A tile-roofed residence within the center of nowhere. A small family. A bride with minimum makeup. Coimbatore photographer Pon Prabakaran on how an easy village wedding ceremony he shot received him a prestigious award. Darkness had set in while photographer Pon Prabakaran arrived at Pappapatti village close to Musiri in Tiruchi district in October 2017. He turned into a wedding pictures venture to photograph the ‘gifting of the sari’ ritual at the bride S Kalaiselvi’s home. “It changed into pitch darkish,” recalls Prabakaran. “There have been just a couple of houses in the distance and an empty floor nearby. Other than that, there has been nothing else I should see.”
Under the neon glow of a tube-mild, the 28-12 months-vintage clicked a chain of images that won him an award below the category ‘Photo series On a Single Wedding’ in the Better Photography magazine’s Wedding Photographer Of The Year 2018-2019 awards. The contest had 56 countrywide and international jurists. “In the dim light, I could see how stunning that small residence turned into,” recalls the Chennai-based totally photographer. This changed into an idea enough for Prabakaran.
The wedding ceremony turned into the next day in Musiri. “It became a regular affair,” says Prabakaran. “The stage had very fundamental decorations.” But what that corridor did have changed into actual humans, with real feelings. And he documented it. The pictures seize the unique day in black and white: A nadhaswaram and civil artiste play on a cramped portico, a checked lungi that someone left in the back of, suspended above them; a procession of ladies in an unmarried document, carrying trays of plant life and bananas on their heads; a large plate of potatoes being chopped in the kitchen of the marriage corridor then there are the everyday wedding shots of the bride getting her makeup accomplished; the groom and her seat on a flight of stairs, however, there are some particular ones as nicely, that border on ‘artwork.’ The photograph of the bride and groom’s garlands suspended on two nails on either side of a window with wooden doors, two black-and-white families snapshots in the frame, as an instance.
The purpose the pictures got here out well is perhaps because Prabakaran loves village weddings. “In cities, weddings are all about showing off your wealth,” he feels. He finds the grandeur “fake.” He adds: “There’s a lot of planning involved; a lot of money is pumped right into a single occasion.” But in a village wedding, especially the ones he’s photographed, everything goes with the glide. There’s much less recognition on the outside factors, which include the level and makeup. “Kalaiselvi hadn’t even booked a beautician for her large day; a relative was given her dressed up,” he points out.
Prabakaran has been a photographer on the grounds of 2012. “I, first of all, worked at a small photography studio in Triplicane; I reduce out passport length pics, took prints, attempted my had at PhotoShop.”When no person becomes round, he touched and felt the digital camera. “I subsequently found out to take photographs,” he says. Today although, he’s constantly journeying on assignments. He doesn’t distinguish between city and village assignments, but the mention of the latter has him all pumped up.
Like the wedding he photographed in a village close to Thoothukudi in 2016, as an example. The bride informed him that the village became nothing terrific and that her house became vintage and no longer what one would call lovely. “But after I went there, I saw a residence with bluish lime-washed walls with timber home windows, and a thatch-roof that sent out dappled mild…it became the maximum lovely house I’d visible,” says Prabakaran.