Rajiv Srivastava: India's Foremost Aviation Photographer and His Inspirational Journey from Arunachal Pradesh

Synopsis: Rajiv Srivastava’s journey in photography has been fascinating. He brings in a unique amalgamation of natural landscapes and symmetry in spaces, topped with eye-soothing aesthetics. As an aviation aficionado, Rajiv’s lived experiences in smaller yet promising cities have allowed him to evolve into India’s distinctive aviation photographer. Aviation is an emerging industry in the country, and Rajiv has been instrumental in showcasing the growth and transformation of over EIGHTY Airports with the Airport Authority of India. His understanding of aviation, shaped by extraordinary experiences, has allowed him to navigate ecosystem-level adversities. Our conversation today delves into his remarkable journey and achievements in both his personal and professional life. As we explore his trajectory, we unveil an inspiration who has a thorough understanding of technicalities and is an innovator in showcasing India’s aviation arena.

Rajiv Srivastava, welcome. Can you share a bit about your background and early experiences growing up in Arunachal Pradesh?

Certainly, both my parents were senior government officials and were posted in Arunachal Pradesh. So, I was born in Roing, a small town close to the international borders. We originally belonged to Uttar Pradesh, and while we lived in Arunachal for the most part of the years, school breaks meant spending time in Varanasi with family. A lot of my early experiences were therefore not just in the beauty of north-eastern towns but equally in the age-old heritage of Varanasi, which exposed me to the enchanting Ghats, temples, and sanctity of architecture.

Agatti Island

It sounds like you had a unique upbringing. What made it memorable?

Indeed. One standout memory was when I took my first helicopter ride in Pasighat, while in Grade 7. Since, the north-eastern terrains were inaccessible, my father who was the Deputy Director of Education then, was entitled to helicopter services in order to visit schools for monitoring. During, one of such occasion, I accompanied him and that became life-changing, as we glided through natural landscapes. There’s no denial that this was the start of my love for aviation. I started observing fighter planes and helicopters, on a lighter note even today, I can recognise enroute flights just by the colours, or sound of the engine. Today, you can see a reflection of such curiosity and competency in my snaps of airports whether in Pakyong, Lengpui, Calicut, or Agatti Island.

How do you view the recent boom in the Indian aviation market?

The Indian aviation market's growth has been remarkable. The sector has seen a ten percent growth over the last decade, indicating a substantive infrastructural surge harmonized with market proliferation. I have seen the evolution so closely, that it simply appears miraculous. Imagine, till 2014, we had 74 airports and now the figures stand over 150, isn’t that something absolutely surreal. This is also the start of allied business scopes, within the sector. As a professional, I also feel that – for artists, artisans, cultural influencers, including photographers this has been a pivotal phase in defining the aesthetics of such spaces. While, we see airports coming together it also brings with it scope for boosting the local economy, culture, and tourism.

Your interest in enhancing airport aesthetics as a landscape and aviation photographer is unique; what motivates this focus?

I have a keen inclination towards visual storytelling. When, I imagine airport aesthetics, it is not limited to how we see these spaces today – with promising artwork but also curating stories for diverse travellers. With my two-decade journey in photography, both as a landscape and aviation photographer, I believe we can shape it more strategically to bespoke it for world-enriching experiences.

Today, with efforts like Ude Desh ka Naagrik (UDAN), you can see small and medium cities and towns are well connected. And, I see potential in such airports to augment the involvement of local artists, storytellers,

including photographers, in co-creating airport aesthetics that tells the story of the place. It can revolve around local destinations, festivals, and culture and equally showcase opportunities for people to visit un-explored landmarks that require tourist footfalls.

We, have tried to explore this in the Noida Airport’s Corporate Office, Lucknow Airport, Varanasi Airport, and Vijayawada Airport, where some of the best photographs have been strategically positioned taking the local culture and potentialities for growth into consideration, and initial responses have been quite positive.

The Coffee Table book, "100 Airports of New India," seems to capture this transformative period. How does it contribute to the narrative?

By showcasing the architectural and cultural nuances of these airports, it becomes a testament to the monumental growth and innovation accompanying the aviation boom. It’s encouraging to have such books as an attestation to India’s growth in Amrit Kaal. And we should continue doing it in the future to trace unserved and underserved air routes. So, that we can improvise and celebrate regional connectivity as an expediter of economic development.

Your upcoming work for the Coffee Table Book by AAI focuses on airport artwork and interiors. How do you plan to expand artistic elements within airports?

Drawing on my landscape photography experience, I propose integrating photographs, art installations of local landmarks, and heritage, including dates and pictures of local festivals and tourist places nearby. This comprehensive approach can breed curiosity amongst travellers and also open corridors of development for destination locations.

Since, having such information first hand via displays at the airport not only enhances aesthetic appeal but also serves as an informative nudge for travellers. I consciously feel that such efforts can go a long way in bringing together socio-economic opportunities for small cities. Some works, that I have personally anchored for airports in Vijayawada and Varanasi involve showcasing the rich tapestry of local culture, festivals, and tourist attractions. By presenting this diverse content, we aim to promote the city, making travelers aware of the tourist spots and local festivals, thereby contributing to the overall growth and visibility of the region.

What are your future plans in the field of aviation photography, and how does your interest extend to airports and architecture?

I see my future in aviation photography as a continuous journey of exploration and innovation. My plan includes collaborating with international projects, like my existing work at Noida International Airport, which is a 100% subsidiary of Zurich Airport International AG. Where I try to bring in fresh perspectives with futuristic technological integration in aviation photography. While, beyond the technical aspects of flying machines, I am equally drawn to the intricate designs and unique stories woven into airport spaces. Currently, I am also immersed in the creation of a coffee table book on Varanasi, that allows me to bring together the cultural and historical richness of the ancient city through a visual narrative. This endeavour complements my aviation photography by providing a different lens through which to tell compelling stories—stories that extend beyond the terminals, aircraft, and runways.

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