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

11/09/202426/10/2024

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

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

09/04/202209/04/2022

Pulicat Lagoon!

Pulicat Lagoon is the second largest brackish water lagoon in India, after Chilika Lake. Pulicat Lagoon or Pulicat Lake on the East Coast of India is located 60 kilometres north of Chennai City, in Nellore District of Andhra Pradesh.

In this blog , I will share some pictures of birds shot from this beautiful Lagoon and the Lagoon itself

The lagoon comprises of the following regions, Pulicat Lake in Tamil Nadu & Andhra Pradesh, Marshy Wetland Land Region of Andhra Pradesh, Venadu Reserve Forest of Andhra Pradesh and Pernadu Reserve Forest of Andhra Pradesh. The lagoon is divided in the middle by Sriharikota Link Road, The barrier island of Sriharikota home to the Satish Dhawan Space Centre, ISRO separates the lagoon from the Bay of Bengal.

How to reach.

Pulicat is located 54 km away from Chennai. It can be reached in 1 hour 20 minutes. There are 2 routes to reach Pulicat. One can opt to drive via SH104. On this route, one has to follow Sydenhams Rd, Elephant Gate St and Basin Bridge Rd to Erukkancheri High Rd/Grand Northern Trunk Rd in Vasuki Nagar. From there on, you can continue onto Erukkancheri High Rd/Grand Northern Trunk Rd, 100 Feet Rd and SH 104 to Pulicat. The other route involves driving via SH 56 and SH 104.

Where to Stay

There are very options to stay at Pulicat , however if you need a comfortable stay look for hotels in Gummidipoondi / Ponneri ( 1 hr drive from Pulicat )

Hiring a Boat

I strongly recommend @pulicatlakeboating for anyone wanting to shoot Birds in Pulicat lake. Luke and his son Franklin are experts in tracking birds and are one of the finest you can hire.

Pulicat team!

Best Time to Visit

The best time to visit Pulicat Lake Bird Sanctuary is between October to March. The temperature is mild and pleasant and makes travelling to the area easy. This is also the best time to observe the migratory birds and especially the flamingos.

Some Shots

Exposure: F5.6 1/4000 , ISO 400 , Natural Sunlight.

Grear:
Nikon Zfc
Nikkor VR 200-500mm F5.6ED + 1.4 TC

Our eye is the best camera , however we take and whatever we use .. sometimes in hazy conditions we can’t get what our eye sees.
I tried to selectively process mist using layered mist to create a almost surreal yet natural looking pulicat scape with a distant flamingo.

Exposure: F8 1/2000 , ISO 800 , Natural Sunlight.

PP: Selective processing for mist /fog

Grear:
Nikon Zfc
Nikkor VR 200-500mm F5.6ED + 1.4 TC

The greater flamingo is the most widespread and largest species of the flamingo family. It is found in Africa, the Indian subcontinent, the Middle East, and in southern Europe

Exposure: F8 1/320 , ISO 800 , Natural Sunlight.

Grear:
Nikon Zfc
Nikkor VR 200-500mm F5.6E with 1.4 TC

This is the main attraction in pulicat … these are magnificent and graceful birds .. they have inspired a ballet and many dance forms

Exposure: F8 1/400 , ISO 800 , Natural Sunlight.

Grear:
Nikon Zfc
Nikkor VR 200-500mm F5.6ED with 1.4x TC

Sun set is special in pulicat .. with golden hues of setting sun lighting up water … and what a way to show with a distant cormorant basking

Exposure: F8 1/4000 , ISO 800 , Natural Sunlight.

Grear:
Nikon Zfc
Nikkor VR 200-500mm F5.6E + 1.4x TC

Painted Stork against setting sun reflection

Exposure: F8 1/4000 , ISO 800 , Natural Sunlight.

Grear:
Nikon Zfc
Nikkor VR 200-500mm F5.6ED

Pallas’s gull (Ichthyaetus ichthyaetus), also known as the great black-headed gull, is a large bird species.
This species breeds in colonies in marshes and islands from southern Russia to Mongolia. It is migratory, wintering in the eastern Mediterranean, Arabia and India. This gull nests on the ground, laying between two and four eggs.

Exposure: F5.6 1/2000 , ISO 400 , Natural Sunlight.

Grear:
Nikon Zfc
Nikkor VR 200-500mm F5.6E

The Eurasian oystercatcher (Haematopus ostralegus) also known as the common pied oystercatcher, or palaearctic oystercatcher, or (in Europe) just oystercatcher, is a wader in the oystercatcher bird family Haematopodidae

Exposure: F0 1/250 , ISO 400 , Natural Sunlight.

Grear:
Nikon Zfc
Nikkor VR 200-500mm F5.6E + 1.4x TC

The lesser crested tern (Thalasseus bengalensis)is a tern in the family, Laridae. It breeds in subtropical coastal parts of the world mainly from the Red Sea across the Indian Ocean to the western Pacific, and Australia, with a significant population on the southern coast of the Mediterranean on two islands off the Libyan coast. Accidental breeding has also been reported in Italy and France. The Australian birds are probably sedentary, but other populations are migratory, wintering south to South Africa.

Exposure: F10 1/640 , ISO 200 , Natural Sunlight.

Grear:
Nikon Zfc
Nikkor VR 200-500mm F5.6E

Love shooting and creating scapes to show minimalist surrealism

PP: Selective processing for sunrays

Grear:
Nikon Zfc
Nikkor VR 200-500mm F5.6ED + 1.4 TC

Exposure: F8 1/2000 , ISO 800 , Natural Sunlight.

Grear:
Nikon Zfc
Nikkor VR 200-500mm F5.6E + 1.4x TC

This is a typical activity in a lagoon as sun goes down . PS : This is as shot not a composite 🙂

1. Painted Stork with Fish
2. Lesser terns mobbing it
3. Pelican is checking what’s the commotion

Exposure: F8 1/500 , ISO 400 , Natural Sunlight.

Grear:
Nikon Zfc
Nikkor VR 200-500mm F5.6E + 1.4x TC

xposure: F8 1/2000 , ISO 800 , Natural Sunlight.

Grear:
Nikon Zfc
Nikkor VR 200-500mm F5.6E + 1.4x TC

A good photograph is not just about subject , its about other elements too.. Bokeh is one such element .. use it to create pleasing images.

Read more about bokeh in my blog https://gouthamramesh.com/bokeh/

Grear:
Nikon Zfc
Nikkor VR 200-500mm F5.6ED + 1.4 TC

Pulicat gives you an opportunity to shoot birds almost at eye level and when you shoot a silhouette of a bird against the reflection of setting sun … you can see bokeh…

Exposure: F8 1/4000 , ISO 400 , Natural Sunlight.

Grear:
Nikon Zfc
Nikkor VR 200-500mm F5.6ED + 1.4 TC

Exposure: F8 1/2000 , ISO 400 , Natural Sunlight.

Grear:
Nikon Zfc
Nikkor VR 200-500mm F5.6E with 1.4 TC

Pulicat is a paradise ,, fog in the morning can be an issue for ppl who want to shoot flamingoes .. but with certain through process you can shoot landscapes by playing with white balance

Exposure: F8 1/3200 , ISO 400 , Natural Sunlight.

Grear:
Nikon Zfc
Nikkor VR 200-500mm F5.6E

The brown-headed gull (Chroicocephalus brunnicephalus) is a small gull which breeds in the high plateaus of central Asia from Tajikistan to Ordos in Inner Mongolia. It is migratory, wintering on the coasts and large inland lakes of the Indian Subcontinent.

Exposure: F5.6 1/1000 , ISO 200 , Natural Sunlight.

Grear:
Nikon Zfc
Nikkor VR 200-500mm F5.6E

The Caspian tern is a species of tern, with a sub cosmopolitan but scattered distribution. Despite its extensive range, it is monotypic of its genus, and has no accepted subspecies.

Exposure: F8 1/2500 , ISO 400 , Natural Sunlight.

Grear:
Nikon Zfc
Nikkor VR 200-500mm F5.6ED

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

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

10/08/202111/08/2021

Switzerland by train

My travels to Switzerland has always been on business , however when you plan your business trip carefully you can enjoy the most breath-taking landscapes by train.

The clients that I used to consult for were either in Lausanne or Geneva , which is south west part of Switzerland and in order to enjoy my Journey , I used to land at Zurich ( North East) and take a train from there! I believe this is one the best ways to see Switzerland.

Trains from Zurich to Geneva are operated by SBB – the main rail operator in Switzerland – who offer plenty of different options to make your journey as comfortable as possible, including one-way, multi-journey and day pass tickets that let you extend your adventure even beyond these two enchanting cities.

Train details

Journey time	From 2h 43m
Price	From €23.15
Distance	139 miles (224 km)
Frequency	37 trains per day
First train	03:32
Last train	02:34
Departure station	Zurich Hb
Arrival station	Geneva
Changes	Direct trains available
Train and bus operators	SBB CFF FFS

There are lots of places to see and do in this Beautiful Country , However I can only speak about my Journey

Zurich to Lauterbrunnen and Murren:

Lauterbrunnen is a municipality in the Swiss Alps. It encompasses the village of Lauterbrunnen, set in a valley featuring rocky cliffs and the roaring, 300m-high Staubbach Falls. Nearby, the glacial waters of Trümmelbach Falls gush through mountain crevices past viewing platforms. A cable car runs from Stechelberg village to Schilthorn mountain, for views over the Bernese Alps.

Mürren is a Swiss mountain village at the foot of the Schilthorn peak, which is accessible by cable car. Featured in a James Bond film, the Piz Gloria revolving restaurant contains the Bond World 007 exhibit and has views of Mont Blanc. Near Mürren is the Lauterbrunnen Valley, with its subterranean, glacial Trümmelbach Falls. Themed trails on the Allmendhubel peak include the Flower Panorama and North Face paths.

Start at Zürich : Take a Long distance Intercity train to Geneva or Bern (56 min non-stop) -> Bern

: Take another train to Interlaken OST ( 54 Mins ) -> Interlaken OST : Take a train to Lauterbrunnen (20 Mins ) -> Lauterbrunnen : Take a cable car to Murren (10-15 Mins )

Bern to Geneva:

This is one of the most scenic train journeys that take you through amazing countryside and as you get close to the destination, you will see Lake Geneva; some of the pics below were taken from train.

Chillon, Montreux and Glion:

Chillon Castle is an island castle located on Lake Geneva, south of Veytaux in the canton of Vaud. It is situated at the eastern end of the lake, on the narrow shore between Montreux and Villeneuve, which gives access to the Alpine valley of the Rhône.

Glion is a village in the municipality of Montreux in the canton of Vaud, Switzerland. The village is located 700 m.a.s.l., overlooking Lake Geneva. The position of this village above Montreux and the Chauderon Gorge made it a touristic destination in the 19th century.

Start at Geneva : Take a Long distance Intercity train to Lausanne (37 min non-stop) -> Lausanne

: Take another train to Villeneuve VD ( 30 Mins ) -> Villeneuve VD: Take a train to Veytaux, Château de Chillon (4 Mins ) -> Walk to Chillon Castle

Chillon to Glion

Start at Chillon: Walk to Veytaux, Château de Chillon (4 Mins ) -> Veytaux, Château de Chillon : Take a train to Territet, Gare -> Territet, Gare: Take a Funicular to Gliion

Lausanne :

Lausanne is a city on Lake Geneva, in the French-speaking region of Vaud, Switzerland. It’s home to the International Olympic Committee headquarters, as well as the Olympic Museum and lakeshore Olympic Park. Away from the lake, the hilly old city has medieval, shop-lined streets and a 12th-century Gothic cathedral with an ornate facade. The 19th-century Palais de Rumine houses fine art and science museums

Start at Geneva : Take a Long distance Intercity train to Lausanne (37 min non-stop)

Geneva :

Geneva is a city in Switzerland that lies at the southern tip of expansive Lac Léman (Lake Geneva). Surrounded by the Alps and Jura mountains, the city has views of dramatic Mont Blanc. Headquarters of Europe’s United Nations and the Red Cross, it’s a global hub for diplomacy and banking. French influence is widespread, from the language to gastronomy and bohemian districts like Carouge

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

Cheers

10/08/202110/08/2021

Magical Munnar with Vismaya group

I have been part of team Vismaya, which propagates the thought of helping the needy using our photography skills. We do conduct photography exhibitions of our pictures and entire income from sales is donated for a cause.

As part of process of making pictures we do go on trips to make pictures; One of our annual trips is a to a beautiful place called Munnar ( We started visiting this place in 2012 ) and this blog is about Munnar and some of the pictures that I have taken at this beautiful place.

Team Vismaya in 2012 AD: ( L-R) Amar, Vinod Balan, Myself, Murali, Venu

Team Vismaya in 2020 : (L-R) Harish, Myself, Amar, Venu, Vinod, Murali ( Sridhar is missing )

Munnar

Munnar rises as three mountain streams merge – Mudrapuzha, Nallathanni and Kundala. 1,600 m above sea level, this hill station was once the summer resort of the erstwhile British Government in South India. Sprawling tea plantations, picturesque towns, winding lanes and holiday facilities make this a popular resort town. Among the exotic flora found in the forests and grasslands here is the Neelakurinji. This flower which bathes the hills in blue once in every twelve years, will bloom next in 2030. Munnar also has the highest peak in South India, Anamudi, which towers over 2,695 m.

Trip Route:

Our trip usually starts with a date and checklist by Amar which gives a fair indication of what to carry and what to do. We start from Bangalore and reach Munnar on the same day. The route we usually take is shown below

Take Hosur Rd, Bengaluru – Chennai Hwy/Electronic City Flyover/Hosur Rd in Bommanahalli.

Follow NH 44 and NH544 to Mangalam Rd/Tiruppur – Vanjipalayam – Avinashi Rd in Avinashi. Exit from NH544.

Follow Mangalam Rd and Udumalpet – Palladam Rd to Munnar – Udumalpet Rd in Nullatanni, Kannan Devan Hills.

Team’s Kit:

Apart from our equipment considering that we shoot pretty much whole day starting as early as 3.00 AM we do carry portable kitchen with stove , table, chair water and lot of ready to cook stuff ( These not only help us survive very cold temperatures , it also fills our stomach and is fun )

Our Typical Day in Munnar

3.00 AM – 6.30 AM, Top Station: Subjects include Milky way, Sun Kissed peaks , Mist and dawn.

Milky Way Top Station ( There is also a head light lit mist which looks like fire in the distance )

Top Station after sun rise, we are still above the clouds

6.30 AM – 11.00 AM, Kundala Dam: Subjects include curvy roads, Misty Lake, Misty Canopy and Mountains.

Vinod Balan , contemplating a composition

11.00 AM – 2.00 PM, Hotel: This is where we cook our own food and discuss the day’s shoot mistakes and what we can do better next day and plan for next day and catchup with sleep

Harish and Murali reviewing images and discussing next shoot

3.00 PM – 7.00 PM:

Travel to Devikulam tea gardens, scout for places with sun rays and also shoot sun set.

Shoot The sunset at Kundala Dam or Echo point

Sunset on the way to Munnar from Devikulam

7.00PM – 12.00 AM, Top Station: Shoot Star Trails.

Link to Star Trail Photography Blog

https://gouthamramesh.com/2021/08/star-trails-photography-method/

12.00 AM – 3.00 AM, Hotel: Much needed rest.

Usually we repeat this every day and plan to shoot differently every day and being in mountains the weather is unpredictable, so we do spend good 3 days doing the same thing.

Heading Back

Our drive back is also fun filled with a customary Masala dosa at Asai Dosa at Saravana Bhavan , Salem.

Harish with his Topi Dosa ( A type of South Indian pancake from a fermented batter of rice and lentils )

If you want a personalised photo tour and workshop at munnar in December/January you can contact me from home page!

Cheers,

02/08/202110/08/2021

Star Trails Photography -Method

What is it?

A star trail is a type of photograph that uses long exposure times to capture the apparent motion of stars in the night sky due to Earth’s rotation. A star-trail photograph shows individual stars as streaks across the image, with longer exposures yielding longer arcs.

Points to ponder:

Some important points to ponder for making a good star trail image are:

Camera settings
Equipment
Shooting locations
And more

Camera Equipment for Star Trails Photography.

Any camera with manual mode is great for star trails photography. The nice part of this mode is you can use the exact same camera for star & Milky Way photography too; By using manual mode, you can independently control shutter speed, f-stop, and ISO by hand.

I recommend a full-frame camera, a full-frame sensor in the camera can “collect” more light over the exposure time, increasing image quality, and reducing noise.

Best Lens for Star Trails Photography.

A wide-angle lens with f-stop values ranging from f/2.8 to f/5.6 will work best for star trails photography.

Focal Lengths – Full Frame: 14mm – 20mm are recommended.
Focal Lengths – Crop Sensor: 10mm – 18mm are recommended.

Aperture.

The larger the aperture diameter, the more light the camera can collect over a standard exposure. Opening the aperture increases image quality because you can reduce the ISO, thus inducing less noise in the image.

I shoot with the Laowa 15mm, Tokina 11-16 or Samyang 8mm for all my night sky images.

Tripod.

A carbon fiber tripod, with a sturdy, stable adjustable ball-head is the best for star trails photography. Carbon fiber reduces tripod vibration providing sharper images.You can try cheaper tripods the most important thing is a sturdy tripod.

Intervalometer.

An intervalometer connects to your camera allowing you to take exposures longer than 30 seconds. It also allows you to take multiple images, one after another, all at the same settings, for an extended amount of time.

Any intervalometer will work, so long as you can control:

Shutter speed
Time between shots
Number of shots total

Some camera’s come with an inbuilt intervalometer ( This is what I use )

Nikonians refer this link

https://onlinemanual.nikonimglib.com/d7500/en/24_menu_guide_03_24.html

Planning

Doing some basic planning before the shoot will greatly improve the chances of coming home with a good shot.

Determine the moon phase : You can shoot star trails under any moon phase, but the results will drastically differ. During the full moon, it’s almost too bright to shoot star trails at all, and you can barely see them in the sky. When the moon is at half or less is a great time to shoot star trails photography, Ideally new moon day is best.; however half-moon can also provide some nice lighting to the landscape at the same time it does does not dominate the brightness of the scene.
Find a Location without Light Pollution : Choose darker areas, you can use this map ( https://blue-marble.de/nightlights/2019 )
Find the Best Weather : This all depends on the shot you want. You can get great results when there are perfectly clear skies, where the star trails scene dominates the sky. However sometimes It’s also great to shoot on nights with 20-50% cloud cover in the sky, which means fewer trails, but move cloud movement.
Determine Moonrise & Moonset Times : It does not matter if you shoot under moonlight or not, It’s best to shoot during a time when the moon will not be rising or setting during this time the light stays fairly constant on the landscape during your exposure and leads to better results. Tip : Start your shoot at least 2 hours before a moon or sun, rise or set event.

Focusing Your Lens at Night

Always focus your lens before changing any other settings, this makes all the rest of the steps easier. Since the distance between us and the stars is very large, focusing at or near infinity works well for star trails photography . However lens may have an “∞” symbol on it, this is not always the ideal place to focus , so understand your lens and do some infinity shooting (Focus on object > 50mts ) in day light with manual focus to understand the point of focus on your lens

Method to madness

Mode : Manual
Image Format : RAW
Metering Mode : Not applicable as settings are manual
Colour Balance : Kelvin Values between 4000K-5500K work best for night photography settings, If confusing use auto white balance and correct it during post processing.
Focal Length : Widest ( 11- 50mm is the best range )
F-Stop : f/2.8 to f/5.6
Shutter Speed : Shutter speeds ranging from 20-90 seconds are the best for star trails ; Full Frame (30-60 seconds ) ;Crop Sensor (30-120 seconds ). I use a technique that takes a few hundred-star images, without trails, and overlays them on top of each other, creating a star trails image.
ISO Settings: between 500-1200
Noise reduction and long exposure settings: OFF
Number of exposures : The more exposures you take, the longer your star trails will be; This is where intervalometer help; you can also use a single exposure only thing is you might have to keep the exposure open for minutes (30-60 minutes)
Camera pointing : Always point towards North star or in exact opposite direction ( Use Skyview app to track North star )

Merging many images to get star trails :

Once you take multiple images you can use Photoshop to merge multiple images to create a star trail :

Steps :

1. First, load all your base images into Photoshop into a single stack (File -> Script >- Load Images into Stack from Photoshop, load from Bridge, or Lightroom, etc).

2. Second, scroll to the bottom of your stack and select the second to the bottom layer – the first layer you want to set to Lighten, and set the blend mode.

3.Next, Right-Click on your newly set ‘Lighten’ layer, a context menu will open up and scroll up and find ‘Copy Layer Style’

4.Select all the remaining Layers above your current lighten layer – all those annoying many images + layers you want to quickly blend together.

4 .Now for the magic, right click again on your selected layers and find that menu item that says ‘Paste Layer Style’ – try not to fall out of your chair at this point

Conclusion.

This was a long read and hope this blog helps fellow photo artists who want to shoot star trails

Credits

htt ps://www.davemorrowphotography.com/2012/03/StarTrailsPhotographyTutorial.html

https://blue-marble.de/nightlights/2019

https://onlinemanual.nikonimglib.com/d7500/en/24_menu_guide_03_24.html

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

Cheers,

02/08/202110/08/2021

Hoysalas skilled artists of India

Hoysalas (1026 CE – 1343 CE) were a dynasty that ruled present day Karnataka, parts of Tamil Nadu and south-western Telangana; Their contribution to art especially sculpture and temple architecture is unparalleled! Their era was marked by illustrious achievements in art, architecture, and culture. The nucleus of this activity lay in the present-day Hassan district of Karnataka, India. Their intention of surpassing the Western Chalukyan Empire (973 CE – 1189 CE) in its own sphere provided further impetus for excelling in the field of architecture.

History of the Hoysala Empire

The Hoysala rulers began as local chieftains in the hills of Western Ghats. With time, their fortune began to prosper and within a few decades they achieved the status of a powerful feudatory under Western Chalukyan Emperors. Early in the history of Hoysala dynasty, the capital of their nascent dominion was shifted from the hills of Western Ghats to Belur. The military conquests of Vishnuvardhan (1108 CE – 1152 CE) against the neighboring Chola Empire (c. 300 BCE – 1279 CE) in 1116 CE marks the first major development in the history of these dynasts. A new age ushered with Vishnuvardhan as he built the Chennakesava temple (1117 CE) in Belur to celebrate this victory; furthermore, he decided to shift the capital almost 20 km to the east to Halebidu or Halebid.

The Hoysalas gained their political freedom in 1192 during the reign of Veera Ballala II (1173 CE – 1220 CE). They soon became a leading power in Southern India and enjoyed territorial supremacy and economic well-being over the next century or so. At its height, the empire consisted of present-day Karnataka, parts of Tamil Nadu and south-western Telangana. However, invasions of sultanates from Delhi and Madurai, from 1311 CE onwards, proved fatal to the then reigning monarch, Veera Ballala III (1292 CE – 1343 CE). He eventually succumbed to these repeated onslaughts in 1343 CE.

I have tried to capture some of their architectural marvels in the following images, I would like to call this as poetry in stone.