Ritual, Fire, and Faith: An Interview with Festival Photographer Rajesh Dhar

If you had to sum up your photography in a single line, how would you describe what you’re drawn to?

I photograph cultural and religious life with a strong focus on rural festivals, human stories, and the raw emotional energy that surrounds collective belief. I’m most interested in what happens when tradition meets intensity—when devotion becomes visible on faces, in gestures, and in the atmosphere itself. My goal is to create images that feel immersive and honest, where you can sense the heat, noise, devotion, and quiet pauses all at once.

Which festival photograph best captures your signature style—and what’s unfolding in that frame?

A blazing ritual unfolds as flames rise before a devotee, where faith and collective belief collide at the Dasara festival in Tamil Nadu. I was drawn to the way fire becomes both spectacle and offering—something people fear and worship at the same time. The moment carries that tension between danger and devotion, which is exactly the emotional edge I try to preserve in my festival work.

What emotion were you hoping to reveal in this close-up portrait, and how did you earn that moment?

The devotees of the Gajon festival, painted as Shiva and Parvati, are taking a religious break amid the fervor of Bengal’s ritual traditions. While covering the festival, I noticed two devotees stepping away from the intensity—refreshing themselves and slipping into a relaxed, casual conversation. Because I didn’t interrupt and simply stayed attentive, I was lucky to capture candid frames that show the humanity beneath the costume and the calm inside the chaos.

When you want to show the true scale of a communal celebration, what do you look for—and what’s a detail people might miss here?

This is from Shravan Purnima in West Bengal, when devotees collect holy water to offer Lord Shiva and seek blessings for their families. What I love in scenes like this is how personal devotion becomes a collective rhythm—people moving with the same purpose, yet each carrying a private prayer. A detail viewers might miss at first glance is the quiet intensity in the act of gathering water: it’s not just part of the procession, it’s the sacred beginning of the offering itself.

Show us an edited-versus-raw comparison that reflects your approach to post-processing—what did you refine, and why?

My edits focused on two key areas: white balance/color temperature and contrast/clarity. I adjusted the temperature so the blue backdrop feels richer and cleaner, while the yellows and oranges on the idol’s arms become more vibrant and true to the ceremonial mood. Then I increased midtone contrast and clarity to bring out texture—cloth, paint, and sculpted forms—so the image gains depth and separation between layers. Overall, I try to enhance drama and intention without over-processing, keeping the final look aligned with the ritualistic atmosphere of the scene.

Tell us about a frame where color does the storytelling—when was it shot, and what light were you working with?

This photograph was shaped by the golden glow of around 6:30 a.m., and that early light was crucial to the feeling of the moment. I primarily rely on natural light because it keeps the emotion and atmosphere believable, especially in festival settings where everything moves fast. When needed, I’ll blend available light with a bit of flash, but I still aim to keep the scene feeling candid and true to what I experienced.

If you had to caption this ritual moment for publication, what would you want viewers to feel?

A circle of spiritual surrender forms during the Gajan festival. The devotees lie in collective prayer, offering their bodies as an act of faith and devotion. I want viewers to feel the stillness inside the ritual—the way belief becomes physical, shared, and quietly powerful.

Walk us through a composition you’re especially proud of here—what did you frame on purpose, and what did you leave out?

I intentionally built the frame through layering: the balloon seller sits in the foreground while the Charak swinging ritual performers remain active in the background. That separation allowed me to hold two realities in one image—commerce and celebration—without letting either one overpower the other. I also used the open sky as a clean visual divider, which keeps the scene from becoming cluttered and helps both narratives stay readable within the same festival space.

Contact and Follow

• Email: rajeshdhar5.6@gmail.com
• Instagram: www.instagram.com/rdp5.6
• Facebook: www.facebook.com/rajesh.dhar.71
• Behance: www.behance.net/rajeshdharfecf