Paramita Ghosh

Photographer, mentor, legend — Raghu Rai showed us that photography could be both a pursuit of truth and high art.

From spring to summer, the sun bleaches what it finds on the streets, in the buildings, and in the desert of Rajasthan's Thar, leaving behind on

From spring to summer, the sun bleaches what it finds on the streets, in the buildings, and in the desert of Rajasthan’s Thar, leaving behind on its heat-licked

To some French, love is being struck by a thunderbolt. An element of risk, the unsettling of the heart, a sudden recognition of the familiar in the unfamiliar –

To some French, love is being struck by a thunderbolt. An element of risk, the unsettling of the heart, a sudden recognition of the familiar in the unfamiliar – it is all these things and more.

To some French, love is being struck by a thunderbolt. An element of risk, the unsettling of the heart, a sudden recognition of the familiar in the unfamiliar –

Few auteurs would allow another camera so close to their face while their own camera was on, but Satyajit Ray and Nemai Ghosh clearly had, as they say, ‘an understanding'. Ghosh's camera trailed Ray not only when he was filming but also when he was thinking; when Ray was the subject of a documentary; when his actors, such as Smita Patil, shot him smoking his pipe with their cameras to keep a memento from Sadgati, her Ray film; and even when Ray was taking a walk on his balcony at home after his health took a hit in the 1990s. Ghosh had access, pure and simple.

NEW DELHI: Can sandwiches and conspiracy theories be sliced with the same knife? Former army men, retired bureaucrats, and the second and third generations of c

BOYA sits at the end of a road on Malcha Marg with a big grey box-like façade—looking as if it doesn't want to be found out. Still dimly lit after one has raised a grey curtain to enter it, the sunlight filters in at a tangent though the high glass ceiling. Inside, it feels like an exclusive club—where waiters will know you by name and know the expensive wine you prefer.

From England, Emily Eden, the artist sister of the second governor-general, Lord Auckland (1836-42), carried into 19 th -century India her easel, her unshakeable faith in the superiority of the British race, and her sniffiness.