This photo-essay is all about the independent spirit of a woman. She was alone and jobless when she decided to look for work. She finally found work at a road construction site. Not stopping there, the woman socialized with other women who contributed to her work. Not making this job her final goal, she went ahead and started talking to other men in different sites. Her eagerness to work made her get another job in a sewage repairing site. This is a real story of a woman laborer in Chembur. This is her daily life. Such stories signify that women need not depend on anyone.

— By Mariya Sethjiwala, Sophia BMM

Ever thought what went on behind the scenes to create that awesome concert you were at last weekend? Or how did they manage to come up with that well co-ordinated award function your father was talking about? The answer lies with an event co-ordinator! Most successful events are the result of an efficient and hard working event management team that works day and night to make sure nothing is out of place on the day of their event.

An event coordinator is a person who develops plans, coordinates and completes functions within business organizations. The job always keeps you busy and on your toes when the event actually happens. A knack of managing people, co-ordinating with various professionals and making sure everything goes on smoothly is on your job specifics.

To be an event manager, a basic course in Mass Media helps as it gives you insightful knowledge of various aspects of the media industry. You can start off by volunteering for various events during your holidays between semesters. This will help you test yourself if the field is suited for you or not.

Coordinating special events requires skills in overseeing, planning, coordinating, executing, and overseeing the day-to-day operations of events, whether social, educational, internal or external. The event coordinator must follow financial constraints and adhere to guest requests and schedules. Most importantly, you should be ready to work for long hours in the run up to a big event. But that shouldn’t be looked as a con, because working with a team of creative people can actually be lot of fun.

No event coordinating company organises all kinds of events. So it becomes important to select at the start of your career what sort of events you want to organise and then plan your career according to that. This field offers a lot of scope to be an entrepreneur as well. Once you think you have enough experience, you can make use of the various contacts and relations you have built, to start your company and innovate and sell various events to bag sponsors.

Today around 500 big and 1,800 small event management companies are operating in India and the ambit is widening with even occasions like birthday parties, seminars, exhibitions and stage shows being taken up by independent event managers. This means ample of job opportunities for event management enthusiasts.

Name:  Shrenik Gandhi

Company: White Rivers Digital

Designation: Business Head

Questions:

1. Tell us something about your company – White Rivers Digital

White Rivers Digital is a Mobile, Social Media, Web & Creative consultancy. The company believes that brands need smart, quick-paced, nifty and creatively crafted solutions to effectively reach out to the target audience online, to stand out from the clutter and to grow.

2. Why did you decide to get into the digital industry given how competition-intensive it is?

To answer this question in a word: Passion.

Passion for Digital is what got me onto this space. This field gives us an opportunity to learn, unlearn & re-learn. Also, it is dynamic enough to keep people like me, who get bored with the same job regularly, stick to it. Speaking about competition, its too big a pie for the existing market to eat. India, as a country, is yet to see the real potential of the digital market & hence there is still a lot of space for existing players to grow as well as new players to flourish.

We, at White Rivers Digital believe that the real competition for any company is what it was yesterday! Always try to get better than what you were & then the real world competition shall not be as relevant.

3. What prompted you to start your own business as opposed to sticking to a job?

Starting up the business was always in mind. Picture this: The first time you wanted to learn swimming, everyone would have taken a round of the pool you were about to jump into, with zillions of questions in your mind, regarding fear, depth etc. You cannot understand or face the same till the time you jump into it. Even in real life, it is the same case. You have to stop constantly thinking around it & jump into it as soon as you have a sustainable plan. Simple. Be an entrepreneur, Face it!

4. What does entrepreneurship mean to you? Define it.

Entrepreneurship is dreaming about an idea, living it, sticking by it, standing up against the world & yet enjoy every second of it.

“Its about taking chances now, to tell stories on it when old!”

5. Who is the entrepreneur you look up to?

Kishore Biyani.

For his simplicity, believing in the concept of Indianness & for being a first generation entrepreneur.

6. What are the perks and pitfalls of owning/running a business?

Perks: When you start building your team for your dream, it is indeed a euphoric moment to see people working with you towards your dream & you get motivated to work all the more harder.

Pitfalls can be compromise on short term monetary gains, stabilised salary, time you cannot spend with your close ones, as you are working on ideas to get your business better & time you cant give yourself.

You may have to spend long hours on weekend working, but at the end of the day if it brings a smile on your face, it is definitely worth it.

7. What are the tips you’ll share with budding entrepreneurs/people who want to start their own business?

Believe in a better tomorrow, always. No matter what the world says, if you believe in an idea, live by it. Also, I have seen a lot of people waiting for that right idea to strike. You shouldn’t. There are millions of businesses already existing in the world. Pick up one & make it better. Simple.

— By Mariya Sethjiwala, Sophia BMM

Management takes an all different and exciting twist when you add a dash of glamour and mix in a high profile celebrity. Managing a celebrity is quite an art we say!  An artist or a sportsperson has certainly put in all efforts to reach a cult status, but it is the job of his or her manager to help the person manage his/her day to day affairs, and help them live and cope up with their high flying lives. A manager is an indispensable asset in a celebrity’s life.

A celebrity manager provides services such as celebrity/athlete grooming, managing his or her time schedule, public relation services, marketing and advertising campaigns, negotiating endorsements, promotional launches, parties, and personal appearances.

The catch here for beginners is not to run after an already established star, but find your clients yourself! Identifying talent in sport-spersons or musicians of varied genres and then marketing them in order to create their brand value is what you should look to do.  A safe option here would be to associate yourself with a celebrity management firm at the start of your career before you have enough experience to be an independent celebrity manager or maybe, open your own firm.

To become successful in this field, you should have the ability to connect with people coming from various backgrounds. Ample amount of patience is required to deal with the person you are managing. A good knowledge of all brands is a must to identify and target brands that your client can endorse. You should be able to come up with solutions quickly and deal with pressure cooker situations. A celebrity manager needs to be creative enough to make his/her client reach out to brands and the audience. For this, good Public Relations skills come in handy.

Managing a celebrity is not rocket science. All it takes is to be aware and foresighted enough to spot opportunities in opposing circumstances. Once you get in the field, you get to travel the world, and live the celebrity life as your clients’! This isn’t a desk job, and new work assignments daily and interacting with people from varied fields enriches you as a person. Also, cracking big deals for your client can mean getting a fat pay-check for yourself too!

So, if you are good with people, smart and logical, a quick thinker and have a general understanding of the entertainment industry, you have a shot at becoming a celebrity manager.

– By Devina Sethi, Sophia BMM

You walk into class for the first time, nervous and scared. By the first week you know how your college is, what the course is about and you gradually begin to make friends. You taste a different kind of freedom for the first time. By the second or third week of class you are introduced to your projects. You get excited because this is probably the first time that you will research, understand, analyse and present all at the same time.

Well, there are two types of students. The Type One kind of student works each day and finishes his/her work bit by bit. They are often known as the methodological or the organised kinds. The Type Two however, are the “work-only-when-absolutely-required” type. These students do not start their work till one night before the submission. If Type One works for an hour for four days, Type Two will work for three hours the night before the submission.  There are both kinds of students on all batches. Which type is your type? Which way of working will benefit you more? That is for you to decide.

Soon, you will be introduced to a different kind of project, called a “Group Project”. Each group has different way of working.  Some groups are the collective democracy kinds; the members of these groups sit together at all times to complete the assigned task. Whereas the other kind of is group is the group which believes that individual work will yield to better results. They assign different tasks to their group members and come together once the individual work is done to put the whole project together. However, what is common between both the groups is that a group leader will emerge from amongst the group. This leader will not be selected, nor elected; he/she will just voluntarily take on the responsibility of being the communication link between the group members and moderating the discussions.

By the time you come to second year, groups will see a lot to ‘marriages and divorces’ between the group members. Laughter and tears will be shared. Is BMM just about projects? Well, though projects take up our major study time, a BMM student is required to study for the semester end exams.

Honest is what I’ll be with you now.  Most BMM students do not study throughout the semester. They are focussed on projects. They seldom bother about their course in the exam. Is this the correct thing? Well, I’m not too sure.

However, it can be fatal not to read the newspaper, not to watch advertisements, news etc. Why? Wait, I will give you an example to tell you why. Once I was in my Cultural Studies and the question was “Give an example of an ad where there is gender stereotype.”  There were many students who could not attempt this question properly because they did not watch enough advertisements!

So, whether you study the course material or not, it is very necessary to read and watch all forms of media. Doing so, will help you throughout the course, in your projects and in exams.

Most students tend to study a few days before the exams. Some students prefer to study in groups as interacting helps them analyse certain things better. On the other hand students like to study alone. Both ways work depending upon what works for you as an individual.

My Name is: Upasana Makati

BMM College: Jai Hind College

BMM Specialisation: Journalism

Currently Working at: Founder & Publisher, White Print

Q1. Does being a BMMite give you an edge over others in the field of media?

The experience and exposure that a BMM student might get through the projects, shoots, trips, college fests can certainly be of great use when he or she enters the real world.

Q2. Do the subjects in BMM help you know the reality of the job? Is there any place for theory in the creative world?

Well, a few subjects in BMM and textbooks may not really be applicable in the real world. However, in my opinion having theoretical knowledge is very essential since it helps you build a great foundation. Once the theory is powerful, application and grasping practical skills becomes an easier task. Knowingly or unknowingly you do end up using or referring to the theory you once studied in the three years of BMM or even before that in school or college. Having said that, the practical skills that each job demands cannot be learnt from any textbook. Experience can be your only tutor.

Q3. BMM or BMM from a particular college? Does it make a difference?

Definitely BMM from a particular college. The quality of projects and faculty is of utmost importance in a course like BMM. After hearing stories from students of BMM from other colleges, I certainly feel that my experience in Jai Hind was extremely enriching, quality driven and exciting.

Q4. Internships during colleges – are they relevant in the long run?

Internships are like a trailer to a film. They can certainly give you a taste of the field and help you make decisions about your future. It might help you decide if you are cut out for taking up a job in a particular sector. Also, how seriously and honestly you deal with an internship is also a crucial factor. You need to be sincere and go with an intention of extracting the most out of it.

Q5. Work Experience or Higher Studies? What’s your pick? Why?

For me work experience comes before further education. What a job can teach you, books cannot. Once you have a strong foundation, working for a while can only make the further education more meaningful and gratifying. Understanding of theory must be followed by its application in the real world. You can extract the maximum out of the higher education only once you are aware about the nuances of the real world.

Tips for BMMBoxers:

BMM is…A tumultuous three-year journey!

Your favourite subjects in BMM: Marketing, Management, Journalism & Public Opinion and Understanding Cinema.

5 Must-Follow Tips for BMMites:

• Live the three years of BMM to the fullest
• Participate in every college fest!
• Don’t stick to text books
• Don’t try finding the meaning of the word ‘Creative’. You won’t find it!
• Explore, Experiment and Enjoy

Current BMM students can connect with you on: You could write to me at upasana@whiteprint.in or drop in a message on our Facebook page http://www.facebook.com/WhitePrint

– By Nirali Naik, Thakur College

Just what is this club? Where is it located? Why is it the apple of every star’s eye? Who are the members and what does the club do?

Welcome to the 100-crore club! It’s not an actual organisation, but a term used by the film industry to segregate the more successful stars from the rest: only those actors whose films net Rs. 100 Crore or more in India are approved for membership.

It’s cool, it’s coveted, and it is for the crème de la crème. And it’s the latest status symbol in Bollywood!

Getting into the 100-crore club is not as simple as being in a movie that has rung up Rs.100 Crore. To be considered for entry, a film must have made that gigantic amount in net collections, not gross.

For the uninitiated, gross collection of a film is the sum total of the money which is collected at all the ticket counters of cinemas across the country screening that film. Net collection is what remains in the film industry’s hands after paying off the entertainment tax to the different state governments.

The public may have its own definition of hits and flops, but the film industry has always gone by the cost-versus-revenue analysis to determine success (it is also the only objective way of defining hits and flops). A number of avenues of revenue now exist for a producer in addition to a theatre screening.

But it is a generally accepted principle in the film trade that income from most of the other sources like satellite television, home video, etc. depends largely on the earnings from the theatrical business of a film.

The 100-crore club does not take into account the cost of a film as it goes solely by revenue. It is for this reason that Shah Rukh Khan, with Ra.One (total cost Rs. 150 crore approx) and Don 2 (total cost Rs. 80-85 crore approx.), is as entitled to club membership as Aamir Khan, with a blockbuster like 3 Idiots (total cost Rs. 55 crore approx.) and Salman Khan, with a super hit like Bodyguard (total cost Rs. 75-80 Crore approx.).

Literature Review

In the old days, before multiplexes and satellite television and pirated VCDs, success was measured in weeks, not crore. Twenty-five weeks for a Silver Jubilee; fifty weeks for a Gold Jubilee; 100 weeks for a Diamond Jubilee. Film fans returned week after week to watch their favourite heroes dishoom bad guys and romance their favourite heroines. Those days have long gone. The revenue-earning pattern has become increasingly front-loaded over the years, and now most films depend only on first weekend/first week revenue to decide the fate of a film, a trend that has received widespread criticism from industry experts. As the competition for India’s entertainment rupees grows tighter, the amount of time and attention and money that the public has to spend on repeat viewings of film has decreased significantly – which means that we needed a new benchmark for popular success. Enter the new number of popular success for a film in Bollywood: 100 crore, earned at the Indian box office, after the entertainment tax.

In earlier days, when the success of stars and films was measured by jubilees, it was Rajendra Kumar who was reverentially referred to as ‘Jubilee Kumar’ because of the line of silver and golden jubilees he had to his credit. No director or producer has ever had the ‘jubilee’ word appended to his name.

Detractors of the 100 Crore Clubs, tend to focus on two major points. The first is that making money is not a sign of a quality film. That much everybody will agree with. Plenty of wonderful films never catch on with the public. The second point is stickier. 100 Crore Club detractors take the first point – that not earning 100 crore doesn’t mean a film is worthless – and flips it, saying that, if therefore a film does earn 100 crore, it must be worthless. Let’s just go ahead and call bullshit on that logical fallacy.

The massive success of Aamir Khan’s Ghajini signaled not just a return to the masala filmmaking techniques but a return of the aam aadmi’s beloved Hero. And by general opinion, the reason the younger set of actors haven’t cracked the 100 Crore Club yet is because they don’t know how. They don’t know how to pick the kinds of films that will resonate with the masses and they don’t know herogiri. As of now, Shahid, Ranbir, Ranveer, et. al. are fine actors but they are no Heroes and until they listen to their seniors in the industry and start making films that connect with the general public, they won’t inspire the kind of loyalty that Shahrukh Khan can nor will they be able to wield the power of popular opinion like Aamir Khan can. And maybe that’s fine for Ranbir and Imran, who might be content making human-sized films for an international and multiplex-going audience, but the need for that oversized, mythic storytelling that only a Hero can deliver will remain. Mass audiences might drift even more towards regional film or we might find that South Indian Heroes will drift north.

We can’t dismiss films merely for being broadly popular and we can’t conflate popular with mindless.

This club has some supposed rules as well. But since it is more a nomenclature than an actual club, the rules are unwritten. Like, you must be a star to be eligible for membership. The club does not recognise any other community – neither producers and directors nor distributors. Only male stars are members of the club so far. To understand why no actress is a member, it must be understood that the club has, after all, been ‘formed’ by the trade and the media. And excluding women from the group is characteristic of an industry which exercises gender discrimination more than other industries.

Interestingly, although it is the film which touches the 100-crore mark, it is the star who gets membership of the club. This is another indicator of how stars are worshipped by the industry. Bollywood has always been a star-driven enterprise and it is not uncommon for stars to hog the limelight for a hit.

There are several reasons for the optimism in films. Indian consumers are coming of age in their film preferences and looking at serious cinema. As a result, “dark horses”, like say a Vicky Donor (made at a small budget), grossed around R30 crore and Kahaani grossed R50 crore plus. A number of regional films, including Bengali, Punjabi, Tamil and Telugu, too, have done well this year at the box office. When there were too many stresses, people liked to watch films, which worked as an escape mechanism. Now with the economy improving, people are willing to watch real cinema.

While good content is the biggest pull towards the multiplexes, UFO Moviez COO Pankaj Jaysinh says digitisation has also helped the industry grow box office revenues. “Digitisation has certainly helped the growth in box office collections. For instance, in the pre-UFO days, a big film would release in about 500 theatres, but today, thanks to digitisation, a big film releases in 2,000-2,500 screens on an average. The widespread first-day-first-show releases enabled by satellite delivery solutions have ensured that films are able to reach increasingly larger audiences in the crucial first week (end) of release, which translates into increased box office collections.

Multiplex players who have added screens are reaping the benefits of this rush to the cinema.

And it’s not just the actors and producers benefitting from this phenomenon, but also the Television Broadcasters. They feel that films play an important part in their growth strategy. It gives them good ratings and helps to create a brand. Thus, the film industry has benefited by selling satellite rights at good prices to them.

It’s not just the film’s content that gets it to the 100 Crore club. There are other factors at work which almost all the trade analysts agree with.

Inflated Ticket Prices: The average ticket size at a multiplex today is Rs 140-150, compared to Rs 60-65 in single-screen theatres, according to BoxofficeIndia.com, a film trade portal. Prices at premium chains like Inox and PVR can be as high as Rs 300-350 on weekends (Friday-Sunday), which fetch almost 80% of theatrical revenues earned by a film. (The rest of the business happens during the “lean” Monday-Thursday period.) On festive weekends, multiplex operators undertake a 10-15% hike in ticket prices. For 3D films, the rate is even higher. In big cities, single screen theatres, too, have increased ticket prices. For instance, the average ticket price across single screens in south Bombay is Rs 90-100.

Growth of Multiplexes: Multiplexes have grown phenomenally in the last five years and completely changed the dynamics of the film business. There are close to 1,400 multiplex screens [India has a total of 12,900 screens] which constitute nearly 70-75% of a film’s box-office revenues. By 2015, the number of multiplex screens is estimated to rise to 1,925, according to the FICCI-KPMG Report on the Indian Media and Entertainment industry. Despite high ticket prices, multiplexes have become a preferred choice for cine-goers; the variety of films on offer, a better viewing experience, food and beverage counters and gaming zones etc. ensure that audiences keep coming back.

Digital Prints and Wider Releases: Both are correlated. With the adoption of digital technology, more and more screens in India are becoming digitised from analogue. This is allowing producers to have a much wider release of their films with a massive number of prints. (Digital prints save costs and can be attained fast.) For instance, in 1995, Hum Aapke Hai Kaun released with 500 prints which was a landmark then; in 2009, 3 Idiots released with 1,000 prints which were considered a huge number; in 2011, Eros released Ra.One in 3,100 plus screens and in 2012, Yashraj released Ek Tha Tiger with 3,400 prints in India and 500-600 prints overseas. This number will only grow and with releases getting wider by the day, sky-high theatrical revenues are becoming a routine of sorts.

Extended Weekends/Festivals: Most 100-crore films have utilised long weekends and festivals to the fullest, during which audiences drop in huge numbers and a film’s repeat value is high. Producers have often sacrificed a Friday (which was once sacrosanct as a release day) and tweaked their schedules to make the most of festivals by clubbing them with the traditional three-day weekend. For instance, Bodyguard released on a Wednesday and a five-day weekend surrounding Eid followed; Ek Tha Tiger released on a Tuesday and a six-day weekend with Independence Day and Eid followed; Golmaal 3, Ra.One, Son of Sardaar and Jab Tak Hai Jaan released on Diwali which fell in the middle of the week and a lengthy festive weekend followed; Ghajini, 3 Idiots and Don 2 released on the Christmas week, gaining heavily from the festive spirit and New Years’ holiday.

All these elements simultaneously create a 100-crore blockbuster. Gone are the days of silver jubilees and golden jubilees which measured the success or failure of a film. Today, the fate of a film is sealed on the opening day itself or at best, on the first week. The biggest of films have a run of only three to four weeks at the theatres as more and more new releases knock at the door and eventually push the incumbent out.

Some myths surrounding the 100-crore film need to be busted. The film trade, today, is mostly concerned about the gross collections at the box-office and not the real amount pocketed by the producer. After deducting entertainment tax (35%), the gross collection reduces; the exhibitor’s share of 49-52% (depending on the week) from the new amount further brings down the producer’s share. It is rare when a producer manages a profit on his film.

In an increasingly competitive film business, it is left to be seen how many films truly qualify as “100-crore” successes in the years to come.

100 Crore club movies of 2012:

EK THA TIGER tops the list by grossing a whooping amount of 198 crore in India. An action film from Yash Raj banner was an instant hit with the audience. It joined the list of Rs. 100 Crore in just six days.

AGNEEPATH. It was the first movie of the year to cross the 100 crore mark. For Hrithik Roshan, Agneepath emerged as the first film in all probability to reach the magic figure of 100 crore.

HOUSEFULL 2. It was a melange of comedy, a situational comedy rather from the baton of Sajid Khan with such props as a crocodile and idiosyncratic comedy of Johny Lever and an story line that was thin as a wafer, but reached the benchmark on account of the reactions arising out of the situations which kept the audience regaled and producers went laughing all the way to the bank. For Akshay Kumar it was his first 100 crore film for the year.

ROWDY RATHORE. Akshay Kumar followed the success of HOUSEFULL 2 with an action film in ROWDY RATHORE, returning to his forte of action and the street fights and the rustic humour, along with rural peppering of the location with feudalism and goondaism displayed in profuse abundance, ROWDY RATHORE created a rowdy collection of 100 crore in just a matter of time.

BOL BACHCHAN. Rohit Shetty turned to humour again, bringing in the modern adaptation of GOLMAAL, with Ajay Devgn being his lucky mascot and Abhishek Bachchan in a double role, BOL BACHCHAN also enticed the audience to create a honeymoon with it and facilitate it to reach the magic figures of 100 crore. For Abhishek Bachchan it was for the first time in his acting career that his film touched the magic figures of 100 crore.

BARFI! One would never have thought that an unconventional film like BARFI! where the lead actor Ranbir Kapoor did not utter a dialogue and played the role of a character who cannot speak also reach magical figures of 100 crore. But its success underlined the fact that in India if issues are dealt with in a sensitive manner box office success is no big deal. This also could have been facilitated by young viewing audience.

JAB TAK HAI JAAN. Probably as a fitting tribute to the showman of Hindi cinema Yash Chopra, JTHJ also made its entry into the exalted club of 100 crore and underlined the fact that romance continues to be the driving force for the audience of Hindi cinema to march in droves into cinema halls to see Shah Rukh Khan charm the ladies once again! Was the kiss that SRK did for the first time on screen also a contributory factor, well jury is out.

SON OF SARDAAR. Though SOS was involved in an acrimonious controversy with JTHJ, all should now be forgotten as it also did the business of 100 crore and is still going strong. One also hopes that the piquant situation that Kajol found herself in, rather an existentialist dilemma to choose between a husband and a banner-YRF that gave her the stature that she now commands, would be a thing of the past.

In the end one can say that there were 8 films that did a business of 100 crore each and one only hopes that in 2013 this number increases by 50 per cent. Obviously these figures have been achieved owing to some smart marketing strategies, but all is fair in love and war and to catch eyeballs it is World War-III that is being waged by the producers and distributors.

Research Design:

Research Questions:

1. Are these 100 crore club movies really worth the 100 crore rupees?
2. Are these movies content driven or mass driven?
3. Are these mass entertainers decreasing the importance of good cinema?
4. Has it come down just to revenue collecting and hitting big at the box office?

Hypothesis:
100 Crore Club; good for business but bad for Cinematic art. It is definitely attracting money towards profit but not quality. Movies are being made keeping in mind the target of 100 Crore rupees, scripts are being written with not much versatility. The easiest formulae are being in applied in film making, that they are going to fetch them a lot of money. Day by day, it is becoming less about Cinema and more about business. No matter however criticized the movie is, it still manages to cross over 100 Crores. For example: Son of Sardar.

This frenzy to be a part of the 100 Crore Club is slowly killing actual Cinema.

References:

http://www.ndtv.com/topic/rs-100-crore-club

http://filmigirl.blogspot.in/2012/07/100-crore-club-introduction.html

http://www.hindustantimes.com/Brunch/Brunch-Stories/Bollywood-s-100-crore-club/Article1-864033.aspx

http://www.thehindu.com/arts/cinema/the-rs-100cr-club/article2684021.ece

http://www.indianexpress.com/news/the-growing-100-crore-club/982101/3

http://forbesindia.com/blog/business-strategy/journey-of-the-100-crore-bollywood-film/

http://www.thehindu.com/life-and-style/metroplus/getting-to-the-100crore-club/article3968418.ece

— By Shreya Shetty, Sophia College

I present this Photo-Essay in a very intimate and personal form, exactly in the way I’d see people or their experiences. I name this essay ‘Ladies Coupé’ after being inspired by novelist Anita Nair who has written a book which is titled so. But this essay focuses on the various moments women, as travelers, face throughout their journey. Eve-teasing, frustrations, being scared, being happy, are a few moments I’ve tried to capture of the daily commuters of the Western Railway, Mumbai Local. This is a whole different level of Candid photography! The crowds, the women, their priceless expressions and the daily photography sessions helped me see traveling in a completely different light. Hope you enjoy my work!