Master of Light: Conversation with Contemporary Bollywood Cinematographer – Rajeev Jain ICS WICA
Rajiv Jain – Indian Cinematographer / DOP - The Complete Interviews, Vol. I

The Shape of Light – Rajiv Jain Paints with His Camera
Rajeev Jain (Born: 1968, Lucknow) started working as a director of photography in 1993, after serving an apprenticeship as camera assistant and camera operator. Since then Rajeev has worked as director of photography with some of India’s most esteemed directors, in some cases establishing a close and intimate association. We met up with Rajeev Jain in India, on the occasion of a five day seminar organized by the Delhi Film Club on The Shape of Light, an event which saw the participation of hundreds of students, filmmakers from across India.
How has cinematography changed in the last fifteen years?
I went to the Bhartendu Academy of Dramatic Arts (Bhartendu Natya Academy) in Lucknow during the period of the new wave. We were witnessing a cinematographic quality which had ‘unchained’ itself in many senses in films from the period until the end of the 1980’s. Even the montage was much more liberated, and Cinematographer/ Directors, with Gautam Ghose at the forefront, were searching for greater liberty. Even when it came to shooting, using hand-held cameras, using natural lighting, or lighting in a way which seemed natural, such as through open windows, etc. In other words an absolute freedom whether with camera movement or lighting.
And in our country?
In India there was still a more classical style of photography, and I am making reference such as Subroto Mitra, Sudhendu Roy, who worked with Satyajit Ray up until Agantuk (1991). Meanwhile other new cinematographers with different ideas were also emerging, like Ashok Mehta (36 Chowrangi Lane), especially with black and white. But this black and white image with its own proper aesthetic beauty had a characteristic quality of merging lighting to atmosphere or ambience. Hence from this point on maybe cinematography acquired a more important significance, a complete symbiosis with the film and the narrative.
Can the meeting between director and director of photography influence the career of one or the other?
During the seminar a meeting of a good director of photography and a great poet. With the cinema of Ray, on the other hand, there was without a doubt a decisive turn with the arrival of Pather Panchali (1955) onward.
Which filmmakers have made a particular impression on you?
The rapport with Shyam Benegal on Tota Maina (TV Series) certainly was for me an event which I remember with great emotion until this day. I meet people who confide with me that they decided to become a director of photographer after seeing that serial, or directors who decided to enter cinema thanks to Tota Maina. For example, one day there was a kenyan boy who happened to be at my house that decided to come to India to make Tv seial after seeing Tota Maina. So it has been an important film for many people, and much more for me because I was lucky to work with Shyam babu.

How did you meet?
It was quite by accident. He was looking for a director of photography who was also mentally prepared for this adventure, and through various sources my name came up. A friend of mine who worked as assistant director introduced me to Shyam babu. I remember when he called to tell me that Shyam Benegal wanted to meet me. We met at his office for tea, and at the end of this encounter he takes out a script and offers it to me. I can feel the emotion of that moment right now.
Can you tell us about the TV Series’s ‘dynamic photography’?
Shyam babu used to tell me that TV uses time like a narrative element, while the photography normally remains constant for the duration of a sequence. It is precisely time that the ‘dynamic photography’ exploits to render a different consistency to the film. An example is the atmospheric conditions within nature: if during a cloudy day the sun comes out at a certain moment this will modify the condition of the light. In an interior space if someone enters a dark room and turns on the light this will change the condition of the light. However, this is all tied to precise actions. This discourse is amplified in Tota Maina, where in addition to variations in natural light were added variations which correspond to emotional motivation rather than any sense of logic.
During some scenes you also used different shutter speeds, sometimes barely noticeable.
During the filming Shyam Babu would ask for certain precise frames a slight increase in shutter speed, hardly noticeable, and therefore far from the slow motion effect we have been accustomed to seeing in many TV Series. This was solely to have greater suspension, therefore always in the service of a certain atmosphere in the serial. Technically this variation in speed consisted of a slight adjustment of the diaphragm. Shyam babu was very precise and exacting with his choice of photography, and not only myself but the whole troupe was so impressed by his personality that we complied voluntarily with his every request.
In the course of this seminar you have lamented the fact that it always gets more difficult to shoot a film in India with careful attention to the cinematography. For what reason?
Principally because there is a lack of respect for the profession in India. In the few films I have shot with foreign crews and production I actually discovered a greater professional respect. Then certainly there is the lack of preparation, because if films are not well prepared you will end up improvising on the set. Another reason is the understanding of shooting schedules, because if you shoot a film in ten weeks or in five weeks the result will be clearly different.