How has your working process shifted with the introduction of digital photography and retouching? 
My working methods keep shifting as I keep learning what digital photography can do using the flexibility and elasticity of raw files. I shoot the architectural space separately using available environmental light and shoot animals separately. In Fables, the work was shot with a large format analogue camera and medium format for the animals, and then scanned and brought together. India Song initially was a hybrid of analogue and digital; now it’s entirely shot digitally. I have fused animal photography (fast) with architectural photography (slow) and created a hybrid image somewhere between document and imaginary verging on magical realism. I had been using retouching sparingly over the years. It first appeared in my work in the 1990’s in the Capital series.

Your latest series, “India Song,” takes this microscope and moves it out of Eurocentric society. What were you looking for with these images?
To document and celebrate the architectural heritage of India, which fuses architectural elements of Mughal, Hindu, Jain, and Buddhist. I am also referring to women’s position in India, which is still struggling with certain conceptions of caste restricting social mobility. The animals are “avatars” of devis (goddesses) and contaminate the pristine caste of the princes and Maharajas of Rajput India. The Kashtriya (male warrior) caste is top dog in the caste system, which goes back to Vedic-Hindu social system outlined by the Vedas and the Laws of Manu.