We've all heard stories of hardcore career photojournalists now-a-days shooting weddings to keep their heads above water. But Mahesh Shantaram, an already established Indian wedding photographer based in Bangalore, did exactly the opposite. Known best for bringing his quirky sense of humour to how weddings are portrayed in India, Mahesh recently made a transition into political photography on the back of the recent Indian general elections. His work as a documentary photographer has been seen around the world lately, thanks in part to the New York Times Magazine. In fact, I caught up with him just as he's preparing to show his work in Paris, Addis Ababa, and Dhaka over the next three months.

1) Mahesh, tell us a little bit about your start in photography. Why photography? What drew you to this medium?

Back in 2005, I was enslaved in a cubicle four blocks away from the White House. It was the lowest point in my life. I was desperately looking for a lifeline to creative rejuvenation. That's when providence struck me. At an art exhibition in Providence, RI, I chanced upon a particular work that was almost prophetic with its message. It happened to be Annu Matthew's, An Indian from India. For it, that was the moment of realization of how photography could be more than mere documentation of events, it's qualities as a medium of expression, and how identity can be both a reason and a subject of one's photographic practice. Within two months, I had quit my job and was in Paris to pursue a full-time diploma in photography.

2) You spent several years making a name for yourself as a wedding photographer. Not an easy feat in India where cultural demands can pigeonhole a man easily. Why weddings? And what about weddings commanded your attention?

We're talking 2006 now. When my wife and I were getting settled into our new home in Bangalore, we stumbled upon our wedding album. It came a jarring shock to my recently shaped perspectives on what sentiments photography should evoke. Traditional wedding photographers were generally seen as insensitive louts serving patriarchal needs at a wedding. They were totally out of touch with the expectations of the modern Indian couple. Ivy League educated, well-traveled, living abroad but Indian at heart–and now coming home to the prospect of having their dream weddings covered by the traditional guy. I became the solution to this problem just as I was looking for something to do in photojournalism and documentary.

3) Let's talk about your current foray into editorial work. I know you have shot for the NY Times Magazine and recently traversed the country during the national elections. Again, I am curious about your motivation. What did you sense about the elections that made you pursue politicians and their rallies all across the land?

The New York Times Magazine stumbled upon my work on my gallery's website. I've shot three assignments with them since then. It's such a motivational kick to work with a legendary photo department who actively seek out and hand opportunities to new talent.

The elections work was a purely personal project that sprung from a very deep place, but it started out as an editorial assignment for the Financial Times. Their correspondent was working on a story about corporate honchos making a bid for a seat in Parliament. That's how I get to shoot the Nandan Nilekani campaign–the 2014 elections' wealthiest candidate. There was this one picture (which the FT was bold enough to use as their cover) that gave me the confidence that I was on to something and that I should shoot the rest of the elections on my own terms.

4) Your series of images called, “The Last Days of Manmohan” appear both humorous and whimsical. Is your approach to photography intentionally so? Are you attempting to draw humor out of what is or could be a difficult situation for millions of people? Are you giving us permission to laugh at ourselves?

I find a lot of my inspiration in standup comedy. Jerry Seinfeld, Russel Peters, and Louis CK are my heroes. I love how these guys take an everyday situation and illuminate with their perspective so that it then becomes a critique of society. And hey, it's funny as hell and we're laughing away, forgetting that we're actually laughing at ourselves. I think this quality of standup comedy to combine humour and critique is worth emulating in documentary photography.

5) You and your wife have actively collected photography books – I am totally envious of your collection by the way – which 3 books would you simply not part with and why?

They would be books with personal stories. I absolutely love Will They Sing Like Raindrops or Leave Me Thirsty by Max Pinckers. Max and his girlfriend Victoria (whom I equally credit for the work) came home one evening and left the dummy on my table. I sat through the night pouring over the book and by morning, I was its greatest fan. It's a book about a topic that's close to my heart – about love and the freedom to love and how grave is the threat to both.

Then there's Paul Gaffney's We Make the Path by Walking. I bumped into Paul at the Belfast Photo Festival in 2011. Later when he published his book, I was happy to recall our wonderful conversations and wanted to keep it as a memory. Not everybody gets minimalist photo books right. Paul did.

Lastly, I'll fight to keep anything by Alec Soth. I love Niagara, and Broken Manual is special because I acquired one from a collector as a present for Vidya on our hundredth anniversary or something.

6) You are also known to open your house to strangers who are interested in peering through your collection. How did you spring upon that idea and how has that been received by the public? Was that a way to get your name known? If so, bloody clever!

The implied threat of opening our house to strangers never occurred to us until a journalist used that as her opening line in a story about us. That certainly got my mother worried. Our idea was to simply share our growing library with those who cared enough and to spread the love for photobooks in Bangalore. I'm reminded of that Irving Stone quote: “There are no faster or firmer friendships than those formed between people who love the same books.” The Open House Photobook Library also serves great coffee, by the way. Some people come for the books and go away with renewed appreciation for traditional south Indian filter coffee.

7) Now that the elections are over and you have a body of work that sings, are you going to remain an editorial photographer or are you heading back to photograph weddings in India and abroad again?

So much of what passes as political photography in India comes from the news media. It merely corroborates that an event X happened at location Y with leader Z in attendance, exactly as the caption reads. During these recent general elections, there was a surge in independent work, but sadly, most of it was the “hey look who I got to hang out with!” kind and lacked voice or acumen.

The politics of India is a large and complex system that has many layers to peel and penetrate. Politicians seem like mythical gods but they are human beings with weaknesses. I don't want to limit my work to being just about Elections 2014. By revisiting the electoral process through many more elections to come, I'm hoping to gain and share valuable insight into the nuts and bolts of Indian democracy, probe the relationship between politicians and the people, and construct a pan-Indian picture of our political landscape.

8) Let's talk about your ascendency in the photo world, at least in the Indian subcontinent (I know you are known around the world now too). How has that been received? Do you see yourself as being a part of the “new guard”?

I don't know if I'm part of any “new guard” as much as I'm against the “old guard”. I'm not afraid to take a stand against old ways of holding up bastions of privilege and new ways of suppressing personal freedom, creativity, and independent thinking. I guess this general attitude has defined my public identity and influences what I produce as a photographer.

9) There are more photographers in India now than ever before. How do you plan on staying relevant? What are your plans to stand out among that crowd?

My formula to stay relevant is to keep abreast of what's happening in the world around me and be sensitive to what provokes me to respond. That response will be through my photography because it is all I know to do.

10) Now that you have a great amount of experience, how are you looking to pass that on to the next wave of eager photographers?

In the same way that so many truly great photographers passed on their experience to me – by constantly putting quality work out there.

11) Going back to your series, “The Last Days of Manmohan” (which refers to the last waning days of a beleaguered Indian Prime Minister, Dr. Manmohan Singh), do you believe you have created a document, a work of art or something in-between? How useful do you believe these images will be in the future?

When I set out on a backpacking trip across the country to bear witness to those historical elections, my intention was to document the politics of our times in all its rawness. Only time will tell whether this series will be valued as historical documents. But there is a method to how any work is launched into orbit. I will be shooting more to expand the scope of the work, take it to new audiences (via exhibitions and contests, for example), and edit and re-edit until my eyes pop out. That's how work is strengthened over time. A serious photographer's responsibility to his or her work has barely begun once the shooting is done.

12) There is one frame that I love (image above) – the one of Nandan Nilekeni – where he looks so unsure of himself. In US terms, that would be the time when Nixon was wiping away his sweat during the first televised Presidential debate against JFK. It has that sort of weight to it. Tell us a little about how you came to make that image? Were you reading his body language the whole time? Did you expect that moment when a politician is felicitated with a shawl and just happened to capture him?

Seshu, I'm sure you know this ritual in south Indian Brahmin weddings called the “kaashi yatra” in which the bridegroom is packed off and sent to Kashi to lead the life of an ascetic. It's a mock ritual, of course, but the guy is never really prepared for the absurdity of it. The fun of photographing a kaashi yatra is not to merely prove that it happened, but to be able to preserve the groom's awkwardness for posterity.

I could smell a kaashi yatra moment when the very corporate Mr. Nilekani was about to receive an Indian style felicitation.

13) What motivates you to make images? Why is it important for you to create them? Who are they for – you or the general public?

I absolutely love photography's unique and mysterious expressive qualities, the kind that Stephen Shore describes as “visual thinking that does not require any words”. I love how photography gives me free pass to interesting places and situations where my presence would otherwise be hard to justify. I love the image collecting experience of a long-term project that gives me ample time poke at complex questions in life. It is at once a luxury, privilege, and sacred duty to be a photographer. I love it. I'm happy to serve others through my photography, as long as I'm the one with the first-hand experience.

I am 6'5” tall, weigh around 16 stones and have size 12 feet. When I want to use it I have a voice like a fog horn, I'm naturally fairly clumsy and I have been told that I have a certain “presence” – in a good way I think! I therefore take it as a huge compliment when my wedding clients remark that they hardly noticed me taking photographs at their wedding, that I was discreet and, as one wrote to me “I don't understand how someone so tall can be so unobtrusive!”

My natural photographic inclination is as a photojournalist so blending into the crowd is of paramount importance. I don't want to influence events unfolding in front of me and the less my clients and wedding guests notice that I am there the more natural and telling my photographs can be. I want to observe and record, my presence has to be one of neutrality.

Consider How You Look And Sound!

It's important that, like any animal trying not to draw attention to itself, that you are camouflaged. I'm not suggesting that you go to a wedding in full army gear but rather that you blend in with the surroundings! Wear what everyone else will be wearing in a slightly low key way. Here in the UK most men would wear a suit, shirt and tie to a wedding. I therefore wear a shirt and tie (no jacket as I get too hot) and suit style trousers, but I always tend to wear rather subdued colours. I have some hideously garishly coloured ties for example but they are simply going to draw attention to me so I just wear plain dark colours. Blend in and then tone it down!

Shoes are also really important. Not so much how they look but how they sound, they really need to be completely silent so that you can walk quietly around a church during the ceremony for example without drawing attention to yourself with clicking heels and endless squeaking!

On the subject of noise, it's also imperative that you switch your phone to silent for the whole day. There's no point in trying to be a ninja photojournalist with a constantly blaring phone in your pocket!

Go Anti Flash Gear

There's nothing screams “photographer” more than a huge DSLR with a massive gleaming white 70-200mm lens stuck on the front. At the very least using a smaller body and smaller, possibly prime lenses, is considerably less intrusive. The new generation of mirrorless cameras are also considerably less intimidating and quieter as well.

Even if you are still using a DSLR switch off the focus beeps, put it into silent or quiet mode and consider black taping over the logos so that it looks much more low key. Even the straps you use carry a subconscious message, large hand or belt straps are much more conspicuous than the basic neck straps that are generally provided. They may be a little less comfortable but they are far less conspicuous.

However, the most obvious thing to avoid is using flash. Nothing makes the photographer more obvious than a firing flash and using natural light wherever possible is an absolute must. There are very few situations where a modern DSLR, used with a reasonably high ISO setting and a fast prime lens, can't cope.

Super Stealth Body Language

The photographer's physical demeanour is of paramount importance and probably most important of all is that you look happy, alert and relaxed. I am aware that when I am concentrating I often frown and this sends completely the wrong message to people around me – I consciously try to keep a more pleasant expression on my face and this does have a noticeable effect on how people perceive you. Having a silent frowning photographer taking your picture is much more stressful than being photographed by a happy, confident looking one who displays open body language and this will often show in the pictures.

However, despite needing to look happy and confident in your work it can be a good idea to actually try to avoid eye contact and looking intently at people for too long. Remember, as a photojournalist, you are trying your utmost not to influence the scene before you so drawing attention to yourself by smiling and making eye contact with your subject can be detrimental to the authenticity of the final image. That's not to say you can't be friendly and often a subject will realise they have been photographed after the moment has passed as you take the camera from your eye and at this point it can be nice to smile and possibly say a thank you.

Avoiding actually looking at your subject is hard but can be an effective way of ensuring that they do not react to you. Try approaching them whilst looking intently at something beyond them or to the side of them so that it seems as though your interest lies elsewhere whilst all the time keeping a watch for the decisive moment through the corner of your eye. Using wide angle lenses can be extremely helpful in such situations as they allow you to have a subject in the frame whilst it looks as though you are not pointing the camera directly at them.

Another way to make your presence less felt is to keep circulating around the wedding party. Try to be “everywhere but nowhere” at the same time. Not only does this have less impact on people it also increases the chances of you being in the right place at the right time to photograph important developments and action. You should be constantly looking for images and positioning is vitally important – often it can be possible to be observing two or three possible scenarios from a distance without influencing any of them before decisively moving closer to one of them at the vital moment to photograph.

The “floating about” technique isn't always appropriate however and sometimes it can be just a case of seeing the potential in a scene and waiting for something to unfold and happen. Again, during this waiting game, it's important that your presence doesn't influence the scene and often waiting crouched down, standing casually, leaning on a wall or even sitting can make you much less noticeable. Other times, I will stand waiting to take the picture looking through the viewfinder of the camera and not moving – this is pretty obvious to anyone the other side of the lens but, after a certain amount of time, assuming that you haven't moved, you just become part of the surroundings and life carries on fairly much as normal around you.

Down Time

All of this incognito photography can become quite taxing after a while and it is vitally important that you have regular breaks and down time. Obviously there are times during a wedding day when you need to constantly on the go but, at a typical reception for example, it isn't necessary to be constantly photographing and having regular breaks will help keep you alert and also will mean that there are times when, from the guests point of view, you are completely absent. A break can be as brief as just heading back to my camera bag in the corner, having a quick drink and checking the timing schedule or can be a slightly more prolonged. On longer breaks I am careful to leave the main part of the wedding and to get away from the guests – this helps me to clear my brain a little and again means that I am intruding on the wedding as little as possible as well. I am always happy to chat to people if they approach me but I don't see it as part of my role as a documentary photographer to socialise with guests, at least not until I have finished work for the day, the camera is back in the bag and I am having a well deserved drink before heading home.

Whilst maintaining some of the tactics above it is also really important to balance this with your emotional involvement and empathy for the people you are working with. You are an outsider who has been given the privilege of recording a very personal, emotional and often private event and, as such, it is the photographer's duty to be as respectful and unobtrusive as possible. With the correct balance of unobtrusive behaviour and emotional empathy it becomes possible for the photographer to record the day with authenticity and integrity and produce images that will resonate for the people in them in a genuine and meaningful way. This is a hard balance to achieve but, when combined with technical mastery is the key to producing the very best photojournalistic photography.

He is a wedding photographer and educator based in Derry, Northern Ireland who has just launched a series of video courses for photographers called ENGAGE.

Donal Doherty has a vision. And that vision is to help as many photographers as he can with all that he knows about running a successful photography business.

Talk to the man and he is terribly humble about it. He shuffles through a slew of recent awards quickly, not making a very big deal about them. His focus is on what he can do, based on all that he learned in the PR world, to help photographers who struggle to run just “ok” businesses to running great ones. While he does offer mentoring sessions and he speaks often at industry events and writes a popular column for a UK based photography magazine, his busy wedding photography schedule keeps him from going all-in. That is, until he decided to invest a good deal of his own time to create ENGAGE.

If you are starting a photography business, branding one or need help with social media marketing, I recommend you check out Donal's newest offering.

Donal also launched an ebook called, “Engage: Social Media Marketing for Photographers.” Go to the website and sign up to receive your first chapter for free.

Still intrigued? I was. So, I sat down with Donal to chat about this new launch and why photographers like you should pay attention.

Check out some of his award-winning work here:

For about $150 a year … yes, a year … you receive nearly 30 videos that are between 10 and 15 minutes in length that explain the many facets of growing a business with a plan, branding it properly and then marketing it via social media.

Every two weeks, starting today through February 2nd, Donal will release each of The Business Plan Course videos to you. The Branding Course and The Social Media Course will follow.

Donal's intent isn't to just load you up with a whole bunch of content. There is enough of that already in the market. The reason each of the videos is released gradually is to give you a chance to watch the video and then implement what he has taught you to see results. I think this is what makes Engage so different. The emphasis is as much on the process as the results, which you will need to adjust because everyone's approach to business is different.

How will you fully engage with your photography business this year?

I've always been a full-time photographer. Like you, I've created list after list in an attempt to streamline my business workflow. What needs to be done first, second, third and so on. In fact, what sub-tasks need to be done?

Quite frequently, the intention was good, but the action was lacking. So, I've ended up derailing my workflow and then played catchup with myself. It's a self-defeating proposition that Leeann Marie, a wedding photographer based in Pittsburgh, Pennsylvania sees all too often in the photo industry.

Leeann is a wonderful photographer but what makes her successful is how efficient she is with her business. She has created systems and processes for every part of her workflow. Leeann credits her background in industrial engineering for creating these systems for her business. For several years now, she has coached and set photographers up with their ShootQ accounts.

We recently spoke on the eve of her webinar, 15 Secrets For Automated Systems:

Want to know how to streamline your photography business? I suggest you learn from the best. Sign up for this free webinar now. Leeann will be leading and ShootDotEdit will be hosting it on June 11th. I can't wait to continue learning from Leeann!

Don Giannatti coincidentally also wrote a blog post about creating systems that you should check out.