Subrata Mitra, the cinematographer for The Apu Trilogy, made his first technical innovation with this film: the application of bounce lighting on large scale diffusers to match studio sets with location shooting. According to the Internet Encyclopedia of Cinematographers: "The fear of monsoon rain had forced the art director, Bansi Chandragupta, to abandon the original plan to build the inner courtyard of a typical Benares house in the open and the set was built inside a studio in Calcutta. Mitra recalls arguing in vain with both Chandragupta and Ray about the impossibilities of simulating shadowless diffused skylight. But this led him to innovate what became subsequently his most important tool--bounce lighting. Mitra placed a framed painter white cloth over the set resembling a patch of sky and arranged studio lights below to bounce off the fake sky."

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