1839-1900
While photography reached South Asia swiftly following the public announcement of Daguerre's process in 1839, surviving work from the first decade of the medium's public existence remains extremely scarce. Photography certainly received an initially enthusiastic response in the subcontinent: by the close of 1839 several long descriptive articles had appeared in the Indian newspapers and by early 1840 advertisements indicate that daguerreotype equipment was being imported into Calcutta. In March of that year Dr (later Sir) William Brooke O'Shaughnessy, an officer in the Bengal Medical Service who had previously been experimenting with photogenic drawing, exhibited a number of successful daguerreotype views of the city which excited considerable local interest. But in common with most of the work produced in the course of the 1840s, these images, the earliest documented photographs taken in India, are now apparently lost, and with the exception of the work of transient visitors such as Alphonse Itier (in 1844) and Baron Alexis de la Grange (in 1849), no sufficient body of material survives to enable us to make a definitive assessment of this early photographic activity. The few known commercial photographers who opened studios in the 1840s do not appear to have remained in business for any substantial time and it appears likely that irregular access to reliable chemicals, lack of local expertise, and a limited market, coupled with the difficulties of introducing the public to an unfamiliar medium, played a significant role in inhibiting photography's growth during its first decade in India.
If the surviving photographic corpus of the 1840s is meagre, the following decade presents a remarkable contrast. Spearheaded by amateurs who mastered the paper-negative processes adapted to tropical conditions, the 1850s saw an outstanding flowering of photographic achievement. Much of this work was focused on the architectural heritage of the subcontinent, a reflection both of the development of archaeology as a discipline and of the official sponsorship of the medium by the East India Company. In 1854 the company had issued a dispatch from London recommending the use of photography for the documentation of archaeological and architectural sites, and this encouragement led directly to the secondment of military officers such as Thomas Biggs (in 1855) and Linnaeus Tripe (in 1856) to photographic duties in western India and the Madras presidency respectively. Although these official initiatives were uncoordinated and were often abruptly terminated for financial reasons, they fostered the use of the medium among civil servants and military officers and resulted in the creation of a body of work which was to form the foundations of the photographic collections of the Archaeological Survey of India in succeeding decades. Among a number of distinguished amateurs from the military and civil services active in the 1850s, particular mention should be made of Dr John Murray of the Indian Medical Service, who produced an astonishingly assured range of views of the Mughal capitals of Delhi, Agra, and Fatehpur Sikri, and the army officer Robert Tytler and his wife Harriet, who, after a remarkably short apprenticeship (receiving tuition from both Murray and Felice Beato), produced over 500 large paper negative views of scenes connected with the Indian Rebellion of 1857-8 (see attached feature).
In addition to the East India Company's role in providing official backing and encouragement for photography, the establishment of amateur photographic societies also played a major role in fostering its development. The formation of societies in the three presidency capitals of Bombay (Mumbai), Calcutta, and Madras in the mid-1850s reflected a growing public interest in and familiarity with the medium, and such groups functioned as a forum for the exchange of technical expertise and discussion, defining the specifically Indian subject matter which photography was best placed to document. At the inaugural meeting of the Bombay Photographic Society in October 1854, the chairman, Captain Harry Barr, outlined a range of subjects open to the photographer, foremost among them the subcontinent's ‘magnificent scenery—its temples—palaces—shrines’, while the ‘varied costumes, characters and physiognomies of its millions of inhabitants’ were also a fitting subject for the photographer. Bombay was soon followed by the establishment of similar societies in Calcutta and Madras in 1856, and in a lecture delivered in Calcutta that year, the Revd Joseph Mullens formulated a similar if more extensive programme of activity for the Indian photographer. In addition to these topographical, archaeological, and anthropological subjects, he commended the use of the camera for the creation of a complete and systematic documentation of all areas of Indian life, including public works, medicine, criminal investigation, agricultural and industrial processes, and natural history. While celebrating photography's ability to capture the picturesque variety of India's varied population and the dramatic beauties of its landscapes, such comprehensive programmes situated the medium explicitly within a colonial context which was to stimulate the production of a good deal of work in this and the following decades. While a number of the suggested areas in which photography could function as a tool of administrative control (such as the photographing of convicts) were not followed up very vigorously, the creation of an extensive visual archive of ethnographical types was enthusiastically pursued with government backing. Perhaps the most important result was the publication, between 1868 and 1875, of the eight-volume work The People of India, produced under the editorship of India Office officials John Forbes Watson and John William Kaye. Containing some 500 photographic portraits of Indian racial and caste types, the work was ostensibly the result of Governor-General Lord Canning's photographic interests, and was intended to present a comprehensive scientific record of the racial variety of the subcontinent. The letterpress accompanying the portraits, however, makes it clear how far such purported objectivity was compromised by the circumstances of its production. Produced mainly by photographers employed in the military or administrative services of British India in the uneasy decade following the Mutiny, the work is as much a handbook for the identification of the politically trustworthy or suspect, as a contribution to scientific knowledge.
All three photographic societies maintained an active programme of exhibitions which both served to raise public awareness of photography and facilitated the rapid growth of a commercial market in the 1860s. If the rebellion of 1857-8 disrupted official programmes of archaeological documentation, it directed a new attention to India, which was satisfied to a degree by the arrival of commercial photographers such as Beato, whose documentation of the after-effects of the upheavals at Delhi, Lucknow, Kanpur, and the other principal sites of military activity, sold well in both India and Europe. While Beato's attraction to India had been narrowly focused on these events, the late 1850s and early 1860s saw a major shift towards the establishment of commercial photography. Short-lived commercial studios had appeared in Calcutta as early as 1844, while the first professional calotypist, F. Schranzhofer, was briefly in practice in the same city in 1849. The work of Frederick Fiebig, a professional artist and lithographer in Calcutta in the 1840s who took up photography c. 1848, is a precursor of the growing primacy of photography over the other graphic media, and by the end of the 1850s a number of studios had been set up in the larger Indian cities. One of the earliest studios to remain in business over a number of years was that of James William Newland, who arrived in Calcutta in 1850, after a peripatetic existence as a daguerreotypist in South America, the Pacific, and Australia. Here he found a metropolis of sufficient size and wealth to support a permanent establishment which survived for a full decade, progressing from daguerreotype portraiture to the more adaptable wet- collodion process. By the time Samuel Bourne arrived in India in 1863, he was impressed not only by the healthy state of amateur photography, but also by the flourishing commercial scene, in a city whose wealth supported a growing body of professionals. Bourne's own success in India became an exemplar for the other major commercial firms who in the course of the 1860s and 1870s produced a body of work largely directed towards a European clientele, creating an image of India predicated on notions of the picturesque and the exotic which found a ready market among residents and visitors. Notwithstanding the limitations of this perspective, these two decades saw the production of work from a number of firms which is characterized by a freshness of response to the Indian scene and a technical virtuosity in representing it, but which in the closing decades of the century was to become ossified into the standardized and formulaic production of views.
As an invention of Western technology introduced to the subcontinent from abroad, photography in India was inevitably dominated by European concerns. Notwithstanding this ascendancy, Indians had been involved with the medium from its early days. Evidence of the extent of Indian participation is clearly seen in the amateur societies, whose membership boasted a significant Indian component from their foundation. In Calcutta the distinguished scholar and antiquarian Rajendralal Mitra was an early society member and a practising photographer, while in Bombay Dr Bhau Dajee, founder of the Bhau Dajee Museum, was a council member from soon after the formation of the society. His brother Dr Narain Dajee was a regular contributor to the society's exhibitions and from the mid-1850s to the 1860s also practised as a commercial photographer in addition to his medical duties. Some impetus to the development of photographic skills among Indians can certainly be traced to the inclusion of photographic tuition at a number of educational establishments. Perhaps the most active of these was the school established at the Elphinstone College in Bombay in 1855, where classes consisting predominantly of Indian students were introduced to a wide range of photographic processes. Among the graduates of these classes was Hurrichund Chintamon, who thereafter established a successful studio in Bombay which survived until the 1880s. Similar initiatives were undertaken in Madras at the School of Industrial Arts, and here too the school acted as a conduit for the dissemination of photographic expertise among the Indian community. Photography was also seen as something of a fashionable pursuit among the ruling families of India. While the raja of Chamba's ownership of an expensive apparatus appeared to Bourne to be for display rather than for practical use, a number of princes, including the maharaja of Jaipur and various members of the ruling family of Tripura, were accomplished photographers. In addition, a number of rulers, among them the maharaja of Benares (Varanasi), if they felt no inclination to practise photography personally, employed state photographers to record their families and territorial possessions. While most Indian commercial photography appears to have been directed towards an indigenous clientele, a few professionals, most notably Lala Deen Dayal, spanned the divide between ruler and ruled to create a large and successful photographic enterprise which attracted the patronage of both British viceroys and Indian princes.
Photography had gained its first secure foothold in the Indian subcontinent through the dedication of amateurs who, whether in the course of their official duties or through enthusiasm for an artistic leisure pursuit, had created an impressive body of work by the end of the 1850s. It was on these foundations that the professional photographer built, producing a vast archive of images for a predominantly European market. For three decades, demand for such material maintained the position of the commercial photographer in what was still a demanding and difficult medium, particularly in the harsh Indian climate. As technological advances placed simplified photography within the grasp of all, the primacy of the professional was eroded. This development had been foreseen by Bourne as early as the 1870s, when he bemoaned the abandonment of high-quality large-format prints in favour of ‘small scraps fit only for the scrapbook’. Photographic manuals aimed specifically at the amateur in India had appeared as early as 1860, and intermittently thereafter, but the appearance in the mid-1890s of George Ewing's comprehensive amateur manual A Handbook of Photography for Amateurs in India (1895), which ran into several editions, signals the ending of an age of photographic experiment and achievement.
1900-1947
Early 20th-century Indian photographic history reveals both continuity and new departures. Technological developments were to have a major impact on photography as a hobby in the new century. The invention of the hand-held Kodak box camera (1888) did away with the daunting paraphernalia associated with professional photography; heavy plate cameras gave way to roll-film cameras, and eventually to 35 mm ‘miniatures’. These advances freed photography from the confines of the studio, extended private and amateur practice, and facilitated a more democratic engagement of Indians with the medium.
As well as in the presidency towns of Calcutta, Bombay, and Madras, a number of indigenously owned portrait studios sprang up after 1920 in cities like Lahore, Muree, Rawalpindi, Dacca, Chittagong, Khulna, Peshawar, Srinagar, and the capitals of princely states like Jaipur, Jodhpur, and Hyderabad. It is difficult to identify a specific ‘Indian look’ in these photographs, which continued to reflect existing colonial aesthetics. Instead it is worth noting the difference in their purpose. These portraits of individuals and families were different from the universalized ‘types’ taken in the past by colonial photographers to classify the country ethnographically. The confluence of non-realist forms of cinema in the 1920s with other forms of popular and visual culture like theatre and chromolithography contributed to more performative and fantastical forms of photography in smaller local studios. These used stylized backdrops and props as well as traditions of hand tinting and painting over photographs.
Official photography, with its agenda of surveillance, continued to focus on landscape, the army, and architecture. Major events covered were Lord Curzon's ceremonial durbar in 1902-3 and King George V's Delhi durbar in 1911. From 1902 onwards, historic sites were excavated by the Archaeological Survey of India. Photographs were used for purposes of verification (depicting sites ‘before’ and ‘after’ restoration) as well as for sale, marking links between heritage and tourism. Ethnographic photography survived through the work of anthropologists like W. H. R. Rivers and A. R. Radcliffe-Brown, as well as in the form of phototype postcards from 1899.
Calcutta and Bombay remained significant centres of photographic activity. Ambalal Patel and Oonwalla practised salon photography in Bombay. Shahpur N. Bhedwar became an international celebrity, winning awards in India and London. In Bengal, Maharaja Prodyot Coomar Tagore (1873-1942) was the first Indian to be elected a Fellow of the Royal Photographic Society; Arya Kumar Chaudhuri (1887-1935) was the first to bag its ‘best award’ in 1913. Sukumar Sen wrote the first Bengali article on the aesthetics of photography in 1911. An invisible pioneer of modern Indian photography was an amateur, Umrao Singh Sher-Gil (1870-1954), who took informal pictures of his family and some striking self-portraits in Lahore, Simla, Paris, and Budapest. He also took autochromes and stereographs.
The first advertisements for zenana studios exclusively for women in purdah were seen at the turn of the century (Raja Deen Dayal's zenana studio in Secundrabad, 1896, and Sarojini Ghosh's Mahila Art Studio in Calcutta, 1898). Photography by women was still rare, but by the 1920s Annapurna Dutta (1894-1976) was running her own business in Calcutta. Several women practised amateur photography from the 1930s, including Manobina Roy (1919-2001), Debalina Mazumdar (b. 1919), Mira Chowdhuri (1905-94), and Indira De (1912-92) in Calcutta.
There were more Indians in the photographic societies of Bombay, Calcutta, and Madras. The 1930s saw the proliferation of exclusively Indian-run amateur societies and camera clubs (e.g. the Camera Pictorialists of Bombay, 1932; Madras Amateur Photographic Society, 1932; the United Provinces Amateur Photographic Association, 1937). The UP Amateur Photographic Association started by S. H. H. Razavi began the ‘postal portfolio’ movement (1940) to extend club membership all over the country.
The camera entered an era of candid photography. Local freelance photographers documented the freedom struggle (the civil disobedience movement, the salt satyagraha, and Gandhi's Dandi march in 1930) paving the way for news photography. There were demands for images of popular national leaders. Shambhu Shaha (1905-88) documented the streets of Calcutta from the early 1930s, while international photographers such as Margaret Bourke-White, Henri Cartier-Bresson, and Cecil Beaton visited India during this time. Meanwhile, the Illustrated Weekly of India under Stanley Jepson was offering local Indian photographers possibilities for work. Homai Vyarwalla (b. 1913) was to become India's first female photojournalist. Her contemporary, Sunil Janah (b. 1918), became known for his striking images of the 1943 famine and Partition (1947), and for his documentation of the anthropologist Verrier Elwin's work with tribals in eastern India.
India since 1947
The pain of Partition as well as the euphoria of independence was evident in journalistic photographs of the 1940s, 1950s, and 1960s taken by photographers like Sunil Janah, N. Thiagarajan, Virendra Kumar, and Homai Vyarawalla, among others. Early freelance photographers, or those employed by agencies like the Press Information Bureau, captured images of national leaders, visits of dignitaries, and symbols of ‘modern’ India such as dams, ships, and atomic reactors. This optimism began to wane by the 1960s. The war with Pakistan and creation of Bangladesh (1971) led to an influx of refugees into India that was poignantly recorded by Raghu Rai and Kishor Parekh (1930-82). Rai was to become one of India's best-known photographers with a vast body of work spanning nearly four decades. His contemporary Raghubir Singh settled abroad and gained international recognition in colour photography.
Photojournalism has been one of the major impulses of ‘modern’ Indian photography, and most significant contemporary documentary photographers emerge from this tradition. This legacy, however, has often dictated certain stereotypical images of India and constrained formal experimentation. There are, of course, departures from this by contemporary practitioners who depict the coexistence of rural, exotic India with its urban, modern counterpart. One of the first to gain international recognition for her striking portraits of India's urban middle-and upper-class families was Dayanita Singh (b. 1961). Others representing this new generation of documentary photographers include Pablo Bartholomew (b. 1955), Sooni Taraporevala, Ketaki Sheth, Prashant Panjiar (b. 1957), Pramod Pushkarna, Ram Rahman (b. 1955), and Achinto (b. 1959).
A striking feature of Indian contemporary photography is its diversity of genres. Commercial photography (fashion, industrial, and advertising) is represented by a wide range of photographers such as Prabhuda Dasgupta, Swapan Parekh (b. 1966), Rajesh Vora (b. 1954), Ashok Salien, Meenal Aggarwal, Farokh Chothia, Rafique Syed, Atul Kasbekar, and Sheena Sippy. Rajesh and Naresh Bedi have largely dominated wildlife photography. Significant also is the work of installation artists such as Sheba Chhachi (b. 1958) and, later (2001), Vivan Sunderam (b. 1943), who has digitally reworked the photographs taken by his grandfather Umrao Singh Sher-Gil. Other traditions of popular photography, such as studio and street photography, amateur and domestic photography, cinema stills and postcards, persist.
— Sabeena Gadihoke
Featured article: Lucknow photography and the Indian Rebellion.
Bibliography
- Embree, A., and Worswick, C., The Last Empire: Photography in British India (1976).
- Thomas, G., The History of Photography in India 1840-1980 (1981).
- Ghosh, S., Chhobi Tola (1988).
- Pinney, C., Camera Indica (1997).
- Dehejiya, V., et al., India through the Lens: Photography 1840-1911 (2000).
- Falconer, J., India: Pioneering Photographers 1850-1900 (2002).
- Pelizzari, M. A. (ed.), Traces of India: Photography, Architecture and the Politics of Representation 1850-1900 (2003)