By Vanessa Mendis
Art is in everything. From nature, to a coffee stain on a well-read book, to a dancer gliding lost in music, to the soft contours of the human form, the world is a huge canvas. To capture it with integrity and passion, and to convey a message with honesty and clarity, is a gift a photographer has.
This week, Brunch spoke to Malaka Mp, an artist and a photographer who unapologetically allows his work to speak for itself, who is unafraid to explore the magic of the unconventional, and who is a maestro at what he does: Showing us how he sees the world from behind the lens.
Following are excerpts of the interview.
[caption id="attachment_134604" align="alignright" width="364"]
"Cameras tend to collect dust in cupboards easily, so get away from the fear of what others think about you and just do what you love. Stay focused" Malaka Mp[/caption]
How did you become a photographer? Where did it all start?
It started about 10 years ago when photography was just an outlet for me and I was working a nine-to-five job. I was employed in an ad agency, and photography was my go-to hobby. Eventually, I became more interested in it and made small investments in gear as I grew my knowledge, doing experimental shoots first and then portrait work – mostly self-taught through online platforms.
The creatives who surrounded me in my early days, I feel, have had a huge impact on my growth and the advertising industry was the ideal place to groom me as a photographer. Even now, I refer to a wide range of material from top photographers online. Training your eye to recognise a good photograph is what will eventually help you create one. I started doing wedding and commercial photography part-time until one day I decided to take the plunge to do it full-time. And it’s been the best decision I’ve made!
Has it been difficult making the transition, especially during the pandemic?
When I made the switch, it was tough at first. But while I was doing my nine-to-five, I was lucky enough to have a few clients, which ensured that there was an income. I used that money to invest in gear and I had enough to sustain me for a year. Now, I don’t have a stable pay cheque at the end of the month and it’s quite ad hoc. Even then, it’s the best decision I’ve taken. The pandemic did cause a lot of assignments to get postponed and cancelled. But we had to adapt. There is a lot of online monitoring being done and we find ways to keep moving forward.
Your commercial work and passion are complete opposites. Tell us a bit about them?
I specialise in advertising/commercial photography, where we are commissioned by clients or agencies for advertising/marketing purposes. It is dynamic, challenging, you get a different brief daily, and that requires a vast skill set. You could be doing a portrait capture of a CEO, product photography, or even photographing a model.
My passion is shooting people and movement. Dance, for me, becomes the natural subject to shoot. I have done a contemporary dance exhibition at Lionel Wendt, and I’m working on conceptualising another for next year.
How important are your passion projects to you?
I think as a photographer, (it is important) not to forgo the fact that you are an artist. Doing passion projects has always kept my spark alive – be it experimental portrait projects or dance shoots. I try to make them a priority as much as my commissioned commercial work. For me, my passion projects are an outlet that helps me get away from the commercial projects as well and that is very important as an artist.
Do you feel that upcoming/current photographers struggle to find their style or get lost in commercial shoots alone? What would you like to tell them?
It is easy to get carried away when things are lucrative. But after a while, you may get bored with it, which is why you need an outlet as an artist that doesn’t allow you to stagnate. Also, escape the gear trap. Start simple; you don’t need a full arsenal of camera bodies and lenses to be a photographer. Start with the simplest gear and work your way up to newer, better gear as you grow. Don’t be obsessed with specs and brands; be obsessed with the images you create, instead. The best photographers I know carry one lens and still create the best photographs!
You capture the naked human form artistically with sophistication. Today, much of such photography can border on vulgarity or convey the wrong message. How do you keep your captures classy?
I approach my captures as art. You become what you refer to as an artist. I refer to a lot of artistic photography online, and what happens in my mind eventually is that subconsciously I create imagery that is artistic. I look at the nude human form as art and that’s why my work reflects it. If you look at it in a vulgar manner, it perhaps becomes somewhat pornographic. That is the fine line which we shouldn’t cross and where all the difference is.
How do you create that comfort zone between you and your client, allowing them to be nude/semi-nude and comfortable in their own skin?
I would either pitch to clients, like I did when I wanted to do a project on bodyscapes, or sometimes clients would pitch to me too. We have a chat and most of the time, people get open in front of the camera and they start to feel more comfortable in their own skin. I don’t do shoots according to a staged script. I would prefer to go with the flow and the comfort level of the client as well. Some of the shoots are not meant to be semi-nude or the likes. They would be normal portrait shoots, but when they come in and see the work that has been done, see how they look on the camera, they tend to feel more comfortable in their own skin and open up. The relationship between me and my clients, the way they are captured on the camera, and body positivity, are some components that add up to creating that comfort zone.
Your dance photography captures emotions. What’s your emotion behind the dance photography that you capture?
I purposely photograph dancers who are capable of improvising and creating rather than just simply being technical. For example, if we are using sadness or sorrow as a theme, I tend to select dancers who can evoke that emotion through their body and movements.
While it may not be black and white, are you saying that a technical dancer may not make for a very emotional photograph?
It’s very subjective. A very technical dancer would make for a beautiful photograph. But a dancer who can emote through motion would make for a better photograph. That is how I feel, personally at least.
When people emote, have you had instances where people become overwhelmed with the emotion? If so, how do they handle such instances?
Yes, that happens. Recently, I captured an actor who was crying because their daughter had passed away and that emotion of sadness and grief came out during the shoot. I asked if they wanted to carry on, and they said that they did want to and wanted to capture that emotion. That is, again, somebody being comfortable in their own skin and allowing them to feel so. In fact, if we are able to normalise such content, there won’t be this unnecessary hype around it.
Both men and women get objectified sexually. Is your approach then that art can be used to bring about a change in mindset?
Yes. Capturing and creating art is one part of it. We have to open the eyes of the people to the fact that they can look at the nude human form as art. If that novelty wears off, and it normalises to the point to say “this is normal; it’s what your mom or your sister has”, it will lose this unnecessary tension and hype. We can reduce objectification if we can use art to open up our mindsets. There are photographers who are doing this and there is equal backlash to such photography as well, which will always be present. It is also great that more females especially, come a certain age, for instance, are now being more comfortable in their own skin. It is a very positive thing.
What would you recommend to photographers in terms of creating meaningful photography?
First, you must choose the right subject. You should spend time and find a subject who can carry the concept through and see if they believe or feel the same idea as you. Finding the right subject is most of the struggle done. Next, create a space that allows the subject to blossom and open up. I usually don't direct too much. The first few frames I capture are very important to me. When I show these captures, the subjects see that they look good and it helps them to open up, feel comfortable, and evolve into something else.
Any advice for new photographers?
Experimenting is important. Learn a varied skill set and specialising should come later. I still have not specialised in anything. Next, don’t be brand-driven. A brand will not do anything for you. All they want to do is sell their gear. Falling into that trap is unintelligent. Finally, always compare yourself to photographers and artists who are above you in skill. That way, you will always work to better yourself.
Personally for me, if I feel that if anything is impacting my mentality negatively, I remove or distance myself from such, so that I can do my best, positively and productively. Enter competitions that help you build your portfolio as well such as the “One Shot” competition held by National Geographic. Cameras tend to collect dust in cupboards easily, so get away from the fear of what others think about you and just do what you love. Stay focused.
Much of Malaka’s work is intricately simple – a beautiful juxtaposition brought to life. They allow the wonders of movement and the immense energy of the human form to blossom and flow free. His approach in normalising – how we view the naked human form, be it masculine or feminine – his philosophy of art transforming mindsets, and his mantra on striving to be the best possible version of yourself as an artist are perhaps the reasons why his work has moved many of us.
We are art. The turn of a hip, the point of our toes, and fingers tracing the circumference of a coffee mug is poetry in motion. We have the same elements with which a river flows, or an ocean breaks against the shore, and we each carry the same symmetry we see in the patterns of leaves and flowers. If only we were fully able to let art penetrate our souls, how beautiful would the world be?
PHOTOS © MALAKA MP
"Cameras tend to collect dust in cupboards easily, so get away from the fear of what others think about you and just do what you love. Stay focused" Malaka Mp[/caption]
How did you become a photographer? Where did it all start?
It started about 10 years ago when photography was just an outlet for me and I was working a nine-to-five job. I was employed in an ad agency, and photography was my go-to hobby. Eventually, I became more interested in it and made small investments in gear as I grew my knowledge, doing experimental shoots first and then portrait work – mostly self-taught through online platforms.
The creatives who surrounded me in my early days, I feel, have had a huge impact on my growth and the advertising industry was the ideal place to groom me as a photographer. Even now, I refer to a wide range of material from top photographers online. Training your eye to recognise a good photograph is what will eventually help you create one. I started doing wedding and commercial photography part-time until one day I decided to take the plunge to do it full-time. And it’s been the best decision I’ve made!
Has it been difficult making the transition, especially during the pandemic?
When I made the switch, it was tough at first. But while I was doing my nine-to-five, I was lucky enough to have a few clients, which ensured that there was an income. I used that money to invest in gear and I had enough to sustain me for a year. Now, I don’t have a stable pay cheque at the end of the month and it’s quite ad hoc. Even then, it’s the best decision I’ve taken. The pandemic did cause a lot of assignments to get postponed and cancelled. But we had to adapt. There is a lot of online monitoring being done and we find ways to keep moving forward.
Your commercial work and passion are complete opposites. Tell us a bit about them?
I specialise in advertising/commercial photography, where we are commissioned by clients or agencies for advertising/marketing purposes. It is dynamic, challenging, you get a different brief daily, and that requires a vast skill set. You could be doing a portrait capture of a CEO, product photography, or even photographing a model.
My passion is shooting people and movement. Dance, for me, becomes the natural subject to shoot. I have done a contemporary dance exhibition at Lionel Wendt, and I’m working on conceptualising another for next year.
How important are your passion projects to you?
I think as a photographer, (it is important) not to forgo the fact that you are an artist. Doing passion projects has always kept my spark alive – be it experimental portrait projects or dance shoots. I try to make them a priority as much as my commissioned commercial work. For me, my passion projects are an outlet that helps me get away from the commercial projects as well and that is very important as an artist.
Do you feel that upcoming/current photographers struggle to find their style or get lost in commercial shoots alone? What would you like to tell them?
It is easy to get carried away when things are lucrative. But after a while, you may get bored with it, which is why you need an outlet as an artist that doesn’t allow you to stagnate. Also, escape the gear trap. Start simple; you don’t need a full arsenal of camera bodies and lenses to be a photographer. Start with the simplest gear and work your way up to newer, better gear as you grow. Don’t be obsessed with specs and brands; be obsessed with the images you create, instead. The best photographers I know carry one lens and still create the best photographs!
You capture the naked human form artistically with sophistication. Today, much of such photography can border on vulgarity or convey the wrong message. How do you keep your captures classy?
I approach my captures as art. You become what you refer to as an artist. I refer to a lot of artistic photography online, and what happens in my mind eventually is that subconsciously I create imagery that is artistic. I look at the nude human form as art and that’s why my work reflects it. If you look at it in a vulgar manner, it perhaps becomes somewhat pornographic. That is the fine line which we shouldn’t cross and where all the difference is.
How do you create that comfort zone between you and your client, allowing them to be nude/semi-nude and comfortable in their own skin?
I would either pitch to clients, like I did when I wanted to do a project on bodyscapes, or sometimes clients would pitch to me too. We have a chat and most of the time, people get open in front of the camera and they start to feel more comfortable in their own skin. I don’t do shoots according to a staged script. I would prefer to go with the flow and the comfort level of the client as well. Some of the shoots are not meant to be semi-nude or the likes. They would be normal portrait shoots, but when they come in and see the work that has been done, see how they look on the camera, they tend to feel more comfortable in their own skin and open up. The relationship between me and my clients, the way they are captured on the camera, and body positivity, are some components that add up to creating that comfort zone.
Your dance photography captures emotions. What’s your emotion behind the dance photography that you capture?
I purposely photograph dancers who are capable of improvising and creating rather than just simply being technical. For example, if we are using sadness or sorrow as a theme, I tend to select dancers who can evoke that emotion through their body and movements.
While it may not be black and white, are you saying that a technical dancer may not make for a very emotional photograph?
It’s very subjective. A very technical dancer would make for a beautiful photograph. But a dancer who can emote through motion would make for a better photograph. That is how I feel, personally at least.
When people emote, have you had instances where people become overwhelmed with the emotion? If so, how do they handle such instances?
Yes, that happens. Recently, I captured an actor who was crying because their daughter had passed away and that emotion of sadness and grief came out during the shoot. I asked if they wanted to carry on, and they said that they did want to and wanted to capture that emotion. That is, again, somebody being comfortable in their own skin and allowing them to feel so. In fact, if we are able to normalise such content, there won’t be this unnecessary hype around it.
Both men and women get objectified sexually. Is your approach then that art can be used to bring about a change in mindset?
Yes. Capturing and creating art is one part of it. We have to open the eyes of the people to the fact that they can look at the nude human form as art. If that novelty wears off, and it normalises to the point to say “this is normal; it’s what your mom or your sister has”, it will lose this unnecessary tension and hype. We can reduce objectification if we can use art to open up our mindsets. There are photographers who are doing this and there is equal backlash to such photography as well, which will always be present. It is also great that more females especially, come a certain age, for instance, are now being more comfortable in their own skin. It is a very positive thing.
What would you recommend to photographers in terms of creating meaningful photography?
First, you must choose the right subject. You should spend time and find a subject who can carry the concept through and see if they believe or feel the same idea as you. Finding the right subject is most of the struggle done. Next, create a space that allows the subject to blossom and open up. I usually don't direct too much. The first few frames I capture are very important to me. When I show these captures, the subjects see that they look good and it helps them to open up, feel comfortable, and evolve into something else.
Any advice for new photographers?
Experimenting is important. Learn a varied skill set and specialising should come later. I still have not specialised in anything. Next, don’t be brand-driven. A brand will not do anything for you. All they want to do is sell their gear. Falling into that trap is unintelligent. Finally, always compare yourself to photographers and artists who are above you in skill. That way, you will always work to better yourself.
Personally for me, if I feel that if anything is impacting my mentality negatively, I remove or distance myself from such, so that I can do my best, positively and productively. Enter competitions that help you build your portfolio as well such as the “One Shot” competition held by National Geographic. Cameras tend to collect dust in cupboards easily, so get away from the fear of what others think about you and just do what you love. Stay focused.
Much of Malaka’s work is intricately simple – a beautiful juxtaposition brought to life. They allow the wonders of movement and the immense energy of the human form to blossom and flow free. His approach in normalising – how we view the naked human form, be it masculine or feminine – his philosophy of art transforming mindsets, and his mantra on striving to be the best possible version of yourself as an artist are perhaps the reasons why his work has moved many of us.
We are art. The turn of a hip, the point of our toes, and fingers tracing the circumference of a coffee mug is poetry in motion. We have the same elements with which a river flows, or an ocean breaks against the shore, and we each carry the same symmetry we see in the patterns of leaves and flowers. If only we were fully able to let art penetrate our souls, how beautiful would the world be?
PHOTOS © MALAKA MP