An Exclusive interview with ASHIMA NARAIN
Photographer & Film-maker
In talks with the very vibrant, down-to-earth & inspiring, former photo editor for National Geographic Traveler (India) and newly a stunning mother, Ashima Narain. Previously, she has also worked as the National Photo Editor for Paprika Media (Time Out India) and won several international awards for her many work achievements.
Ashima’s photography career has shown flexibility in her versatile interests – she has worked as a portrait, fashion, travel, advertising, wildlife and documentary photographer. Her journey very interestingly has taken her to wade through mudflats in search of flamingos in Mumbai, climb sail masts in mid sea, hide out in bear caves, dine with Maharajas and document the conditions of sari weavers in the holy city of Varanasi. As the photo editor of Nat Geo, she has covered the Portuguese influence on the island of Diu, an ex-reconnaissance pilot’s solo circumnavigation of the earth by sea, and the musical legacy of Varanasi. |
Ashima, you began your journey as a fashion and commercial photographer. How did the road take you to the wildlife world and what marked your entry into documentary filmmaking?
After art school I assisted a fashion photographer, so when I went independent, that was where I started. Luckily, I started to work with a magazine that gave me freedom to experiment with a lot of different genres, but what ultimately led me to wildlife documentary filmmaking was my interest in trying to raise awareness about a fantastic wildlife spectacle in the heart of Mumbai – 20,000 flamingos of Sewri Bay. I had no background in film making, but I knew that I had to do it. My sister, Ruchi Narain, who is a feature film director, helped to get the film and me into shape! I was over the moon when Discovery decided to broadcast “In The Pink”.
Could you tell us a little bit about “In the Pink.”
The title is a play on the fact that the flamingos live in the highly polluted bay that is surrounded by a ship breaking yard, a fertilizer factory and a huge pipe spewing out domestic waste – so despite being pink, it’s unlikely they will remain ‘in the pink of health’ for long. The documentary was an exploration of why these flamingos come to the city, an explanation of their behavior and lastly what we could do to try to ensure that they stay here in good health.
After art school I assisted a fashion photographer, so when I went independent, that was where I started. Luckily, I started to work with a magazine that gave me freedom to experiment with a lot of different genres, but what ultimately led me to wildlife documentary filmmaking was my interest in trying to raise awareness about a fantastic wildlife spectacle in the heart of Mumbai – 20,000 flamingos of Sewri Bay. I had no background in film making, but I knew that I had to do it. My sister, Ruchi Narain, who is a feature film director, helped to get the film and me into shape! I was over the moon when Discovery decided to broadcast “In The Pink”.
Could you tell us a little bit about “In the Pink.”
The title is a play on the fact that the flamingos live in the highly polluted bay that is surrounded by a ship breaking yard, a fertilizer factory and a huge pipe spewing out domestic waste – so despite being pink, it’s unlikely they will remain ‘in the pink of health’ for long. The documentary was an exploration of why these flamingos come to the city, an explanation of their behavior and lastly what we could do to try to ensure that they stay here in good health.
If I’m not wrong, another documentary that you made “The Last Dance” was also aired on Discovery channel.
“The Last Dance” was made as I won the UK Environment Film Fellowship that enabled me to make a film on wildlife crime. The film was about the illegal practice of bear dancing that occurred all over India despite the sloth bear having the same entitlement to protection as the tiger, under the wildlife protection act of 1972. It was an extremely cruel practice, and the NGO Wildlife SOS had been working for many years on a holistic solution that also considered alternative livelihoods for the handlers. We worked with Wildlife SOS to depict the nature of the crime, and how it can be solved. Since the film was made in 2007, I am really happy to say that now there are no more dancing bears in India.
Your work seems to have been of versatile interests. What are you most passionate about?
Honestly, I am most passionate about learning, and that is why I try to do as many different things as I can! Through it all whether I’ve learned lighting, business or understanding animal behavior it’s all helped grow me personally and professionally. Because I believe photography is about how you think, and therefore how you see, it has always been important for me to talk to photographers I admire to understand why they take pictures they way they do, rather than how they take them.
Can you tell us about one of your current projects?
It’s the first time I am working as a producer for National Geographic Fellow and Photographer Joel Sartore in India on his very ambitious project called Photo Ark. He hopes to photograph every captive species of animal and create the most extensive archive of biodiversity in the world, because within a few years many of the species in his collection will already be extinct. To create an equanimity amongst all the species, they are deliberately all shot against a black or white background – and this is created either by painting the back of the cage or fastening a background into the cage, or in the lighting technique.
What would you say is the biggest challenge one can face while shooting wildlife?
I think it is possibly the same challenge that is faced whilst shooting anything – not knowing why you are shooting, and therefore not thinking through your shot. A lot of wildlife enthusiasts like to take close ups of large mammals – and think that is wildlife photography – the way many travel enthusiasts like to take pretty photographs of exotic sunsets and consider it travel photography. Most challenges in photography are because we can’t think through the situation clearly, rather than external challenges – to be a good photographer you need to solve problems, the faster and more efficient you are at this, the better your photographs will be.
What or who has been your biggest inspiration?
There are many people and things that inspire me, and not many are related to photography. But from very early on, I was always fascinated by the work of Nick Knight, he has always used photography as a powerful collaborative process. I love the way Peggy Sirota creates intimate, unusual and often entertaining celebrity portraits. I am constantly surprised by the way Ami Vitale tells stories that we have heard before, but never seen they way she shows them. And I feel there is real depth and a sobriety in the work of James Nachtwey. Totally different, all four – yet all are always inspiring.
Which do recall as your most interesting travel encounter of the many you’ve had?
I have many enjoyable memories from my travels – of hyenas pacing outside my tent at Kruger national Park; climbing a sail mast in the middle of the ocean for a photo, or riding through the More Plains on the back of my husband’s Enfield! But the place I love to return to is Varanasi!
What gear do you use when you travel & what according to you is the best equipment to film wildlife?
If I am on holiday, I travel with 1 body and 3 lenses (16-35, 24-70 and 70-200). But if I am on an assignment – it varies depending on the nature of it. For food, I always carry my 100 macro, and other telephoto lenses, for documentary work, I carry my wider lenses. For abstract videos it is nice to us a tilt shift lens. But I always carry a tripod.
A photography tip for our readers, wildlife & travel enthusiasts.
Research! Look at good work – and lots of it – read interviews with great photographers, understand why certain images are good, learn how to decode them quickly. This will help you to translate scenes into images with strong thought and composition. And follow your interests!
INTERVIEW BY: PRACHI CHAPHEKAR OUTWOODS To know more about Ashima's work check out ASHIMA NARAIN WEBSITE: http://www.ashimanarain.com JOIN OUTWOODS "An exotic blend of Wilderness & Luxury" www.outwoods.com.sg |