Exposéfy – Not_UB_1228, 1486 & 1853 / by Bindaas

What makes a photograph perfect? Can the changing perspective of the photographer add meaning in a way a single photograph cannot? Does the varied focus disrupt the integral harmony/disharmony of the image? How do the feet, finger, mind, mood or every fleeting instance alter the outcome of a single frame captured in time and space?


The image-maker engages so many permutations and combinations to finally end up with one outstanding frame - the ‘money shot’, like I did to make UB 1228, UB 1486 and UB 1853. I am unable to share/exhibit these by law because I have signed off my rights to those images (for a minuscule sum), but what remains in my possession is the journey taken to attain those winning money-fetching shots. The many parts of a un-viewable whole.


In this exposé of process and position, the colors highlight the subject in motion within the frame as well as the relative perspective of the frame in motion.

Exposéfy – Not_UB_1228, 1486 & 1853 is a documentation of quotidian activities that the modern woman is continually becoming unaccustomed to in changing India. This installation of consecutive frames is a memory game of continuity in content as well as form.


Each series is presented in the order they were shot. The sequence of action in these processes are vital parts of the image documented. And the installation as a whole is a present participle. These activities photographed in the rural areas of Maharashtra, and are specific to their region, thus their authentic Marathi names with a modern twang is an accurate representation of this project. I the modern woman is classifying this image/series of actions/culture on the verge of antiquity. Therefore, Pakhadofying, Zhatkofying, Bharofying, and Dhaarkadofying are the names of the individual series.