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Mumbai photographer wins Wisden MCC Cricket Photograph of the Year 2013 award

Atul Kamble, noted photojournalist with Mid Day, was adjudged the winner for his stunning picture of Sachin Tendulkar’s last match at Wankhede.
by The Editors | editor@themetrognome.in

Atul KambleMumbai-based photographer Atul Kamble, a noted name in news journalism, was declared the winner of the Wisden MCC Cricket Photograph of the Year 2013 Award yesterday. Atul’s picture of legendary batsman Sachin Tendulkar emerging from the dressing room to take the pitch for his last match, beat out stiff competition in 500 overall entries from around the world to be declared the winner.

With the win, Atul also pocketed a cool £1,000 cash prize. Other winners included Shaun Roy, professional photographer from South Africa, and Khalid Rayhan Shawon, an amateur photographer from Bangladesh. The judging panel comprised Chris Smith, Patrick Eagar, Nigel Davies, Eileen Langsley and Hugh Routledge.

Atul’s picture was shortlisted with 10 others, and ultimately chosen for its “sheer sense of occasion”, as Chris Smith put it.

We spoke to Atul after his big win. Excerpts from the interview:

How did you choose this spot for the picture?

I was positioned at the boundary line on the opposite side of the players dressing room. Thanks to my tele-photo lens (zoom lens), I managed to shoot this picture from the opposite side of the ground.

When you took the shot, what was running through your mind?

I was excited. I knew I had a good off-beat (off-action) picture. But I was a little emotional myself too, because I knew that this would be Sachin Tendulkar’s last innings and as a Mumbai player, I had followed his career throughout.

Would you say this is your best picture? What are some of the other great shots you have taken?

I think I’d say that this is one of my best pictures till date. I have a few favourites, both in sport as well as in general photography, and this will surely be among the best I have shot.

How long have you been a photojournalist? Can you describe a memorable incident in your photography career?

I’ve been a photograhper for almost two decades now, 18 years to be precise. One of the biggest and most emotionally stirring moments for me as a photographer was during the Azad Maidan riots in Mumbai on August 11, 2012. Some miscreants took down the Amar Jawan Memorial outside CST Station and I shot that image. The images incensed many and created a furore, both on the virtual and social media, as well as in the real world. Some political parties even termed these miscreants to be traitors.

So what does this recognition from Wisden mean to you? 

Being a sports photographer primarily, there can be no bigger award than one that comes from the Mecca of Cricket — Lord’s. MCC’s recognition has to be my biggest award as a sports photographer.

(Pictures courtesy Atul Kamble)

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Hum log

Comic capers with Abhijeet Kini

This Santacruz resident and self-taught cartoonist feels that the city and the country provide great, constant material for all cartoonists.
by Salil Jayakar

I’ve known Abhijeet Kini (30) for well over a decade now, which makes it surprising that I’ve never ever interviewed him in all these years. More so since, as a journalist I have done stories on offbeat careers and his career choice would have been a perfect fit – ‘full-time freelancer cartoonist.’ But as they say, better late than never…

Angry MavshiAbhijeet’s love affair with the world of cartoons and comic books started as a four-year-old, browsing through newspaper comics every day, even if he could not make much sense of them back then. “I always loved the visual medium, drawn, panel by panel,” the Santacruz resident says. It helped that his parents encouraged him from an early age, never saying ‘no’ to his demands for comics and not Nancy Drew or Hardy Boys. Aged seven, he was gifted Tintin’s Blue Lotus issue (which he still has in mint condition) and there was no looking back. He started collecting comics – from Tintin and Asterix to Tinkle, DC and Marvel. That in itself was a huge inspiration for him to take up the pencil and start sketching.

Completely self taught, with no art training, Abhijeet says he always wanted to be a cartoonist. The decision wasn’t difficult because of his supportive parents who never pressurised him into taking up engineering or medicine. When he was 12 (or 13), Abhijeet’s mom took him to meet Ram Mohan and Bhimsen, the pioneers of Indian animation. He carried his artworks to show them and remembers them saying nice things about his work. Naturally, it instilled confidence in his young impressionable mind. “Then in 1997, when I was 15, mom took me to meet the great Anant Pai, editor of Tinkle comics. I always wanted to meet him and eventually draw for the comic, and I am fortunate that I am doing that since 2004.”

Working as a cartoonist

At Abhijeet’s insistence, I shamelessly take some credit for his ‘big break’ with Mid Day Multimedia in 1999. I was freelancing with Mid Day (which was launching chalomumbai.com) and they were looking out for freelance illustrators. I recommended Abhijeet, and the rest is history.

Remembers Abhijeet, “I gave it a shot and my work was liked. Before Mid Day, I freelanced for a few youth magazines and did some comic 2commission based art for a book. This was when I was fresh out of high school and in junior college. But Mid Day added a lot of weight to my portfolio and other magazines followed based on that.”

Abhijeet idolises certain national and international artists and believes some of their styles and techniques have heavily influenced him as a youngster. Sanjeev Waeerkar’s work in Tinkle in the early 90s and Sergio Aragones of Mad magazine being the most prominent ones. “Mad has had a huge influence on me and my sense of humour but Sergio’s work was something else,” he reveals. Other favourites include Ram Waeerkar, Don Martin, Mario Miranda and Jim Lee. In his current work, Abhijeet uses different styles from comic to comic. So while his merchandise line is more slapstick, his Tinkle style is more children friendly, there is a cartoon-violence/young adult style for ‘Angry Maushi’ and a serious style showcased in ‘Milk & Quickies’.

Delhi BilliAccording to Abhijeet, comics such as Tinkle and Amar Chitra Katha are going very strong today, too. To him, these are the comics which represent India, just like Manga is for Japan. Other comic book titles range from mythology to superhero storylines. In that sense, yes, the evolution is evident when it comes to the new genres coming up. But he believes there should be more of a social angle in all these. “I do not mean a ‘preachy’ or ‘socially correct/social cause’ kind of theme. Take Mumbai city as an example. If one was to make a comic on Mumbai, imagine the range of topics one has to pick and choose from… and I’m talking humour as a genre,” he explains. Which is why Abhijeet’s ‘Angry Maushi’ series is heavily Mumbai-based. It is about an angry Mumbai lady waging war against corrupt politicians, robots and zombies in the funniest violent way possible.

Money matters

So much money does a “full-time freelance cartoonist” like Abhijeet make? He laughs. “In my field, there’s always a disclaimer (in not so fine print) saying ‘Money may or may not come’. People like me are suckers for creative satisfaction or doing what we love to do, loving what we do to live. Sure, money does come, but maybe in bursts, or trickles. I am thankful that India today has Comic Cons going. My wife Diksha and I participate in Comic Cons all over the country and our merchandise products are quite a hit. Many of my characters today, like ‘Angry Maushi’ and ‘Delhi Billi’, were created for the merchandise first, and comics later.”

For those who want to make a career as a cartoonist, Abhijeet says, “I have learnt that it doesn’t matter what people think about what you do. If you are confident of your work and comic 4have a strong art portfolio, even if you are self-taught like me, you have a strong chance to make it. The industry is very young in India but it’s a great place to be, especially if you are able to convert your ideas to reality. Oh, and if you have big dollar dreams, please leave the room quietly right now!”

 

(Pictures courtesy Abhijeet Kini)

 

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Big story

Builder shooting case cracked in five days

Main accused plotted the crime while in custody; builder’s car was shot at after he refused to pay extortion money.
by The Editors | editor@themetrognome.in

A Borivali-based builder, Rajaram Manjavkar, was threatened by goons from early May this year; the man who would call him identified himself as a member of the Chhota Shakeel gang and demanded Rs 2 lakh extortion money. Initially frightened, the 64-year-old Rajaram bided his time before going to the police. Things took a turn for the worse when his car was shot at in Borivali when he was on his way to work. Escaping unhurt, Rajaram finally took the matter to the Kasturba Marg cops on May 28.

Five days later, the police caught the three men who carried out the actual firing. They, in turn, gave details of Bachkana’s involvement in the crime. Bachkana is currently in police custody in connection with a crime in Belgaum.

How does one plot a crime when in police custody?

Bachkana is brought to Mumbai often in connection with court hearings for past misdemeanors. Last month, one of the three arrested men – Rajendra alias Raju Nepali – met Bachkana while the latter was brought to Mumbai, and gave him details of Manjavkar’s business. Raju stays near the Manjavkars and had been keeping a close watch on the latter’s current SRA building project. On learning about the builder’s projects, Bachkana advised Raju to extort Rs 2 lakh from him.

Raju made three extortion calls to Manjavkar, who blankly refused to pay up. When he last met Bachkana on May 27, Bachkana told him to bump Manjavkar off. Accordingly, Raju got two friends – Ali Rajendra and Dhiru Jadhav – to assist him in the crime. The next day, the trio shot at Manjavkar while he was in his car at Devipada, Borivali, but apart from shattering the glass windows and plugging bullets into his car doors, they could not get at the builder himself.

The investigation and the arrests were carried out by the Mumbai Crime Branch Unit 12. “It has been a long time since gangsters have actually carried out a shooting in Mumbai,” said an official connected with the case. “The last such major case was the (Mid Day journalist) J Dey shooting. The team is happy that key persons allying with Chhota Shakeel have been caught.”

(Picture courtesy Afternoon Voice)

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Patrakar types

Editors from hell

Could sub-editors please be more careful while editing articles? And giving away e-mail IDs and phone numbers is not cool.
by Vrushali Lad | vrushali@themetrognome.in

Okay, first off, Mid Day. What were you thinking with this story of a boy arrested because he sent a photo cake to a girl he liked? Your story is eminently readable, but what was your sub-editor and page editor doing when they overlooked one important detail while checking the story: your paper printed the email ID the boy used to send the girl’s picture to the cakewallahs.

What’s worse, NDTV‘s website picked up your story, and printed it as is. No, not really as is, because NDTV changed the story’s headline to the puzzling: ‘In trouble for sending photo of cake to a girl’. A question to the NDTV sub-editor who changed the headline: Why did you change Mid Day‘s headline to read ‘photo of cake’ when you clearly meant ‘photo cake’? (An aside here is that the story would be doubly interesting if the boy had actually sent just a photo of the cake and not the cake itself. If somebody did that to me, I sure as hell would go to the cops.)

A few days ago, a Mumbai daily carried the headline, ‘Man shoots dead builder’. At first glance, it seemed like a case of extreme cruelty – I mean, why shoot a dead man? Another news item last month, about a man making prank calls to a woman at work, gave away the telephone number the calls were made from.

All of this makes the police’s precaution of hiding an accused’s face from public pretty redundant.

And it’s not just newspapers, it’s also television. A few days ago, IBN Lokmat did a charming special on Dev Anand’s birth anniversary, and showed the late actor’s songs and a few interviews of people who had worked with him. Each song was accompanied with the lyrics of that song being flashed across the screen. But when the song ‘Ek but banaoonga…’ from Asli Naqli started, IBN Lokmat’s lyrics read, ‘Ek putar banaoonga…’

A rather funny and insensitive editing error occurred recently with The Times of India placing an ad for Good Day right in the centre of a grim news story of a man killing his own kids (see pic on left). Other regular offences that editors commit are publishing pictures of minors, whether accused of a crime or the victims of one, without blurring their faces or changing their names, and often choosing to blur the faces of women and not men.

And it’s not just obvious elements like headlines and what goes in the main story that comprises editing goof-ups. Several times, reporters write an article with an obvious slant – for instance, political and crime stories, in which the writer’s biases clearly reflect in the article he/she has written – but editors checking those copies let the slant remain. The result is stories such as the Bidushi Dash Barde case, in which most reports blamed the dead woman’s husband without actually saying so, with phrases like, ‘He called her only once in the morning despite knowing that she was ill’, and ‘He was calm and answered all questions without breaking down.’

When I still worked with newspapers full time, I had an almost daily run-in with the paper’s editors. Once I waged a war against a particular sub-editor, who had not only mangled my story, but changed the headline I had given to the story with the sensitivity of a speeding truck. Imagine my chagrin when I read the papers the next morning and saw that the sub-editor had altered my headline ‘Youth win award for propagating gender equality’ to ‘Youth win award for fighting molestation’.

I used to think sub-editors and editors above them are people with eyes like hawks, and the brain capacity of an encyclopedia. At least, that’s how they used to be. Earlier ‘deskies’ were people who used to be reporters, and journalists who read constantly on a variety of subjects. This sharpened their intellect – an editor had to know more on a subject than a reporter – and gave their language an edge. And you couldn’t become a deskie just by applying for an editor’s job; you had to slog your way through the reporting ranks before being elevated to a desk position.

For the last five years or more, however, newspapers and channels are increasingly hiring desk personnel for their knowledge of English alone. Proofing of articles has now been reduced only to grammar and spell checks, which even the reporter himself can do on MS Word. And then there are new concepts such as Rewrite Desks that are operational in major newspapers – this Desk’s job is to go batshit crazy on articles that have not been written well. In other places, we are told, there are three levels of editing to pass through before the article is considered final.

And despite all these precautions, we still end up with gems like ‘Photo of cake’.

May be we should have a Corrective Measures Desk above the sub-editing desk…?

Vrushali Lad is a freelance journalist who has spent several years pitching story ideas to reluctant editors. Once, she even got hired while doing so.

 (Feature image courtesy ipjtraining.com. Picture used for representational purpose only)

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