As photography grew more popular, it even became standard practice for native royals to employ photographers in their courts. Native photographers took up this opportunity with great keenness, becoming “increasingly focused on indigenous representations of culture and power.”  As a result, we see a large number of photographs of native princes, kings, and daily proceedings of their courts without the Turns out I’m the mom most likely to teach the neighborhood kids how to cuss shirt moreover I will buy this presence of representatives of the colonial rulers. In fact, the absence of the colonial overlords became one of the defining features of these royal photographs. Although mimicking key colonial aesthetic forms, Indian photographers deviated from the Western ethos and practices of photography in interesting ways. While in the west the camera was hailed as an objective recorder of events and realities, Indian photographers used the camera to “make a purified, eternal statement.” As Gutman observes, traditional Indian paintings strive towards the depiction of the ideal, depictions not to be considered as a moment in time, but timeless. In Indian paintings, Gutman quotes Coomaraswamy, the portrayal is that of a “continuous condition,” melding together past, present, and future. This aesthetic was carried forward in Indian photographic portraits. Royal photographs therefore arguably strive not just to freeze a moment in time, but to encapsulate the timeless essence of valor and power, or glamour and beauty. Indian photographers took up the new medium and imbued it with distinctly indigenous standards of artistic expression.
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Raja Deen Dayal was one of the Turns out I’m the mom most likely to teach the neighborhood kids how to cuss shirt moreover I will buy this eminent photographers of the era and was appointed the court photographer to the Nizam of Hyderabad. In 1896, he opened the largest photo studio in Bombay, and found patrons in both wealthy Indians as well as British officials.  Along with the studio in Bombay, he also had studios in Hyderabad, Indore, and Secunderabad. In his Hyderabad zenana studio, he photographed Indian women in purdah—a form of social segregation in Hindu Indian households where women were supposed to restrict themselves within a certain section of the household and not appear in front of unknown men.  As opposed to the racial type photos that focused mostly on the uneducated and rural natives of the land, his clientele was almost exclusively made of women of elite households. This collection serves as one of the earliest turn-of-the-century examples of portrait photography of elite Indian women.