These are the tools of my trade, I have been using the same camera, same 80mm lens and same minolta light meter for almost 20 years. TRIX 400 is the film I have used  since I started photography in 1980. I know these tools like the back of my hand. To this photo I forgot to add the tripod. Though this keeps changing as they make lighter and lighter ones.

Each one of these help me slow down, they force me to pause between photos and before starting. They prepare me for making the image, like removing ones shoes before entering a room.

There is the ritual of loading the film, first the sound and pleasure of tearing open the roll, then fitting it in place, listening to the sound while forwarding to be sure it has not stuck in the sprocket, and then fitting the back onto the camera.Then taking the camera and aligning it onto the tripod, after having done the dance around what I was hoping to photograph, those stretches that force you to ever so slightly alter the frame.The light meter one could say I need not use after all these years. But I like the ritual of going upto what I am photographing, measuring the exact light reflecting of the skin of the subject, then calculating how I might like to use that information. Even though I can , after all these years, guess the exposure.Then I bend into my camera, and fix the focus Between the camera being jammed into my belly and the gravity of strap on my neck, bending over, I make a tripod out of my own body. I like photographing from the navel level over the conventional eye level, I like that I see an inverted image, and then the magic sound of the shutter, An image has been made.

I can make another 11 images, as the roll has 12 frames on it. In my bag I might have 3-4 more rolls for the day of an extensive shoot. I sort of ration myself, because there is only so much film that I can carry on a trip. I might take a second frame of the same situation, just to be safe for focus and or exposure. but rarely more than that.

Its possible that i might have 3 shoots on one roll of film of 12.

Then there is the wait for the film to be processed, and the contact sheets to come from the lab. I never look at them too closely at first, just a glance to check that everything is fine, and the customary look at the negs. A few days later I sit with them and my loop, I always get depressed that I could not ‘capture’ what I thought I had. It takes many months for me to separate the experience/emotion of making the image and what the image retained. Often a very large gap and it could be many years later that I ‘realise’ the image. So many of my images have 2 dates, the date of taking and the date of realising.

This realising of the image, often happens like a deja vu, of seeing the girl on the bed, recognising that I had been in that emotion before, returning to contact sheets of more than ten years and finding the go away closer images. Or yesterday, photographing the Kandalama hotel and suddenly wanting to rush back to sift through my contact sheets because I had made that same overgrown with nature building, somewhere outside Calcutta, and then again perhaps in Patna, but somewhere else too.

The contact sheet, the paper that has 12 images in it, make it impossible for me to think of images in isolation.I read images left to right, diagonally, and each viewing changes the meaning of that image. Infact the contact sheet was one of the inspirations for the form of Museum Bhavan. I value my library of contact sheets even more than the negatives archive.

As for digital photography, I LOVE it for instagram and to whatsapp photo secrets to friends.

I try to imagine a language of images, that illiterate people even could access and use, I think of developing such an app. I like that the wide angle on the phone camera allows me to get very close, and do macro photography.I am waiting for the phone camera to get even better and then will be the challenge to develop another form for digital, perhaps. After all on digital cameras, its just a button between still and movie!