Capturing Wedding Moments

Interview by Sandhya Ramachandran

[box]In an interview to Spark, Maniyarasan Rajendran, photographer, gets talking about wedding photography and what fascinates him about it. And of course, we showcase some of the wedding photographs he has clicked as well! Interview by Sandhya Ramachandran.[/box] [box type = “bio”]Maniyarasan Rajendran works as an Associate Faculty in the Photography Design Discipline at the National Institute of Design (NID), Ahmedabad. He is also passionate about wedding photography. Maniyarasan made it to the Top-6 finalists for the ‘Wedding Photographer of the Year’ award issued by Kodak and Better Photography, for 2010 and 2011. He was also one of the Top-20 finalists for Emerging Photographers, TOTO Funds Arts, Bangalore, for two consecutive years.[/box]

Art has always had a bizarre way of choosing its followers. Seldom does artistic ability ever pursue a singular path. Over meanderingplanes, somewhere it leaves seeds of inspiration for the visionaries to pick.

Something similar must have happened to Maniyarasan Rajendran. Somewhere amidst the brick and concrete of his architectural studies at SPA, New Delhi, he found the lens calling. He flirted with it for a while – beginning what was to develop as a passion for architectural heritage documentation

Soon, he embraced his love for the camera full time, through a Post Graduation in Photography Design from the National Institute of Design (NID), Ahmedabad, in collaboration with University for the Creative Arts, Farnham, United Kingdom.

While Maniyarasan’s photography was being showcased in many an exhibition around the country, his stint with wedding photography began quite accidentally. A friend’s marriage during his masters in NID, made him to look at weddings in new light: as prospective documentary stories!  He started off then on his first wedding assignment, hoping to pick up a few tricks.

The ‘tricks’ turned out quite extraordinary, with him making it to the Top-6 finalists for the ‘Wedding Photographer of the Year’ award issued by Kodak and Better Photography, for two consecutive years and as one of the Top-20 finalists for Emerging Photog-raphers, TOTO Funds Arts, Bangalore, for two consecutive years.Today, with more than 25 wedding- worth memories behind and working as an Associate Faculty, Photography Design Discipline, NID Ahmedabad, Maniyarasan Rajendran gets talking to Spark about wedding photography and what fascinates him about it.

From a time when it was a studio affair, to a time where it has become as much a part of the proceeding as the bride and groom, wedding photography has had dramatically different styles. Traditional, Contemporary, Photojournalistic or Fashion-based wedding photography – which is your style? What do you think are the merits and demerits of your style?

Honestly, I don’t believe in one particular style of wedding photography, or giving it a particular name. Nor do I consciously intend to follow the masters of this genre. I go for a shoot with an empty mind and without any fixed notions. But after shooting a number of weddings, I have realised, I turn my shutter towards the simpler moments in a wedding.

At times, I manage to get hold of a shot of those nervous moments of anticipation or I gravitate towards that smile-without-any-reservation. Simply put, to me, it is the emotion behind the moment that matters. At the same time, I also try to avoid taking these shots just for the sake of it.

In terms of style in the technique I use, I have shot all the weddings so far in the light available, without any kind of external source. I believe that the light available at the weddings need to be an inherent part of the wedding photographs. I wouldn’t want to kill the natural light with flashy lights!

An Indian wedding is no simple affair. It is not just between two people, but rather, a marriage of two families! How do you balance the requirements of the bride and groom side?

I never balance them! One can only try to balance, but it seldom happens. It is better to be biased than balanced. This gives a greater scope in expressing one side of the story at least. In any case, these days, both the sides appoint their respective photographers, and most of the times, I am a ‘Third Photographer’.

As you said, it is not a wedding of two people, but a wedding of two families. The context  in which these two families came together throws enough challenges and in turn, creates opportunities.

What exactly, apart from the ritualistic moments, do you look out to capture?

As I said, I never consciously look to capture. I just try to become a part of the wedding with my camera, silently observing what happens around me. My camera always keeps me alert and my eyes keep wandering for meaning than just moments.

You also do a lot of architectural photography. Technically speaking, how does your approach change between both?

The approach in fact remains the same. I look at everything as an architect: in plan, elevation, perspective, etc. I can perceive anything as spaces with forms in it, by virtue of five years of my education. I merely try to compose them within the given circumstances.

In weddings, the forms are people. Looking at it this way helps me analyse situations rationally than emotionally. For example, if I miss a moment, I don’t panic. That is the worst enemy to wedding photography, since panic can prevent further such moments from being captured. When you are confident enough of your own ability, you know, there is another moment waiting.

Technically, the approach to wedding photography is different. I have the sophistication to use smaller apertures, longer shutter and tripods, most of the times.

In times where yesterday’s technology is outdated today, what basic equipment and lenses would you suggest to an aspiring wedding photographer to purchase?

I would never discard the importance of the techniques of photography. At the same time, I would never stress too much on its importance, either! I would always advise any aspiring wedding photographer to possess the willingness to enjoy a wedding, before purchasing anything.

Instead of suggesting something, I can tell you about the equipment I use. Since I don’t use flash, I carry a full frame digital SLR body with at least 3 block/fixed lenses (a wide, a normal & a tele) with a maximum available aperture. I do juggle among the lenses with enough care, according to the situations.

Wedding photography, after a point of time, may become repetitive in nature, predictable in terms of the ritualistic and emotional moments. Do you think you can constantly innovate in this genre of photography? If yes, how?

I approach every wedding individually. I enter it with an open mind, without any plans, as I already said. Besides, I hardly shoot those typically posed, bride & groom, or the stand-and-pose family shots. It took me a couple of weddings to prove myself, and now I can let the clients know what can be expected of me.

I give myself enough space to look around and keep thinking constantly. Working alone gives me enough freedom too. Hence, I am free of any pressures or constraints, and I make sure I experience the joy of the wedding with a camera in hand.

And as they say, no wedding in India can ever become predictable, even if it has the same sequence of rituals and emotions being played out over and again!

Sandhya Ramachandran is an aspiring filmmaker from the National Institute of Design who believes that globe-trotting might just help her find the meaning she is so desperately searching for, in life. When she is not talking philosophy, doodling or writing, she is spinning some airy dreams.

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