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The poetry of photography

The aesthetics of nature and people photography

Minimalism as an artistic device



In photography , as in poetry, minimalism can be successfully employed to convey something with starkness and without frills . A lot of course depends upon how you compose the photograph .In the photograph below I tried to pit a man-made light-bulb against the sun by eliminating all the other surrounding details .

In the following poem I have used the same technique to describe a moment in the early morning in the Grand Hotel, Kolkata .I have tried to create the moment without the usual 'haze' that a poet usually creates :

AT THE GRAND HOTEL, KOLKATA

The morning crystallises
Pure and silver. At seven
The moment swells
To an iridescent event
Amid outcry of cutlery
And bone-clatter of china
Sparrow-love on the lawns
And aromatic hotel smells.

The starkness of the effect is because a single moment is described with economy of words eliminating multiple strands of thought and their expression. The stillness of the moment is accentuated by the use of simple visual and auditory images. The morning is “pure and silver” suggesting white light reflected by the silver tea tray- a visually effective image. The visual elements fuse with the auditory elements to create a composite scene of stillness which progresses, as the time moves to seven , to become an iridescent event. Actually the moment is not one of stillness but of growing and moving forward to become an event as several things happen touching the senses -”the outcry of cutlery”(suggestive of the medley of the sounds emerging from the clanging of the metal) , “bone clatter of China” (suggestive of the clattering sounds of the crockery) .Thus sensory experiences define the moment statically and at the same time suggest a forward movement to an intense experience.

In the dynamics of the moment is an interesting tabblo-that of the sparrow love which represents a dynamic aspect of the beauty of the moment ,suggesting the ephemerality of the sensory experiences which make the moment.

"Entrance"- a poem by Rilke

Whovever you are: step out in to the evening
out of your living room, where everything is so known;
your house stands as the last thing before great space:
Whoever you are.
With your eyes, which in their fatigue can just barely
free themselves from the worn-out thresholds,
very slowly, lift a single black tree
and place it against the sky, slender and alone.
With this you have made the world. And it is large
and like a word that is still ripening in silence.
And, just as your will grasps their meaning,
they in turn will let go, delicately, of your eyes . . .

I love this simple poem of Rilke ,being "whoever you are" trying to step out of the living room.Like Rilke has told us I keep lifting a single black tree and placing it against the sky .Sometimes I do this with my camera which readily obliges.

It is a , large world ,like a word that is ripening in silence.I know that as the word ripens and then falls off it lets go of my images ,freeing me from the bounds of my own consciousness.

"In Camera"- a poem by John Williams

The poetry spoken by the camera can be felt and experienced here :

"In Camera


I am the man who brings you famine.
Without me,
the parchment people would die
unseen,
dry out and be
blown away by winds that stir up ancient dust,
but not the hearts of men.

I focus and aim
between the hollow eyes of a dying child
Steady...

Shoot!

His agony dissolves

Into myriad Images.
You cannot see the tears I cry,
and, since I never speak, I never lie.
I am camera man "

Because the cameraman never speaks.only the camera.

The firangipani flowers

I have just come across a beautiful use of a symbol in nature to recreate a poignant story ,an intensely personal experience that can be comprehended by others only with the help of a narrative.The picture shows a series of blooming firangipani flowers outside a nursing home where the author's father is lying on the deathbed .The narrative is so beautiful that it deserves to be reproduced here :

"It looks charming, and it is. A simple wooden gate, painted white, the typical "picket fence" attracts the eye, but looking around, the scent of the frangipanni flowers also attracts the senses.

This is the gate that leads to my father’s room... beyond this gate, my father lies dying.

It's part of a beautiful Nursing Home in Rockhampton, and I grow to both love, and eventually dread, this gate.

The frangipanni tree offers me large clumps of flowers - their heads bowed in respect. The path is swept on a daily basis, so that any flowers that may fall are fresh and clean, unbruised, unlike my heavy heart.

Will he remember me today? Will he still be there, in his mind, in his body?

I pick a frangipanni and place it behind my right ear, so it shines out happily when he sees me.

They have always been my favourite flower, in their pureness and simplicity, the heady, giddy perfume enclosing me within a safe world of childhood memories, of hanging upside down in a huge old tree, marvelling at the hugeness of the world in my front garden.

Wonderful memories of reading books and eating apples, running around the frangipanni tree kicking up the leaves in autumn...waiting patiently for the first sings of new growth, the dark green tips sprouting from each barren stem, holding the promise of another summer, more glorious flowers, more hanging upside down to compare if my world had expanded during the winter.

This gate, this white, simple gate leads to where my father lies dying.

I took this photo as a precaution to a hazy memory, I wanted to savour every detail about my dad before stress and loss dimmed my memory.

Now I look at it, and although I am smiling with my love of the tree with its daily offerings of fresh perfumed flowers for me to enjoy, I am reminded of a softer, sadder time, where breathing becomes a chore, where time not only stands still, but runs backwards, as we the children become the adults and vise versa.

I push the gate open, and stoop to collect my flower... "



I have made a mental note to take a shot of this beautiful tree with fragrant flowers . This has stirred up my own memories of the trees in the temple compound with such beautiful flowers that I had invariably collected a few wilted flowers lying on the ground and carried them everywhere. We folded the petals and pierced each of the petals with the stem neatly to make a smaller flower .

My poem goes thus:

The firangipani flowers

The firangipani tree bloomed
In my village temple compound
And where it hurt it bled milk
Just like it had done in my childhood.
I smelt God through the peephole
Of a child’s memory enclosed
By the fragrance of the firangipani .

Freezing a moment in motion

A photograph can freeze a moment in motion and tell a story beautifully like a poem does.The spatial existence shared jointly by different things at a particular moment can be beautifully reproduced in a photograph with the object of re-creating the times gone by , or , more importantly, with a view to capturing a human situation.In the following photograph Bourke-white captures beautifully the extremely poignant moments of the mass migration of a terrorised people in the wake of India's partition.Surely a photograph is more than a thousand words!

Fragmented consciousness- a heap of broken images



The schizophrenic

My splintered consciousness
Is a medley of broken images
Shards of shattered tough-glass
Pierce through forced attempts at order
Dark and threatening circles
Close in on my eyes, concentrically.
My muscular male arms
Negate my underlying femininity
Sometimes I am male, sometimes female
Sometimes I am me, then somebody else.

I attempt to gather broken glass
For a multi-hued kaleidoscope
The kaleidoscope remains a dream
I only collect bleeding injuries.
My soul lies inert, in a glass jar
In the amniotic fluid of primordial confusion
As research material for neuro-scientists
Cushioned in chaos, there I lay
Afraid the jar would break one day.

Capturing fleeting images


Like poetry , a photograph can capture fleeting images in space and can even explore their inter-relationship in a spatial situation.A photograph cannot capture their relationship across different planes of existence ,in space and time,except through the viewer's own present level of consciousness . A back-and-forth movement in time or dynamic switches between reality and fictional situations are not possible in photography.

Take a look at the following poem :

Images in a train

They lived outside the pale of my existence
Just a few images that touched the fringe
“Hello image” :Mersault addressed Marthe
Just like only one of her other lovers did
The woman here was a mere image
The way her eyes flashed at her husband
As she changed the nappies of the child
The child swung in the cloth-cradle, gently,
Like a weaver bird swings in the fibrous nest
He cried , he gurgled ,he knocked about
A mere image in another image’s existence
Mersault knew Marthe was a mere image
Flesh-and-blood Marthe did not know this
This woman did not know she was an image
Only I knew she was an image ,like Marthe.



In the above poem the characters have been invested with a certain halo which is a product of the poet's own mind. A photograph cannot produce a similar effect.

However , depending upon the state of the mind of the viewer and the sensitivity of his perception a photograph can almost reproduce a typical human situation much like a poem does and can produce almost the same effect in the viewer.

In the following picture a fleeting spatial situation is captured which can be realised through the viewer's own present state of the mind:






A similar experience occurs when a fleeting image is captured through the viewer's own state of mind e.g.the play-acting boy Hanuman against the sculptured background of SriRama . The creative experience is achieved by invoking the exquisite images of Rama and Hanuman from mythology. The present spatial situation represented by a mime interacts with the elements of a temporal situation of the temple which once existed in a living form full of throbbing activity before destruction by the invaders.





Sleep


The photograph below captures a beautiful image just like a poem does. Some times we create images which are sought for their intrinsic beauty , not because they are a part of the motif of a poem . Single images , which suddenly strike you either while you are pursuing a bigger theme or even while you are going about your daily routine are beautiful in themselves and are used , much later , in a poem or a painting.

My poem on the old man sleeping in the temple goes as under :


Sleep


This creature of the earth
Sleep-talks to himself
Nobody has heard him.
As the temple bells ring
The earth burns slowly
And goes up in swirls of smoke
These lights hurt him
But the smoke does not.
It is just like then
Of comforting mother-softness
Of all-around emerald aqua.
His limbs do not move.
Nor do his eyes see.
At the tunnel’s beginning
It is like what it was
When it all began.
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The changing motif


Some times , in a photograph, a perfectly strange element creeps in assuming the central role in defining the moment . I have always wanted the photograph the way I wanted – keeping the theme I had in mind as the central motif but this does not happen all the time . Sometimes an innocuous element surreptitiously enters my consciousness before I click and some times it is a post exe affair , the element not being there in the original scheme has somehow usurped the central position after I click . A similar thing happens in poetry .

The theme before I clicked was “ the red hills “- the hills being excavated for iron ore for export.

The theme after I clicked was “ the shrub“. For some unknown reason the tall shrub has assumed the central role in defining the moment.

The picture depicts the utter devastation of the hillside wrought by the greedy iron miners. May be , the shrub is the only element that stands for hope in the bleakness of the mountainscape !

My poem tries to capture the despair of the situation :


Wounds


In the recent monsoon
Our rivers felt as if
The mountains had bled
From fresh wounds
Their flesh has gone,
Across the green seas,
To the distant Chinaman
To fill out his bones.

But this is not the poem where I set out to do something but landed up with a different theme. Here was another of my poems which happened out of a photograph . I tried to take a picture of the cluster of dwellings in the lower heights of the hills seen from the elevated plains where I was standing. It was a beautiful scene more particularly due to the wistfulness of the rural scenery of a tribal village . There was smoke rising up above the houses .Unknown to me the theme transformed , as I went through the creation of the poem, to death and the cremation rites of an aboriginal settlement.
Here is the poem :




Smoke


Beyond the grey hills
Thick white smoke
Rose in a column .
From my vantage
My glass eyes saw
Veiled habitations
I heard voices rising
In musical supplication
As drum-beats quickened
Existence went up in smoke.

Thinking in flowers


"At the unlit corner where awareness takes a blind turn " ,the ghosts of the past hurts some times haunt us in all their smokey whiteness.That is when we may start "thinking in flowers" , if I may use the phrase .Just think of flowers in multitudes ,on the trees, in the vases, in the florist's and everywhere else.

A digital photograph you have taken recently of the bunches of flowers in the park can be imagined to produce those images on the screens of your closed eyelids.I give below my poem written in such a moment :


Sunrise and flowers

In my nights of waiting
For sunrise and flowers
I look pain in the face
I struggle to think in flowers
And rising orange suns
My night then fizzles down
With its false props to pride
At five I wake up bleary-eyed
Trying to catch beach suns
Before they turn white.