results and a great lens to have with Nikon Zfc especially while shooting architecture and street.

Usage with 7Artizans 7.5mm Fisheye Manual Lens:

I love perspectives from fisheye and sometimes even distortions , it is not everybody’s cup of tea and some hate it. But personally for me it gives some perspectives which i like a lot and deviates from mundane.

Exposure : 1/250 sec at F8 ISO 100

Exposure : 1/125 sec at F5.6 ISO 100

Exposure : 1/5 sec at F2.8 ISO 100

7.5mm f/2.8 from 7Artisans produces rectangular images that cover the entire APS-C format, unlike Circular Fisheye lenses which produce round images within the rectangular field. . This Lens has a solid, high-quality feel in the hand and the focus ring completes its arc in about 1/5 of a turn and the aperture ring is click-free. Exposure is not automatic. Set the camera on Aperture Priority and select a suitable f/stop or go Manual and trust the meter. This lens is manual focus; in fact, it’s manual in everything..

The DOF so extreme that precise focusing isn’t necessary at apertures smaller than f/5.6. Minimum focus is 5.9 inches.

Using this lens on Nikon Zfc was fun and they work very well and if you swear by manual exposure and focus like me you will enjoy this; For people who shoot auto and rely on auto focus this lens is not for you.

Usage with 100mm Laowa Macro + FTZ adapter:

This was the combination that I was always interested in , because I do lot of macro and would love to shoot with Bokeh. You can see my Laowa lens review here.

All these images are shot at 2.8 to get a round bokeh.

Using Nikon Zfc with Laowa 100mm and FTZ adapter was fun , but also slightly difficult because of lack of hand grip on the camera ( A simple monopod or a small rig grip will solve this problem) .

I love round bokeh and inorder to get that I need to open the aperture , which gives me a very shallow DOF. Now order to make the picture look good with this setting my focus have to be perfect and also I need to be parallel to the subject, with laowa lens which is manual this is a herculean task , this is where focus peaking on Nikon Zfc helped! What an amazing setting this is.

Focus peaking is a focusing aid in live preview or electronic viewfinders on Nikon Zfc that places a white or coloured highlight on in-focus edges within an image using an edge detect filter.

Now, one may ask why a tool such as this is necessary, with the high-resolution LCDs and EVFs being released today. This is because as great as those screens are and as perfect as your eyesight may be, being able to see what is in focus quickly and clearly can dramatically speed up your work. Also, it is always nice to get another, perhaps more precise, opinion on the technical aspects before you get home and find out that you barely missed the shot you needed.

Peaking also shows up in real time, giving you near-instantaneous feedback as you rack focus through a scene. Importantly it helps you see what all area is in focus!

How to set focus peaking and use , see the video here https://www.youtube.com/watch?v=auBqCn9RdLo.

Thats it friends , I just wanted to share my experience and my take for detailed review there are many sources on the net.

I bought this camera from https://www.videolinks.com/ , Great service from Anish George and his team, They really went out of their way to get me this camera, especially during these days when most of the equipments are out of stock.

Thanks if you like the blog, you can leave a comment at Home Page

Cheers

06/10/202107/10/2021

Laowa 100mm f/2.8 2x Ultra Macro APO -My Take

Background :

Recently I bought Laowa 100mm f/2.8 Ultra Macro for Nikon Mount to compliment my aging Sigma 180mm F3.5 which is a brilliant lens by itself but its has started giving me problems with auto focus and since it is a discontinued lens I was forced to look at other alternatives.

This blog is all about my first take on the lens and not really a technical review ; For technical review pls visit

https://www.digitalcameraworld.com/reviews/laowa-100mm-f28-2x-ultra-macro-apo-review

or look at many youtube videos like

https://www.youtube.com/watch?v=lkNOmMxOwIY

Please Note

I have not really tested this lens at 2X yet and may not really use it at 2x as I like lot of space in my images.

I have tested it on only Nikon Mount Nikon D750 Fx full frame body ; Only Canon EF version is equipped with a CPU chip and motor for aperture control via the camera. All other mounts are manual and aperture is controlled by the aperture ring on the lens.
The aperture gets deployed when shutter clicks, so while focussing you will have full brightness across F stops ( This is an issue only when an adapter is used )

Also I’m a hobby photographer and really do not have any association with Laowa ( would love to have one if I get to test their latest lenses  ) or any manufacturer and this is a not a paid review.

Specification

H/AI-Mount Lens/Full-Frame Format
Aperture Range: f/2.8 to f/22
Two Low Dispersion Elements
Maximum Magnification: 2:1
Minimum Focusing Distance: 9.7″
Manual Focus Design
Aperture Blades 9 (Canon); 7 (Nikon); 13 (Sony)
APS Equivalent 1.5x: 150mm; 1.6x: 160mm
No Front element rotation
Filter Size 67mm
Available Mounts: Canon EF, Canon RF, Nikon F, Nikon Z, Sony FE

Note : The lens comes with a UV filter and keep this on , removing this will expose the moving parts of the lens to weather.

Test Images and my take:

First thing I do for with any lens is test Bokeh. The above shot was shot at 2.8 with a square LED at the back , as you can see the bokeh is smooth and round.

As you can see in the in above images the bokeh is perfectly round at 2.8 ! At F8 it is septagonal ( 7 blades ) , which is good with more blades it would have been more round , canon and sony mounts might give you near round bokeh.

Color contrast is one thing I always suspected in this lens because my sigma gives an excellent color contrast and this lens did surprise me with color contrast and the contrast is very good.

The above image was for testing sharpness , here also the lens performed exceptionally well as you can see in the result.

Some More sample shots ( Let the images speak for themselves )

Neriidae this was on paddy grass
Exposure:
F2.8 , 1/600 , ISO 100, Natural light

Lynx spider with eastern honey bee kill.
Exposure:
F8 , 1/128 , ISO 100, Natural light

Long-jawed orb weavers
Exposure:
F8, 1/100 , ISO 400, Natural light

Exposure:
F5.6, 1/160 , ISO 400, Natural light

Some Points:

Focus : It is a Manual focus lens; Since manual focus lens are by design “not designed” for faster focus the focus rotation is smooth and gives you longer rotation but not much as I would have liked ( throw is about 60 degrees )! However focussing is smooth and pictures are super sharp. If you are a photographer who uses manual focus like me, you will love this and for photographers who swear by AF and vibration reduction/image stabilization .. my advice is stay away from this lens and this is not for you guys

Build Quality: The lens has a solid, metal body with engraved markings. It measures 2.8 x 4.9 inches (72 x 125 mm) and uses the common 67mm filters. At 1.4 pounds (650g), it is fairly heavy. The lens is officially “internal focusing”, but that’s not strictly true. The outer barrel doesn’t extend, but the whole lens assembly moves inside the barrel, just like it did on older lenses. However to prevent damage to the inner components of the lens, Laowa ships it with a UV filter which should remain permanently attached to the front.

Aperture control : The aperture ring is located close to the mount. On most versions, the aperture can only be controlled on the lens, with no communication with the camera, but Canon’s EF version comes with a chip for aperture control and Pentax’s version uses a mechanical coupling for aperture control (thanks to the K-mount’s backward compatibility) However for a guy like me who started with Nikon FE, Pentax K1000 and Kiev-19 this is nothing new and It’s not a great disadvantage.

Sharpness and resolution: Macro lenses come with high expectations regarding sharpness. In this regard, the lens does not disappoint and the lens is sharp from f2.8 onwards till f22; However it performs best between f8 and f16 after which diffractions can be seen.

Thats it friends , I just wanted to share my experience and my take for detailed review there are many sources on the net.

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Cheers

12/08/202112/08/2021

Hyperfocal Distance – A required technique in Landscape Photography

Hyperfocal distance can be a confusing topic, both for beginning and expert photographers. However, if you want to take the sharpest possible images, particularly landscape photographs, it is simply invaluable. In this blog I will try to demystify this topic.

Please Note : Please note: Although the methods I present in this Blog are quite easy to understand, hyperfocal distance itself can be a complex topic. If you are a beginner, I highly recommend reading about aperture and depth of field before you delve into this Blog. Please read about exposure , aperture , shutter speed and ISO here!

What is Hyperfocal Distance?

Hyperfocal distance, at its simplest, is the focusing distance that gives your photos the greatest depth of field.

Hyperfocal distance is a distance beyond which all objects can be brought into an “acceptable” focus.

Hyperfocal distance is the focusing distance that provides equal sharpness between the foreground and background.

Role of Aperture

Hyperfocal distance of your lens will vary with aperture. Why? Think about it like this – if your aperture is wide, such as f/2, you will need to focus quite far away for objects at infinity to appear in focus. However, at a small aperture of f/11 or f/16, distant objects will continue to be sharp even if your lens is focused more closely. So, in this case, hyperfocal distance moves closer to your lens as you use smaller apertures.

Role of Focal Length

Hyperfocal distance of your lens will vary with your focal length ,Your focal length also has a huge impact on hyperfocal distance. As you zoom in, your hyperfocal distance moves farther and farther away. For a 20mm lens, you may need to focus just a few feet from your lens to get the horizon (distant background at infinity) acceptably sharp. On the other hand, for a 200mm lens, your hyperfocal distance may be hundreds of feet away.

When to Use Hyperfocal Distance?

Not all photographs require that you focus your lens at its hyperfocal distance. Consider, for example, an overlook of a distant mountain. If you are standing on the top of the overlook and there are no objects in your foreground, it would be silly to try and calculate the hyperfocal distance, since your nearest object is effectively at infinity. Just focus on the distant mountains! And your aperture does not really matter either – since the closest object is so far away, you could shoot wide open if you wanted to (probably not a very good idea, since most lenses aren’t as sharp at wide apertures, but this is just in theory). Hyperfocal distance is only important to calculate when you have objects both close and far away from your lens that need to be sharp. Since you are actually focusing between these objects, neither is “perfectly” sharp; they are both simply close enough, or “acceptably sharp.”

Using a Hyperfocal Distance Chart.

One way to calculate Hyper focal distance is to use a chart , here is the chart for calculating hyperfocal distance

15mm at F16, HyperFocal distance of 2.5 FT

Here the Idea was to use stones in the water to be in sharp focus along with subjects in infinity . Shot at 15mm at F-16 made sure the stone was beyond 2.5 ft ( Refer the cart above )

Using Apps.

FotoTool ( Android ) :

FotoTool is a free application that contains several useful tools for both amateurs and professional photographers, This includes a tool to calculated HyperFocal distance.

https://play.google.com/store/apps/details?id=com.alfbishop.software.fototool&hl=en_US&gl=US

Simple DoF Calculator (iOS)

Simple DoF Calculator allows photographers to calculate the depth of field and hyperfocal distance for any given settings.

https://apps.apple.com/us/app/simple-dof-calculator/id301222730

How to use Hyperfocal Distance

Choose a lens, and be sure to note the focal length that you are using.
Pick an aperture value.
Find the hyperfocal distance that corresponds to your chosen focal length and aperture.
Focus your lens at the hyperfocal distance. This can be done by estimation, or by the focusing scale on your lens (if you have one).
Now, everything from half that distance until infinity will be sharp.

Some Pictures using Hyperfocal distance

This is 11mm at F22 , Hyperfocal distance of 1 Ft .. So made sure the leaf is one feet away from the camera

This is 5mm at F8 , Hyperfocal distance of 5 Ft , so made sure the rock is on5 feet away from the camera

Credits

https://photographylife.com/landscapes/hyperfocal-distance-explained

https://en.wikipedia.org/wiki/Hyperfocal_distance

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Cheers