फोटोग्राफी की पूरी प्रक्रिया की सबसे खूबसूरत बात यह है कि आँखों का संपर्क बहुत कुछ बयां कर सकता है।
That's one of the wonderful things about the whole process of photography - eye contact can be very revealing.
That's one of the wonderful things about the whole process of photography - eye contact can be very revealing.
मैं बहुत कम समय में एक कम वेतन पाने वाले विज्ञापन पेशेवर से एक बेहद सफल फोटोग्राफर बन गया। सफलता से आत्मविश्वास बढ़ता है और जैसे ही मेरा आत्मविश्वास मजबूत हुआ, मैंने अपनी खुद की शैली विकसित कर ली। उसके बाद मैंने कभी पीछे मुड़कर नहीं देखा।
I went from being an underpaid ad man to quite a successful photographer in a very short time. Success breeds confidence and as soon as I got properly confident, I developed my own style. After that I never looked back.
I went from being an underpaid ad man to quite a successful photographer in a very short time. Success breeds confidence and as soon as I got properly confident, I developed my own style. After that I never looked back.
एक बार फोटोग्राफर बन जाने के बाद, किसी भी तरह के युवाओं के गिरोह से मेरा डर या झिझक पूरी तरह खत्म हो गई। शुरुआत में, मैं अपने कैमरे के पीछे छिप सकता था, लेकिन आखिरकार मुझे अहसास हुआ कि अगर मैं उनके प्रति विनम्र और दोस्ताना रहूँ, तो शायद वे भी मेरे साथ वैसे ही पेश आएंगे—यह ज़िंदगी का एक बहुत बड़ा सबक था।
Once I became a photographer, it stopped me being scared or intimidated by gangs of young men of whatever stripe. Initially, I could hide behind my camera but eventually I came to realize that if I was polite and friendly to them, then they probably would be to me too - a good life lesson.
Once I became a photographer, it stopped me being scared or intimidated by gangs of young men of whatever stripe. Initially, I could hide behind my camera but eventually I came to realize that if I was polite and friendly to them, then they probably would be to me too - a good life lesson.
जब मैंने शुरुआत की थी, तो मैं ऑगस्ट सैंडर की सीधी-सादी और कैमरे में सीधे देखने वाली शैली से बहुत प्रभावित था। असल में वही इकलौते ऐसे शख्स थे। अगर उस वक्त मुझे केन रसेल, विवियन मायर, हेलेन लेविट और स्टीवन बर्कॉफ जैसे लोगों के काम के बारे में पता होता, तो यकीनन वे भी मुझसे प्रभावित होते।
When I was starting, I was very much influenced by the straight up, eyes to camera style of August Sander. He is really the only one. Had I known then the work of people like Ken Russell, Vivian Maier, Helen Levitt, and Steven Berkoff, they would undoubtedly have influenced me too.
When I was starting, I was very much influenced by the straight up, eyes to camera style of August Sander. He is really the only one. Had I known then the work of people like Ken Russell, Vivian Maier, Helen Levitt, and Steven Berkoff, they would undoubtedly have influenced me too.
मैं उस विकल्प को चुनना पसंद करता था, जहाँ मेरा कैमरा (और उसके ज़रिए मैं खुद) उनकी आँखों में सीधे आँखें डालकर देख सके। वे जिस तरह से मुझ पर प्रतिक्रिया देते थे, वह हमेशा बहुत दिलचस्प होता था। कभी-कभी वे सख्त मिजाज दिखने वाले नौजवान भी अपनी कमज़ोरी और एक कोमल पहलू को उजागर कर देते थे। वहीं किशोर लड़कियों के मामले में, मुझे अक्सर उनके भीतर छुपी हुई एक समझदार महिला की एक अद्भुत झलक देखने को मिलती थी।
I preferred that option, where my camera (and by proxy, me) could look them straight in the eye. The way they reacted to me was always interesting. Sometimes hard young men would reveal vulnerability and a softer side. In the case of teenage girls, I often got a fascinating glimpse of the woman inside.
I preferred that option, where my camera (and by proxy, me) could look them straight in the eye. The way they reacted to me was always interesting. Sometimes hard young men would reveal vulnerability and a softer side. In the case of teenage girls, I often got a fascinating glimpse of the woman inside.
आजकल हर किसी के पास कैमरा है और इंटरनेट की वजह से हर चीज़ पल भर में उपलब्ध है। कुछ अन्य फोटोग्राफरों के विपरीत, मुझे इसमें कोई समस्या नज़र नहीं आती। आज अगर दुनिया में कहीं भी कुछ भी दिलचस्प होता है, तो उसे रिकॉर्ड करने के लिए कोई न कोई आसपास मौजूद ही होता है।
Nowadays everyone has a camera and the Internet means everything is instantly accessible. Unlike some photographers, I don't see this as a problem. If anything interesting happens in the world today, there will be someone around to record it.
Nowadays everyone has a camera and the Internet means everything is instantly accessible. Unlike some photographers, I don't see this as a problem. If anything interesting happens in the world today, there will be someone around to record it.
अब हालात बहुत बदल गए हैं क्योंकि वे छोटे-छोटे क्लब अब ज़्यादातर वजूद में नहीं हैं। उदाहरण के लिए सोहो में, जहाँ मेरी नाइटलाइफ़ की लगभग आधी तस्वीरें ली गई थीं, वहाँ तेज़ी से बदलाव आ रहा है। अब उस जगह पर रात के समय रोमांच का वह पुराना जादू और सिहरन महसूस नहीं होती।
Things are very different now because a lot of those little clubs don't exist. In Soho for instance, where nearly half my nightlife photographs were taken, it's rapidly changing. There isn't the same after dark frisson of excitement about the place any more.
Things are very different now because a lot of those little clubs don't exist. In Soho for instance, where nearly half my nightlife photographs were taken, it's rapidly changing. There isn't the same after dark frisson of excitement about the place any more.
मैंने सत्तर के दशक के मध्य में उन रॉक बैंड्स की तस्वीरें खींचकर शुरुआत की जिन्हें मैं पसंद करता था, लेकिन ऐसा इसलिए नहीं था कि मैं वाकई उनकी तस्वीरें खींचना चाहता था। शुरुआत में, मैं एक फोटोग्राफर होने का नाटक कर रहा था, सिर्फ इसलिए ताकि मैं भीड़ के सबसे आगे जा सकूँ और बैंड के थोड़ा करीब पहुँच सकूँ। लेकिन, मैंने पाया कि धीरे-धीरे मेरी दिलचस्पी उन तस्वीरों में बढ़ने लगी जो मैंने खींची थीं।
I started out, in the mid-'70s, taking photographs of rock bands that I liked but not because I really wanted to photograph them. Initially, I was pretending to be a photographer, simply so that I could go up to the front of the crowd and be a bit closer to the bands. But, I found I was gradually developing an interest in the photos I took.
I started out, in the mid-'70s, taking photographs of rock bands that I liked but not because I really wanted to photograph them. Initially, I was pretending to be a photographer, simply so that I could go up to the front of the crowd and be a bit closer to the bands. But, I found I was gradually developing an interest in the photos I took.
इंटरनेट द्वारा बनाई गई इस 'ग्लोबल विलेज' (वैश्विक गाँव) का सबसे बड़ा नकारात्मक पहलू यह है कि जनता की नज़रों से दूर किसी भी चीज़ को पनपने का मौका नहीं मिलता, और इससे भी अधिक खतरनाक बात यह है कि आपकी व्यक्तिगत रुचियाँ चाहे जो भी हों, आपको दुनिया में कहीं न कहीं कोई न कोई ऐसा व्यक्ति हमेशा मिल जाएगा जो आपकी उन बातों को सही ठहराए और आपका हौसला बढ़ाए।
The big downside to the global village that the Internet has created is that nothing has time to grow out of the public gaze and, even more dangerous, whatever your personal interests might be, there will always be someone somewhere to provide validation and encouragement.
The big downside to the global village that the Internet has created is that nothing has time to grow out of the public gaze and, even more dangerous, whatever your personal interests might be, there will always be someone somewhere to provide validation and encouragement.
उस दौर के कई नाइटक्लब बहुत शोरगुल वाले और बेहद अंधेरे से भरे होते थे। इसके अलावा, कुछ बेहतरीन क्लबों में तो भयंकर भीड़ होती थी। शुरुआत में, मैं शायद ही कभी इतना पीछे जा पाता था कि लोगों को सिर से पैर तक फ्रेम में कैद कर सकूँ, और जब कभी ऐसा मौका मिलता भी था, तो लोग लगातार मेरे आगे से निकलते रहते थे। फिर मैंने 24 एमएम का लेंस खरीद लिया और मुझे सिर्फ चार-पाँच फीट की दूरी पर रहना पड़ता था।
Many nightclubs from this era were very loud and very dark. Plus some of the best ones were incredibly crowded. To begin with, I could seldom get back far enough to get people into frame from head to foot and when I could, people would be constantly walking in front of me all the time. Then I bought a 24-mm lens and only had to be four or five feet away.
Many nightclubs from this era were very loud and very dark. Plus some of the best ones were incredibly crowded. To begin with, I could seldom get back far enough to get people into frame from head to foot and when I could, people would be constantly walking in front of me all the time. Then I bought a 24-mm lens and only had to be four or five feet away.
हम में से बहुत कम लोग ही जवानी के उन अतिरेक भरे दिनों को अपनी ढलती उम्र में साथ लेकर जाते हैं। उस ज़माने में जब हर किसी के पास कैमरा नहीं होता था, मुझे लगता है कि उन पलों को कैद करना वाकई सार्थक था। कई बार, बल्कि ज्यादातर ऐसा होता था कि जिन युवाओं की मैंने तस्वीरें लीं, वे उस तरह के लिबास में सिर्फ उसी एक रात के लिए थे; वही एक रात जब मैंने उनकी तस्वीर अपने कैमरे में कैद की थी।
Only a very small proportion of us take those excesses with us into later life. In the age before everyone had a camera, it was worthwhile, in my opinion, to record those excesses. Sometimes, many times actually, the young people I photographed were only dressed that way for one night; that one night that they got snapped by me.
Only a very small proportion of us take those excesses with us into later life. In the age before everyone had a camera, it was worthwhile, in my opinion, to record those excesses. Sometimes, many times actually, the young people I photographed were only dressed that way for one night; that one night that they got snapped by me.
मेरे माता-पिता, हालांकि बहुत प्यार करने वाले थे, लेकिन उन्हें कभी भी मिलनसार या बहिर्मुखी नहीं कहा जा सकता था, इसलिए जब मैं छोटा था तो काफी शर्मीला और सामाजिक रूप से झेंपू था। एक कैमरा मिल जाने से यह सब बदल गया। इससे मुझे कहीं भी जाने और किसी के भी पास जाने का एक बहाना मिल गया।
My parents, though very loving, were not what one would ever describe as outgoing and therefore when I was young I was quite shy and socially awkward. Having a camera changed all that. It gave me an excuse to go anywhere and approach anybody.
My parents, though very loving, were not what one would ever describe as outgoing and therefore when I was young I was quite shy and socially awkward. Having a camera changed all that. It gave me an excuse to go anywhere and approach anybody.
यह सब पर्यटकों से हर एक पैसा निचोड़ लेने के बारे में है, जो अब भी वहाँ उमड़ते रहते हैं। शहर के पॉश बनने की होड़ और डेवलपर्स की हर इंच जमीन से ज्यादा से ज्यादा मुनाफा कमाने की चाहत का मतलब यह है कि अब वहाँ एक भी बदहाल सा छोटा सा बेसमेंट क्लब नहीं बचा है। वे छोटे-मोटे बेसमेंट क्लब ही उस जगह की जान हुआ करते थे। अब, हर तरफ पेंटहाउस फ्लैट और ग्लोबल ब्रांड्स हैं। उन्होंने उसी चीज़ को तबाह कर दिया जो शुरू में लोगों को वहाँ खींच कर लाती थी—उसकी सतही अड़ंगेबाज़ी और बेपरवाही।
It's more about subtracting every single buck from the tourists that still flock there. Gentrification and the need for developers to maximize their profits from every square inch of the place means that there just aren't any scruffy little basement clubs left. Those scruffy little basement clubs were the areas lifeblood. Now, it's all penthouse flats and global brands. They destroyed the very thing that drew people there in the first place - it's superficial sleaziness.
It's more about subtracting every single buck from the tourists that still flock there. Gentrification and the need for developers to maximize their profits from every square inch of the place means that there just aren't any scruffy little basement clubs left. Those scruffy little basement clubs were the areas lifeblood. Now, it's all penthouse flats and global brands. They destroyed the very thing that drew people there in the first place - it's superficial sleaziness.
किताब के लिए मेरी बहुत सारी तस्वीरें सीढ़ियों और गलियारों में इसलिए ली गईं क्योंकि वही एकमात्र खाली जगह उपलब्ध थी, और कुछ मामलों में, वह इकलौती ऐसी जगह थी जहाँ कुछ भी देखने के लिए पर्याप्त रोशनी हुआ करती थी। तब भी, अक्सर इतना अंधेरा होता था कि मुझे यह तक समझ नहीं आता था कि सामने वाला किस लिंग का है (हालाँकि मुझे इससे कोई खास फर्क नहीं पड़ता था) और ऑटोफोकस के दौर से पहले, फोकस करने के लिए भी बहुत अंधेरा होता था। मुझे कोई रोशनी ढूँढ़नी पड़ती थी (या टॉर्च साथ रखनी पड़ती थी) और पहले से ही फोकस सेट करना पड़ता था।
The reason why so many of my photographs in the book were taken in stairwells and corridors was that that was the only bit of spare space available and, in some cases, the only place where there was enough light to see anything. Even then, it was often so dark that I couldn't tell which gender my subject was (not that I particularly cared) and too dark, before the era of autofocus, to focus. I had to find a light (or carry a torch) and pre-focus.
The reason why so many of my photographs in the book were taken in stairwells and corridors was that that was the only bit of spare space available and, in some cases, the only place where there was enough light to see anything. Even then, it was often so dark that I couldn't tell which gender my subject was (not that I particularly cared) and too dark, before the era of autofocus, to focus. I had to find a light (or carry a torch) and pre-focus.
मेरे लिए, काउंटरकल्चर यानी स्थापित व्यवस्था के खिलाफ बगावत हमेशा वही थी जिसके साथ मैं बड़ा हुआ—60 के दशक के आखिर के हिप्पी। लेकिन आप इसे चाहे जैसे भी परिभाषित करें, यह असल में जवानी का जोश और अतिरेक है जिससे हर कोई किसी न किसी हद तक गुजरता है। या अगर वे नहीं गुजरते हैं, तो उन्हें गुजरना चाहिए।
To me, the counterculture was always what I grew up with the hippies in the late '60s. But, however you define it, it's really the excesses of youth and it's something that everyone goes through to some extent. Or if they don't, they should do.
To me, the counterculture was always what I grew up with the hippies in the late '60s. But, however you define it, it's really the excesses of youth and it's something that everyone goes through to some extent. Or if they don't, they should do.
खैर, स्किनहेड के साथ उठने-बैठने वाले कुछ लोगों की तुलना में, फेटिश संस्कृति वाले लोग तो एकदम सीधे-साधे और भले मानस थे।
Anyway, the fetish crowd, compared to some of the people that hung out with the skinheads, was all pussycats.
Anyway, the fetish crowd, compared to some of the people that hung out with the skinheads, was all pussycats.
सोशल मीडिया के दौर में, आपके पास सेल्फी है और कुछ लोग—हमेशा सिर्फ युवा नहीं—लगभग हर दिन दुनिया को यह दिखाने के लिए जुनूनी लगते हैं कि उनका चेहरा कैसा दिखता है। बिल्कुल वैसे ही जैसे कुछ लोग दुनिया को यह दिखाने के लिए पागल रहते हैं कि उनकी डिनर की थाली कैसी दिखती है। सच कहूँ तो यह मेरी समझ से परे है।
In the age of social media, you have the selfie and some people - not always young people - seem obsessed with showing the world what their face looks like almost every day. Just like some people are obsessed with showing the world what their dinner looks like. It's beyond my understanding to be honest.
In the age of social media, you have the selfie and some people - not always young people - seem obsessed with showing the world what their face looks like almost every day. Just like some people are obsessed with showing the world what their dinner looks like. It's beyond my understanding to be honest.
जब मैंने अपनी ऑफिस की नौकरी छोड़ी और एक पूर्णकालिक पेशेवर फोटोग्राफर बना, तो मेरी किस्मत में यकीनन एक बड़ा बदलाव आया। हम सरकारी आवास से निकलकर अपने खुद के घर में चले गए और अपनी जिंदगी में पहली बार, मेरे पास कुछ फालतू पैसे थे।
When I gave up my office job and became a full-time professional photographer, my fortunes certainly improved markedly. We moved away from the council estate into our own house and for the first time in my life, I had a little spare money.
When I gave up my office job and became a full-time professional photographer, my fortunes certainly improved markedly. We moved away from the council estate into our own house and for the first time in my life, I had a little spare money.