Every creative exercise needs a catalyst. In this case, the seed was a simple thought about flowers.
My conceptual process was a linear one, requiring that the images connect. The thematic nature of the exercise meant that each visual would form a part of the main thread. At the time of execution, though, I keep things open-ended so that individual images can also be viewed as stand-alone. I leave the mental door ajar to receive anything organic that may happen during the shoot.
A message, obvious or subtle, provides depth. If that can be combined with a dose of emotion, it’s a win-win. For example, when I exhibit or publish, a measure of success is when someone asks me ‘why did you do it this way?’ along with the more commonly asked ‘how did you do it?’
My shooting method is dynamic but prepping is a key constant.
I studiously jot down notes and make rough sketches.
(My skills do not extend to drawing, so anyone looking at my squiggles will find them amusing, and confusing!)
The primary driver behind the series was to take an evocative cliché and put a personal spin on it. That initial thought evolved into areas that required variation. It was an intense process, which lasted over two years. My gut said I was on the right track. I was in no hurry since there was freedom from deadline pressure.
I continued working on commercial gigs simultaneously. A balance between personal and paid work is crucial. Projects like this require funds, and the extra money is useful, and helps ease the burden of the steep costs.
| I shot the series on transparency film (E6) and color negative film (C41) in two formats: 120mm and 4″x5″. The negatives were for backup, printing, and cross-process experimentation. The use of larger camera formats dictates a languid pace, which forces me to operate in slow-metabolism mode. Working in my own studio space makes the process meditative. Several shots required the flowers to be dry. My method is to hang the fresh flowers upside down on a clothesline so that gravity gives them a natural fluidity. A day or three later, when satisfied with the de-saturated tones, I put the flowers in a tray of water, mixed with a complimentary photo color, and deep-freeze it for a few hours. Next, I carefully crack the ice, adding color if necessary, and when I get that green light vibe, I place it on the shooting table. | As the ice melts and breaks up, there is an amorphous, ever-changing quality to the subject. Not knowing how things will turn out is a rush in itself. I shoot a bunch of frames so that I have plenty of choices. The setup is not elaborate. I usually go for simple, diffused lighting. Most of the hard work has already been done. The preparation part is time-consuming; the actual shot is not. When I began, the end goal was to exhibit. As it so happened, while I was in the middle of creating the series, I got a call from the late Prafulbhai C. Patel, a respected photographer and teacher, and one of my early mentors. Prafulbhai used to be the head of the Piramal Gallery at the NCPA. It was the only gallery in Mumbai devoted exclusively to photography. He expressed interest and asked me to do a solo show. |
He required approximately forty images, from which we would mutually whittle down to the final thirty or so.
The gallery sponsored the show with one condition – no sales would be permitted at the venue. The upside was that the exhibition would be on for a month, which compensated for the disappointment at their no-sales rule.
I was pleasantly surprised by the footfalls at the show. After all, it was my intro, and the subject matter was abstract. The positive response encouraged me to continue doing personal, experimental work.
Later, I entered ‘Shelter’ for an international photo contest. There were 14,000 submissions from around the world and I was suitably chuffed when it bagged a certificate of excellence!
Looking back, I’ve realized that if a body of work can stand the test of time, that’s a good sign. It means that the hard work has paid off. I make it a practice to re-visit my images, and if they still give me a sense of accomplishment, my job is done.
NOTE: This article, titled ‘A Personal Tribute’ is the sole property of Nrupen Madhvani, and as such cannot be reproduced, copied, published or used in any manner without the written permission of the author.]
NRUPEN MADHVANI
Photographer, Mumbai