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Atlanta Centre (3rd floor)
Sonawala Road ( next to Udyog Bhavan)
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We all wish we had a shapely figure, a sleek physique and a suave personality but few of us are lucky enough to have a naturally slim and perfectly sculpted body contour. Being born slender, with a high metabolism, or a proportional figure is nothing more than good genetics. If that is missing in your genes, we have the answer for you.

Indicure offers Body Contouring Surgery to give comprehensive solutions to all those cosmetic problems that may be a reason for your worry.

Body Contouring Surgery comprises Liposuction, Tummy tuck, Arm lift and Implant Surgery (Butt or Calf implants)

Liposuction: This surgery can sculpt and shape the body by removing unwanted deposits of fat from areas of the body a patient wishes to improve.
Common areas for liposuction include the buttocks, thighs, abdomen, hips, upper arms, knees, neck, chin, and cheeks.
Liposuction has very good results, both for men and for women of any age, regardless of the weight of the patient. After a typical liposuction performed in the abdomen or waist, you may lose between 7 to 11 pounds (3.5 to 5 kg), according to the area treated.

Tummy tuck and Mini tummy tuck: Tummy Tuck, also known as Abdominoplasty or Panniculectomy helps flatten the abdominal wall or stomach area. It removes the abdominal fat and skin flaccidity present in obesity or that appears after pregnancies. The change in the body contour is remarkable, especially in those women who have a roll of fat and skin to hold below the navel.

Butt Implants: Buttock augmentation, or the butt lift, is a relatively new procedure that can literally add more volume and shape to a flat bottom.
It permanently increases the volume of the buttocks. If your body does not accumulate fat or you keep in shape with exercise and a healthy lifestyle, the only way of increasing the size of your buttocks will be to resort to silicone implants, since there will not be enough fat in other areas of your body to transfer to the buttocks. It improves the outline of the buttocks and provides the sufficient balance to the body.

Calf Augmentation: Calf implants add more bulk to the otherwise weak and less developed calf muscles. Calf implants can make your legs look as if they have been working out. They add both mass and definition to the calves. Men typically undergo calf augmentation to emphasize bulk. Women undergo this procedure for anatomical balance, so that the lower leg is more proportionate to the thighs. Calf augmentation can also be done to correct congenital and physical defects.

Arm Lift: Arm lift or brachioplasty removes the excess skin and fat that make your arms look saggy. The results of arm lift surgery are permanent and very satisfactory. Your arms will look much firmer for a long time.

For further information about Body Contouring Surgeries in India, visit: http://indicurecosmeticsurgery.com/Body-contouring.html
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Indian Director of Photography, Rajeev Jain, ICS WICA is a Cinematographer based in Mumbai, India. Rajeev specializes in shooting television commercials in the 35mm motion picture film format as well as HD Digital formats. Rajeev started in the early days of the music video revolution, before venturing into narrative filmmaking. His eclectic body of work includes Army, Badhaai Ho Badhaai, Carry on Pandu, Kadachit, Kalpvriksh - The Wish Tree, Mirabai Notout, Pyar Mein Kabhi Kabhi and Rasstar .
QUESTION: Where were you born and raised?
RAJEEV: I was born in Lucknow, India. There was no seminal event that happened to me as a young person that made me want to be a cinematographer. It certainly wasn’tthe quality of the light in Lucknow. I remember it was gray; was stained brown from the traffic and the sky dark. But as I say that, I realize the suppressed palette of the place did affect me emotionally. Saturates leaped out against that neutrals, as in a dream or a post-industrial nightmare.
QUESTION: What did your parents do?
RAJEEV: My parents were just ordinary folks. I don’tthink they were particularly ambitious for me. Their main concern, I think, was that I wasn’tan embarrassment. We moved to the Etawah and then back to Lucknow, where I completed my education. My degrees were in Theatre Arts.
QUESTION: Did you have a career goal at that point in life?
RAJEEV: I wanted to be a writer, but like Mohan Rakesh I thought too much and wrote too little. That is too say I was more a reader then a writer, more academician then poet. I got very interested in semiology and structuralism (the study of how language encodes ideas). Initially I studied how the spoken and written language worked, but then became more interested in how codes worked in other languages, like the language of film. My interest in film language led me in a rather convoluted way to cinematography.
QUESTION: That’s interesting. Can you be a little more specific?
RAJEEV: I became very interested in understanding how in altering light, composition, camera angles and camera movement a cinematographer alters an audiences perception of the visual event, and thereby the audience’s emotional response. It is a difficult thing to quantify. I remember specifically thinking back to seeing Pather Panchali when I was a child, and how its images had always remained in my imagination, not only for their pure beauty and sublime scale, but because they affected me emotionally, striking some unconscious but responsive cord. Later I saw Ray's "The Apu Trilogy". I had much the same response, but now my understanding was informed by my studies. It would be accurate to say that the cinematographers of these two films, Subroto Mitra, were those who most influenced my decision to become a cinematographer.
QUESTION: How did you make a connection between words and photography?
RAJEEV: In writing essays and articles about film. I realized that film images worked very much the way the spoken/written language works. You want to express certain ideas. There are culturally agreed and understood codas. These shapes, which we call letters, have agreed upon pronunciations. These letters form words. These words have agreed meanings. But it is of course arbitrary. The word “cat“ has no innate “catness“ about it, but on hearing this word the listener forms an idea in their brain. A cat. We can then add adjectives, and qualifiers, to make it a black cat, or an angry black cat. These words are codes, but not universal codes. They are specific to a culture that shares that language. Photography in some respects is a much more complex language system. The denotative (specific) or connotative (symbolic or implied) meaning of an image can be ambiguous, but also complex. Perhaps the best literary analogy is the Haiku poem. The fewer words have greater potential meaning “” the more words that are added in longer literary forms, the more specific the meaning. An image offers both specific and non-specific meanings. It can work on many layers, conscious and not.
QUESTION: Did you have any mentors or were you totally self-taught?
RAJEEV: I’ve learned a lot from other DP’s. But it’s mainly from studying their work. Ashok Mehta and I talk a lot, and he’s given me a great deal. But I was self-taught. I studied art extensively, particularly early 20th century artists, and late 19th century artists. I learned a lot about light from them. I’ve stolen an idea from every good film I’ve seen, probably. Particularly the work of Subroto Mitra (ISC), Ashok Mehta (ISC), Binod Pradhan, and Santosh Sivan (ISC).
QUESTION: Do you think of yourself as an artist, a technician or both?
RAJEEV: I think that’s a very important distinction. I don’twant to sound pretentious, but if you consider the nature of art, it is meant to give us new eyes to see the world. I want audiences to respond viscerally to what our intentions are for a film. I think that cinematography works very much like music in that it is difficult for us to measure or quantify why audiences respond to what we do. So it is an art. And its practitioners must therefore be artists.
QUESTION: Tell us more about your analogy of music and cinematography.
RAJEEV: I can sit in dailies and I can see the other people watching the film with me respond physically and emotionally to the images; but it is very difficult quantifying what they are responding to. If you watch people listening to music, they may also respond, but you would hard put to quantify why they are responding.
QUESTION: I’ll borrow a phrase from Subroto Mitra, who said, cinematographers are the authors of the images. But, that isn’twidely recognized.
RAJEEV: Part of the problem lies with our collective culture. Films are reviewed as theatre rather than as a unique art form. Critics will talk about scripts and performances. They talk about things they understand, but they understand them because their own cultural antecedents are principally in traditional theatre, though they may not recognize that. In this context, cinematography and music aren’tunderstood, except to say they were beautiful, because there is not a particular language developed within criticism for their description. Unfortunately, many reviewers don’trecognize how decisions made by the director, cinematographer and composer made a profound impact on the visceral reactions and intellectual responses of audiences. I’m not saying that cinematographers aren’trecognized. We are, at least within the industry, but not in the consumer press. I don’tthink I read a single review that mentioned the significance of Subroto Mitra’s (ISC) decision to use 16mm film and other formats in certain scenes in The River, yet that made a profound impact. I consider that a significant artistic decision worthy of comment, in fact, essential to an audiences understanding of the film’s artistic treatment.
QUESTION: The collaboration between directors and cinematographers is unique.
RAJEEV: An important thing about that collaboration is that cinematographers have to integrate their vision for a film with the director’s vision.
QUESTION: Do the many music videos you shot influence you today?
RAJEEV: Not really. None of my films look like music videos, but the great thing about music videos was that we could experiment with different lighting, film stocks, lenses and filters. We would decide to try putting four filters on the lens, force process the film, or put a negative through a reversal film postproduction process to see how it comes out, and then try it again the other way around. It was a great way to learn.
QUESTION: Are there other cinematographers whose work you follow?
RAJEEV: I can mention all the obvious names, but the truth is I learn from all cinematographers. I can watch a television program shot by a 29-year-old cinematographer and find something that he or she did that is quite interesting. I’m constantly learning from other people. I still read every magazine and journal about cinematography and photography that I can lay my hands on. I still study art. I collect books of photographers and paintings. But it’s not just the good work that others do that I learn from. I learn from my own mistakes that I have had ample opportunity to make over these last 20 years. When my son Adam was in the seventh grade, he wrote an essay in which he was required to say who his hero was. He said it was me. “My father is my hero because he messes up all the time, and he lets me see it.“ So I feel o.k. about messing up. I think that’s a hugely important lesson to learn. It’s o.k. to mess up, and you will sometimes mess up if you’re willing to push the limits of your craft.
QUESTION: Did any other mentors influence your thinking?
RAJEEV: I was a graduate from the University of Lucknow for a short while. That’s where I met Renu Saluja who was a really important mentor. She pointed me down some really interesting avenues as regards film theory.
QUESTION: How do you decide that something is a film you want to do?
RAJEEV: Early in my career anything that was offered was a film I wanted to do. Today, two things are likely to affect my decision. One is my first meeting with the director. That relationship is like a marriage only, oddly, much more intense. You have to decide whether you’re going to be able to get along with that person for the long time that you’re going to be together. I think I have gotten along well with over 90 percent of the directors I have worked with, and many have remained friends. The second thing is the photography. I’m always interested in doing new and different things. If the project is very much like what I have done before, and the script is not great, then it is less likely I will be interested. Sometimes a project comes along that is just so interesting it is impossible to resist.
QUESTION: What do you tell students and other young filmmakers when they ask you to share the secret of success? Do you tell them the truth about the odds?
RAJEEV: I think you have to be patient, and not let yourself believe that things are going to happen quickly. You need integrity and honesty about who you want to become. That way, even if you fail, you can fail with some dignity. If you compromise and fail, what do you have left?

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With in the group of banks, foreign and private sector banks grew at higher rate than the industry from FY03 to FY08 primarily because of lower base effect and rapid expansion undertaken by these banks. In FY09, overall growth in credit and deposits was led by PSBs. However, growth of private and foreign banks was significantly lower in FY09 due to their high exposure to stressed sectors and problem at parent level for foreign banks.
Topics:
History of Indian Banking sector since inception followed by role of regulator and policy measures adopted in FY09.
Detail study of total resources of the banks from FY01 onwards, trend in deposits mobilisation by various bank groups, low cost deposits and movements in interest rate on deposits and on competing instruments.
Trend in credit offtake since FY01 with detailed analysis of credit offtake in FY09. Trend in sectoral credit, sensitive and priority sector lending, Industrial credit, type-wise and securitiywise credit for SCBs and for various banking groups. The report also includes bank group-wise analysis of maturity mismatch between deposits and advances.
Analysis of trend in SLR and Non-SLR investments over the years and bank-group wise analysis of credit to deposit and investment to deposit ratio.
Break-up of total income and its trend analysis. Comprehensive study of trend in operating cost and staff cost of the SCBs as a whole and various banking groups.
In-depth analysis of spread and Net Interest Margins (NIMs) for banking sector and various banking groups.
Analysis of trend in profitability for the sector and bank-groups over last 5 years including the growth drivers and factor impacting the bottomline.
Trend in Non-performing Assets (NPAs) since year 2000 for the sector and various bank groups. Sectoral break-up of the NPAs and recovery in NPAs over the years. Detailed study of the restructuring regulations and impact on banks
Need for high capital adequacy ratio and soundness of banking system in Indian is envisaged by presenting the trend in CAR over the years and resources raised by the banks over the years.
Comprehensive study on the need for consolidation with in the banking industry as a viable option to sustain growth with detailed reasoning Quick analysis of FY09 results by dividing banks into PSBs and private sector banks. Analysis of trend in CASA ratio and restructured assets for FY09
Outlook on Advances and deposit growth in FY10 and FY11 for the banking sector and various banking groups along with the detailed presentation of the methodology adopted for the projections. Outlook on investments and treasury gains, fee income for the banks, Net Interest Margins and NPAs and overall profitability going forward in FY10 and FY11.
A section which focuses on the profile of the Top-11 players in the Indian banking sector. It includes
 profit and loss account analysis from FY05 to FY09,
 analysis of results of last 8 quarters i.e. Q1FY08 to Q4FY09,
 balance sheet analysis & ratio analysis,
 trend in shareholding pattern in the last 5 years and
pictorial presentation of trend in NPAs in last 8 quarters.

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The Branded Furniture market is valued at INR 58 bn in 2008; expected to reach INR 165 bn in 2012. Branded furniture comprises of Domestic and Commercial furniture segments. Market is dominated by the Domestic segment. ( http://www.bharatbook.com/Market-Research-Reports/Branded-Furniture-India.html )

The report provides a snapshot of the market. An overview gives a quick picture of the market with estimated market size, growth rate and revenue split between the residential and commercial segments. An analysis of drivers reveals that increase in disposable income, reduction in import duties, growth in real estate sector, rising quality consciousness amongst Indian consumers, growth in IT & ITES Sector, growth in tourism, growth in organized retail is driving growth in this sector. The key challenges identified include reduction in timber harvest, FDI Regulations, market restricted to Cities.

The report identifies the current market trends including rising popularity of traditional furniture, modular kitchens, use of innovative materials, use of recycled wood, forward integration and rising popularity of kids furniture. The competitive landscape profiles the major players in this sector in terms of their business description. The report also provides details key developments in this sector.The drivers and challenges explain the factors influencing growth of the industry and briefly analyzes the major issues/challenges hindering growth. The report also highlights the current market trends.

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