Stone Stories of Lepakshi: A Photographer’s Perspective

Different Perspective: Nagalinga and the Corridor at Lepakshi

“Lepakshi Temple, a gem of the Vijayanagara Empire, stands as a masterpiece of ancient Indian architecture and artistry. I had the chance to visit this place a couple of times recently, accompanied by young minds and later with senior photographer GR Pandith. Every pillar, sculpture, and carving within its sacred walls holds centuries of history and devotion. Through my lens, I’ve sought to capture the timeless beauty of this temple—its intricate stonework, the grandeur of the Nagalinga, and the spiritual essence that resonates in every corner. Join me as I share the visual stories etched into the heart of Lepakshi’s architectural marvel.”

Stone Stories

Camera: Nikon D750
Lens: Nikon 24mm PCE Tilt-Shift

Shooting the Nagalinga at Lepakshi presents a unique opportunity to break away from traditional compositions, and incorporating the corridor into the frame is a refreshing way to do just that. In this particular composition, captured with the precision of the Nikon 24mm PCE tilt-shift lens, the grandeur of the Nagalinga is beautifully complemented by the linear perspective of the corridor. The lens’s ability to maintain perfect alignment and eliminate distortion adds to the clarity and impact of the scene, creating a dynamic interplay between the sacred sculpture and the surrounding architecture.

The corridor, with its rhythmic sequence of pillars and shadows, adds depth and context, guiding the viewer’s eye towards the Nagalinga while also offering a sense of continuity within the temple complex. This approach not only highlights the Nagalinga as a focal point but also integrates it into the broader narrative of the temple’s architecture, making the composition visually striking and richly layered with meaning.

This is one of those compositions where breaking the monotony of traditional views brings a fresh and engaging perspective to a revered subject, offering a new way to appreciate the timeless beauty of Lepakshi.

Eternal Grace: Lepakshi Nagalinga and Sculpted Pillar

Camera: Nikon D750
Lens: Nikon 24mm PCE

In this composition, the beautifully sculpted pillar takes the foreground, framing the majestic Lepakshi Nagalinga that stands behind it. The Nikon 24mm PCE lens, renowned for its zero distortion, captures the scene with exceptional clarity, allowing the intricate carvings of the pillar to stand out while still maintaining the grandeur of the Nagalinga in the background. The alignment of the pillar and the Nagalinga creates a harmonious balance, showcasing the timeless craftsmanship of ancient India. The lens’s precision highlights every detail, making the scene a testament to the enduring beauty of these architectural wonders.

Reflections of History: The Unfinished/Ruins Kalyana Mantapa

Camera: Nikon D750
Lens: Nikon 24mm PCE

The entrance of the unfinished or runis Kalyana Mantapa at Lepakshi, captured in the reflection of a puddle of water, offers a hauntingly beautiful glimpse into the past. The partially completed structure, with its towering pillars and intricate carvings, appears almost ghostly in the still water, creating a mirror image that blurs the lines between reality and reflection. The delicate details of the entrance, carved with scenes from mythology and adorned with floral patterns, are perfectly echoed in the water, adding a sense of symmetry and balance to the scene. The unfinished nature of the Mantapa, juxtaposed with its reflection, symbolizes the timelessness of the temple’s architecture, where even incomplete structures evoke a sense of grandeur and mystery. This fleeting reflection, captured after a rain shower, serves as a poignant reminder of the impermanence of life and the enduring beauty of art.

Divine Perspective: Ganesha and the Ancient Entrance of Kalyana Mantapa at Lepakshi

Camera: Nikon D750
Lens: Nikon 24mm PCE Tilt-Shift

In the sacred space of theTemple, the Ganesha idol, sculpted directly into the rock, commands a serene presence. This view captures not only the deity but also the historical remnants of a grand entrance to the Kalyana Mantapa, now framed by the enduring beauty of the temple’s architecture.

The stone frame, which once served as the entrance to the Kalyana Mantapa, stands in silent testimony to the temple’s bygone splendor. Positioned behind the rock-carved Ganesha, the frame adds depth and context to the scene, drawing the viewer’s eye through the layers of architectural history. The interplay between the Ganesha sculpture and the ancient entrance highlights the artistic and spiritual legacy of Lepakshi.

This perspective emphasizes the intricate relationship between the natural rock formations and the crafted architectural elements, creating a harmonious blend of the sacred and the historical. The image serves as a poignant reminder of the temple’s timeless significance, where each element, from the Ganesha sculpture to the weathered entrance frame, contributes to the narrative of this revered site.

Echoes of Divinity: The Pillars of Lepakshi’s Kalyana Mantapa

Camera: Nikon D750
Lens: Nikon 24mm PCE Tilt-Shift

The pillars of Kalyana Mantapa stand as resilient testaments to the artistry and devotion of a bygone era, even as the roof lies in ruins. Each pillar is adorned with intricate sculptures of gods, capturing moments of divine mythology frozen in stone. The figures are carved with exquisite detail, from the expressions on the faces of the deities to the ornate adornments they wear. Though the roof has fallen, these pillars continue to exude a sense of sacredness and grandeur, their carvings offering glimpses into the spiritual and cultural richness of the time. The ruins, with their mix of decay and divine imagery, create a powerful contrast, reminding us of the impermanence of structures yet the enduring legacy of the art and faith they embody.

Stories in Stone: Relief Sculptures on Lepakshi Temple’s Outer Corridors

Camera: Nikon D750
Lens: Nikon 24mm PCE Tilt-Shift

The relief sculptures on the pillars in the corridors around the outer wall of the Temple are a marvel of ancient artistry, each one telling a unique story from the rich tapestry of Hindu mythology. Carved with meticulous precision, these sculptures depict gods, goddesses, celestial beings, animals, and mythical creatures, all intricately intertwined in scenes of devotion, battle, and celebration. The figures, though rendered in stone, convey a sense of movement and life, with their detailed expressions and dynamic poses. The craftsmanship of these reliefs showcases the skill and imagination of the Vijayanagara artisans, who transformed the stone pillars into narrative canvases. As you walk through these corridors, the relief sculptures invite you to immerse yourself in the spiritual and cultural heritage they represent, offering a timeless connection to the stories and beliefs that shaped this sacred space.

Architectural Splendor: The Pillared Corridor of Lepakshi’s Outer Wall

Camera: Nikon D750
Lens: Nikon 24mm PCE Tilt-Shift

The pillared corridor of the outer wall enclosure at Temple is a testament to the architectural brilliance of the Vijayanagara period. These corridors, lined with intricately carved pillars, stretch endlessly, creating a rhythmic pattern of light and shadow that enhances the temple’s serene ambiance. Each pillar is adorned with detailed reliefs depicting deities, mythical creatures, and floral motifs, showcasing the artisans’ dedication to their craft.

Photographing this corridor with the Nikon 24mm PCE tilt-shift lens is a transformative experience. The lens’s ability to eliminate distortion ensures that the pillars remain perfectly vertical, preserving the symmetry and balance of the scene. In architectural photography, where precision is paramount, the 24mm PCE lens is a boon, capturing the true essence of the structure without compromising on the integrity of the lines or the intricate details. The result is an image that faithfully represents the grandeur of the corridor, allowing the viewer to appreciate the full scale and beauty of this historic space.

Divine Artistry: Sages and Demigods on the Outer Pillars of Lepakshi’s Kalyana Mantapa

Camera: Nikon D750
Lens: Nikon 24mm PCE Tilt-Shift

The outer pillars of the unfinished Kalyana Mantapa are adorned with intricate sculptures of sages and demigods, each figure meticulously carved with expressions of devotion, wisdom, and spiritual power. These pillars, though part of an incomplete structure, stand as magnificent examples of the artistry and religious fervor that define the temple complex.

These sculptures not only enhance the architectural beauty of the Kalyana Mantapa but also serve as a testament to the rich spiritual and cultural heritage of Lepakshi, making it a must-visit site for anyone interested in India’s ancient traditions.

Enduring Devotion: The Stone Tulasi Pot of Lepakshi

Camera: Nikon D750
Lens: Nikon 24mm PCE Tilt-Shift

In the hallowed grounds of the temple amidst the temple’s grand architecture and intricate sculptures, stands a centuries-old Tulasi pot, sculpted entirely out of stone. This ancient artifact, though simple in its form, embodies the timeless devotion and spiritual practices that have been an integral part of this sacred site for generations.

The Tulasi pot, traditionally used to house the holy basil plant revered in Hinduism, is carved with a delicate precision that highlights the artisans’ respect for both nature and spirituality. Its stone surface has weathered the passage of time, yet it retains a sense of grace and purity. The pot’s design features subtle floral motifs and geometric patterns that are characteristic of the Vijayanagara style, blending seamlessly with the temple’s overall aesthetic.

This stone Tulasi pot is not merely a vessel; it is a symbol of the enduring faith and the cultural heritage that continues to thrive at Lepakshi. As it stands resilient through the centuries, it serves as a poignant reminder of the connection between the divine and the natural world, cherished in this historic temple complex.

Stone Legacy: The Carved Food Thali of Lepaksh

Camera: Nikon D750
Lens: Nikon 24mm PCE Tilt-Shift

In the ancient temple complex ,nestled among the rocks adjacent to the main temple wall and near the Hanuman Mantapa, lies a unique and fascinating artifact—a food thali carved directly into the stone. This thali, meticulously chiseled out of the natural rock surface, is an extraordinary example of the practical artistry that characterizes the site.

The thali features distinct sections, each carefully shaped to resemble the compartments of a traditional Indian meal plate, where different food items would be served. The craftsmanship is remarkable, with smooth, rounded edges and a perfectly proportioned layout, reflecting the skill and attention to detail of the artisans who created it. This stone-carved thali, seemingly simple yet deeply symbolic, offers a glimpse into the daily life and rituals of the past, where even the act of eating was elevated to an art form.

Located in a serene and somewhat hidden spot, this carving invites reflection on the blending of the sacred and the everyday in the cultural heritage of Lepakshi. It stands as a testament to the ingenuity and creativity of the people who once inhabited and worshiped in this historic site.

Intricate Artistry: The Drummer Sculpture at Lepakshi

Camera: Nikon D750
Lens: Nikon 24mm PCE

The sculpture of a drummer is a masterpiece of delicate craftsmanship. Carved from stone, the drummer’s hand is intricately positioned inside the strings of the drum, a detail so fine that it appears almost lifelike. The precision with which the strings and the hand are rendered is a testament to the extraordinary skill of the artisans who brought this sculpture to life. The Nikon 24mm PCE lens captures this intricate detail with perfect clarity, highlighting the depth and dimension of the carving without any distortion.

This sculpture not only showcases the artistic brilliance of the Vijayanagara period but also evokes the rhythm and music that would have once filled the temple complex. The delicate carving of the hand within the drum strings adds a dynamic element to the piece, making it seem as though the drummer might start playing at any moment, bringing the stone to life.

Camera: Nikon Zfc ; Lens : 7 Artisans 7.5 mm Fisheye

The inscriptions on the walls are a stunning blend of artistry and history, featuring elegant Kannada and Telugu scripts. These beautifully carved texts detail the temple’s rich heritage, from royal donations to religious hymns, surrounded by intricate floral and geometric designs. They offer a glimpse into the cultural and historical legacy of the Vijayanagara Empire, preserved with remarkable precision and detail.

“As I wandered through the corridors and stood before the magnificent sculptures of Lepakshi Temple, I realized that this place is more than just a historical monument—it is a canvas of devotion and artistry, frozen in time. Each photograph I’ve shared is a small glimpse into the temple’s grandeur, a tribute to the incredible craftsmanship of the Vijayanagara era. I hope these images inspire you to explore the rich cultural heritage that lives on in the stones of Lepakshi, where history and art are woven together in an eternal dance.”

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

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

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

26/12/202126/12/2021

Photographing Butterflies in Winter

It is a known fact that bugs and butterflies don’t have the same far-reaching photo appeal as other natural subjects like things that are feathered or furred in savanna of safari. They are also difficult to spot, and little challenging to shoot; However, in frame-filling close-up, insects are actually amazingly photogenic. I will talk about Butterfly photography in Indian winters*** in this blog. Butterflies are also fantastically beautiful and photogenic and you can’t help but be seduced by their colour, intricate markings, delicacy and design and they’ve inhabited almost every type of environment and can migrate large distances – and in large numbers too .. so give it a shot!

**** When I say winter , I’m taking about India , especially south India, where you can still find lot of these small butterflies in winter!

Butterfly photography is easily accessible if you are an early riser and you can spot them in a local garden or a grassland filled with shrubs:

In this blog I will share some of the images I shot this winter and also share some pointers on how to shoot them ( They are just my techniques and not really tips).

Most important thing you should do to shoot a butterfly is to get up early and photograph them during sunrise especially during winters ; the winter mist makes them sluggish and that helps you to approach them. Ideally you need to photograph butterflies soon after they emerge when they are still in pristine condition and also note that the window of opportunity is brief – mistime your visit, and you may need to wait long before you can try again.

Stalking is the best technique , This is when you follow (not chase!) butterflies around, waiting for them to rest, feed or bask. When they do, you need to efficiently move into position – just be mindful of the sun’s position; if you cast your shadow across your subject, you will likely frighten it away.

What all Circus ..we do to get a picture .. from top right in clockwise :

1. Vinod on the ground shooting (PC Vinod)
2. Myself reviewing the image with a portable dark room ( garbage bag )
3. Grass jewel
4. Tawny Coster .
5. Myself on the Ground shooting an image ( PC Vinod)

Depth of field is inherently shallow at higher magnifications when using a macro lens , so there is no leeway for error when focusing. However, if you are using a tripod you can focus via Live View – something I always prefer to do when practical, as I’m able to magnify the live image and manually focus on the butterfly’s head/eyes with good precision. A tripod also allows you to select a smaller aperture to achieve the depth of field needed, and – if necessary – use a reflector to light up shadow areas. Alternatively if you use latest cameras especially mirror less you can use focus peaking as an assisting aid.

Personally, I usually want my subject to stand out boldly against a nicely diffused, out of focus backdrop , with a Bokeh so I will typically opt for the largest aperture possible (lowest f-stop number in my case its 2.8 ) Doing so also provides a faster shutter speed.

I don’t use flash on butterflies and prefer natural light and I do use a reflector at times or a LED light for fill in, which is not as bright as flash and still allows me to fill the shadows a bit.

Finally, be patient… very patient. When shooting butterflies, be prepared for moments of complete and utter hair-pulling frustration. You wouldn’t believe the number of times a butterfly will disappear into the distance just at the moment you are about to trigger the shutter! However, thanks to subject knowledge, good technique, perseverance and a little lady luck, you can capture great images.

Image Gallery

The common leopard - Mating

African babul blue

Grass Flower and Grass Jewel

African babul blue

Grass Jewel

Freyeria putli, the eastern grass jewel

Acraea terpsicore, the tawny coster

Castalius rosimon, the common Pierrot

Spindasis vulcanus vulcanus – Indian Common Silverline

Castalius rosimon, the common Pierrot,

Azanus jesous, the African babul blue or topaz-spotted blue

Acraea terpsicore, the tawny coster

Small Grass yellow

Castalius rosimon

Zizina otis, the lesser grass blue

Eurema brigitta, the small grass yellow

African babul blue

Azanus jesous, the African babul blue

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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

15/08/202115/08/2021

Natural Light Macro with my 180mm.

I usually do not give too much importance to the equipment, however if there is one lens that’s been close to my heart it’s been my beloved Sigma 180mm Macro EX HSM ; This lens has been with me for close to 2 decades and has given me great images. In this blog I will share some images shot with this lens in natural light.

Sigma 180mm Macro EX HSM 3.5, a brief overview:

The Sigma APO 180mm F3.5 EX DG lens was (yes, it is no longer manufactured) a telephoto/macro lens produced by Sigma Corporation.

Lens style: Telephoto , Macro
Focal length: 180 mm
Maximum aperture: f/3.5
Closest focusing distance : 0.46 m
Maximum magnification: 1:1
Minimum aperture: 32
Number of diaphragm blades :9
Auto focus type: AF HSM
Lens Construction: 13 elements / 10 groups
Filter diameter :72 mm

What I liked about this lens!

Shots taken with this lens were quite impressive.
The shallow DOF.
The working distance has always been excellent.
This lens performs extremely well even when the aperture is fully opened at 3.5.
Excellent build , even though the powder coating matte finish peels off.
Lovely Circular Bokeh at 3.5

Me , with my Sigma 180mm on field

Some techniques that I follow with this lens:

Always stay parallel to the subject , this allows me to get the subject of interest in the shallow DOF that this lens provides
Always use a tripod stand! This lens is heavy and is not for people who like to do handheld photography
Use a Macro rail
Use a right angle viewfinder , since most of the subjects are at ground level or very close to the ground, this helps a lot and saves my back as well.
Start shooting with a fully open aperture and keep closing the aperture till i get right DOF
Carry a white sheet of paper as a reflector to bounce natural light and use it to fill shadows.

Some Images:

Argiope in light drizzle. This was a challenging shot due to wind and I also wanted to show the raindrops ( Exposure : F14 , 1/125 second , ISO 400, Natural light )

Argiope after the drizzle . ( Exposure : F10 , 1/320 second , ISO 400, Natural light )

Owl Fly ( Exposure : F10 , 1/320 second , ISO 400, Natural light )

Owl Fly with Bokeh ( Exposure : F16 , 1/50 second , ISO 400, Natural light )

Plains Cupid , Here i have opened the aperture almost full to get a very shallow DOF and have gone almost parallel to the subject ( Exposure : F4 , 1/1250 second , ISO 800, Natural light )

Assassin Bug back lit with a paper reflector in the front ( Exposure : F8 , 1/125 second , ISO 400, Natural light )

Crab Spider back lit with a paper reflector in the front ( Exposure : F13 , 1/60 second , ISO 100, Natural light )

Red Veined darter back lit with a paper reflector in the front ( Exposure : F8 , 1/125 second , ISO 400, Natural light )

Assassin Bug back lit with a paper reflector in the front ( Exposure : F16 , 1/40 second , ISO 400, Natural light )

Back lit Tawny Coaster ( Exposure : F6.3, 1/1000 second , ISO 400, Natural light )

Rant!

These days , Macro photography has changed! ; The way we shoot pictures have also changed with good close up lenses , attachments , great diffusers and lighting support and there is a decline in people using natural light ( Even I don’t use this lens and natural light quite often these days ) . Today we can get much more greater details in the images which is amazing. However personally for me charm of natural light macro is still very close to my heart even though I do shoot a lot of my recent macro’s with close up attachments and diffusers and I do love my Raynox and Radiant diffuser.

Having said that these days manufacturers have stopped making lenses like 180mm due to lack of demand and it’s very sad, one day I hope the demand for macro lenses and this focal length is back on track and we get to see some great macro images in natural light .

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Cheers

13/08/202113/08/2021

Long Exposure Photography

Long exposure photography is recently very popular , due to the dramatic effects produced with the technique. The advent of more advanced digital cameras have made it much easier to produce these images, since the calculations, guesswork and luck have mostly been eliminated from the process.

Long-exposure, time-exposure, or slow-shutter photography involves using a long-duration shutter speed ( from 1/15 of second to minutes ) to sharply capture the stationary elements of images while blurring, smearing, or obscuring the moving elements. Long-exposure photography captures one element that conventional photography does not: an extended period of time.

4 Second exposure to get the blur effect of this fountain on lake Geneva

As mentioned Long exposure is achieved by using slower shutter speed and this longer exposure times allow you to capture clouds, water, or other moving objects in a smooth, flowing manner, while maintaining sharpness and clarity on still objects.

One of the post important aspect to get longer exposure is to shoot during early morning or late evening when light is little low; However we can also use an ND filter (Neutral density filter ) , which actually cuts down the exposure.

A neutral density filter essentially allows for this extended amount of exposure time, without altering the hue or colour of the image. Adding the filter is equivalent to stopping down one or more f-stops, and allows you to avoid making the photo too hot/bright due to the amount of time the shutter will be open.

Again as I said If you don’t have a ND or polarizing filter available, you’ll need to attempt these captures in lower light, such as in the early morning or late evening . Many photographers use long exposures to capture shots at night also!

Here the main objective is to increase your exposure time for the shot without overexposing the image!

Whether you use ND or get up early in the morning using a “Tripod” is a must as these shots involve too much open shutter time to attempt holding by hand.

1/5 Second exposure , this was shot around 3 PM , so had to use ND Filter

How to start ( Some Tips )

Begin experimenting with very small apertures during the golden hour (the hour before sunset or after sunrise) such as f/22 or higher, and bump the aperture up to f/8 or larger after night falls. Please note You’ll end up with several attempts, since nailing a great exposure is largely trial and error. You’ll also need to play around with exposure times, and this depends on what moving object you are capturing.

30 Second exposure to capture moving vehicle tail lamps at KR Circle Mysore

2.5 Second exposure to capture the flowing water

Waves at 1/6 second exposure

1.6 second exposure to capture the BG water stream

Clouds need much longer times to properly capture their trek across the frame of the shot; 5 minutes is a good place to start. Rolling or crashing waves at a beach require much less, sometimes 15 to 30 seconds is enough to create the necessary motion in the image.

20 second exposure at shiva temple Hampi , lit by a flash ( Light Painting )

Due to the sensitivity of the camera during exposure times of this length, a remote shutter release would come in handy. Anything you can do to minimize shake will help preserve the sharpness of the non-moving elements in the photo.

1/2 second exposure to create a blur effect of the moving mist on a lake

1 second exposure to capture the moving mist on a lake

Finally, be sure to do some pre-planning before actually clicking the shutter; try to visualize what the motion of all elements will be in your composition, including flowing elements (clouds, water, car lights), and still elements (rocks, buildings). This can help you better determine what settings you’ll need to capture the image you see in your mind

1/6 second exposure to capture movement of waves

0.4 second exposure to capture moving waves

0.6 second exposure to capture moving waves

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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

12/08/202112/08/2021

Basics of Exposure in Photography

One thing you will hear a lot about as you start your journey into the world of photography is Exposure. So, what exactly is exposure?

Exposure is the amount of light captured by the image sensor of a camera. If too much light gets to the sensor, the picture is washed out or too bright. Conversely, if not enough light gets to the sensor, the image will be underexposed or too dark.

Most cameras have a light meter built in that will automatically determine the correct exposure, but when you know the three basics of exposure and how to use them, you can set your camera on manual, go rogue, and get some very AMAZING results.

Let’s take a look these 3 aspects of Exposure:

Aperture

The size of the lens opening, measured in f/stops. Aperture controls the depth-of-field which is the area that is in focus in the picture FOR A GIVEN MAGNIFICATION! ( SAME F-STOP WILL NOT LOOK SAME IN DIFFERENT FOCAL LENGTH ! PEOPLE USUALLY GO WRONG HERE ) . Aperture can be used to draw attention to one part of the picture (like the BUTTERFLY BELOW) by blurring the foreground and background with a large aperture opening. One thing to remember is that the f/stop numbers are smaller for larger openings and the numbers are larger for smaller aperture openings i.e. f/1.4 is a large opening and f/22 is tiny.

Look at the images below to see the difference of aperture at same magnification and focal length of 180mm.

As you can see , the opening of aperture reduces the DOF ( Depth of field ) , Sometimes a fully open aperture works wonder but you should be aware of shallow DOF and keep parallel to the DOF plane to make sure the subject of interest is within the DOF.

Shutter Speed

The amount of time the sensor is exposed to the light measured in fractions of a second. Shutter speed can be used to freeze a subject with a fast speed of 1/250 or faster or it can be used to blur motion with a slow speed like 1/4. You can also adjust shutter speed to capture images in low light scenarios IE: increasing the amount of time the camera sensor is exposed to the image/light. In this situation, you usually need a tripod so that you don’t blur your photograph ( TRIPOD IS AN IMPORTANT GADGET, IF YOU CAN USE IT , PLEASE USE IT)

In the below picture the bird was too fast and i wanted to freeze it skimming through water so used a very high shutter speed!

I wanted to create a blur effect of water flowing , so used a I ( One ) second exposure.

ISO

The light sensitivity of the image sensor. The smaller number (like 100) is considered low and is not very sensitive, and a number like 1600 is high and is very sensitive to light. The higher the ISO speed, the faster the camera gathers light, but it also adds noise to the photograph. Most of the time you should keep the ISO at the lowest setting if there is enough light around you to get the shot you want. Sometimes though, the only way to get a shot is to crank up the ISO. A noisy shot is better than no shot at all.

Since this was shot before sunrise and I wanted to capture the night sky with stars , I had to increase the ISO to 2500 so that camera gathers light faster

Conclusion

So with these three components of exposure ( APERTURE, SHUTTERSPEED AND ISO ), you can combine them in all sorts of ways to bring out your inner Artist! And in the process, If you like the results of the combination, then who can say it is not the correct exposure? That’s what I love about photography. It’s up to you!

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Cheers

08/08/202101/01/2022

Bokeh

A good photograph is all about the subject is what people say — but what about the background? My friend Murali Santhanam ( http://framesofmind .co.in/ ) always says it’s the background that makes a picture.

In this blog , I will talk about a background effect called Bokeh!

What is It ?

Bokeh comes from the Japanese word boke, which means “blur” or “haze”, or boke-aji, the “blur quality.” Bokeh is pronounced BOH-Kə or BOH-kay.

Visit any photography website or forum and you’ll find plenty of folks debating the pleasing bokeh that their favourite fast lenses allow. Adjectives that describe bokeh include: smooth, incredible, superb, good, beautiful, sweet, silky, and excellent… but what exactly is it?

Bokeh is created by using aperture effectively ( Usually wide ) to render a busy background into a soft expanse of colour, turning small points of light into soft circles.

Some Points :

Aperture: To achieve bokeh in an image, you typically need to use a fast lens—the faster the better ( But i use all kinds of lens including lensbaby ). Ideally you’ll want to use a lens with at least an f/2.8 aperture, with faster apertures of f/2, f/1.8 or f/1.4 being ideal, Many photographers like to use fast prime lenses when shooting photographs that they want visible bokeh in.

Lens: Although bokeh is actually a characteristic of a photograph, the lens used determines the shape and size of the visible bokeh. Usually seen more in highlights, bokeh is affected by the shape of the diaphragm blades (the aperture) of the lens. A lens with more circular shaped blades will have rounder, softer orbs of out-of-focus highlights, whereas a lens with an aperture that is more hexagonal in shape will reflect that shape in the highlights.

Don’t worry if you don’t own a very fast lens. By increasing the distance between the background and your subject, you can see bokeh in images that are shot at smaller apertures like f/8, You will see many images here shot at different apertures.

How ?

To increase the likelihood of creating visible bokeh in your photographs do the following

Increase the distance between your subject and the background. You can do this by decreasing the distance between the camera and subject. The more shallow the depth-of-field, or further the background is, the more out-of-focus it will be. Highlights hitting the background will show more visible bokeh too, so if you’re using a backlight, side light or a hair light, the bokeh may be more pleasing to the eye.
Choose a background with visible highlights ( Sun through foliage is what I use most of the times )
You’ll want to shoot with the lens wide open, so you’ll want to use a shooting mode of Aperture Priority or Manual. Manual gives you the ability to choose both your aperture and shutter speed, whereas Aperture Priority allows you to choose the f/stop while the camera chooses the appropriate shutter speed for the exposure. I usually shoot in Aperture Priority mode and start with fully open aperture