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Here are slideshows containing moments captured at a few of the weddings I have worked in.

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I love the 50mm lenses that I work with, and is the primary lens through which I view the world. It allows me to capture the expressions on people's faces, and that's what I really enjoy.

To take in more of the envirnoment, I use 24mm lenses. And, all of these are primes suitable for photography in avaliable light.

I enjoy working with Black & White. It's ability to generate brilliant highlights, rich blacks, a tremendous silky, creamy feel all over together with a sense of timelessness is terrific.

I'm pretty deliberate in my work, waiting for things to happen that set a mood and tell a story, while guaging lighting conditions, composition and perspective, to help me capture the moment the way I interpreted it. I thus average about 15 to 20 images per hour of photography, resulting in about 200 images for 10 hours of photography.

I generally do not make use of any auxillary light source while I work. When the quality of avaliable light gets poor (soft, diffused lighting that don't generate shadows), I tend to use the the light that I bring along, but only at those times when really needed and after having the couple's consent.  I almost never use flash to compensate for poor light as it destroys the mood of the image.

I would also very much like to have a contraption built that will allow me to selectively light a few sections, and thus play around with the shadows, midtones and highlights. I need to look around and get one.




Paintings are a source of immense joy. I delight especially in those evocative of urban or pastoral life with vivid characters.

John Constable's work is very inspirational, and so is Édouard Manet's.

Long ago, I came across a painting of an unknown artist, and though I no longer have a pointer to the painting itself, I did jot down a brief sketch of the wonderful mood it converyed. Here it is.

A damsel, relaxed and informal, by a window studying a string of beads held in her hands, seemingly lost in the moment. The whole frame is filled by the subject, indicating that the artist wants us to focus attention on her and her features, making the thing almost voyeuristic. A baggy shirt with generous folds makes her look relaxed, betraying no desire to flaunt her lines while a fancy watch strap indicates that she is not wholly unsophisticated. The warm flesh tones over her sharply featured face with strong bushy eyebrows, a round fleshy nose and ruddy lips and cheeks causes us to hover our gaze around them, which the pale colored shirt does not distract us from. Her dark flowing hair is lazily brushed back, more so towards the side of the viewer and serves to cap her body. A soft light bathes her right side, and spills over to the other side just enough to emphasize her shapes and contours. The positions of her fingers while handling the beads augments the delicate mood the painting captures. An absolutely lovely composition it was.

I was also in awe when I got through Somerset Maugham’s The Moon and Sixpence, which sketches the intense drive of a character names Charles Strickland to paint, which makes him leave his family and friends behind in London and move to Paris, living almost as a mendicant, but free enough to follow his dreams.

 It’s thought to be based on Paul Gauguin’s life.