In Conversation: Loganathan Srinivasan ISC !

Meet Loganathan Srinivasan, an esteemed Indian cinematographer with over 25 years of immersive experience in the dynamic worlds of Malayalam, Telugu, Tamil, and Kannada cinema. Renowned for his exceptional work on critically acclaimed films such as “Ustad Hotel,” Loganathan has left an indelible mark on the industry through his innovative approach to cinematography.

With an extensive portfolio boasting over 20 years of experience as a director of photography, Loganathan has collaborated with a multitude of esteemed directors, including Anwar Rasheed, V.K. Prakash, and Joshiy, among others. His keen eye for visual storytelling and mastery of the craft have led to the creation of captivating imagery that resonates with audiences across diverse genres and narratives.

Beyond his contributions to feature films, Loganathan’s impact extends to the realm of commercials, where he has lent his expertise to over 700 projects. His journey into cinematography began as an assistant on various productions between 1995 and 2001, laying the foundation for a career marked by innovation and excellence.

Notably, Loganathan is celebrated for his penchant for experimentation in visuals, often pushing the boundaries of traditional filmmaking techniques and embracing diverse film formats. His commitment to pushing the envelope in visual storytelling has cemented his status as a trailblazer in the industry, inspiring aspiring filmmakers and seasoned professionals alike.

 Loganathan Srinivasan shares his Visual narrative with SICA 

What led you to pursue a career in cinematography?

“I began my career as a darkroom assistant at Glo Colour Lab (Madras) Later, I had the opportunity to join Muktha Sunder sir as an assistant on the set of a film called ‘Kathanayakan’. An interesting anecdote from my time there is how I ended up being late on the first day of shoot; I relied on public transportation to reach Sholinganallur, resulting in my tardiness as the shoot had already commenced. Initially, everyone addressed me as Saravanan, a name I went along with for the first three days. However, as I gradually gained Sundar sir’s favor, I revealed that my actual name is Loganathan, not Saravanan. He accepted the change and began calling me Loga thereafter. Working alongside Sunder sir was a stroke of luck as it afforded me the opportunity to witness various Tiffen filters and Rosco gels in action. I even had the chance to peek at a Spectra meter and engage in light readings occasionally.”

How did working with ace cinematographer A. Ramesh Kumar shape your approach to filmmaking?

From Glo Colour Lab, I obtained the contact number of Anaruna sir, a still photographer who happens to be the father of A. Ramesh Kumar. After reaching out to him and visiting Ramesh Kumar’s home, I joined him, and it felt akin to attending a practical institute. This opportunity allowed me to work alongside and interact with numerous top cinematographers, including Gym Ganesh, Syed Abdul Rehman, Ramanath Shetty, as well as have introductions with Selvakumar, Ravi Yadav, and many others. A notable highlight was the time spent with Tirchy Arunachalam sir, engaging in discussions about cinema and photography. Additionally, I had the privilege to work with A. Suresh Kumar, who is the brother of A. Ramesh Kumar. I found myself at Ramesh sir’s home almost daily, as it felt like a cinematic paradise to me.

“Could you share the story behind your breakthrough moment as a cinematographer?”

Then, my journey towards advertising films commenced with Gym Ganesh, who was a prominent cinematographer in the advertising industry at that time. He had collaborated with numerous top directors and production houses, particularly the Trends advertising filmmakers who provided me with my initial break, thereby opening up various opportunities for me.

In Chennai, Director Ravi Reddy, formerly an assistant to Rajiv Menon, established a company called Flying Frogs. Within a span of one year, we collaborated on approximately seventeen commercials. Subsequently, he offered me the opportunity to work as cinematographer on his first Telugu feature film called “Allari.”

 “Can you give details of  your visual format on  your debut film, Allari?”

For the shooting of Allari, we opted for 35mm film stock, specifically Kodak 5217/5219, and maintained an aspect ratio of 1.85:1. Despite the prevailing trend of using CinemaScope for the majority of films at that time, given the humorous nature of the script, we made a bold decision to stick with the spherical lenses and chose Ultra Primes to capture the essence of the story effectively.

Following the success of Allari, how did your career trajectory unfold and shape up

After the success of Allari, Telugu cinema beckoned me with open arms. Yet, amidst the euphoria, a twinge of concern lingered—a worry about the missed opportunities in the world of advertising during the making of Allari. Seeking solace and continuity, I returned to crafting TV commercials, a realm where I felt grounded. Amidst this balancing act, I embarked on another cinematic journey with Thoti Gang, a venture that unexpectedly flourished. However, the tug-of-war between my heart’s desire for filmmaking and the pragmatic allure of commercials persisted. Ultimately, until 2005, I found solace in the familiar embrace of TV commercials, crisscrossing through the vibrant landscapes of Chennai, Bangalore, and Kerala.

How did you secure your breakthrough opportunity as a cinematographer in the Malayalam film industry?

It was VK Prakash, my Ad film director, who paved the path for me into the Malayalam film industry. My debut in Malayalam cinema (Moonnamathoral) marked a significant milestone as it was shot digitally, making it the first film in Malayalam to be digitally projected by UFO. Prior to the release of this film, I received an offer from the esteemed director Joshi sir, who was impressed after viewing one of my songs in the editing suite.

Your career path unfolded, oscillating between ad films and feature films in both Malayalam and Telugu?

My career has been a series of jumps back and forth between ad films and features in Malayalam and Telugu, starting with Anwar Rasheed’s blockbuster “Annan Thambi,” followed by the success of “Kurukshetra” in Malayalam, then delving into Telugu projects. “Aahana Pellanta” marked another 100-day hit film, while “Spanish Masala” added to my achievements in Malayalam cinema.

 Ustad Hotel was a critical and commercial success. How did you collaborate with director Anwar Rasheed to achieve its visual identity?

Winning three national awards, “Ustad Hotel” stands as a testament to its exploration of the conflict between modernity, tradition, and love across three generations. Collaborating with Anwar Rasheed was a joy; his clarity, creativity, and command over shots and script greatly aided my achievements. Upon hearing the story, I found myself drawn to the simplicity and composition reminiscent of Iranian films, particularly inspired by “Children of Heaven.” Despite budget constraints, we filmed “Ustad Hotel” using the Arri 435 camera on a 2 perforation format with Fuji stock, yet still achieved powerful, layered imagery crucial for storytelling. I carefully selected angles, capturing glimpses of lovers on the beach through hotel windows, and my frames embraced the raging waves, the sun, and the sand, while also capturing stirring moments in close-up shots of the characters.

What are the key takeaways from you regarding your visual plan during the pre-production phase of a film, based on the screenplay?

First, I listen to the verbal narration of the project from the director, regardless of language, to grasp the psychological aspects they aim to convey. Then, I read the screenplay and take notes on location breakdown and production design, followed by conducting my own location scouting. With available resources, I begin planning the visual scheme, starting with color. An important lesson I’ve learned from renowned DOP Anil Mehta is to study the existing light source when entering any interior and to build your lighting style based on it.

What were the challenges and rewards of working on a large-scale war film like Kurukshetra?

Shooting “Kurukshetra” was an incredible experience. Drawing from the Kargil war and guided by the expertise of Director Major Ravi, whose firsthand war-field experience provided valuable visual support, it marked the first Malayalam film shot in Super 35-3perf using the Arri 235(4). Collaborating with the Indian army afforded me the unique opportunity to work with original Bofors and AK-47 weaponry. Beyond the technical aspects, I was deeply drawn to the film’s narrative. “Kurukshetra” aims to portray soldiers as human beings, highlighting their struggles rather than merely serving as tools for patriotism. I endeavoured to capture the emotions of the characters through my lens, particularly emphasizing their humanity amidst the intense battle sequences.

Expanding Horizons and Tamil Cinema

After several years of working in Telugu and Malayalam films, I unexpectedly received offers from the Tamil film industry, where I am rooted. Within one year, I worked on three feature films: “Aha Kalyanam,” “Valiba Raaja,” and “Tirumaam Ennum Nikah.”

Furthermore, my journey expanded into Hindi films, marking a new chapter in my career. Additionally, I had the privilege of working on a feature film in the Sanskrit language, further broadening my horizons and diversifying my portfolio.

Puzhayamma is a film about river pollution. How did you use cinematography to convey the environmental message?

“Puzhayamma” is a film centered on river pollution. To emphasize this theme, I made a deliberate choice to incorporate the water element in the background of every frame throughout the film. The entirety of the film was shot on a river bed, requiring extensive travel along the river’s path from Kerala to the Brahmaputra.

What is the most satisfying part in your cinematography career?

Apart from wielding the camera for award-winning films and commercial blockbusters, I feel fortunate to have shot my movies on film stock, experimented with various film formats, aspect ratios, and then shooting in digital formats. This continuous evolution keeps me engaged in the process of learning and expanding the art into new dimensions.

Article Drafted by

CJ Rajkumar

Author/Cinematographer