Rohit Mehta, who died at the age of 86 at Varanasi on March 20, 1995, is remembered differently by different people. Some recall his cogently thought and delivered lectures on philosophy. Some talk of him as a man with legendary memory who could quote flawlessly from Sri Aurobindo,Upanishad,Gita as also Marx, a teacher with a vast repertoire and a subtle sense of humour and a prolific writer,and a man of unfailing kindliness.

Still some  others think of him as a charismatic personality, donned most of the time in spotlessly white dhoti and yellowish khadi-silk kurta,slightly stocky in build,and wearing a black-framed pair of spectacles over deep penetrating eyes.He was brilliant, but never flamboyant, solid but never seeking recognition, an original thinker who could easily and without showing any burden mix with the most ordinary.

An unusual man who was extra-ordinary in many respects, and yet strove to conceal all this under modesty and nonchalance

Remembered Late Prof.P G Mavalankar, former M.P. and a well-read man himself: “Rohitbhai was a five-in-one personality - a thinker,philosopher,interpreter, writer and speaker, clear in thought and precise in language and eloquent in delivery. All these took him to the top.” He was all this, and much more.

A many spleandoured man,Rohitbhai as he was universally known was not just a run-of-the-mill freedom-fighter,a socialist-turned-spiritualist. He was in the world class, a thing about which he never had to seek certificates or to boast. Yet, he was so self-effacing that one would have to hunt for a photograph of his.

How tall was he could be measured from the fact that he was one of the pioneers of the Socialist Forum within the Congress in the early 1930s .He went to prison repeatedly, starting from student days and would have gone far had he stuck to politics. It was Rohitbhai who introduced a then young Morarji Desai to the youths during the freedom struggle.

He quit it in 1935,and was never to regret it.

He penned more than 25 books on philosophy, delivered thousands of lectures all over the world and sought to interpret the coming world far ahead of his time to his contemporaries. He was an able interpreter of his friend and philosopher,J.Krishnamurti,of Gita,of Upnishads and Yoga.

Yet, he was no parochial a preacher. His vision could embrace technology and spell out its impact on society and mankind far ahead of his fellow human beings.

What he diagnosed in 1950 in one of his early volumes, The Intuitive Philophy,rings so prophetic after 59 years today,as if it has been foreseen in minute detail by him.He said: “Ever since the industrial revolution of the early 19th century, there have appeared such factors in our society as have led to rapid and revolutionary changes in the socio-economic structure of the world. This tendency towards rapid changes has been considerably intensified by the scientific advance in the course of the last 100 years and more. Large-scale economic production and the breaking down of the barriers of space have been the two most outstanding features of the social and economic revolution which began in the 19th century and which still continues its onward march.”

“The new means of transport and communications, moving at terrifically increasing speeds, have eliminated distances between countries and have thus brought the peoples of all nations suddenly together. Along with this advance there has been an enormous increase in the scientific and mechanical skill as applied to economic production. This scientific technique is becoming more and more perfect so that there is today production of economic goods on a colossal scale. These goods must be sold and one country is too small an economic unit for the absorption of commodities produced on a mass basis. This factor of large-scale economic production, coupled with the elimination of distances, has tended to break down national barriers. Economic life has become international, for economic trends during the last years have moved in the direction of world unity.”

He perceptively observed: “But this economic currents have been obstructed in their progress by political forces. While the world is becoming one on the economic plane, it is kept divided on the political level. The idea of complete national sovereignty does not leave its hold on the minds of the people.”
He said:” One of the major contradictions of our age is this: the trend towards unity in the economic sphere and the maintenance of national sovereignty on the political plane. ... This is one of the paradoxes of our civilisation that while we desire for peace, we work for war !”

“Man’s psychological inability or refusal to adjust himself to the requirements of technological revolution has created an immense problem for our human civilisation...We cannot stop the advance of science producing continual changes in the material conditions of life, nor can we stop the activity of the mind which makes every change in the objective conditions too dangerous for the very existence of human civilisation. It may sound strange to say our generation is mentally tired while it has reached new heights of mental development through scientific advance.”

He thought specialisation and over-specialisation was the craze of the modern age, which had enabled us to create a wall between the real problem of life and us, the real problem being the increasing mental tension in the life of the individual. The problem of the individual, according to Rohitbhai, was to discover the fundamental value of life. Today the subjective life of man has been rendered extremely poor while the objective conditions are changing at a terrific pace. Man is trying to cover up his inner poverty by erecting huge mansions for social, political and economic activities. But these activities, instead of providing relief, gradually create greater and greater psychological tension in the life of the individual. Probably at no time in human history was the gulf between the subjective and objective factors as great as it is today. Unless harmony is established anew between these two factors, the human crisis is likely to move towards a deepening horror, the result of which will be complete destruction of our civilisation. We must discover a philosophical approach that would enrich the subjective life of man.” Prophetic words, coming from a man then in his early forties, and that was ages before Alvin Toffler had dreamt of his Future Shock.

Rohitbhai was born on August 3,1908 at Surat in the family of Hasmanram,who used to be a professor in physics at the Elphinstone college,Bombay.The bright child was destined to do unusual things from the early age. At the age of 18,he led a student strike in the Gujarat college in Ahmedabad against the dictatorial behaviour of its principal F.Shiraz.His two other associates were Jayanti Dalal, writer and Nirubhai Desai,who later became a famous journalist and author.Shiraz had ordered that no student shall participate in any political activity.The strike continued for three months at the end of which the young Rohitbhai was rusticated from the college and the Bombay university, according to Dr Bhaskar Vyas of Baroda.

Between 1926 and 1934,the young man was sent to jail five times for his activities in the freedom struggle, making him a blue-eyed boy of Mahatma Gandhi. He had already been an avid socialist by then, a core member of the group believing in socialism within the Congress in those days. During the floods in 1927-28,Rohitbhai did a lot of work for the poor.

He went to jail during the salt satyagraha too and in 1934,Rohitbhai was handed a two-year term of hard labour, and sent to Ahmednagar.The heat and hard work in breaking stones there led to a terrible illness. He suffered a sun-stroke and then was partly paralysed. The alarmed authorities rushed him to the KEM Hospital in Bombay under the care of Dr Jivraj Mehta, who was to later become the first chief minister of Gujarat.

Rohitbhai had refused even to go on parole but the Mahatma intervened. According to Prof Bababhai Patel, a Congress worker,Jamnadas Dwarkadas took J.Krishnamurti to see the ailing Rohitbhai. Krishnamurti kept his hand on the parts of the sick man’s body wherever it was paining. The therapeutic touch is said to have cured Rohitbhai completely. He walked next day, and was discharged from the hospital soon.

Rohitbhai who was in the freedom struggle along with Jaya Prakash Narayan ,was a sort of maverick. He invited Subhaschandra Bose to Gujarat,ignoring Vallabhbhai Patel’s orders.

But the spiritual bend of his mind had already started asserting over his rebellious political mind. He had begun to realise the “soullessness” of politics and plunged into studying the works of theosophy and Krishnamurti.
Leaving “the dunghill of politics”, he took to spiritualism and philosophy for life. He explained in 1937 his transformation in a volume called, A new world of theosophical socialsim,predicting the eventual downfall of the Soviet Union.

In 1941,Rohitbhai went to Adyar in Tamil Nadu to act as recording secretary of the theosophical society,and soon became the international secretary. He explored the ideas propounded by many and yet did not subscribe to any one idea completely. This however was not out of an intellectual arrogance but out of modesty. He was to be later given a doctorate in philosophy by the Swiss University at Lugeno.Among the books he wrote were many notable ones such as Yoga-the Art of Integration, The Nameless Experience, From Mind to Super-Mind,The Call of the Upanishads,the Intuitive Philosophy,the Play of the Infinite, the Dialogue with Death,the Being and the becoming, the Eternal Light,the Creative silence,Seek Out the Way,the Search for Freedom, the New World of Socialism, the Science of Meditation, and the Journey with Death.

In 1936,Rohitbhai was married to Shrideviben,a decade younger to him. She used to sing very melodiously. At his lectures, recalled Prof P.G.Mavalankar, Shrideviben would sing bhajans and hymns appropriate to the theme of his talk.” People would appreciate these after listening to Rohitbhai since the talk would make them understand the bhajans and hymns and their meaning all the better”, Mavalankar said. Prof.Mavalankar and his wife used to know the Mehta couple well and fondly remember Rohitbhai’s request at his talks (he would call them talks, rather than lectures): “You cannot leave while Shridevi is singing the bhajan. However,you can leave when I am talking.” Hardly anybody would go.

He used to live in Varanasi,when not travelling or lecturing around the world and the country.He used to come to Ahmedabad at least once a year for a series of lectures,which would start at 6.30 p m in the lawns of the late Rambhai Amin’s house in Gulbai Tekra,on the Labh Pancham day .Prof.Mavalankar remembered having seen around 2,000 people listening to Rohitbhai in rapt attention.When his health started giving in, he used to come every alternate year.

Remembered Mavalankar:” Rohitbhai had good diction,and he would speak neither fast nor slow,quoting with ease from a variety of works.His sense of humour would peep through in subtle manner every now and then.He was an optimist and knew the future lay in re-discovering India.This could be done by reviving its great culture which has been showing strands of decadence.”

Rohitbhai was a widely travelled man,having lectured at various places in Europe,the U.S.,Africa and Asia.He could talk fluently in English, Hindi and Gujarati.”

Dr Bhaskar Vyas of Baroda, who knew him for more than two decades remembered of an attempt by himself and Dr D V Nene at doing a biography of Rohitbhai. He read some chapters Vyas had written and recommended: “Tear them up”. Apparently, to Rohitbhai ideas were more important and lasting than the man who thought them, even if it was Rohit Mehta.

Despite his tall stature in the world of philosophy,Rohitbhai always preferred to remain the shadows, shunning the limelight. In 1993,a greeting card he sent to his friends said:” The mind that is constantly renewing itself never grows old. It is constantly on a voyage of discovery. It never arrives. It moves on towards an endless journey. And the secret of life is found not by one who has arrived, but by one whose journey never ends.”

In January,1994,he came for the last time to Ahmedabad.Shrideviben’s younger brother, Late Devendra Oza, a veteran journalist and humour writer in Gujarati,under the pen-name of Vanmali Vanko had lined up an interview for this writer. Hours before the meeting,Rohitbhai developed fever and the meeting was put off to a future date. That date would now never come. He has moved on to an endless journey of no return.

Category :- English Bazaar Patrika / Sketches

Pranlal Patel

Tushar Bhatt

It all began in an innocuous way.
It was a hot day in May in 1940.The world was, for several months, at war for the second time in the 20th century. The Quit India movement was a good two years away in the future and the independence of the country as yet a dream.

Thirty years old then Pranlal Patel, a Rolie-flex camera slung on the shoulder, set out for Kashmir, long hailed as paradise on the earth, with a return ticket from Ahmedabad to Srinagar via Rawalpindi. Inclusive of the bus-fare from Rawalpindi to Srinagar, the cost per head was a meagre Rs.42.5. But the young man was not from among the rich in search of pleasure.

He was setting out to take photographs, in an era when a camera was a rare thing to possess, more a hobby of the wealthy or the crazy. A Kodak 120 reel cost 14 annas. Like the anna coins, the 120 film too is extinct now.
Every thing clicked in the life of today’ camera wizard Pranlal Patel, internationally reputed pictorialist. His specialty has been his mastery over  Black &  White photography. So much so that the photographs taken during that trip continue to fascinate even today, not only because of their excellence but as a collection of historic value. It effectively brings out how much more enchanting was Kashmir just 70 years ago and what damage man has done to it. In the process the photographs become an irrefutable witness to an era for posterity, far more trustworthy than words.

Even among the true photo-artists, Pranlal Patel, an Ahmedabad (Gujarat)-based lens man is the rarest of the rare. Active in photography for nearly 70 years, Pranlal in 2009 is in the hundredth year of life, and still kicking and CLICKING. He still wields a camera, walks upright, though slowly, and has most of his slightly yellowish teeth intact and in service.

The 99-year-old Patel is still in photography. He took it up as a hobby in 1932. In no time it became a supplementary profession and then got transformed into a life-long passion.

A representative collection of his vintage photographs at Jaipur (Rajasthan), in March, 2009, has been described by Pranlal as fulfillment of a long standing desire. “I have no desire left unfulfilled. Now, I am waiting for one way travel on God’s train.” He brushed aside protests from listeners. “I have had everything in life.”

He has dozens of albums and has held numerous exhibitions. His work was not just superb photography but also a social, visual history. Most of them though exhibited are yet to be published.

He is curious like a child, and again like an innocent small boy, gets easily absorbed into the present moment, here and now. Behind his spectacles, eyes sparkle with abundant interest in life. He is equally comfortable with the children, youngsters.

He is a simple person, though certainly not a simpleton, frugal with words but fluent in thought. What keeps him fit and full of zest for living? “I don’t know. I do nothing special. I eat normal Gujarati vegetarian meal, do padmasan, and eat five pieces of dates with ghee (clarified butter) every morning and drink milk. I regard myself as an eternal student, keen to learn newer things. I have many Gurus; even my grandson Piyush is my Guru because he taught me a lot about harnessing computer as a tool for photography. Among my closest friends are two noted young photographers, awards-winner Vivek Desai and Ketan Modi, who runs a highly-acclaimed photography training institution. Vivek is also my dearest disciple. I am proud of today’s young generation”.

Pranlal is very popular among young professionals and helps them a lot by patiently passing on insights obtained through decades of photography. His photography has been mostly based on box cameras of the old genre and in black and white, without using the flash. He firmly believes that “the real art of photography does not reside in gadgets, whether a flash light or the modern-day digital cameras. It does not rely solely on composition, light and shade, but on the eyes and fingers. There must be a perfect co-ordination between the eyes and the fingers. In turn the eyes and fingers must harmonize with the camera in such a way that they know simultaneously what unusual feature is there in the subject, compose in a way that highlights that feature and decide in unison when to press the shutter. They must become one with each other and the subject being clicked.”

Alas, there is no device in the market that can achieve this feat for the lesser mortals! Those who have learn the secret are photo-artists, the Masters. The rest are slaves of technology.

Of course, people like Pranlal can throw some hints. “You should think before you pick up the camera to shoot. Most of us do not contemplate in advance. Before going in for shooting, you should think of some unusual angle, slant, and symbolism, colours, light and shadow in the composition. Almost every thing has been previously photographed. You have to bring out something that is different.”

He says “It doe not mean that you should ignore day-to-day life. It means you must learn to concentrate in the present assignment, not just take a fleeting interest in the subject of the assignment but view it as the most important thing in your life, here and now. Your mind should neither wander hither and thither nor waver. You must see what is in front of you at the present moment. Nothing else matters. This cannot be accomplished overnight. You have to practice endlessly. Like a music maker you must never stop doing the riyaz all your life.”
Pranlal quotes an example. Ages ago, he was on an assignment to create a photo portfolio of the new building of a local company. Says he, “I could have done it in two or three weeks. But I took nearly six months. I would go to the building, sit in different places outside and study the light and shade and the time. I wanted to find out the timing and season when there would be best sunlight. I did not even open my camera bag till I had decided that in the forenoon of May there would be ideal light. The portfolio was much appreciated.”

Pranlal’s  photographs are not only technically perfect, underlining the superb sense of composition, and skillful management of light and shade but also are so evocative that they seem to have an enduring life of their own, vibrant, vivacious and memorable.

Another trait that separates Pranlal in the rare category is the habit of preserving and maintaining his thousands of negative, repository of images of over 70 years. Together they are a massive documentation of India’s march of progress and social change.

These images also seem to re-assert the prime position black and white pictures occupied in the art of photography, notwithstanding the rapid advancement of colour photography. There is a stream of defeatism about black and white photography these days and in many cities there are no studios that will wash, develop and print black and white pictures.

Pranlal Patel’s pictures celebrate the glory of black and white, re-inforcing what W.D. Wright, a British professor of Applied Optics at the Imperial College of Science & Technology, observed years ago. He contended that the black and white photographs may appear to the viewers more real than the colour pictures. Over the years, viewers have learned to supply their own colour information to a black and white photograph.” You may get closer to reality with colour but the closer you get the more obvious it becomes that it is a picture, (and) not the real thing.”
Pranlal is reluctant to take to colour photography. He thinks that the black and white photographs have an immense capacity for subtlety, rich sensitivity of detail and graphic urgency. To him it also is a stimulating mental challenge to transform every colour around us into two shades of black and white only and bring a still photograph to life.

Pranlal has, over the past seven decades of photography, earned a reputation as a pictorialist, extending far beyond the shores of India, bagging awards and prizes. His work has been published in international media for decades. Pranlal has an innate sense of history. For example, take his photographs of the Sabarmati River in Ahmedabad over the past half a century. They instantly tell you a visual story of the degradation of the ecology. Or take the images of a typical wedding in the Patel farming community over past half century. They highlight subtle changes in customs and attire, attitudes and behavior over time.

At his age most people would be bed-ridden, if alive. Countless others would have hung up their professional equipment and sunk into senility. Pranlal continues to explore life with the same sense of wonder and romance that first made him give up his job as a teacher in a municipal primary school in Ahmedabad.

Born on January 1, 1910, Pranlal has come up the hard way in life, but the harshness has left no trace on his personality. A man with a largish nose, twinkling eyes hidden behind a 25 per cent darkness goggles glasses, he is quick to smile and enthuse. Hailing originally from Jamnagar district, he traces his family home now to Kolki in Upleta taluka of Saurashtra. He grew up at his maternal uncle’s place, working in Ahmedabad in petty jobs to help family. “I have sold peanuts, soda and lemon soft drinks near Victor cinema hall in Fuvara in olden days, delivered at home newspapers of Ahmedabad, which included at one time Gandhiji’s Navjivan. Remembering his childhood, Pranlal says: “I was, however, a bright boy from the very beginning, who was made to jump several years from Standard I in primary school. I passed my vernacular final (which was not the final year of secondary stage in education but of the primary stage, but in those days, something of a qualification).I became a primary school teacher, with an initial salary of Rs.15 supplemented with one or two tuitions”

But, recalls Pranlal, he had an urge to do something different, something so well that people will remember him by.” This yearning brought me in contact with photography in 1932 when I acquired a box camera. In the early years, I learn a lot from Col.Balwant Bhatt, an ace photographer himself.” He does not make any claims, but Pranlal must have had a gift from birth to identify visuals, compose them automatically and then capture them exactly as he saw them with his mind’s eye. He began to work as a free-lance photographer even while continuing as a primary teacher. A meticulous diary-keeper, Pranlal noted in 1937 that he had made an income Rs.710 in that year from photography. In 1938, the figure jumped to Rs.1, 241. Not much by today’s standards, but as Pranlal notes humorously: “The rupee was not so cheap in those days.”

Remembers Pranlal: “I was debating with myself if I should continue as a teacher or do something else that will make me stand out. I had been going to Ravishankar Raval’s school of fine arts,dabbling in painting to see if that was going to be my way of life. I think it was around 1938-39 that I got an opportunity to see an exhibition of photographs of Kashmir, taken by a famous photographer, Abid Saiyed of Palanpur. My mind was, as if, under a spell. I too wanted to capture in the photo frame the beautiful landscapes, natural scenes, snow-capped mountains, the serene life style and lovely Kashmiri people.”

Abid was a sympathetic listener to the young man and not only gave him all the dope, but also a promise to speak to Kodak people to give him film at the dealers’ rate. Three friends from Mumbai and Ahmedabad agreed to join Pranlal on the safari to Kashmir. Before they undertook the trip, something happened that landed Pranlal full-time into photography.
Recalls Pranlal: “One day I was taking class III in Madalpur municipal school, teaching Gujarati to the pupils, A camera, as usual hung on the back of my chair. An Inspector arrived from the municipal administrative office for his annual inspection, saw my Super Iconta, and asked: ‘What is this?’ I told him politely it was a camera, to which the inspector retorted loudly,’ If you are so fond of photography and the camera, then open a studio on Gandhi Road. Such things are no good for an ideal teacher.’ I was stunned.”

Pranlal could not sleep that night. The next morning, he went to his principal to tell him he was quitting. “I was rattled by the rude remark. I had the confidence that I would be able to eke out a living from photography, my obsession. Already I was making Rs.200 a month as side income from photography at social and official functions. It was a good enough amount to live on.”

The young man who went to Srinagar in May, 1940, via Rawalpindi, spent a month in the valley. “Among other things, at Srinagar we stayed in a shikara for three days, paying a princely sum Rs.2.50 a day, and then moved on.” The days would be spent photographing the heart-stopping beauty of the Kashmiri landscape and people.
They went to Pahelgam and to remote villages, mountainsides, water-falls and everywhere in the beautiful valley. “One could buy a hundred apricots for six annas. Oh, it was like living in paradise for a month.”

Says Pranlal :”What all we saw can never be described in words or even in pictures. It was an era of black and white photography, and of mechanical cameras, with no modern technology available to aid a lens man. I took pictures of Kashmir with these limitations, exposing fifty rolls of XX film. These rolls were washed locally in Srinagar.On return to Ahmedabad, we started enlarging them into prints. Friends and others who saw them exclaimed words like Oh! Wow! Fantastic! Wonderful! Extra-ordinary! Balwant Bhatt helped and guided me into sending these pictures to national and international magazines, earning me a name as a pictorialist. That was a golden period, those days 30 days in Kashmir. I yearn to go Kashmir once more, and capture as it looks today.”

The lucky break into photography via Kashmir made the life for Pranlal. Scores of journals in and outside the country carried his pictures every now and then. He never looked back, becoming more and more famous as a pictorialist with rare sensitivity and dedication, traveling widely in the country, capturing events like the wedding in the Mysore Royal family in the fifties and that in the Royal family of Rajkot. He has a huge collection of rare pictures of cities, famines, landscapes and people.

Among the prized possessions are huge albums of photographs of the Iron Man of India, Sardar Vallabhbhai Patel whose every visit to Ahmedabad whose mayor he earlier had been captured on his camera. His presence was so routine that when Junagadh princely State was liberated from the Nawab’s rule and merged in the Union, Pranlal was present in the city when Sardar arrived. He hailed Pranlal, saying,” if I come, you too should. Do you keep tracking me? Is it not so?” Pranlal did a lot of photography during the Quit India movement. His pictures were lapped up by photo-hungry newspapers and magazine. His earnings shot up and he filed his Income Tax returns in 1947, to the great surprise of officials. It was hard to imagine so much income from free-lance photography only in those days. Nearly 90 per cent of the surplus was used in buying newer equipment.

Along with still photography, he also undertook movie photography. He filmed extensively and in 1947 and 1957, recorded some 16,000 feet of movie of a religious head’s pilgrimage of Vrajbhoomi; it was so massive that the divine personality got tired by merely watching it. But the photographer was indefatigable.

His wife Damayanti, their son, Anand, their two daughters and grand-children all have taken to photography. Damayanti was a self-made darkroom wizard who could rescue very fuzzy photographs by dexterously doing washing, developing and printing. She was a sort of record-keeper too.

Some 40 years ago when Queen Elizabeth came to Ahmedabad, the state government wanted a hundred copies of an old photograph of the Somnath temple. Pranlal was not at home when Manubhai Trivedi, an information official, came to their studio-cum-residence. Damayanti requested the officer to wait for five minutes during which she spotted the meticulously preserved negative. Within ten more minutes she came out of the darkroom with a perfect print of the old picture. The government got a hundred copies before morning. She passed away a few years ago, leaving a big void in Pranlal’s life. His grandson looks after the library work now

Today,Pranlal looks back with great satisfaction that he will leave behind foot-prints in the form of photographic prints to remember him by. But he has by no means called it a day. Tell him of a topic and his eyes shine. A routine day, till recently, began at 5.30 in the morning when he would wake up. After breakfast at 9 a m he would set out on foot from his home for his studio, a distance of two kilometres. If the son and others were not using the studio, he would get into the darkroom, working up to 1 in the afternoon.

He helps youngsters willingly in learning photography, emphasing the importance of composition, painstaking care for capturing details, judging light correctly and developing and printing the photographs meticulously.

He advocates working not only with body and mind, but also heart. His own involvement in the work is such that he does not remember time or gets tired or hungry when engrossed in photography. Some years ago the Kankaria lake in Ahmedabad had a huge fish population dying out suddenly and the stench of the dead fish floating in the water was awful. But Pranlal took out a boat, taking his own time in capturing just one memorable picture of the dead fish panned by empty boats on either side of the frame. He never noticed the stink, as he clicked away till he had captured the right composition.

He says “photography is something done with the eye, the mind and the heart. The equipment, though important, is secondary. With the best equipment in the world, you could turn up with lousy pictures. With primitive equipment but alert mind, you could transform ordinary things into photographs of extra-ordinary charm and beauty.”

He generally does not use a flash and none of his memorable pictures has had the use of artificial lights. He believes that the real fruits of good photography cannot be reaped unless one takes an equal amount of care in washing, developing and printing. His one-liner to aspiring photographers is “Do not compromise, either in quality, costs or time devoted in getting a good picture. Quality always remains in the vogue, whatever the era, whatever the state of technological development. It was so yesterday, it is so today, and will be so tomorrow and the day after too.”

It is all pure Zen of photography.

Category :- English Bazaar Patrika / Sketches