Leading fashion photographer Gautam Rajadhyaksha, who gave a new dimension to celebrity photography by scaling beauty into transcendental realms, passed away of a cardiac arrest in September 2015. Born on September 16, 1950, the film world commemorated his 75th birth anniversary last month, celebrating the life and work of an artist who immortalized Indian cinema’s icons through his lens.
I have unforgettable memories of his fluid stride, dressed in his signature speckless white kurta-pajama and light brown shawl, which reflected his gentle and compassionate nature. He made a personal portfolio for me in April 2001, when I was briefly pursuing modeling. That session brought out the best in me and remains one of the most memorable experiences of my life. Gautam’s affectionate nature, humor, optimism, and deep understanding of people made him stand apart. I still recall how he told me that my brooding expression was my natural strength, not a flaw.
A chemistry graduate from St. Xavier’s College, Mumbai, Gautam worked in the advertising industry for over 15 years before he found his calling in photography. His first major break came in 1980 when he photographed Shabana Azmi, Tina Ambani, and Jackie Shroff. His portraits, often captured in soft diffused light, soon became the defining standard of Bollywood glamour. He became the man behind the luminous images of Rekha, Madhuri Dixit, Aishwarya Rai, and countless others. Residing near Girgaum Chowpatty, he was also the cousin of writer Shobhaa De.
As a still photographer, Gautam was associated with Rajshri Productions and Dharma Productions for blockbusters like Hum Aapke Hain Kaun, Kuch Kuch Hota Hai, and Kabhi Khushi Kabhie Gham. In the 1990s, he also turned scriptwriter, penning Bekhudi (Kajol’s debut) and Anjaam starring Shah Rukh Khan and Madhuri Dixit.
Gautam’s photography redefined how India perceived beauty. His work seamlessly merged art and emotion, making beautiful women appear ethereal. Whether shooting Madhuri Dixit, Aishwarya Rai, or Kajol, he elevated their grace to divine proportions. His signature style—soft lighting, elegant framing, and emotional intimacy—gave each portrait a poetic aura. Amitabh Bachchan called him “one of the finest photographers in the industry,” while Shabana Azmi recalled how he made her feel comfortable in front of the still camera when it otherwise felt like a chore.
Though his soft-focus technique once set industry standards, the digital age eventually pushed it out of vogue. As younger photographers embraced newer trends, Gautam found himself sidelined. Yet he remained graceful, remarking, “Just one of those things. With time, attitudes change. I’ve had a great run; now I can sit back and smell the roses.”
In 1997, he published Chehere (Faces), a landmark book featuring portraits of 45 film personalities, from Durga Khote to Aishwarya Rai. The collection remains a testament to his genius in capturing both the physical and emotional essence of his subjects—each image glowing with individuality and depth. His photographs of Nutan, Rekha, Hema Malini, and Madhuri Dixit exuded poetry, while his portraits of Dilip Kumar, Amitabh Bachchan, Dev Anand, and Shah Rukh Khan made them appear larger than life. Viewing Faces was like walking through a gallery of living legends.
His apprentice, Tejas Nerurkar, later released My Sir Gautam Rajadhyaksha in 2015, dedicating it to his mentor who had always encouraged young talent. Gautam believed in nurturing creativity rather than guarding his success. He was known for his humility—refusing to photograph figures like Bill Clinton when he sensed a lack of respect for the craft—and for his humor, often joking about taking on uninspired commercial work to make ends meet. His hospitality was legendary, serving smoked salmon and crab curry to colleagues and friends from his own kitchen.
Despite his warmth, Gautam remained a deeply private person. Those close to him, including Asha Bhosle, often noted his emotional restraint and the untold pain of a troubled childhood. Yet he never let bitterness overshadow his love for art or people. He admired other photographers, believing in healthy competition and learning from one another.
A connoisseur of art, Gautam once named Kajol as the finest actress of his time, Rekha as the ultimate cover girl, and Shabana Azmi as the symbol of artistic courage. He wrote about these stars with both insight and affection, describing Kajol as “no great beauty or glamour—but what an actress,” and praising Shabana for liberating Indian cinema from escapist storytelling.
Few recall that Gautam was also a capable screenwriter who yearned to direct a film about a Mumbai lodging house, a dream left unrealized due to his gentle aversion to aggressive self-promotion.
Gautam Rajadhyaksha’s legacy endures not only in his portraits but also in the grace, warmth, and integrity he brought to every frame. His images continue to whisper stories of an age when beauty, light, and soul were in perfect harmony.
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*Freelance journalist who personally met and worked with Gautam Rajadhyaksha
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