The inevitable switch from analogue to digital, regardless of the industry: In journalism, it’s the evolution from print to online; in photography and cinema, it’s the switch from film to digital. Even though there are people who still prefer to use film cameras and listen to vinyl music, their attachment to the old systems and the feeling they get from them can’t be compared with the new technologies. Their perspective on cinematography is very different from that of people in the digital age. For them, cinematography is also a craft, and the act of stitching a film takes them closer to the medium.

Cinema is a language, and within it are the specific vocabularies and sublanguages of the lens, composition, visual design, lighting, image control, continuity, movement, point-of-view, etc. Learning this language is a never-ending and fascinating lifelong study.

A cinematographer deals with some duties that are entirely technical. But the technique used in the older analogue cameras is a little different when the digital systems come into play. For the people who gradually switched to digital, they would have gotten updated with the growing technology. But people who haven’t been updated with technological advancements would face a problem understanding the change all of a sudden. But after all this time, why will they switch to digital?

Digital photography records light impulses as electronic charges stored on a memory disc. The image is a matrix of rows and columns, and where they intersect are small squares called picture elements, or pixels, which carry information about brightness and colour.

The image can be altered in innumerable ways. The interaction between digital imagery and photography is made possible by the fact that analogue photographs can be scanned and converted to digital format. The smooth curves and tonal graduations of the analogue image are converted into discrete steps of grids. More directly, digital cameras can now be used to capture images electronically on a desk, bypassing the photochemical process. Once an image is in digital form, its components can be rearranged, extended, deleted, and modified before it is printed. These processes are now made easier by software designed for them. When we add to the ease and power of altering an image, the possibility of simulating photographically realistic components on a computer becomes possible. It appears as though the photographer has gained complete control over the final image and acquired the freedom of the painter to depict whatever he or she can imagine.

As part of my internship programme, I had the wonderful opportunity to work with Prof. Mazhar Kamran, a well-known cinematographer in India.

I was working on the initial storyboarding for the movie Dandi March.

My first time working for a movie challenged my perspective about films and the work's progress. It also strengthened my visualisation capability and overall understanding of framing in movies, the role of the cinematographer, director, or photographer, and the perks of storyboarding before making a film.

This report describes the process I went through to do my task, from the script to the final renders (50+ frames) for the film on ‘recreating Dandi March."

They have been a part of the world for a long time; they are the living treasure we find today, full of life experiences and ideologies.

Above all, their unique stories and moments that still remain in their long-term memory are the ones we shall seek. Old age is our destiny. We are all looking forward to that stage, and every decision we make today, our lifestyle, our social life, and every single thing around us matters. That is going to define our old age.

This project is undertaken to understand the lives of elderly people and to celebrate them by featuring glimpses of their lives and the richness among them. This report describes the process I went through to understand elderly life and finally create images of old age.

India, one of the most populated countries in the world, has an endless diversity, starting from geographical features to languages, religions, art and crafts, customs and traditions, flora and fauna, demographic structure, and so on. Indian culture, which is a fusion of several cultures from all the Indian subcontinents, has been influenced and shaped by a history that is several thousand years old. The diversity of India is unique, giving us reasons to think of India as a ‘mini world’. In order to understand a culture, one has to experience it. This project was undertaken to experience a particular culture, understand it, and then express it visually.

Dronagiri village in Chamoli district of Uttarakhand was chosen as a place with untouched culture to experience and understand a lifestyle that is not known to the outside world. In this village situated at 11,800 ft. altitude, a mountain worshipped by locals is believed to be the one that Hanuman disfigured during his search for the life-saving herb Sanjivani.

This report describes the experience of getting exposed to a new cultural environment, the culture shock one may face because of the unfamiliar way of life, and how we adapt to it. And the process through which the culture is experienced is translated into a visual form.