Image was shared on X. (courtesy 4331Subhash)

It’s Lata Mangeshkar’s birth anniversary. She would have been 94 today. The legendary singer, who presented generations with unbridled joy through her songs, was an icon of Indian cinema. Lata Mangeshkar, often regarded as the “Nightingale of India, was the voice behind many actresses across decades. It won’t be wrong to say that she has been India’s favourite voice ever since her debut in the 1940s. Some of her iconic songs, include Lag Jaa Gale, Chalte Chalte, Mohe Panghat Pe, Satyam Shivam Sundaram, Hothon mein aisi baat, Pyar kiya to darna kya, Ae Mere Vatan Ke, Tujhe Dekha To and Kabhi Khushi Kabhie Gham among others. But did you know Lata Mangeshkar had a keen interest in photography as well? As per The Paperclip, she had quite a collection of “state-of-the-art photography equipment, including cameras and lenses.” In a thread on X (formerly called Twitter), the digital media house introduced us to the “other side” of the legend

Although it is not widely known, Lata Mangeshkar was also an avid photographer. She had quite a collection of state-of-the-art photography equipment, including cameras and lenses. Let’s revisit her other side on her birth anniversary. (1/11) pic.twitter.com/CMZOZNSXI2

— The Paperclip (@Paperclip_In) September 28, 2023

According to The Paperclip, Lata Mangeshkar’s fascination with photography “may have begun with her love for painting during her childhood days.” It is reported that the singer bought a Rolleiflex camera in 1946 for Rs 2,000, which became her inseparable companion.

Her fascination with photography may have begun with her love for painting during her childhood days. She once drew a wound on her face, and pretended to be hurt. She bought a Rolleiflex camera in 1946 for Rs 2000, which became her inseparable companion. (2/11)

— The Paperclip (@Paperclip_In) September 28, 2023

Here’s a bit of history of the Rolleiflex camera:

There is a scintillating bit of history surrounding Rolleiflex cameras. The owners openly supported the Nazis, though most of their workers were Jews. However, due to lens shortages during the war, Jewish technicians were allowed to live to keep the cameras working (3/11)

— The Paperclip (@Paperclip_In) September 28, 2023

Lata Mangeshkar had a fascination for people and their faces. “Most of her photos demonstrate her keen understanding of how to use natural light and shadow,” the digital media house mentioned. It also shared a photograph of Lata Mangeshkar’s nephew Adinath, as a “prime example” of the singer’s brilliant expertise in portraiture. 

Back to Lataji. She had a fascination for people & their faces. Most of her photos demonstrate her keen understanding of how to use natural light & shadow. This photograph of her nephew Adinath, is a prime example of her brilliant expertise in portraiture. (4/11) pic.twitter.com/i3LxSIQzSD

— The Paperclip (@Paperclip_In) September 28, 2023

During tours, Lata Mangeshkar would often take her camera and capture everyday life. The Paperclip wrote, “She had an astounding knowledge of cameras, lenses, films and lighting conditions. While on tours, she would often take her camera out and capture the everyday life around her. She would frequently go for a photoshoot with coworkers anywhere, anytime.” 

She had an astounding knowledge of cameras, lenses, films and lighting conditions. While on tours, she would often take her camera out and capture the everyday life around her. She would frequently go for a photoshoot with coworkers anywhere, anytime. (5/11)

— The Paperclip (@Paperclip_In) September 28, 2023

Indian writer Harish Bhimani was Lata Mangeshkar’s partner in crime when it came to critiquing photographs and discussing delicate details of photography. It is said that Bhimani was “awestruck” by Lata Mangeshkar’s expertise in composition, techniques, films, and exposure.

When Lataji travelled to the West Indies, she used to critique photographs with Harish Bhimani and discuss delicate details of photography. Bhimani was awestruck by her expertise in composition, techniques, films, and exposure. (6/11)

— The Paperclip (@Paperclip_In) September 28, 2023

As per The Paperclip report, the singing sensation “wasn’t a fan of automatic cameras, where one could not control aperture and shutter speed under different lighting conditions.” This photograph of Big Ben was reportedly shot by Lata Mangeshkar with a wide-aperture and high shutter speed using a fast film, from a running car in London.

She wasn’t a fan of automatic cameras, where one could not control aperture and shutter speed under different lighting conditions. This photograph of Big Ben was shot by Lataji in wide-aperture and high shutter speed using a fast film, from a running car in London. (7/11) pic.twitter.com/RnGgHcu4Fe

— The Paperclip (@Paperclip_In) September 28, 2023

While going to Australia for her concert at the Sydney Opera House in 1983, the flight made a stopover at Changi International Airport, Singapore – a shoppers’ paradise. When Lata Mangeshkar returned to the aircraft after shopping, she had a large bag full of gifts for every member of her troupe. When someone asked her, “Didi, didn’t you pick up any perfume for yourself?” She slowly brought out a new kind of camera film.

While going to Australia for her concert at the Sydney Opera House in 1983, the flight made a stopover at Changi International Airport, Singapore – a shoppers’ paradise. The story goes as follows. (8/11)

— The Paperclip (@Paperclip_In) September 28, 2023

When Lataji returned to the aircraft after shopping, she had a large bag with her – a bag full of gifts for every member of her troupe.

When someone asked her, “Didi, didn’t you pick up any perfume for yourself?”

Lataji slowly brought out a new kind of camera film. (9/11)

— The Paperclip (@Paperclip_In) September 28, 2023

It is said that the film, Lata Mangeshkar bought at Singapore’s Changi International Airport, was made of the latest technology that could shoot pictures in bright daylight as well as adjust the colour balance to match a candlelight shot using techniques of Chromatic adaptation. 

The film was made of the latest technology that can shoot pictures in bright daylight yet can adjust the colour balance to match a candlelight shot using techniques of Chromatic adaptation. She was just not an amateur photographer! (10/11)

— The Paperclip (@Paperclip_In) September 28, 2023

The Paperclip concluded the thread with a serene photograph clicked by Lata Mangeshkar and a quote by the singer, which read: “I learnt it here and there, I like photography, so I took it a bit seriously… I don’t believe in just clicking at random, what the eyes see must be reproduced faithfully.”

On the right-side corner of the photograph, you can spot a few lines from the song Hamare Baad Ab Mehfil from the 1953 film Baghi. 

In her own words –
“I learnt it here and there, I like photography, so I took it a bit seriously…
I don’t believe in just clicking at random, what the eyes see must be reproduced faithfully.” (11/11) pic.twitter.com/TD1hWgibbf

— The Paperclip (@Paperclip_In) September 28, 2023

Lata Mangeshkar died on February 6, 2022 at Mumbai’s Breach Candy Hospital Trust. She was 92 years old. 

Architectural photographer Marc Goodwin has documented 12 architecture workspaces in Vienna, Austria, as part of an ongoing series capturing studios across the world.

Goodwin, who is the founder of photography studio Archmospheres, went behind the scenes at the Viennese architecture studios following his previous trips to workspaces in cities including Los Angeles, Frankfurt and Berlin.

“From the Viennese Secession of the 1890s to Red Vienna from 1918 to 1934, the city looms large in the imagination of anyone interested in art and architecture,” Goodwin told Dezeen.

“I wanted to know what it was like there today. And this series has been a great way to do that.”

After photographing the twelve studios, Goodwin said he was surprised to discover the city had a relaxed atmosphere compared to others he has visited for his series.

“You’d be mad not to look for a job there,” Goodwin said. “The city is cheap and easy to move around in, the projects are good – especially innovative residential – the atmosphere is relaxed.”

“I’m desperate to move there,” he continued. “Also, the last thing I saw upon completing the final shoot was the flak tower in the Augarten, which I was totally unprepared for. It blew me away. Vienna is full of surprises.”

Goodwin’s images in Vienna document studios including Illiz Architektur, Shibukawa Eder Architects and Nonconform. He said that the city’s relaxed atmosphere was also prevalent within the workspaces.

“I have to say it felt more laid back than many of the offices in the previous series I shot,” he explained.

“They have a good sense of humour about themselves,” he continued. “Shibukawa Eder Architects told me Vienna had just been voted the unfriendliest city or the worst city to live in for the fifth year running. They were killing themselves with laughter!”

Scroll down for an exclusive look inside 12 architecture studios across Vienna:

AllesWirdGut

In this space since: 2013
Number of members of staff: 70
Size: 881 square metres
Building’s history: office building

Architects Collective

In this space since: 2018
Number of members of staff: 38
Size: 375 square metres
Building’s history: built in 1898 former furniture manufacturer

Illiz architektur

In this space since: 2022
Number of members of staff: 12
Size: 162 square metres
Building’s history: built in 1893 by Karl Stiegler

Franz & Sue

In this space since: 2022
Number of members of staff: 100
Size: 504 square metres
Building’s history: built and designed by Franz & Sue

ULrike Tinnacher

In this space since: 1970
Number of members of staff: 3
Size: approximately 40 square metres

Shibukawa Eder Architects

In this space since: 2018
Number of members of staff: 10
Size: 160 square metres
Building’s history: built in 1989 former residential building

Feld72 Architekten

In this space since: 2017
Number of members of staff: 35
Size: 339 square metres

Schenker Salvi Weber Architekten

In this space since: 2009
Number of members of staff: 50
Size: 600 square metres

SOLID Architecture

In this space since: 2019
Number of members of staff: 3
Size: 120 square metres
Building’s history: built in 2019

PLOV Architekten

In this space since: 2019
Number of members of staff: 22
Size: 178 square metes
Building’s history: new building, built in 2019

Nonconform

In this space since: 2009
Number of members of staff: 42
Size: 265 square metres
Building’s history: built in 1858 formerly a printshop

Querkraft Architekten zt

In this space since: 2014
Number of members of staff: 45
Size: 740 square metres
Building’s history: built in 1874 and functioned as an ancillary building for the Vienna stock exchange

When we came across some of the photos from Melissa Schriek’s new book Ode, we initially thought it was a documentation of some sort of duo yoga or callisthenics. The subjects are found doing backbends and hanging from railings, in what has to be the perfect conditions for a head rush. But, amidst all the playing and often synchronised movement, a lesser documented theme is at the heart of the photographer’s unconventional series – female friendship.

Melissa first came to photography through her father, whose passion has made a lasting impression on her throughout the years. “He often emphasised the importance of capturing memories for posterity,” she tells us. He then gifted her a camera for a school trip at just eight years old, and was so amazed by the results that he decided it was time for a permanent one. The photographer emphasises the following years as being “truly transformative,” as her camera often saved her from boredom, acting as a gateway to exploring beyond her comfort zone. “Ever since then, I’ve lived my life through the lens of a camera. I often find myself yearning for new places and contemplating the idea of living and documenting in different locations. To me, a camera represents a sense of home that transcends physical spaces,” she adds.

Melissa’s creative pursuits started within the worlds of dance and gymnastics. Leaving an obvious mark on her, Ode can be seen as a continuation of her love for exploring gestures, body language and performance. As we peruse through the series, childhood games come back to mind – falling back as your confidant catches you, and hand-clapping games that create a mirror between two friends. “I firmly believe that within relationships we all adopt distinct roles, and these roles can evolve depending on the individuals and the circumstances,” she tells us. Heavily relying on the language of the body to express these themes, she observed the natural movements of the women featured throughout, before amplifying and reinterpreting their actions to convey all that she sees in their friendship. “I believe it all serves as a powerful visual metaphor for the essence of their relationships.”