Ashoke Rawal - Session 01

AR-020-10-1

(00:00:00 – 00:03:40) Opening of the interview with formal consent and institutional framing under the NCBS oral history project. The interviewer situates the conversation at Ashoke Rawal’s Sushant Lok 3 office and introduces the focus on his long engagement with photography, film, and broadcast work in the Delhi region since the mid-1970s. (00:03:41 – 00:07:00) Family background and early exposure to photography. Rawal recalls accompanying his father, a journalist-photographer, observing assignments, and learning visual attention through everyday practice rather than formal instruction. (00:07:01 – 00:10:30) Early experimentation and technical curiosity. He describes experimenting with photographic “gimmicks” such as mirror images and layered effects, treating these as playful but serious exercises in understanding image-making. (00:10:31 – 00:14:30) Darkroom work and analogue discipline. Rawal explains film development, enlarger use, exposure control, and chemical processing, emphasizing patience, precision, and repetition as central to learning. (00:14:31 – 00:18:30) Analogue superimposition as labour-intensive craft. He outlines the multiple stages involved in producing a single superimposed image and reflects on the time and effort required in the 1970s. (00:18:31 – 00:25:30) Rawal discusses shifting his interest from still photography to motion pictures. He details learning under influential mentors like Ved Prakash and recognized the need for structured training. However, he felt the practical, hands-on learning he received was sufficient and thus decided against pursuing formal training at institutions like Pune (FTII), choosing to continue his path through experiential knowledge. (00:25:31 – 00:30:30) Entry into Doordarshan and studio orientation. He describes joining Doordarshan as a cameraman and encountering studio-based workflows that differed sharply from independent still photography. (00:30:31 – 00:35:30) Studio production logic. Rawal explains multi-camera arrangements, coordination between anchors and visuals, and the role of switching and adjustment in television studios. (00:35:31 – 00:40:30) Electronic superimposition in video. He introduces tape-based methods using multiple players and mixers, noting how preparation and coordination replaced darkroom labour. (00:40:31 – 00:49:10) Continuities between analogue and electronic practice. Rawal reflects on how planning and discipline remained necessary despite faster electronic processes. (00:49:11 – 00:54:30) Camera movement and lenses in ENG work. He discusses zoom lenses, framing decisions, and adapting camera position to achieve desired compositions in field conditions. (00:54:31 – 01:00:30) Video versus film cameras. Rawal compares balance, handling, and visual logic, emphasizing how different tools shape shooting decisions. (01:00:31 – 01:07:30) Institutional constraints within Doordarshan. He reflects on creative limitations and bureaucratic structures that influenced production choices. (01:07:31 – 01:13:30) Decision to resign and become independent. Rawal recounts leaving Doordarshan around 1984 and beginning freelance work, initially as a cinematographer. (01:13:31 – 01:20:30) Expanding professional roles. He describes moving from cinematography into directing and producing, gaining greater control over content and workflow. (01:20:31 – 01:27:30) First major independent project: Sarsoke Phool. Rawal outlines proposing the project to Doordarshan and situating it within the context of the Punjab situation in the late 1980s. (01:27:31 – 01:34:30) Commissioning and institutional approval. He explains how the project was approved and reflects on the risks and responsibilities involved in producing a one-hour telefilm. (01:34:31 – 01:40:30) Craft judgement in cinematography. Rawal discusses framing, movement, exposure, and on-set decision-making, stressing learning through practice rather than manuals. (01:40:31 – 01:47:30) Problem-solving and experiential knowledge. He reflects on resolving on-set challenges and how repeated field experience shaped confidence and technique. (01:47:31 – 01:52:30) Professional growth over time. Rawal looks back on how his understanding of image-making matured through varied projects and responsibilities. (01:52:31 – 01:58:30) Work culture and informal networks. He discusses studio environments, social interactions, and how reputation and access develop within media workplaces. (01:58:31 – 02:05:30) Institutional rhythms and everyday practice. Rawal reflects on work schedules, collaboration, and the lived experience of technical and creative labour. (02:05:31 – 02:07:53) Closing reflections and end of interview. The conversation winds down with remarks about space, hospitality, and concludes with thanks and confirmation of archival use.

23 May 2025

Oral histories of technical personnel in Broadcast and Community Video

Ashoke Rawal