Nemai Ghosh’s new book on Satyajit Ray catches the various moods of the legendary film maker.
Nemai Ghosh, who under the tutelage of Satyajit Ray became an established photographer, pays a tribute to his mentor through a book — Manikda. This is his second book on the legendary filmmaker. “This book is a token of gratitude to Manikda on whose indulgence I dared to pursue photography as a profession,” says the septuagenarian camera-shy photographer who has over 90,000 photographs of Ray in his possession. His association with Ray lasted 25 years and captured Ray at work in different moods along with still shots of several of Ray’s film.
“I was a member of Rabi Ghosh’s theatre group “Chalachal”, and on one occasion when Rabida was working with Ray in Goopy Gyne Bagha Byne, I had voluntarily shot Ray on the shooting spot,” recalls Ghosh. Ray’s art director, Bansi Chandragupta, asked him to meet Ray and show him the photographs. What followed the first interaction with Ray was to change Ghosh’s life.
“Manikda appreciated all my photographs and I became a part of his unit, and with time our bond grew stronger,” says Ghosh. At that time many raised objection to Ray's decision of appointing Ghosh as his official photographer due to his lack of professional and technical know-how. “But he paid no heed and stood by me,” adds Ghosh.
Besides Ray, Ghosh also recalls how Bijoya Ray, Ray’s wife, would take care of each person of the film crew. “On one occasion, Bijoyadi telephoned me herself when I was unwell and couldn’t show up for three days,” recalls Ray. Ghosh also recalls how he was automatically inducted in the family. “Often I would get late while working but Manikda would ensure to drop me back home in his car,” adds Ghosh.
Ghosh toured extensively on outdoor shoots with Ray and observed him through the prism of his lens. Ray, a perfectionist in his work, was very sincere and disciplined. “Manikda was an artistic genius but what was striking about him was his discipline and his honesty towards each and every project he did,” says Ghosh.
Despite being an amateur photographer, Ghosh’s experiences in theatre helped him to understand the importance of light. “I prefer black and white medium as it has a saturation and is very expressive unlike colour which takes away a lot of detailing and precision of the image,” says Ghosh.
Ghosh shot with fixed lens camera in Ray’s Sikkim, Binod Bihari, Aronyer Din Ratri, Seemabhadhya, Ashanishankyet and so on.Over the years, Ghosh has earned recognition both at home and abroad. His photographs of Ray had been used as visual illustrations in Satyajit Ray: Vision of Cinema in 2006. Apart from Ray's images, Ghosh has also compiled a book on noted Indian painters, Faces of Indian Art: Through The Lens of Nemai Ghosh,. His love for the lens continues as he explores tribal areas capturing the rustic lands. Currently, he is working with a Delhi-based organisation and is working on restoration of these priceless assents, says Ghosh.