WallMag: Can you please tell us about the types of Photography you indulge with?
I used to work for wire agencies where I mostly shot breaking news, disaster stories along with daily life and economics but now I am more focused on the human plight element and document a longer-term impact.
WallMag: How do you make emotions to flow inside the frames, how difficult is that and how do you achieve it?
I think that is the most difficult and crucial part of photography; to capture the right emotions. For that, I have to spend more time on a particular subject or place than others and often the best results happen when one decides to move to a different location or subject.
WallMag: In your perspective, what difference can a photo story or reportage make to a particular social issue?
For me photographing something is being a witness, unlike what happens in a news snippet or a social media post, a reportage is a more in-depth approach to any such event and if done with the utmost care, responsibility and truth then change in the situation does happen.
WallMag: Have you ever encountered difficult moments that stopped you from finishing the reportage?
For a photojournalist, that happens all the time. The people whom I photograph aren’t aware of the outcomes and then there are authoritative blockages and obvious efforts to curb the shortcomings.
WallMag: How much preparation do you put into taking a photograph or series of photographs? Do you have any preferences regarding cameras and format?
preparations and pre- requirements depend upon the subject and situation that is to be covered. Sometimes, I just go in with a rangefinder camera and one lens which obviously limits my capacity but also makes me think and shoot and sometimes not shoot & then think.
WallMag: Can you talk a bit about your approach to the work? What did you want your images to capture?
First and foremost important thing for a photojournalist is to do the coverage for people who aren’t photographers, in a way commoners should understand what they see. Secondly, a photograph is best when it doesn’t die a daily death, a picture that is relevant even after the news is old is what makes the cut for me.
WallMag: What’s important in order to develop your own photographic voice?
In this present world order where Instagram rules the mindset of people, it is of utmost importance. What I have been noticing is that people are modifying their content just to gain more likes without proper understanding of the audience who has been liking it. One must accept that the change is constant, it used to be film then digital, now a level up - social media, but if one is not consistent in his/ her approach they won’t be ready to cope with whatever comes next.
WallMag: How do you feel about photojournalism today?
In Indian context, some photojournalist modify their content but inspite of that there are some folks doing brilliant. The issue with photojournalism has more to do with the economics of how a media organisation runs and not solely on how a visual journalist is working.The money that used to come by advertisements have now channelled to other platforms, i.e first television and now digital. The brands are now focusing more on digital advertising which is eating away the newspaper money.Hence, a ripple effect on budget cuts and so on.
WallMag: Is there any advice you’d give a young photographer starting in photojournalism?
The best approach is first to love the process of photographing, even if one doesn’t secure a job as a photographer in a newspaper. The key is to keep oneself updated and look for a different approach towards coverage. Nowadays one can find ways to cover something without media credentials (But please note this is not at all advised in the COVID19 situation as one might be risking the lives of others too while him or her being a carrier).
WallMag: Is there anything you would like to share with our readers?
This may go against the norms but I would like to say something, Facebook (owns Instagram) is growing so powerful that even the authorities in the US are worrying. Yes, it is a boon for e-commerce and influencers but if one observes carefully it will give obvious hints that the platform is directing the content as per it’s own benefit. In the process some subscribers do make it big but it is killing the craft. Whosoever have had organised an photo exhibition would know the challenge, what people see in their mobile device is different from a print. One can augment or use multiple exposure and make a good looking visual but that is not the idea of photojournalism.
You can follow Anindito Mukherjee on Instagram to stay updated with his latest work.
You can also visit his Website .
