History of Photography

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Uncovering India: Studies of nineteenth-century

Indian photography

Sophie Gordon

To cite this article: Sophie Gordon (2004) Uncovering India: Studies of nineteenth-century Indian
photography, History of Photography, 28:2, 180-190, DOI: 10.1080/03087298.2004.10441306

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 Uncovering India: Studies of
Nineteenth-Century Indian
Photography
Sophie Gordon

Over the past three years, academic interest in nineteenth-century photography With grateful thanks to E. Alkazi, Esa
from India has been growing at a rapid pace. Seven significant books, as well Epstein and Takahiro Kaneyama for their
kind assistance with the preparation of this
as numerous important articles, have been produced during this period. Of article.
the seven volumes, three have been general surveys of the topic, each book
presenting a broad history of photography in India and each book marking an
important exhibition. These titles include: India through the Lens: Photography
1840-1911 (2000), India: Pioneering Photographers 1850-1900 (2001) and
Reverie and Reality: Nineteenth-Century Photographs of India from the Ehrenfeld
Collection (2003). Of the other four publications, Traces of India: Photography,
Architecture and the Politics of Representation (2003), is the only one to employ
a thematic approach and examines the photographic representation of Indian
architecture. The remaining volumes address the work of individual practi-
tioners such as the Greek photographer Felice Beato! in Beato's Delhi 1857, 1997 1 - Beato, usually described as Italian, was
born on Corfu, a Greek island. His name
(2000), the work of the British photographer Samuel Bourne in Samuel Bourne,
implies that he is descended from a family
Sieben Jahre Indien: Photographien und Reiseberichte 1863-1870 (2001) and the within the Italian community on the island,
partnership of Baker and Burke in From Kashmir to Kabul, The Photographs of although his appointment of 1873 as
John Burke and William Baker 1860-1900 (2002). Consul-General for Greece in Japan
suggests that he was happy to be identified
The publications have been greeted enthusiastically by photo-historians, in as Greek. He is also sometimes described as
part, due to the general assumption that little has been written about nineteenth- British, as Corfu was a British possession
century photography in India. With the appearance of these books, however, between 1814 and 1864, when it was
eventually ceded to Greece. Beato certainly
it is timely to look at the history of scholarship in this field. An assessment of referred to himself as British at least once
the past literature certainly dispels the notion that the subject has been under- during his lifetime.
researched. At the same time, such a review reveals neglected topics in the field.
This literature review also illustrates how some scholars attempt to broaden and
develop the area under discussion, while others restrict the field to a handful
of 'great' photographers. A complete bibliography of the referenced books,
catalogues and essays appears at the conclusion of this essay.

Early and Classic Studies

Although a handful of references to Beato's Indian photographs appeared in
military history journals in the 1940s and 1950s, the first critical assessments of
photographers working in India were not published until much later. In 1960,
the Indian art history journal MARG, under the editorship of Mulk Raj Anand,
devoted an entire issue to photography in India. While the issue concentrated
on modern photographers such as Sunil Janah and Henri Cartier-Bresson, it

History of Photography, Volume 28, Number 2, Summer 2004

ISSN 0308-7298 © 2004 Taylor & Francis Ltd.

2 - Since this article was submitted, a third
publication has appeared, Narendra Luther,
Raja Deen Dayal: Prince of Photographers,
Hyderabad: Creative Point 2003.
Uncovering India
also acknowledged the existence of a history of photography in India dating
back to the mid-nineteenth century. One name highlighted was Shapoor N.
Bhedwar, a talented Parsi photographer, who had worked and exhibited in
England as a member of the Linked Ring group. On his return to India,
Bhedwar established a studio where he concentrated on portraiture and
theatrically composed tableaux vivants (Figure 1).
During the 1970s, a small number of articles were published in a variety of
journals which discussed the work of photographers Patrick Fitzgerald, Lala
Deen Dayal, Maharaja Sawai Ram Singh of Jaipur, Philip Egerton, Samuel
Bourne and Linnaeus Tripe. The sudden appearance of a group of articles
in 1977, however, can be explained by the publication of two important works
during the preceding year: Clark Worswick's Aperture monograph The Last
Empire: Photography in British India 1855-1911 (1976) and Ray Desmond's
article, 'Photography in India during the 19th century'. While Desmond's
article is undoubtedly the more scholarly production, Worswick's book has
received (and continues to receive) a great deal of attention due to the large
number of well-reproduced images and the broad coverage of the subject in the
monograph. In 1980 Worswick followed The Last Empire with the more sub-
stantial study, Princely India: Photographs by Raja Deen Dayal (Knopf, 1980),
which presented Dayal's court photographs made for the Nizam of Hyderabad.
While the research in The Last Empire was quickly superseded, Princely
India remains a highly influential publication, particularly in India. Surprisingly,
it is one of only two books to study exclusively the work of a nineteenth-century
Indian photographer, the other book being Yaduvendra Sahai's Maharaja Sawai
Ram Singh II of Jaipur: The Photographer Prince (1996). As a result of Princely
India, Dayal has been raised to an unassailable position in India, making a
critical discussion of his work almost impossible. In Euro-American circles,
Dayal has taken on the role of 'representative' Indian photographer, justifying a
reluctance to look any further into the history of Indian photography - despite
the fact that work from many Indian studios lies unexplored in collections
around the world.
Throughout the 1980s, two Indian scholars produced a series of short
informative articles, many published in the journal History of Photography.
George Thomas and Brij Bhushan Sharma discussed an impressive range of
British and Indian photographers including Julia Margaret Cameron, William
Brooke O'Shaughnessy, Rajendralala Mitra, Abbas Ali and the American
photographer James Ricalton. 2 Thomas, a historian and an accomplished photo-
grapher, also wrote the important book History of Photography: India 1840-1940
(1981) working entirely from library archives and museums in India. Thomas
encouraged other Indian scholars to continue research in this field. To support
the effort of others, Thomas compiled a list of resources and collections available
in India which was published in a 1992 issue of History of Photography devoted
to nineteenth century India.
The 1982 'Festival of India' was the catalyst for several significant projects
in Great Britain. Ray Desmond, as well as organizing a Deen Dayal exhibition,
published Victorian India in Focus (1982) which presented a broad selection of
work from the collection of the India Office Library. This book, which receives
less attention than it deserves, has been influential in establishing the now
familiar categorisations for these photographs, as well as consolidating the
'canon' of British photographers at work in India. A comparison between this
book and the two subsequent publications that also draw on the India
Office collections, A Shifting Focus: Photography in India 1850-1900 (1995) and
India: Pioneering Photographers 1850-1900 (2001), is illuminating. Not only
do the same photographers appear in each catalogue but many of the same
photographs are used. The work is arranged in similar categories, with the
181
Sophie Gordon

'people of India' assembled into one section, while Deen Dayal inevitably merits
his own category, as does Samuel Bourne and 'the search for the Picturesque'.
While these publications reflect the strengths and weaknesses of the India
Office collections, and consequently cannot be expected to provide a complete
picture ofIndia's history of photography, it is surprising that the same material
is used and reproduced repeatedly from a collection of over 250 000 prints.
Nevertheless, the importance of all three works, particularly India: Pioneering
Photographers 1850-1900, lies in the amount of detailed factual information
provided throughout, much of it the result of dedicated research by John
Falconer. Using the India Office records, Falconer has discovered an enormous
amount of information that has become invaluable to all subsequent scholars
exploring this field.
More recent publications, reflecting the growing maturity of the field,
provide in-depth study of narrowly defined topics. For example, the Canadian
scholar Janet Dewan and the late Bengali science historian Siddhartha Ghosh
have conducted research of a deeply focused nature. Dewan has examined
closely the work of Linnaeus Tripe (1822-1902), culminating with the produc-
tion of a catalogue raisonne (2003). Ghosh, in Chobi-Tola: Bangalir Photographi
Charcha (1988) has taken a geographical approach, examining the history of
photography in the province of Bengal. During the nineteenth century, the city
of Calcutta was the capital of British India and the capital of Bengal. Ghosh's
work is an important investigation of the operations of commercial studios
Figure 1. Shapoor Bhedwar
in that province. As well as providing new information on Calcutta-based (act.1890s-1900s), No.4 'The Mystic Sign',
photographers, Chobi- Tola also considers the use of photographs within carbon print, ca.1890. The Alkazi
Bengali families. Ghosh is, to date, the only writer to have produced a book on Collection of Photography, 97.47.0001115.

182

Figure 2. The Bombay Photographic
Company, Portrait of an Unidentified
Woman, painted photograph pasted onto
decorated album page, 18905. The Alkazi
Collection of Photography, 98.83.0185.
3 - For a more detailed review of this book,
see 'Photographs of the Great Game',
History of Photography 27:3 (Autumn 2003),
299.
Uncovering India
photography in an Indian language. Two other examples of detailed studies
include Omar Khan's thorough account of John Burke and William Baker 3
and Reverie and Reality: 19th Century Photographs from the Ehrenfeld Collection
(2003) which draws upon the private holdings of Dr William Ehrenfeld of
California.
Anthropology and Popular Visual Culture
While the scholarly work discussed earlier may be said to have established the
foundations of the history of photography in India, two other pioneering
studies - and the response to them - have moved the field in a promising
direction. Both studies were published in conjunction with major exhibitions.
The first, Judith Mara Gutman's book Through Indian Eyes: 19th and 20th
Century Photography from India (1982) documented her travels around India as
she attempted to locate and analyse work from Indian-operated studios. While
an important early effort, it has basic flaws (more on this later). The second
volume, Sue Davies and Partha Mitter's Photography in India 1858-1980:
A Survey, also attempted to explore Indian-made photography exclusively.
183
Sophie Gordon

(However, as the brochure accompanying the show at London's The Photogra-

phers Gallery stated: 'While the exhibition's main intention is to show work by
Indian photographers, there are of necessity some Europeans included, particu-
larly in the early years.') Some of the names discussed, albeit briefly, included
Rajendralal Mitra, Narayan Dajee, Preonath Seth and Shapoor Bhedwar. For
example, Mitter simply states that Bhedwar took up photography in Britain
in 1889 and within one year had won the Royal Photographic Society's Gold
Medal for a series of views titled, 'The Feast of Roses'4. Also represented in 4 - Sue Davies and Partha Mitter,
the Gallery's exhibition were postcards of India, early modern photographers Photography in India 1855-1980: A Survey,
London: The Photographers Gallery 1982,
including Shri Amichand Deen Dayal (the grandson of Lala Deen Dayal) and 4.
a group of younger contemporary photographers. The exhibition ended with a
look at film stills and posters, an early attempt to demonstrate the connection
between popular visual culture and photography.
The relationship between photography and popular Indian culture has,
in recent years, been developed by anthropologists and cultural historians,
bringing a fresh approach to the work as well as a willingness to incorporate
non-canonical photographic images. The studies of Christopher Pinney typify
this approach. In the book, Camera India: The Social Life of Photographs (1997)
he discusses the different visual cultures he identifies in official and personal
photography. Pinney emphasizes a shift from nineteenth-century practices
when little difference existed between Indian and European studios, towards a
new visual culture which emerged in the early twentieth century, expressing an
identifiably Indian aesthetic.
Pinney directly challenges the premise of Gutman's Through Indian Eyes.
Gutman's central thesis proposes that Indian photographers used the camera
in a recognisably different way from their European contemporaries. This
argument was justified by numerous examples of photographs she attributed to
Indian studios. Unfortunately, many of the examples chosen to demonstrate
'the Indian gaze' are in fact by European photographers. (The unquestioning
reliance on Gutman's identification of images and studios shown by subsequent
writers is surprising. S ) Pinney's critique of Gutman's work, which underscores 5 - Vidya Dehejia also remarks on this in
the fluidity of photographic practice in India, is worth quoting as it has her thoughtful introductory essay to India
through the Lens, Washington: Smithsonian
relevance for all scholars working in this field: Institution 2000, 21-22.
The attempt to sort images and practitioners into the categories of 'Indian' and
'Western' (as Gutman does) is also fraught with difficulties since many Indian
studios had largely European clienteles, and many studios had mixed owner-
ship or become Indian-owned without visible changes in the product. In some
respects it makes more sense to contrast official and personal photography.6 6 - Christopher Pinney, Camera India,
London: Reaktion 1997,95.
In a recent essay, 'Notes from the Surface of the Image' (2003), Pinney
discusses what he terms 'vernacular modernism' (i.e. contemporary local prac-
tice) in India by comparing it first with the colonial gaze of Samuel Bourne, and
then with postcolonial African photography. He demonstrates visual similarities
between the Indian and African photographs, looking particularly at the use
of backdrops in portraits. This in turn provokes new questions that, instead of
focusing on similarities or differences with the British colonial aesthetic, ask
instead what the Indian and African experiences might have in common.
Pinney's work has, over the past decade, broadened the scope of the history of
photography in India. In view of this work, art historians and curators should
begin to reconsider the accepted canon of Indian photographers, ideas currently
reinforced by the links between curatorial practice and the economics of the
international photography market (Figure 2).

Imperial Ideologies
The appearance of Edward Said's Orientalism in 1978 led to a reassessment of
many texts concerned with the non-Western world, particularly literary works

184
 Uncovering India

from the colonial period. The texts were explored as illustrations of the power
relations between the colonisers and colonised. This work illuminated the
colonial attempt to control and administer new territorial acquisitions. Histori-
ans in particular embraced these ideas enthusiastically, art historians perhaps less
so, but the theory has been influential in humanities disciplines over the past
twenty years. It is only within the last five years, however, that nineteenth-century
photography has been discussed in terms of this post-colonial discourse.
James Ryan's Picturing Empire: Photography and the Visualization of the
British Empire (1997), is a primary example of the application of post-colonial
theory to photography. Ryan looks at photographs from India, China and
Africa as well as war photography and ethnographic documentation. In one
chapter, Ryan discusses Bourne's picturesque landscapes and mountain views as
reflecting the colonial gaze. Unfortunately, his analysis relies more on Bourne's
written narratives of his travels, than on Bourne's photographs. Ryan's starting
point, an assumption that underlies his whole thesis, is that the colonial context
can explain, and is responsible for, the resulting image. 'Colonial photographs'
(for want of a better term) whether from India, Mashonaland or Cyprus, are in
some way the same. The argument here is not conclusively made, as it fails to
engage with the visual aspect of the images, again relying on written accounts.
There is no consideration given, for example, to the complexities of image pro-
duction, use and dissemination within the economics of the nineteenth-century
photography market. This, an area that remains almost entirely untouched
in respect to India, would seem to be closely intertwined with colonial ideolo-
gies, particularly regarding official photography. In recent publications, other
scholars have developed these topics.

Recent Publications
Three collections of essays published recently attempt to examine some of these
issues by focusing on discrete groups of photographs. Two of these publica-
tions, Colonialist Photography: Imag(in)ing Race and Place (2002), and Picturing
Place: Photography and the Geographical Imagination (2003) contain articles that
discuss photographs from different parts of the world, including India. Broadly,
the former primarily addresses photographs of native peoples and the concept
of race, while the latter features the role photographs play in creating a relation-
ship between people and place. The third book, Traces of India: Photography,
Architecture and the Politics of Representation (2003), concentrates on the
photographic documentation of Indian architecture.
Colonialist Photography and Picturing Place are similar in concept and
subject matter as authors in each book analyze images within the context of
the colonial experience. Colonialist Photography is somewhat unstructured, with
essays that vary in success, although the introduction written by editors Gary
Sampson and Eleanor Hight is a useful, balanced and thoughtful summary
of the issues involved. Picturing Place is organised clearly into three distinct
categories: the relationship between photographs and the creation of imagina-
tive geographies of the mind, the use of photographs in reinforcing national
identity and photographs from a colonial context. Of course, the latter category
in particular overlaps with the other two, but the tripartite structure is a useful
one.
Between these two publications, three essays concern, exclusively, photo-
graphy in India. In Colonialist Photography, John Falconer presents a detailed
publishing history of The People of India (8 volumes, 1868-1875), arguably the
most important ethnographical project to involve the camera. The American
scholar Gary Sampson reflects upon Samuel Bourne's landscapes of Barrackpore,
near Calcutta. In Picturing Place, Alison Blunt examines the portraits of British
families made in 1856-1857 by Ahmad Ali Khan (Figure 3).

185
Sophie Gordon

Falconer's essay is a timely and important description of a project that is Figure 3. Ahmad Ali Khan, working as
'Chhote Meer' (act.1855-ca.1862),
mentioned frequently in secondary sources, yet has up to now received little
Lucknow, The Chattar Manzil Palace,
serious scholarly consideration. Falconer outlines the explicit and implicit albumen print, 1860. The Alkazi Collection
aims of the project, The People of India. He demonstrates convincingly that the of Photography, 99.07.000113.
claims from the introduction of the first volume (which explain the history
and purpose of the work) are misleading. Placing the work within the broader
context of ethnography in India, Falconer describes the development of the
publication, the initial enthusiastic reception of the early volumes and the lack
of interest in the later ones. There is also a detailed look at some of the photo-
graphers who contributed to the work, notably James Waterhouse, who toured
Central India in 1862, producing striking portraits of local royalty as well as
the tribal peoples of the area. Falconer's contribution highlights the richness
of the India Office records (in the British Library), which remain a relatively
underutilized source for the study of official photography in India.
The second India-related essay in Colonialist Photography is 'Unmasking
the Colonial Picturesque' by Gary Sampson. Sampson's essay examines a small
group of Samuel Bourne's photographs taken in 1867 of the government house
at Barrackpore. The picturesque aspect of Bourne's imagery is described in
familiar terms. However, Sampson makes a connection between the British
historical associations with Barrackpore and Bourne's decision to place a
European woman in these photographs - the only time that Bourne did this.
In the 1860s, Barrackpore was associated with the much-loved Lady Canning,
wife of the Viceroy, who died in 1861. She was eventually buried in the gardens
at Barrackpore. Sampson puts forward the original idea that the European
woman (whom he identifies as Mrs. Bourne) represents Lady Canning, and
perhaps more generally, an idealised British womanhood. Less convincing is
his association between the memory of the 1857 revolt (the so-called 'Indian
Mutiny' in which Indian troops rebelled against the British in Delhi, Lucknow
and Cawnpore), Barrackpore and Bourne's photographs of the Memorial Well

186

7 - For further discussion of Ahmad Ali
Khan and photography in Lucknow,
see S. Gordon "'A Silent Eloquence":
Photography in 19th-century Lucknow',
in Lucknow Then and Now, ed.
R. Llewellyn-Jones, Mumbai: MARG
Publications 2003, 134-145.
Uncovering India
at Cawnpore. In the British imagination, Barrackpore was rarely connected with
the 1857 revolt, and the lack of photographic evidence in personal albums and
general accounts of the uprising supports this.
The significance of the events of 1857 are also mentioned in Alison Blunt's
essay, 'Home and Empire: Photographs of British Families in the Lucknow
Album, 1856-57', which is included in Picturing Place. She demonstrates how
other writers have described Ahmad Ali Khan's portraits as poignant records of
those who were to lose their lives in the 1857 revolt. She reminds us that as
contemporary readers, we have knowledge of their fate; neither they nor the
photographer knew of the dramatic events that would overtake them within
months. Instead, Blunt presents the portraits as representations of 'imperial
domesticity', discussing the position of women and the family within British
India. She successfully describes the ambivalent position of Ahmad Ali Khan
and discusses the significant lack of any imperial or Indian gaze in these images.
It is surprising though that some of the other portraits by Khan from the
same collection are not considered here. Khan, who was said to be the illegiti-
mate half-brother of the ruler, had access to the royal family and his portraits
of the king, his daughters and the women of the court, are remarkably similar
to the portraits of the British. A few factual errors appear, particularly a note
which states that Khan died during the revolt. In fact, Khan, who did fight with
the mutineers in 1857, received an official pardon, and returned to Lucknow
to continue photographing using the pseudonym 'Chhote Meer',? Examples
of these post-1858 images exist in The British Library and in The Alkazi
Collection.
Traces of India, edited by Maria Antonella Pelizzari, is a collection of twelve
essays centred on one theme: the visual representation of Indian architecture. A
broad selection of inter-disciplinary scholars from India, the US and the UK
discuss a range of material, from pre-photographic prints by William Hodges,
through the official photographic documentation by Tripe and Lawton, to a
brief examination of the postcolonial image, as found in popular visual culture
and in the history text books of Bengal. The book does not claim to present a
comprehensive history of architectural photography; rather, the diverse topics
and approaches demonstrate that there are as many interpretations of this
material as there are scholars to write about it.
Several of the essays discuss the uses to which these photographs were put,
looking at the creation of archives, museum collections and the development
of scholarly disciplines. Particularly interesting is the essay by Dr Tapati Guha-
Thakurta, who highlights the important role played by the historian James
Fergusson. She presents Fergusson's attempt to gather together photographs of
Indian monuments as part of the colonial desire to collect, order and possess
the antiquities of India.
Other articles discuss the role photography played in constructing the
history of British India. These photographs, largely produced by commercial
photographers (such as Felice Beato), or studios (such as Bourne and
Shepherd), created a version of historical events that featured British loss and
the struggle to retain the empire. In particular, there was a seemingly endless
desire for images connected with the 1857 revolt, a topic that is discussed by
Dr Narayani Gupta. Gupta concludes that knowledge of context is essential
when interpreting these images. She explains how photographs by British
photographers have been used by Indian historians seeking to create a national-
ist narrative. While the visual element remains the same, the caption is altered
and so the meaning changes.
Gupta's conclusion highlights the main concern that many will have with
Traces of India. As in Ryan's Picturing Empire, there is an underlying assump-
tion throughout that all the photographs are consequences of an unwavering
colonial gaze. There is, however, scant discussion of the visual aspect of the
187
Sophie Gordon

photographs and it is the context and assoCIatIOns of the images that is

presented for analysis. The conclusion that one must reach, extending Gupta's
argument, is that the colonial gaze does not, in fact, exist.
Perhaps the most unexpected contribution to Traces of India is the essay by
the American scholar, Julia Ballerini. She has unearthed the remarkable story
of the French aristocrat Baron Alexis de la Grange, who became in 1849 one
of the first Europeans to photograph extensively in India. Ballerini describes La
Grange's photographs as being devoid of the characteristics usually identified
as a part of the colonial gaze, notably the picturesque aesthetic. She suggests
several factors which may have influenced La Grange's compositional choices,
such as his engineer's eye and apparent desire to explain the buildings he
encountered as objectively as possible. She offers a fascinating comparison of
La Grange's work with the architectural paintings by Indian artists of the early-
nineteenth century. The attempt to convey information about a building was
the impetus in both examples, and the visual similarity is immediately striking.
Ballerini has revealed the work of a European photographer who had no colo-
nial, commercial or military interest in India, and whose work can consequently
be usefully compared with that of his British successors.

Conclusions
In looking at photographs of India, scholars are now moving from attempts
to establish a canon of 'artists' or to fashion a comprehensive single-volume
history, towards embracing the great, often bewildering, diversity of intentions,
conventions and results that is encountered in this material. Presently, much of
the most interesting work is being produced by anthropologists, social scientists
and cultural historians who recognise that the combination of these various
disciplines broadens the subject and provides exciting avenues for future
research. Traces of India, highlighting the extraordinary richness of the subject
(both academically and visually), stands as an accurate reflection of the current
state of scholarship within the field.
Of course, careful archival research is required, and the existing literature
demands greater attention, as careless errors are still encountered and perpetu-
ated. Moreover, there is reluctance on the part of some curators and dealers to
move beyond the well-known names of Tripe, Dr John Murray and Bourne into
less well-charted terrains. To this writer's knowledge, however, there are at least
five doctoral candidates at universities in the US and UK conducting research
into nineteenth century photography in India. This will continue the trend of
recent years of broadening the subject by questioning its perceived limits and
actively searching out new material. It can only bode well for the future.

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Worswick, Clark, The Last Empire: Photography in British India
1855-1911, New York: Aperture

188
 Uncovering India

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189
Sophie Gordon

Sampson, Gary, 'Unmasking the Colonial Picturesque: Samuel Bourne's

Photographs of Barrackpore Park' in Colonialist Photography:
Imag(in)ing Race and Place, eds E. Hight and G. Sampson, London:
Routledge, 84-106
2003 Blunt, Alison, 'Home and Empire: Photographs of British Families in
the Lucknow Album, 1856-57', in Picturing Place: Photography and the
Geographical Imagination, eds J. Ryan and J. Schwartz, London: I. B.
Tauris, 243-260
Dewan, Janet, The Photographs of Linnaeus Tripe: A Catalogue Raisonne,
Toronto: The Art Gallery of Ontario
Johnson, Robert Flynn and others, Reverie and Reality: 19th-Century
Photographs of India from The Ehrenfeld Collection, San Francisco:
FineArts Museum of San Francisco
Pelizzari, Maria Antonella (ed.), Traces of India: Photography,
Architecture and the Politics of Representation, 1850-1900, Montreal:
Canadian Centre for Architecture and New Haven: Yale Center for
British Art
Pinney, Christopher, 'Notes from the Surface of the Image:
Photography, Post colonialism, and Vernacular Modernism' in
Photography's Other Histories, eds C. Pinney and N. Peterson,
Durham: Duke University Press, 202-220
A comprehensive bibliography on nineteenth-century photography in South
Asia is published in Traces of India (2002), 324-332.

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