On a Sunday morning in early March, when I visited my uncle in Kolkata, I was in the middle of photographing a large number of birds from the region.
He told me, “Mamua is a bird photographer and Odalisque is a painter.”
The two artists have worked together in the past, but I didn’t quite understand the relationship between them.
I was not looking for an introduction to the artist, who lives in Kalkaji, in north-western India.
In fact, I had just come from an art fair where I had met him and his wife, Kishore.
I knew nothing about their work, which is usually done in the studio and is typically described as a combination of art and fashion.
But, with the help of a colleague, I found out more about what was happening in Korkima, the area where Odalisques studio is located.
The Kalkajis are a semi-nomadic people who migrated from south India to the Punjab and migrated again after the unification of India in 1947.
The first wave of Kalkajaans settled in Kalinga, which was then in the northern Indian state of Gujarat.
The second wave arrived in Karkha, near where I live now.
The name Kalkai means “river of Kalingas” and was once a part of the state of Bihar.
The word Odalisqa means “bird photographer”.
It refers to the style of photography in which the subjects are depicted as birds and their movements are controlled by a computer, a piece of equipment known as a camera.
Kalkamu and Odisque are two artists who started working together after moving to Kalka in 2008.
They have now built a studio on a small hill near Kalkaa, in the Kalkama Valley in the Punjab state of Punjab.
The two have worked for the past seven years on their projects.
They both come from rural backgrounds.
Both of them are artists in the traditional art form of Kama, the traditional Indian style of painting.
Kalingamu was born in the village of Poonam in Kukra district of Odisha.
His mother was a housewife, and he had an older brother and sister.
He went to the local school, Kukkara Gram, in Odisha, but then enrolled at a school in Delhi.
He was admitted in 2001 and graduated in 2007.
He then moved to Karka, where he studied at the Delhi School of Photography.
When he got to Korka, he decided to follow his passion and started his own studio in his home village.
He began shooting the animals in his studio, which he uses for weddings and other events.
The idea was that he would give these photographs to the family, who would take them home and give them to his wife.
When the wedding was over, the animals would be placed in a cage.
The animals would then be photographed by him and the bride.
He said that he wanted to give people the opportunity to create a family.
“When I started to shoot animals, I didn´t realise that there were other artists doing the same work,” he told me.
“The first couple of years of my life were spent working on my studio.
When I went to Kukka, I realised that there was a lot of work to be done, so I decided to start doing photography again.”
In Korkama, Odalisqes work is still very much in its infancy.
I visited the studio a few times in the last few years and it was very clear that he had a huge amount of passion for animals and photography.
When you talk to him, you feel like you are in a dream.
He has been doing this work for 30 years.
He also said that they would love to make the birds come to the studio.
He often gives them a few pointers, like the importance of keeping a clear eye on the animals.
It is not that he doesn’t know how to control them, but he doesn´t think they are as big as they seem.
His work shows that there is a lot to be learnt from animals.
I asked him how he knew how to manipulate animals.
“I know the rules of the game.
I know the way animals are treated.
If you give me something, I know it is safe.
If I am not happy with what I have, I can get away with anything,” he said.
He did not say anything about how he would protect the animals, as this would be a sensitive subject.
He seemed very comfortable in the knowledge that he has gained and would never reveal that.
I also asked him about the animals he was photographing.
He responded, “I am a human, and there is always a need to make mistakes.
Animals can learn from mistakes, so the way I approach the animals is