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Everyone in his native Chennai warned him that photography would be
a "costly hobby". That didn't deter Arvind R Krishna. He began with cheap
Russian cameras, and once he had acquired some proficiency, moved on to
assignments that would earn him money. He soon caught the attention of
advertising agencies, which sought him out for product and industrial
photography. Arvind took these pictures, all black and white, using whatever light
was available on stage. "Musicians are in top form during the manodharma
passages. Especially during alapanai, we see them concentrating the most,
and that's when most of my pictures are shot ... they are in a world of
kalpana, totally engrossed in a conversation with the raga devathai," he
says. Flashbulbs can ruin the moment. "One must not disturb the artiste and
the charmed audience with a harsh flash of light, or by making moving
sounds in the silent auditorium. A tiny beam of light is enough to spoil
the concert's flow," says Arvind, explaining why he confines himself to
the non-illuminated orchestra pits, and then quietly takes pictures. Arvind has a master's degree in commerce. He is doing an MBA course
alongside working as a software professional. It is love for both that resulted in this kind of a fusion. I find that
one art appreciates another. 'Art freezing art', as some papers said.
Everyone says photography is a costly hobby. These words were in my mind
when I started to experiment with some Russian cameras. I slowly tried to
learn and also to make photography pay. I got in touch with advertising
agencies and shot models and products. I then ventured into news
photography and got a chance to work with leading newspapers and
magazines, and interact with art directors and critical news
editors. I am mostly self-taught. But I would say I have learnt a lot about dark
room techniques and black and white composition from the great
photographers I have met. Interacting with them has always been a great
experience. I can say that I am well into music, and I also had brief performing
opportunities. Now, I should say that I am a rasika. I confine myself to
serious listening and to a visual communication of music. I am a disciple
of Mandolin U Srinivas and play the mandolin. At their homes, where I do their portfolios, musicians are extremely
co-operative. They give their best profile for me to capture. Very
patiently, they allow me to set up my lights, and then pose the way I want
them to. II am a software consultant in the US and I no longer take up
assignments as a freelance photographer. Taking pictures for myself is now
important. I would love to be part of any interesting documentation work
and to contribute to publications. I am on the look-out for the right
subject. I want to stay on my current course, and make a decision about a
career change if such possibilities open. But that will happen only after
some time. Write to the author
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How did you come to photography? Was it
love of music or photography?
Even 30,000 miles away from home, everything
seems still in reach. One might attribute this to the advancement of
technology. I keep an open mind to things around me. I see the US as a
land of opportunities. It gives me confidence -- there is scope for almost
everything. A creative blend of art and science can work here. I am
looking at the imagery of American music and theatre; I want to plan and
do a series in my free time. I carry my tapes and a Walkman and listen to
music as I work or travel. Music is always around. I am trying to tune my
ears to all sorts of music so that I can appreciate all forms.