The Analog Custodian: A. Rajan’s Mission to Preserve Film History in Moore Market

Amid the organized chaos of Chennai’s Moore Market, A. Rajan operates a specialized preservation hub for photographic history. Established in 2020 at the Lily Pond Complex, A Rajan Pazhaiya Camera Kadai serves as a repository for approximately 2,000 vintage devices. The collection spans over a century of technology, with the most senior artifact being a metal-cased camera dating to 1919.

From General Antiques to Specialized Optics

Rajan’s entry into the trade followed the death of his father in 2000. Initially a general dealer of vintage goods including telephones and water bottles, his focus shifted toward optics over a 15-year period of self-directed study. His current inventory includes still, movie, and instant cameras from legacy brands such as Rolleiflex, Yashica, Minolta, Pentax, and Canon. Sourcing these pieces requires a nationwide network, with acquisitions arriving from Coimbatore, Mumbai, and Calcutta.

Price points at the shop reflect the rarity of the hardware, ranging from ₹1,500 to ₹2 lakh. While some units are sold for permanent collections, Rajan also operates a rental model to accommodate diverse professional needs.

Catering to Cinema and Retro Revivals

The shop’s influence extends beyond mere hobbyism into the professional film industry. Art directors from the Malayalam cinema circuit frequently source authentic equipment from Rajan, and his pieces have gained screen time in Tamil films like Madrasapattinam and Por Thozhil. The demographic of his clientele is shifting, reflecting a broader cultural movement:

• Professional Cinematographers: Professionals frequently purchase rare units to enhance studio aesthetics or serve as historical props.
• Film Enthusiasts: Collectors often prioritize gear over real estate; Rajan recalls one seller who famously bought a Rolleiflex instead of land.
• Gen Z and Students: Younger buyers are increasingly seeking 120mm double-lens cameras, attracted by the tactile nature of film and the specific visual output of analog lenses.

The Resistance to Digital Dominance

The resurgence of interest in Moore Market aligns with a wider regional trend toward slower, physical media. Varun Gupta, founder of the Chennai Photo Biennale (CPB) Darkroom, notes that despite the high cost of purchasing and developing film, the demand for analog learning spaces is growing. As AI-generated and digital images saturate the market, community hubs like the CPB Darkroom offer a necessary disconnect from the digital sphere.

For Rajan, now 42, the business is guided by the principles of his role models—APJ Abdul Kalam, BR Ambedkar, and Periyar—whose figures stand in his shop. He maintains a policy of transparency, offering refunds to ensure customer satisfaction as he prepares his son to eventually inherit the management of the collection. The persistence of Rajan’s business suggests that, even in a digital era, the weight and mechanics of 20th-century glass and film occupy a permanent space in the market.

Source: The Hindu — Home