K.K. Mahajan – A name that resonates deeply within the realm of Indian cinema, especially for those who appreciate the nuanced beauty and intellectual rigor of parallel cinema. He was not just a cinematographer; he was a visual philosopher, a painter who painted with light, shadows and colors on celluloid. His work transcended mere technical proficiency, delving into the very essence of storytelling. He understood that the camera wasn’t just a recording device but an active participant in shaping the narrative, a narrator that could evoke emotions, underscore themes, and even challenge perceptions.
Beginning of an Original Perspective
Having had the privilege of witnessing and closely associated with him during his journey from his formative years to the creation of his award-winning masterpieces, I can certainly elaborate on his personality, vision and craft.
His time at the Film Institute of India (as it was then known, before becoming FTII) played a crucial role in shaping his worldview. It was here that he was exposed to the works of international masters, the theories of filmmaking, and the rigorous discipline of visual language. This period undoubtedly instilled in him a deep understanding of cinematic grammar and a yearning to push its boundaries. Unlike some of his contemporaries who might have been drawn to the glamour of mainstream cinema, Mahajan found his calling in the raw authenticity and intellectual stimulation of parallel cinema. He wasn’t interested in simply capturing pretty pictures; he sought to create images that spoke, that provoked thought, and that resonated with the deeper currents of the human experience
It was during this time—1965, to be precise—the I first met him. I had just completed the formalities of admission and walked into the Institute canteen for a cup of tea with Shatrughan (Sinha).. That’s when I first noticed him Kewal Krishan Mahan – seated with Mani (Kaul), Kumar (Shahni), Gogi (Anand), Narinder (Singh), Suresh (Kathuria), Subhash (Ghai) and other seniors. A towel hung loosely around his neck, a casual signature of the era.
As was tradition, the seniors decided to initiate us with a bit of harmless ragging. The ritual was simple: the juniors were expected to sponsor a round of tea for everyone in the canteen. Shatru paid for the first round. When it came to me, he stepped in. With quiet authority and unexpected kindness, KK intervened—“Everyone’s had their tea. Why insist on another round?”
It was only later that we discovered we were practically neighbours — he was from Srinivaspuri in Delhi, I from Lajpat Nagar, barely a kilometre apart. We even shared a few mutual friends. From that day on, H e truly became my guardian angel.He was in the final year and I was in first.
He graduated in 1966, and by the time I arrived in Bombay two years later, in 1968, he had already carved out a niche for himself as a respected and sought-after cameraman in the bustling world of advertising films. His reputation preceded him—his work was admired, and his presence, quietly commanding.
Without hesitation, he took me under his wing, offering me a place as his assistant in a film – A Certain Childhood, directed by Leela Naidu and produce by Durga Khote.. It wasn’t just an act of generosity, but a gesture that would shape the course of my professional life. Our days often revolved around Jalal Agha’s office at Samudra Mahal in Worli (now known as Shivsagar Estate), which became something of an informal hub for creative minds.
Though we were already friends, our bond deepened with time. He became more than just a colleague—he became my mentor, my guide, my sounding board, and in many ways, the elder brother I never had. It was a relationship built on trust, shared vision, and mutual respect—a connection that endured unwaveringly until the end of his life.
His influence on me was immeasurable, not just in the craft we both loved, but in the values of integrity, humility, and quiet excellence that he embodied every day
Art of visualizing His Visual Style
To truly understand Mahajan’s craft, one must consider the intellectual and artistic climate that shaped him. His formative years coincided with a burgeoning independent cinema movement in India, a conscious departure from the mainstream melodramas. This environment fostered a spirit of experimentation and a desire to explore narratives in unconventional ways.
His camerawork was characterized by a distinct visual signature that was both understated and profoundly impactful. He had an uncanny ability to extract beauty and meaning from the mundane, often employing a minimalist approach that allowed the narrative and the performances to take center stage.
In those early days, all our films were modestly budgeted ventures, supported by NFDC. Films that would later become milestones in Indian Cinema: Mrinal Sen’s Bhuvan Shome; Basu Chatterjee’s Sara Akash; Mani Kaul’s Uski Roti; Kumar Shahni’s Maya Darpan. Resources were scant, and the idea of professional lighting equipment was almost a fantasy. Sophisticated gear was out of the question.
We improvised. Necessity was not just the mother of invention—it made us – gaffer, and grip all rolled into one. I remember in Sara Akash rigging up a wooden box fitted with aluminium foil inside with tungsten bulbs and butter paper to diffuse the output light – that rudimentary contraption would later be affectionately recognized as India’s first attempt at bounce / soft lighting. We used a patient’s wheelchair in place of a camera trolley. In Uski Roti, a humble projector bulb served as our primary source of illumination.
Mahajan possessed a deep understanding of the technical aspects of filmmaking, including film stock, lenses, and lighting equipment of his time. However, his mastery wasn’t just about technical proficiency; it was about his ability to work within limitations and often turn them into creative advantages. In an era where resources for independent filmmakers were often scarce, Mahajan’s ingenuity and resourcefulness were invaluable. He could achieve remarkable visual results with relatively simple means, proving that true artistry lies not just in having the best tools but in knowing how to use them effectively. His understanding of how different film stocks reacted to light and his ability to manipulate available light sources were testaments to his technical acumen and his artistic vision.
What defined us was not what we had—but what we didn’t – nothing could stop us. There was no room for excuses, no indulgence in what-ifs. Our collective spirit ran on a simple mantra: never say no. The shoot had to go on, no matter what. And it did—with ingenuity, stubborn grit, and a love for the medium that refused to bow to constraints.
Mastery of Light and Shadow: Light, for Mahajan, was not just illumination; it was a character in itself. He meticulously sculpted scenes with light, using its subtle variations to create mood, highlight nuances, and even symbolize inner turmoil or societal realities. Whether it was the stark, low key lighting in Mani Kaul’s films or the more atmospheric play of shadows in Kumar Shahani’s work, or matter of fact natural lighting in Basu Chatterjee’s films – his control over light was always deliberate and evocative. He understood the power of chiaroscuro, the dramatic interplay of light and dark, to create visual tension and depth and guided me accordingly to do the needful
Composition as Narrative: Mahajan operated the camera himself. His frames and compositions were never accidental. Each element within the frame was carefully considered, contributing to the overall visual storytelling. His compositions often employed geometric precision, creating a sense of order or, conversely, a deliberate imbalance to reflect the emotional state of the characters or the underlying social fabric. He wasn’t afraid of empty spaces, understanding their power to emphasize isolation or anticipation. His use of long takes often allowed the composition to evolve organically, revealing layers of meaning as the camera lingered on a scene.
Camera Movement with Purpose: Unlike the often flamboyant camera movements and technical gimmicks, Mahajan’s camera movement was deliberate and purposeful. Whether it was a slow, contemplative pan, a steady tracking shot that followed a character’s journey, or a static frame that demanded the viewer’s focused attention, each movement served a specific narrative function. He avoided gratuitous movement, ensuring that the camera was always in service of the story and the director’s vision.
The Nuances of Black and White and Color: Mahajan’s work in both black and white and color films demonstrated his keen understanding of their respective strengths. In black and white, he exploited the tonal range to create stark contrasts and dramatic textures, often lending a timeless quality to the narrative. When working with color, his palette was often muted and realistic, avoiding artificial vibrancy and focusing instead on the subtle hues that could enhance the emotional resonance of a scene.Mrinal Sen’s Bengali film Calcutta ’71 is an example of how Black and white speaks.
The Synergy of Collaboration: Working with Visionary Directors:
Mahajan’s collaborations with directors like Mani Kaul and Kumar Shahani were pivotal in shaping the landscape of Indian parallel cinema. These were not merely professional relationships; they were symbiotic partnerships where the director’s vision and the cinematographer’s craft intertwined seamlessly.In these collaborations, Mahajan wasn’t just an executor of the director’s instructions. He was an active participant in the creative process, offering his own visual interpretations and contributing significantly to the overall aesthetic of the films. The trust and understanding between him and these directors allowed for a level of artistic synergy that resulted in truly groundbreaking cinema.
The Philosophy of the Cinematographer’s Role:
For Mahajan, the cinematographer was not a mere technician but a storyteller in their own right. He collaborated with the director right from scripting stage. He believed that the visual language of cinema could be as powerful and nuanced as the spoken word. He saw his role as one of interpreting the director’s vision, understanding the emotional core of the narrative, and translating it into a visual experience that would resonate with the audience. He emphasized the importance of observation, of understanding the environment and the characters, and of allowing the visuals to emerge organically from the story. He wasn’t interested in imposing a stylistic flourish for its own sake; his approach was always rooted in serving the narrative with integrity and sensitivity.
A Lasting Legacy: Inspiring Generations:
K.K. Mahajan’s contribution to Indian cinema extends far beyond the films he lensed. His unique visual style, his commitment to artistic integrity, and his collaborative spirit have had a profound impact on subsequent generations of Indian cinematographers. He demonstrated that independent cinema could be visually compelling and intellectually stimulating, paving the way for a more diverse and experimental approach to filmmaking. His work continues to be studied and admired by aspiring filmmakers and cinematographers who are drawn to his understated yet powerful visual language. He showed that true cinematic artistry lies in the ability to see the world with a unique perspective and to translate that vision onto the screen with clarity, sensitivity, and profound understanding.
K.K. Mahajan was more than just a cinematographer; he was a visionary artist whose profound understanding of light, composition, and camera movement elevated Indian parallel cinema to new heights. His collaborations with groundbreaking directors, his technical mastery, and his unwavering commitment to the narrative have left an indelible mark on the history of cinema. His legacy continues to inspire and influence filmmakers who strive to create meaningful and visually compelling stories. To have witnessed his journey was to witness the evolution of a true cinematic poet, painting stories with light and shadow, leaving behind a body of work that continues to resonate with its artistic integrity and profound vision.