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By the late 19th century, photography in Bombay (now Mumbai) was more than a colonial tool for recording people and places. The city had an organized photographic society, Indian practitioners, commercial studios, portrait sitters, and a growing range of formats—from small calling-card portraits to expansive landscape views. Curator Susan Hapgood links the medium’s early arrival in Bombay to its commercial connections and direct tie to England, while later studio culture shows how quickly photography took on local social and artistic purposes.
Why photography took hold early in Bombay
Photography arrived in Europe in 1839 and reached India soon afterward. According to a 2015 Scroll account, the British brought daguerreotypes to India, and Bombay embraced the medium in the 1840s. Susan Hapgood, curator of Early Bombay Photography, offered a possible explanation: “Bombay’s unique role as a commercial crossroads, with a direct tie to England, led to its very early embrace of the medium in the 1840s.” That is Hapgood’s interpretation of the city’s early adoption, not proof of a single cause.
The next sign of photography’s momentum was institutional. Scroll reports that the Photographic Society of Bombay was founded in 1854, a year after its London counterpart, and had at least 200 members by 1856. Those figures indicate that the medium had developed an organized community as well as individual practitioners within a short time.
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Photography in the city was not the work of European visitors alone. Scroll identifies Dr Narayan Daji as one of the earliest known Indian photographers and names him and his brother Dr Bhau Daji among the society’s non-European members. Both were doctors educated at Grant Medical College.
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Hapgood connected the profession’s early medical presence to the medium’s expense and technical demands. As quoted by Scroll, she said: “Photography was extremely expensive but it also required extensive knowledge of chemistry and thus many of the earliest photographers were also doctors educated at Grant Medical College.” The Daji brothers’ participation makes visible one part of Indian engagement with photography, though the named examples do not constitute a complete list of practitioners or society members.
From documentation to portraiture and performance
Early photographs served documentary and ethnographic purposes: they recorded people, architecture, and city life. But the medium was not limited to cataloguing. The Alkazi Foundation’s account of its 2010 exhibition, The Artful Pose: Early Studio Photography in Mumbai, describes a broader development toward portraiture, performance, and popular studio art. Photography could help viewers acquire knowledge about places and people while also shaping how those subjects were seen.
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That double role matters when looking at old photographs. An image can preserve evidence of a person, building, or practice, but it was also made within particular colonial, commercial, social, and aesthetic circumstances. A studio portrait, for example, was not simply a neutral record: it was a commissioned image shaped by the sitter, photographer, setting, and conventions of the time.
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Bombay’s photographic culture included individual practitioners, commercial firms, and formats made for different kinds of viewing and circulation. The Alkazi Foundation names studios and firms including S. Hormusji, Shapoor N. Bhedwar, Bombay Photo Company, EOS Photographic Co., Bourne & Shepherd, and Raja Deen Dayal & Sons. Its exhibition account links firms such as Bourne & Shepherd and Raja Deen Dayal & Sons to family and event images, as well as landscapes.
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| Format or practice | What it offered |
|---|---|
| Cartes-de-visite | Small studio portraits that could be shared and collected. |
| Cabinet cards | Larger mounted studio portraits, part of the popular photographic formats represented in the exhibition. |
| Albums, panoramas, and landscape or architectural views | Images suited to viewing places and built environments on a broader scale. |
| Pictorialist photography | An artistic mode represented in Bombay by the 1890s, according to the Alkazi exhibition account. |
These categories overlapped: photography could serve private family memory, public curiosity, commercial promotion, or aesthetic expression. The Alkazi account is a curatorial overview rather than a complete directory of Bombay’s photographers, so its names are examples, not an exhaustive roll call.
What institutional records add
The Rijksmuseum library catalogue confirms the scope of The Artful Pose: Early Studio Photography in Mumbai, c. 1855–1940, published in Ahmedabad by Mapin in 2010 alongside the exhibition at Dr. Bhau Daji Lad Mumbai City Museum. Its contents include essays on ethnographic photography in Bombay from 1855 to 1870, women in Bombay studios, and Shapoor N. Bhedwar’s studio practice. Bibliographic details and ISBNs are available in the Rijksmuseum catalogue record.
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An archive offers another, narrower view of what survives. The Smithsonian National Museum of Asian Art Archives describes seven 19th-century albumen photographs in the Catherine Glynn Benkaim Collection, by Samuel Bourne, Colin Murray, and unidentified photographers. Its collection description also provides context about William Johnson’s Bombay studios and Bourne & Shepherd. The seven photographs are the scope of that collection record, not a measure of all photography made in the city.
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For a focused introduction, Susan Hapgood’s Early Bombay Photography, published by Mapin, brings together Bombay photographs from the 1840s through 1900, as described in the Scroll article. The exhibition catalogue The Artful Pose offers a closer look at studio practice and related subjects, including women sitters and Shapoor N. Bhedwar.
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