Inder Gopal has more than thirty years’ experience in photography, having worked in both India and Germany. His passion for photography, belief in the importance of technology and outspoken views on the industry are evident in his interview with Fotoflock.

How did you become interested in photography and who has been your biggest inspiration to date?
It all started when I was given a Kodak Bunny camera that used 126 format film. I was given the camera to cheer me up when I was packed off to a boarding school in Mussoorie. Arrangements were made for a regular supply of films and for the films to be developed and printed from a local studio. One of our English teachers at the boarding school started a photography club for those students who owned a camera. There were no enlargers so we did all the developing and contact printing using trays. The smell of Hypo has stuck on my fingers forever like Ittar.

As for someone who has inspired me, it is difficult to name any one photographer; each photographer has something to offer by way of style, expression or statement. I like to know other photographers’ work and try to absorb and digest as much as possible from it.  To name a few: Ansel Adams was a master in getting the right exposures for what he photographed, Henri Cartier-Bresson for his photo-journalistic strengths, Yousuf Karsh for his great portraits, Helmut Newton for his boldness in his frames. Nowadays, through the Internet, the works of various photographers are easily accessible and a constant source of inspiration.

However, we can even learn from beginners as any new way of seeing things and interpreting visually can help you to grow as a photographer.

Did you study photography professionally?
My experience has been more hands-on – through attending lots of good workshops and short courses on photography and darkroom techniques besides gaining knowledge from photography books. Over the years I have been an avid buyer of photography books on various specialised subjects and on works of photographers. One of the best I came across was an 18 issue series published by Time-Life. It dwelt on every aspect of photography including the biographies and works of various photographers, darkroom techniques and unique photographic processes. It was a great asset to me.

Another factor that helped me a lot was my working with advertising, industrial, fashion and product photographer Mr. Detlev van Eupen in Celle, Germany (West). He was a very forward-looking photographer who always found innovative ways of getting around the problems that would pop up when doing commercial shoots like set building and set ups to modulate the light source. During the years that I worked with him, I experienced all-round development as a photographer. Commercial photography is not only about getting the right exposure on the recording media – there are many more things that go into creating an image.

Your work is very diverse: fashion, home furnishings, lingerie, locations, jewellery, commercial work and a lot of work related to modelling; what do you enjoy shooting for leisure? What kind of experience have you gained from working with so many different models?
Well, my indulgence in commercial photography has been more like a hobby, with my family business and various other responsibilities taking precedence over it. I operated from home using one large room as a multiple activity room. I never ran around for work in the real sense. The competition never got into my head to turn me into a closed circuit guy. I readily shared whatever little I knew with others and continue to do so today.

As I said, since my life did not depend on my earnings from photography, I accepted work as it came. A few months back, I rented out a small hall in Shahpurjat, Delhi, in which I have set up my studio. I’m now trying to do a little more work than was possible when I was operating from my home studio.

What I enjoy shooting for leisure is a pretty tricky question but to be honest, figure art photography gives me a lot of satisfaction as it is one of the most challenging aspects of photography. Also, when you get some reasonably good results there is an urge to get better results the next time.

A lot of people want to work with female models because they are attracted by the glamour and the ability to interact with women. I don’t know what they have in mind. I get calls from people who want to learn fashion photography and many of them have never handled a camera. I generally ask them the question: what is fashion photography? I tell them that if they learn how to bring out the beauty of a donkey, the task of recording the beauty of an already beautiful female should be easy. Without learning the alphabet they want to plunge into writing a novel!

Working with models means handling them with sensitivity and treating them as we would like to be treated i.e. with respect and honour. Communication is very important and this can happen only when we break the ice with the models. We need to take care of them when they are with us for a shoot. I am a little over-protective and do not appreciate anyone misbehaving while I am in charge. On a photo-shoot the photographer is like the captain of a ship.

Since each person is different the experience is always varied but fortunately, for me, it has always been a good experience. It is a mutual experience and the models’ feedback is very important to me. If a model had ever had a negative experience I would love to have their feedback so that it doesn’t happen again. I think honesty is the most important thing in all interactions.

Unfortunately a large number of models are not very professional in their attitude. Many have taken up modelling just because someone suggested it to them or because they were following one of their peers. Not many follow the rigours of maintaining their body, skin, nails, etc., which is a must for any model. Often the work comes in out of the blue and then they are found wanting in their body care. There is no harm in doing modelling as a hobby. It is a good idea to have a regular day job as a full-time model who is not getting enough work might become desperate and end up getting into bad situations.

Has Delhi been inspirational for your work? It's a busy city but you must find something motivating to continue living there. Tell us more.
I do not have any options. If I had, I might have stayed longer in Germany. Inspiration or no inspiration I have to be in Delhi and I am not getting any younger so shifting base for the sake of photography is not possible.

Over 30 years of work and counting! How important has technology been to your work? Do tell us about the kind of technology/gear you use for your work. Do you believe it's important to be technologically sound in today's world of photography or does simplicity prevail?
It is important to keep abreast of the latest technological advances as far as possible. Acquiring the latest equipment as and when it is launched in the market may be an expensive affair as the returns are slow and the advances are fast paced. I do keep reading about what’s new but I never get preoccupied with thinking about what I can and can’t afford. I like to use whatever I have to its full potential.  And what I have is good enough for the kind of work I get and is in tune with my clients’ profiles. I don’t work for advertising agencies; I did approach them in my initial days but never pursued them because of their payment attitudes. I have direct clients or single owner agencies where there payments are received immediately after the work is completed. I think that’s very important for any professional.

I am very interested in computers and software. I have been associated with NIFT, Delhi since 1988 and over the years I’ve shared my basic knowledge of photography with the students there. I’ve picked up expertise on quite a lot of graphic and image editing software. I have been fascinated with graphic software from the very beginning and I even bought myself a pack of high resolution free copyright images by Coral. However, I found working with those images very boring. I bought myself a Sony FD7 so that I could learn more by working with my own digital images. I have a medium format Mamiya RB67 Pro and 35 mm analogue cameras with assorted lenses and accessories, besides a DSLR Canon 450D. I am very conservative in buying new cameras as every six months cameras come out with some new feature. I have studio strobes, different size soft boxes along with studio accessories and I keep adding to this collection whenever it becomes essential. I also keep building up my own studio equipment and have modified soft boxes and accessories according to my needs.

I make an effort to learn about new technological advancements. I would not say I have been able to master any in the real sense, as I feel it is better this way; the thirst for knowledge makes me look for new sources all the time. The feeling of being a beginner is healthy as it keeps my mind receptive to new ideas, new perspectives, new thoughts, new visuals and new techniques. Keeping it simple is always good.

What kind of advice would you give an amateur trying to set out on his own with the dream of becoming a professional photographer? What are the kinds of things he/she should be prepared for?
Everyone should have a dream which they should work towards. They should also remember that ‘the grass is always greener on the other side’. We may envy the glamorous lives of actors and actresses but, in reality, they have to work very hard to achieve their iconic status. The same is true of photography: there is a lot of hard work involved. Often we have to work in adverse conditions. There are deadlines to be met. The working hours are often irregular. People who work with true dedication in any line of work, make their life easy and enjoyable. Many glamourised photographers may not be very good at their work compared to many others who remain anonymous to the public. However, the other photographers are the ones most sought after by the people who know their work, their reliability and their creative qualities.

Knowledge of aperture and shutter is not enough for a photographer; a wide range of general knowledge on different subjects is very important. One should be able to understand the subject /object one is asked to shoot. Always ask the client what is important without feeling ashamed, as no one expects a photographer to be a walking encyclopedia. When we take on commercial work we must satisfy the client’s requirements. We may make suggestions but these do not overrule the client's ideas. There are limitations set out by the client and we should not feel bad about this. As you progress in photography, you will get to know your strengths and choose specialities accordingly.

The application of photography is very, very wide in our world and each opportunity is fascinating and pays well but most applications of photography do not have a 'glamour tag'.

When we get up in the morning, do we ever know how the day will unfold? That is the beauty of life and it is enticingly intoxicating as we face the surprises of the day as they unfold. Common sense helps us through a lot of things. Good PR and marketing skills are an asset.

Since this is the digital age I would suggest that you get acquainted with image editing and graphic programs. You should also acquire working knowledge of the software by using it yourself in whatever little way, and reading books. This knowledge helps when communicating with graphic and image editing professionals as you can understand the possibilities for enhancing their work with their help.

Are there any memorable events in your career as a photographer that you would like to share with Fotoflock readers?
One of the great opportunities I got was when I was commissioned by a local newspaper to photograph the great statesman ex-Chancellor Mr. Willy Brandt of Germany (West) on an election campaign for his party in the mid 70s. I was shooting from just a few inches away from him. It was the first time I got so close to one of the most powerful statesmen in the world.

Do you work out of a home studio? How important is it to be familiar with a studio environment for professional photography?
From 1978 until this February (2008) I operated from home. I had to shift into rented accommodation to make space for an addition to the family. There are lots of constraints when working out of a home studio if the space allocated is not dedicated to photography. According to the style of photography one is involved in, we tend to collect so many props and accessories and they need space. We often tend to buy stuff keeping in mind some vague future requirements. The biggest benefit of working from home studio is that we are able to utilise our non-productive time fruitfully. We work on assignment basis with prior appointments. There are no walk-in clients. With a few exceptions, most of us are not overly busy. If there are no shoots or meetings I hardly go to my studio unless I need to set up or organise the place after a shoot. Meetings can be conducted anywhere and my place in Khan Market is pretty central for most people so I generally invite them here unless I need to assure some new client of my setup.

Whether familiarity with a studio environment is important for a professional photographer is an open question. Many professional photographers specialise in outdoor or location shoots and I doubt they miss a studio environment. They arm themselves with equipment and accessories that are useful for location photography.

Photos by Inder Gopal | Fotosocial