Two essays ask who owns India’s photographic story

Two essays published ahead of the 80th Independence Day examine who determines India's visual identity, questioning whether historical patterns of foreign editorial control have truly ended. The Wire presents a critical history, arguing that foreign photographers arrive with stories pre-decided by editors in Washington or London, backed by dollars that stretch further than the rupee. It contrasts Communist Party photographer Sunil Janah, who documented the 1943 Bengal famine as evidence for a political argument, with National Geographic's Steve McCurry, whose iconic 'Afghan Girl' photograph was published without a model release.

Hindustan Times, written by artist Samar Jodha, argues that while a billion phones now produce images daily, volume does not equal authorship. The essay notes that algorithms and aggregator accounts now decide which picture of India circulates globally, replacing the old gatekeeper editors but not the problem. It presents photographers such as Gauri Gill and Sohrab Hura as examples of those resisting spectacle-driven imagery, and concludes that the search for an authentic photographic identity is still unfinished, with responsibility now lying with whoever holds the phone.

Both pieces agree the fundamental challenge remains: who gets to tell India's story, and whether the work of reclaiming that narrative is complete.