Today we’d like to introduce you to Akanksha Shyam.
Hi Akanksha, thanks for joining us today. We’d love for you to start by introducing yourself.
Growing up, I was surrounded by art. Whether it was music, dance, art, or cinema. I took Carnatic music lessons as a child and learned dance at my mother’s dance school. Our house was full of my mother’s paintings, and our favorite pastime as a family was to watch late-night films. As I further explored my own hobbies, I realized that it was behind the camera that I felt most at ease. Composing subjects in a frame felt natural. Eventually, learning about movement and shaping light, I realized what an immense power it was to be able to create meaningful images.
I began my focus on cinematography while working on my BA in Film and TV Production in Pune, India. I received a part of my training in camera departments in regional television in Mumbai. In 2018, began working as an editor and cinematographer for corporate films and branded films at a boutique production house based in Bangalore, India, called Studio 33. I am now focused on returning to narrative filmmaking in Los Angeles after earning an MFA in Cinematography at the American Film Institute Conservatory. In 2020, the BAFTA Newcomer Program recognized me as an emerging filmmaker. I have just started my third year in that program!
Alright, so let’s dig a little deeper into the story – has it been an easy path overall and if not, what were the challenges you’ve had to overcome?
In many ways, this industry feels out of reach to most people. Part of that is gatekeeping, and part of that is systemic bias. People that don’t fit the mold in Hollywood are generally not encouraged to keep going. With some first-hand experience, I can say that they are actively deterred. My identity has sometimes felt like a roadblock, closing doors with people who probably don’t realize their unconscious biases. However, the thing that has kept me going is finding champions for myself in the field, specifically women of color in cinematography, who have given me the confidence to keep going and pushing back against the madness.
In many ways, this industry feels out of reach to most people. Part of that is gatekeeping, and part of that is systemic bias. People that don’t fit the mold in Hollywood are generally not encouraged to keep going. With some first-hand experience, I can say that they are actively deterred. My identity has sometimes felt like a roadblock, closing doors with people who probably don’t realize their unconscious biases. However, the thing that has kept me going is finding champions for myself in the field, specifically women of color in cinematography, who have given me the confidence to keep going and pushing back against the madness.
Throughout this journey, I have tried to find meaning in the work. Storytelling is an important job. It feeds the culture and inspires people. I am grateful when people tell me they can relate to a film I helped make or that they finally feel represented. I am also aware of how far women have come in this field and how far we still have to go.
Alright, so let’s switch gears a bit and talk business. What should we know about your work?
Being a cinematographer can be one of the most rewarding jobs on a film set. You have the power to visually shape how the audience sees a film. You work with the director to develop the look and feel of a movie and then choose the right tools to recreate it. There are daily challenges, and a lot of the job involves problem-solving and thinking on your feet. There is a kind of adrenaline rush to it that helps get you to the final moments before a shot is made. Numerous departments work together – directorial, art, continuity, production, sound, camera, lighting, talent, Hair, Make-Up, Locations, Transportation, and editorial. The job is a collaborative effort, with every person on the crew adding something unique. And when everything comes together, it all feels like magic.
I am driven toward surrealism and hyper-realistic projects. My goal is to find new and exciting ways of visually motivating narratives and finding a balance between telling meaningful stories while giving the audience a visual feast. My recent films AFLOAT(2022) and ENDLESS BLOOMING(2022) have screened at several festivals, including The Independent Silent Film Festival 2022 and Porto Femme 2022. I also recently won a Cinematography Award at the New York Cinematography Awards.
Is there anyone you’d like to thank or give credit to?
I want to give credit to those who set me on the path. Siddarth Selvaraj, CEO of Studio 33. He took a chance on a kid who just wanted to learn about films, and I am so grateful that he did. The cinematographers there took the time to teach me about camera and lighting – Avinash, Ravindran, and Prathamesh.
My constant cheerleaders – my family. I am always in awe of their consistent warmth and love. Friends, aunties, uncles, and found family all over the world.
Contact Info:
- Website: akankshashyam.com
- Instagram: instagram.com/akankshashyam
Image Credits
Jared Hawkley
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