A Knotty Affair...
For Bangalore based independent documentary photographer, Mahesh Shantaram, a wedding photographer’s role is to capture the unfolding events simply, quietly, and without attracting much attention. And for that he shoots carefully, crafting each image with incredible care. He believes that each photograph should be aesthetically appealing as well as emotionally evocative. With his unobtrusive approach he creates images that are momentous, fresh, unpredictable and timeless. Excerpts:
How did you get into wedding photography? Since how long have you been a professional wedding photographer?
When I love or hate something, I do it with a passion. There was a time, not very long ago, when I used to hate weddings to the point that I didn’t even show up for my own sister’s wedding. Later, when I quit an oppressive job and became a photographer it was apparent to me that the Indian wedding
photography market needed some ventilation (to put it mildly). Weddings seemed more tolerable to attend from behind a camera. And it felt lovely to be working
with real humble human beings rather than the bossy corporate types. Looking back, I have no regrets getting into wedding photography.
How do you see your role evolving?
As a documentary photographer, I tell stories using pictures. Although I started as a wedding photographer, the scope of what I do has undergone creative expansion over the years. Today, I document Indian wedding culture and chronicle the personal stories of individuals behind it. Of late, I’m fascinated by the medium of photo books and the art of story-telling in a book form. Therefore, I also see myself as a wedding photo book maker.
You shoot weddings all over the country. What is the biggest professional challenge you face since every wedding is unique and different from the other in many respects? Do
you do a lot of research prior to the shoot? The greatest challenge for me is to approach every wedding as if it were a unique experience; different from anything I’ve already seen before. I don’t do any research or planning or take client briefs. For me everything needs to be a surprise that is experienced in the spur of the moment. That is when a photojournalist’s acumen kicks in to react to such moments. It doesn’t matter if I miss several shots working this way. However, this is what keeps me on my toes enabling me to create pictures that are momentous, fresh, and unpredictable.
What advice do you often give to a couple? In your opinion, what makes a successful wedding day?
I don’t think it is the photographer’s business to give advice. A wedding comes to life thanks to the involvement of many people - mehendi artists, caterers, light and sound engineers, relatives, and not to forget the dreams of the bride and groom. My job is to somehow capture the spirit of everyone’s hard work by using it within my story.
Many new photographers today struggle to develop a personal style, without being influenced by others. So how do you think have you developed your style and how has it changed over the years?
‘ Style’ is superficial. A photographer is better off honing one’s world view - the broad ideals that define what we stand for as individuals. That will have a definite influence
on the kind of photographs we take. I’m not very much into overly romantic imagery. Instead I like to make dynamic images that not only tells the story of the bride and groom, but also captures the state of our country in these interesting times. I have only two ‘prime lenses’ in my kit: a sense of humour and a sense of humanity. Rather than industry trends, I draw inspiration from the rich traditions of documentary photography like those of renowned photographers whom I’ve had the pleasure of meeting and learning from.
The vibrancy and clarity in your work is something that immediately stands out from the rest. Could you tell us about how do you achieve it and if you retouch your photographs?
Of course, I do work on my photographs because I can’t let the camera have the final say in what my images should look and feel like. My rule- of- thumb for post- processing is that it is like make- up on a woman – if you notice it, it is too much. Super- rich colour is abundant in India. That’s great for a real- world festive experience but not necessarily for photography. I use postprocessing to control the palette from spilling all over the place. I follow this process for all photography, be it weddings or vacations. I’m essentially creating a whole new ‘ World of Colour’ that extends from my imagination. What are your future plans? Any personal projects in the pipeline? I have been working on a personal project called Matrimania, a part- fact and part- fantasy reconstruction of the world of weddings as I see it. It has received some attention on international platforms such as the Sony World Photography Awards 2011. I’ve been invited to present the work at the Photo Phnom Penh festival in Cambodia later this year. I’m also looking forward to host a couple of filmmakers from Europe who will accompany me during the upcoming wedding season to shoot a documentary film. And lastly, I am working on getting Matrimania published by next year.