Photography is a quest of individuality: Jatin Kampani

Very few can follow their passion and even fewer can make a living out of it. But ace photographer Jatin Kampani has done both successfully. Not just that, his photography has taken him places and won him accolades, the latest being the first position at the PX3 Awards, Paris — his fourth in a row, along with The International Photography Awards and International Calendar Awards as well.

For four consecutive years, you’ve clinched the first position at the prestigious PX3 Awards...
The committee at PX3 used to keep mailing me about sending my nominations, knowing very well the sort of experimental work I do. And ever since I first sent my nomination four years back, I’ve won the award in the calendar category. Of course, a lot of credit goes to the Raheja Universal, who have helped me follow and achieve what I visualise.

Do you rue the absence of similar recognition in your own country?
Recognition comes later — in India, we lack a platform where we can showcase our works. There is no gallery dedicated for photography probably because it isn’t recognised as an art form yet. In fact, this is where the government plays an important role, considering they have an easy access to grants and sanctions.

How long did it take your distinct style to make a mark?
I have been working as a professional photographer for 16 years now and I started taking pictures  when I was a child. Now, I can gradually see the fruits of my labour and acceptance. I have always experimented quite a bit but it’s now fitting into the scheme of things and this keeps me motivated. Of course, anything new takes time to get accepted since it’s hard to visualise the outcome. But there’s enough trust in my work.

Has competition or criticism ever unnerved you?
I have always tried to push the limits, but it’s never my nature to do a post-mortem on my work. I’ve had the guidance of some geniuses and that’s been my source of inspiration. Opinions are bound to differ — good or bad — as long as my work is spoken about.

You’ve photographed the Who’s Who of Tinseltown. Do they come in the way of work?
Having worked with most of the celebrities from the film industry, I’d say that it’s but natural that they are conscious of how they are photographed, considering they are always in the public eye. In fact, most of them would be conscious if they didn’t know what they were doing. Researching a particular celeb well, including the strengths and weaknesses, along with an open line of communication helps. And contrary to popular belief, celebs are open to experimentation.

But then, why do we still see repetitions of a particular style or look?
I have always got a motion of confidence from the celebs when it comes to experimenting but I don’t see that happening around often. For me, it’s a quest of individuality — not to make anyone look like someone else.

Have there been surprises at work?
We were supposed to shoot Aishwarya Rai Bachchan in Paris. Designer Sabyasachi (Mukherjee) and I had done a recce the day before the shoot — a sunny day — to finalise the locations and camera positions. The next day the sky was overcast and we were wondering whether to can the shoot but the outcome was stunning. I learnt that everything needn’t turn out the way we visualise it.

Photography is now a growing business. What do you say to that?
Any form of art is bound to be commercialised. In fact, the art-commerce bait has been there always. Weren’t the greatest artists all commissioned? But the distinction should be clear in one’s head.

Technology and an increase in demand have led to a mushrooming of so-called photographers...
When we started off, the basic requirement was years of rigorous training, along with a great sense of physics, chemistry and an artistic eye. Now, if a person can afford to buy c*** and hang it on their wall, then so-called photographers will thrive. And technology makes it so easy that one just needs to print visiting cards.