Here my aunt stands straight and bold, with her hands crossed, next to her elder sister (standing middle), Ramkrishna, whom she lovingly called Chamguru, as it was the name of the village she was married into. In the middle, seated is her eldest sister Seeban with her two daughters, Peetal and Dol. The little boy is their youngest brother Vimal. The awkward gentleman standing right most was their next door neighbour. Badi-mumma cannot recollect his name but says that Vimal had invited him to be photographed and he acceded. The photograph was taken outside their home by their bhatu (brother-in-law) Naru Toppo, Seeban’s husband. Naru was a local professional cameraman and a studio-master. His studio was located in one of the sectors set up by an Industrial corporation, HECL (Heavy Engineering Corporation Limited), not far from their hom
Although he never practiced it professionally, my father was a talented photographer and was introduced to the craft by his childhood friend Balkrishna Kulkarni whose father owned a photo studio. My father would closely observe lighting techniques, the developing process of glass plates, making prints etc. Even after rolls of film became the norm, my father continued to make glass plates. Though he also learnt the process of developing film rolls from Laxman Gaikwad, a neighbour who lived with them in Kirloskarwadi and was a company photographer for the Kirloskar company and its manufacturing units.
This photograph of my grandfather was taken around 1925 at a photo studio called Portraits Par Papers located at 23, Rue Boissy-d’ Anglas in Paris, France. I am not exactly sure what he was doing in Paris at the time, but it is possible that he went there on a vacation with some of his friends because we know that he also travelled to Austria and Hungary. We also know that he had by then discovered the delights of a camera and photography.
Photographed in December of 1957, this is my mother Kaushalya Lakhani. She was adoringly known as Dadi Lakhani in the homes of Bhopal. Clad in gorgeous theatrical costume for a play, this portrait, one of the oldest in our family, is of a dynamic and versatile lady who had a lasting impact on hundreds of lives and destinies in Madhya Pradesh. The picture was taken by her husband, my father Vasudev Lakhani, an amateur yet ardent photographer.
Our family and friends at the Juhu Beach. Bombay. 1941 Image & Narrative points contributed by Rumi Taraporevala/ Sooni Taraporevala This photograph of our family was taken by my youngest kaka (uncle) Shapoor at Juhu Beach. We had all gone out to Juhu beach for a picnic, outside the Palm Grove hotel (now Ramada Plaza Palm Grove). It was a regular haunt for picnics and we used to look forward to our day out for weeks. The beach was totally un-spoilt and had only a few small shacks around. Now I wouldn’t go even if someone paid me for it. I remember, we would take the train from Grant Road to Santa Cruz and then take a bus to Juhu beach. At that time the Bombay trains were not called Western or Central railways. The Western line was called BB & CI – Bombay Baroda and Central India Railways and the Central line was called GIP - Great Indian Peninsula Railway. I don’t remember what we would do though, I think mainly chatter, run around, eat and some of us swam. Picnic lunches were fun, sometimes they were large tiffins full of Pork Vindaloo. It was very tasty. In the middle wearing a white dress is Freny, now my beautiful wife, and on her left is me. Freny and I are also first cousins, our fathers were real brothers. Like some other communities in India, in Parsis too, marriage between cousins is allowed. Though we weren’t an arranged match, we just fell in love with each other. She was beautiful. I think even at this picnic I was eyeing her. Our parents must have noticed and declared that we must be made…