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<\/p>\nDoyen of cinematography Shri. B.Kannan, who carved a niche for himself by presenting striking images of rural South India to the celluloid world, passed away at Chennai on June 13th 2020. He was 69. His demise marks the end of a glorious chapter in South Indian Cinema. Kannan was born in a family that had \u00a0rich reputation on film making. He was the son of Legendary director Bhimsingh and the younger brother of Editor \/Director B Lenin.<\/p>\n
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He was the constant companion of legendary director Bharathi Raja. Together they made about 40 films and gave the world amazing images that will last for generations to come.<\/p>\n
Kannan graduated from Adyar\u00a0 film Institute specializing in Cinematography. His earlier works as cinematographer were “Oru Nadigai Naadagam paarkiral” in 1978. It is a critically acclaimed feature film based Jayakanthan’s story and Directed by Bhimsingh and “Nathiyay Thedi vantha Kadal”\u00a0 directed by Editor B.Lenin which was the last film of former chief Minister J.Jayalalitha.<\/p>\n
Then B.Kannan went on to do films with director Bharathi Raja starting from Nizhalgal (1980) to Bommalatam (2008). His approach towards cinematography was always based on the director’s vision. Though he predominantly worked with Bharathi Raja in rural themes, his visuals was completely different for each film.<\/p>\n
His\u00a0 philosophy of visual is camera movement. He always considered movement as a primary element of the medium. He used to say cinematic value always signifies a kinetic visual change. He was considered the master in camera moves optically by using Zoom in and Zoom out techniques.<\/p>\n
Outdoor Cinematography before Kodak’s film extended latitude was challenging. B.Kannan’s visuals of exterior were lit well with very few lights and reflectors. The way he used polarizer and graduated camera filters were of great quality during a bright day. His delicate use of direction of \u00a0Sunlight and few shadow casts as a part of visual composition was of high order.<\/p>\n
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Many technicians who assisted B. Kannan became popular cinematographers. To name a few, A.Karthik Raja, Ashok Rajan, Ilavarasu, Dhanapal, Salai Sahadevan, Ramesh.G and Vijay Armstrong.<\/p>\n
In more than 40 years of his glorious career, he had held several prestigious positions. He has served as Jury for Chennai International Film Festival and from 2015 and he has been the Head of the Department of Cinematography at BOFTA film school. B.Kannan was honored with the ‘Shantaram’ Award for his work in the movie “Kadal Pookkal” in 2001. He was a recipient of the Tamil Nadu State Film Award for the best Cinematographer for two times, “Alaigail Oivathillai” (1981) and “Kangalal Kaidhu Sei” (2004).<\/p>\n
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B.Kannan won the elections twice consecutively and served as the General Secretary of Southern India Cinematographers Association. He was very active and carried out many innovative programs that benefited the members of SICA.<\/p>\n
His Filmography <\/strong><\/p>\n SICA President P.C.Sreeram says Legendary cinematographer B.Kannan’s contribution to the film Industry and his personality as the most kind person who incites happiness to others will be celebrated forever.<\/p>\n Messages across social media pages condoling his untimely demise only proves that he has touched so many lives.<\/p>\n CJ Rajkumar<\/strong><\/p>\n Author\/Cinematographer<\/strong><\/p>\n\n
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Doyen of cinematography Shri. B.Kannan, who carved a niche for himself by presenting striking images of rural South India to the celluloid world, passed away at Chennai on June 13th 2020. He was 69. His demise marks the end of a glorious chapter in South Indian Cinema. Kannan was born in a family that had […]<\/p>\n","protected":false},"author":2,"featured_media":6814,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[1],"tags":[],"translation":{"provider":"WPGlobus","version":"2.8.1","language":"ta","enabled_languages":["en","ta"],"languages":{"en":{"title":true,"content":true,"excerpt":false},"ta":{"title":false,"content":false,"excerpt":false}}},"_links":{"self":[{"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/posts\/6811"}],"collection":[{"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/comments?post=6811"}],"version-history":[{"count":4,"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/posts\/6811\/revisions"}],"predecessor-version":[{"id":6821,"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/posts\/6811\/revisions\/6821"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/media\/6814"}],"wp:attachment":[{"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/media?parent=6811"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/categories?post=6811"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/thesica.in\/ta\/wp-json\/wp\/v2\/tags?post=6811"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}