Jaggery Man

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23.5 x 15.5

2008

Labourer Goes to Work

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23.5 x 15.6

2008

Jantar Mantar 3

Joginder Singh | Jantar Mantar III A close-up of the curved stone arms of a Jantar Mantar instrument, photographed in warm terracotta tones. The composition is tightly cropped, transforming the 18th-century astronomical structure into an abstract arrangement of arcs, edges, and shadow. Scale and context dissolve; only form remains.

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Jantar Mantar 4

Joginder Singh | Jantar Mantar IV A square-format photograph that splits the frame into two contrasting panels of light and shadow. Diagonal bands of sunlight cut across warm stone surfaces, with a vivid red wall glowing at the centre. Like his other Jantar Mantar works, the image reduces the 18th-century observatory to pure form and colour.

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From The Far Pavilion

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20 x 20

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Abstract

Lalit Kumar | Abstract (photograph) A high-contrast abstract work in black and yellow, with irregular organic forms that suggest cracked earth, cellular structures, or aerial mapping. The network of bold black lines against pale yellow fields creates an image that is simultaneously primal and precise.

20 x 28

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Laughing Cow

Prashant Panjiar | Laughing Cow A black-and-white photograph in which a cow dominates the foreground, horns prominent, while a group of women and children smile from behind a gated doorway in the background. The juxtaposition is easy and unforced, a glimpse of ordinary coexistence in rural India.

12 x 18

2008

Cycle

Prashant Panjiar | Cycle Two figures, wrapped in shawls against the cold, pause on a bicycle along a rural road at dawn. Palm trees rise in the soft mist behind them. The child on the back turns to look directly at the camera, his gaze calm and steady. The image is one of the most quietly iconic in Indian documentary photography.

12 x 18

2008

Dockyard Kolkata

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20 x 30

2008

Churchgate Railway Station

Raghu Rai | Churchgate Railway Station, Mumbai, 1996 Taken at Churchgate Station during peak morning rush, this long-exposure photograph turns the commuting crowd into a blur of white motion, while two men reading newspapers remain sharp at the centre. The contrast between stillness and relentless movement captures the daily rhythm of Mumbai with quiet precision.

20 x 30

2008

Vidyasagar Setu

Raghu Rai | Vidyasagar Setu A group of labourers row and push a heavily loaded flat-bottomed boat on the Hooghly River, with the elegant cable-stayed span of the Vidyasagar Setu arching overhead. The contrast between human labour and engineered scale gives the image both grit and grandeur.

20 X 30

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Filmmaker Satyajit Ray

Raghu Rai | Filmmaker Satyajit Ray, 1985 Satyajit Ray reclines on a four-poster bed, propped on pillows, holding what appears to be a magnifying glass to his eye and looking directly at the camera with characteristic intensity. Film equipment is visible in the background. The photograph has the ease of access that only a trusted photographer could achieve.

18 x 27

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Cow enjoying Abundance of Wheat

Raghu Rai | Cow Enjoying Abundance of Wheat, Kandla Port, 2001 A cow stands with its head raised in the foreground as workers and machinery process mountains of wheat grain behind it in a golden haze of dust and backlight. The scene is both surreal and deeply Indian, the sacred and the industrial sharing the same frame without tension.

18 x 27

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Reflection in a UP Village

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20 x 30

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Woman Pushing Cart

Raghu Rai | Woman Pushing Cart A woman in a sari leans hard into a towering cart overloaded with wooden crates, pushing it down a wide, near-empty road. The sheer scale of the load against the single figure makes the image both absurd and sobering. It is one of Rai's most direct statements on labour and endurance.

20 x 30

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Dust Storm at Red Fort

Raghu Rai | Dust Storm at Red Fort, 1986 A panoramic photograph of a dust storm engulfing the Red Fort in Delhi. Silhouetted figures move through a haze of orange-brown dust, the fort's ramparts barely visible in the background. The image transforms a familiar landmark into something elemental and unsettling.

15 x 40

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Udaipur Palace

Ramona Singh | Udaipur Palace A wide-format photograph of the Udaipur City Palace where the left portion is rendered in black and white while the right shifts into colour, revealing a turbaned guard seated in a doorway framed by Mughal arches. The technique draws attention to how the same space can feel both historical and lived-in at once.

16 x 31

2008

Metal Woman

Riddhibrata Burman | Metal Woman A black-and-white photograph of a woman wearing a dramatic chainmail top, her hands raised at shoulder height in a composed, almost ceremonial stance. The stark white background throws all focus onto the sculptural quality of the garment against her form. The image sits at the intersection of fashion and fine art photography.

36 x 28

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Workshop clutter

Shalini Saran | Workshop Clutter A colour photograph of a workshop wall densely hung with vehicle horns, metal springs, coils, and rings in varying sizes. The red of a branded horn disc provides the only strong colour in an otherwise muted arrangement of metal and rust. The image celebrates the visual complexity of the everyday.

16 x 24

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Waiting For Lover

Karthik Venkatraman | Waiting for Lover, Fort Palace, Neemrana: Two women in a Rajasthani palace are bathed in a wash of deep violet light that filters through a scalloped arch. One stands, the other kneels before a luminous window, their red garments the only warmth in an otherwise otherworldly frame. The print is titled and numbered 1/6.

36 x 24 (portrait)

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Ecstasized

Karthik Venkatraman | Ecstasized A lone silhouette stands arms raised against a deep blue-violet twilight sky, surrounded by birds in flight. The figure is absorbed in an unguarded moment of pure release. Shot in pure silhouette, the photograph strips away identity and leaves only the emotion.

20 x 20

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Tyre

Shalini Saran | Tyre A close-up photograph of a concrete wall surface with a circular drainage pipe set into it, framed by vertical score lines in the stone. The image finds quiet geometry in an industrial, overlooked corner. The grey palette and tight framing give it an almost sculptural quality.

16 x 24

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Holi at Vrindavan

Amit Pasricha | Holi at Vrindavan A panoramic photograph capturing the frenzy of Holi at Vrindavan. Sadhus in saffron robes shower colour powder from an elevated platform as a sea of devotees below raises their hands in joy. The image is a limited edition archival print, numbered and signed by the artist.

18 x 52

2008

Kanchi Boy

Dinesh Khanna | Kanchi Boy (please verify subject) A young figure in white reclines against the pale blue geometry of a Kanchipuram wall, head resting on one hand, eyes downcast. The cool tones of the architecture contrast with the warmth of the subject's skin, and the stillness of the frame gives the image a painterly quality.

24 x 36

2008

Old Man

Dinesh Khanna | Old Man, Stairs, Benaras An old man labours up narrow stone stairs in Banaras, a long staff in hand and a bag at his side. Above him, a carved Mughal-style window filters warm amber light through its latticed grid, set against peeling, weathered walls. The photograph captures the weight of age against the enduring architecture of the city.

36 x 24 (portrait)

2008

Ganesh Stone

Dinesh Khanna | Ganesh Stone, Pune A small child stands transfixed before a red sindoor-daubed Ganesh stone mounted on a bright turquoise wall. The boldness of the colours, electric blue door, terracotta idol, and seafoam wall, creates a striking graphic composition. At its centre is a simple, unmediated moment of a child encountering the sacred.

24 x 36

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Jantar Mantar 1

Joginder Singh | Jantar Mantar I A near-abstract study of light and shadow inside Jantar Mantar. Stone stairs and angular walls divide the frame into sharp bands of dark and light, with a narrow sliver of red visible at the top. The photograph reduces one of India's great astronomical instruments to pure geometry.

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