Ian Pereira throughout his long career, has been much lauded for his work in the field of industrial photography as much for his work in the field of advertising photography. He speaks to Fotoflock.com about how he became a photographer and what keeps him going. It is also interesting to note that he considers himself to be his best rival.

You are a formally qualified photographer from the Polytechnic of Central London. Did you always know you wanted to be a photographer?

No, I won’t say I always knew that I wanted to be a photographer. While I was studying for my B.Com, I was assisting Ram Prabhu at his studio and learned the basics of photography in the process. It was my parents and especially my father Brendan Pereira who saw a spark in me and suggested I pick up photography. They not only directed me towards the field but also nurtured my talent.

Why did you choose to study abroad and not in India?
I was born in England and so I have a permanent visa, because of which I would also be treated as a regular English student in any college I chose to be in. The fees also weren’t going to be as high as charged to students of other nationalities. This was something that was in my favour and my parents chose to send me abroad for my education.

I had enrolled in a part time day release program. I used to attend college one day a week and work at Colorama Processing Labs the other four days and worked on college assignments on weekends. This was also instrumental in laying the foundation of my education in photography. I received useful insights into good exposure from bad, the other technicalities of a good photo. I had joined Colorama as an assistant but left as the supervisor! I learned administrative skills as well from my work and received the theoretical knowledge from my college classes. There was also a time when I was in the US for three months when I assisted photographers like Isaac Jo and Joe DeNatale. 

How did you start off in Mumbai?
I had always wanted to come back to India. I really had no plans of staying back in the US or the UK for that matter.

When I returned to India in November 1984, I had come back with equipment that was considered revolutionary for the then Indian market. This, in a way, was a plus point for me, but not something I could cash assignments on. I had to do rounds of several agencies in search of work. It obviously wasn’t a kickstart or an easy task, but I did my fair share of required hard work.

Speaking of equipment, I won’t say it didn’t come in handy at all. There have been a few assignments in which I got hired for the kind of equipment I sported! But then again, after that it was all based on my skill and quality of work.

Initially I have done assignments for Metro Shoes, Impressions, Double Bull Shirts, Kwality Ice Cream and also shot for the Honda account for Rediffusion Y&R which was Rediffusion then.

Since you do a lot of product photography how will you describe the differences in techniques and handling when shooting models instead. In shooting people one has the freedom to move the subject but what skill goes in to getting the most out of a stationary or a non-living model?
In fashion there is a face that in most cases becomes the subject and also there are limited options for lighting. However in product photography there is a great range of lighting options. Understanding the general look, design and requirement of the product is an essential in product photography.

In jewellery, for example, I will have to concentrate on the colour captured in the image and on the other hand for furnishing may be the texture might be of greater importance. So I guess one learns these things as they move up the ladder. Working and gaining hands on practical knowledge helps you observe your work and make changes and bring improvements as you trot along the way.

Have you held any exhibitions of your work?
I have been a part of group shows on a number of occasions. Since I am part of the Photographers Guild of India, I have done a number of shows with them as well. I am yet to host an individual exhibition.

A memorable photo shoot you’d like to share with us.
I was shooting in the Navneet (books) factory located in the outskirts of Ahemdabad. While shooting an image, I had fallen off a 10 feet high forklift and suffered from a concussion. I had passed out for nearly 20 minutes and took me over an hour to even realise where I was, who I was and what had just happened!

What are your thoughts on film versus digital photography?
The latitude of films was smaller… it was difficult to get details in the shadows and highlights. And since film was never 100 percent flat, it was not possible to get images as sharp as is possible with digital equipment. In film photography, the colour would shift and one could find out these details only after the image was developed. However, with digital, one can see the image before it goes for printing and has thus reduced the chance factor in photography.

In turn, since it is so easy to keep a track of one’s work it also reduces stress. In fact digital photography has made the field so accessible that even people who don’t know photography are in to it. Unfortunately.

What are the notable awards and accolades you have been decorated with?
I have received the A&M magazine's, photographer of the year award in 1993 for my work for the Escorts Corporate Campaign.

Your profile says, “I can’t produce great creative concepts or images”. Isn’t this statement a tad strong?
I am not trying to pretend here and I am being frank about my skills and limitations at the same time I am secure with who I am so I don’t see any reason why it should come across as a strong statement.

You give me a product and I can surely design something around it but I can also assure that it won’t be the best that could have been done with it. It is like the difference between a designer and a tailor. A designer may know how to design and may not know how to stitch and it is not necessary that the tailor should know how to design, a basic knowledge is more than enough.

I can assure you that I can build a great photograph and execute the client’s ideas and also give inputs as and when required. But again like I said I won’t be able to produce the best creative for it. What’s the use of pretending? But give me a concept and art direction and I can execute the assignment perfectly. 

Who are the photographers who have inspired you?
Wilas Bhende and Mitter Bedi

You have assisted a number of photographers and how has that helped you in your work when you decided to go solo?
I felt I had enough knowledge to begin with and the experience helped me feel confident enough. One can have the best of the equipment, but that does not make a difference. After all it is what’s on your mind that counts.

The equipment did open a few doors for me but if I had returned to India in these times it would not have been the same and I doubt if I would have been able to go solo. Back then, negatives and later transparencies were of prime importance and the expectations of clients as well were lower than what is expected of photographers today.

What camera are you using currently?
I am still using my old Sinar and Hassleblad cameras which are as good as 24 years old. I have an option of a Leaf digital back that fits into my old cameras. So I continue to use those.

What are your thoughts on printing in photography?
Everything right from the concept to photography to execution to processing as well as printing is important in photography. A slight mistake in any one stage can ruin the work. However a little mistake in the printing is a great loss as it messes with the final stage of the process.

Offset printing can be quite a difficult task and it is an important aspect in photography. Earlier we had to have a sound knowledge of the printing process and take care to select the correct exposure.

But, now with digital photography I have a camera that flashes as in warns me for the correct exposure settings.

What printing equipment do you use?
I use an Epson 800. I don’t use it for colour prints because I don’t print them at home. I use the Epson for rough images or for dummy prints. I leave majority of my printing to the printers. Come on, if they are doing that day and night they are sure to be more knowledgeable in the field than myself.

Your message for the new generation
They must have a sound knowledge of colour and should also take efforts to understand the print media. It comes in handy while shooting and will surely enhance their quality of work.

Photos by Ian Pereira | Fotosocial