Introductions/Introducciones Unnikrishnan Ravendranathan
I introduce you to
Unnikrishnan Ravendranathan
also Mexico 2008, Love Politics
What has been your biggest challenge and your biggest success?
I believe making a photograph is a challenge, to watch the play of light, fixing the composition, being in that location at the right moment and to release the shutter on time to capture the perfect moment are some basic challenges in making a remarkable photograph. I am a passionate people photographer, most of the time I take place as a photojournalist and documentarian. One of my biggest challenges has been building trust with my subjects and gaining access to their personal space, more important is to maintain the trust and not to make them uncomfortable while I am in their environment. I try to make them forget the camera. I try to be invisible, like a ghost or like a chameleon that camouflages with the surrounding; it allows me to capture unique, intimate and graceful moments. I really don’t know how to describe my biggest success - I have a great family and an amazing group of friends around me.
What are the differences and similarities working in San Francisco and India?
I have been working in San Francisco for only four years and I see a lot of similarities with India. Both these regions have extreme diversity. People in both India and SF react similarly when I tell them where I come from. However, visiting here for the first time was a complete new experience, more of a culture shock! I learned so much in a very short time. I was introduced to the SF rescue mission – a very professional non-profit organization, that I still have projects with. Working in India is not easy. A lot of strings need to be pulled and you have to have a strong network of people. In San Francisco though, it’s not as difficult and there are a lot more resources. It’s an exciting journey to overcome obstacles in accessibility and finding resources to get to a project. Working with people of different backgrounds is very interesting and I enjoy working in both regions equally.
What was your experience like working as a photographer in Guadalajara, Mexico?
Before I left SF I studied two words: “Gracias” and “Como estas”. When I got to Guadalajara, though I found both useful, but not enough to communicate. Here’s God’s play; I have dark skin and bought a Mexican hat, just to see if I will pass as a Mexican. It worked and everyone was so friendly to me and spoke to me in Spanish, which I didn’t understand a word of. I just smiled and nodded most of the time. As a photographer, I really enjoyed working in Mexico because it was a fresh environment and people were extremely laid back and friendly. I communicated through gestures and hand motions. They were patient and eager to help me out. I was really satisfied with my experience and the photographs that I made in Mexico. It was overall a very productive trip. Looking forward to going back for more projects.
What projects are you working on now?
The most recent project I finished is called the “Green Blood” – I got a hold of four ordinary townspeople who took up butchering as a part time job during the weekends for some extra cash. This project was done when I was in South India last month. I would like to continue this project and would like to go deeper. Most of my projects are dealing with people and culture, so the project can go on forever until the individual or that particular culture dies. I am always Interested in ongoing projects, it keeps me busy and attached to my work-flow.
reachme@unniphotography.com
Wandering in the Company of Strangers
Wandering in the Company of Stangers: The (Sub)Urban Portrait
Black Boots Ink invites you to wander with us on the first annual, traveling, project-based workshop and exhibit introducing you to your neighbor.
The (Sub)Urban Portait is the focus of the workshop series Wandering in the Company of Strangers. The emphasis of this workshop is on creating an opportunity for people to learn and practice skills that will help them document their own communities. Workshop sessions are designed for practical use with personalized working critiques centering on the work you create and instruction for photographing how people inhabit, use and exist within their communities. It’s often how life is lived, particularly in very public venues, be it a market, a church, a park.
We will discuss ways to use the camera to give voice to a community by approaching people, building relationships, and making insightful images in their natural environment. We will also discuss ethics and responsibilities, light and composition and equipment choices. The purpose of this workshop series is to help you understand the narrative, aesthetic, and emotional aspects of photography.
Each day is divided between classroom instruction, discussions, personal and group critiques and fieldwork. Participants may work in black and white or color c-41 film or digital. Enrollment is open to amateur and professional photographers.
Our vision is to make urban portraits as a means of visual introductions of people from one city to people in different cities. Our goal is to return the portraits of the public, to the public; to make art accessible in comfortable venues by combining the work from each workshop in a book, exhibitions, online, and on the streets and other places where people gather to live.
for more information email us at blackbootsink@gmail.com
Workshop 2: Mt. Shasta
Workshop No. Two: Mt. Shasta
BBI & NRCPA | Workshop The Visual Narrative and Landscape as Portrait
Instructors: Emilio Bañuelos | Elena Carrasco | Tim Gonzalez-Mena | Kija Lucas | Rika Noda | John Rickard
April 18- 20, 2008
WORKSHOP NO. TWO: MT. SHASTA PARTICIPANTS:
Chi Kwong Chow, San Francisco | Alexcia DeVásquez, San Francisco | Rami Hyun, San Francisco | Michele Kagele, Pleasanton | Meghan McKay, Saratoga | Afton Moman, Lafayette | Cristina Martinez-Canton, Davis | Craig Neilson, Mt. Shasta | Victor Prieto, San Francisco | Theo Slavin, San Francisco | Colleen Virgilio, Oak Run
In collaboration with the Noda Rickard Center for Photographic Arts and Earth Day as inspiration, Workshop No. Two is designed to help students maximize their understanding of the landscape as a portrait of the place. We will also discuss the visual narrative, editing and presenting your work to galleries.
The resulting images were published in Issue No. Four and exhibited at the Rostel Gallery, in Dunsmuir, CA.
more:
IAC 2008 | Landscape as Portrait: Mt. Shasta | Workshop Mexico 2007
