No one, perhaps, has ever been as defiant about colour, as William Eggleston. No one, also, has been as criticised. Raj Lalwani writes.
Anurag Banerjee reflects on the various threads that come together to influence his practice as part of 'The Rabbit Hole', a series of deep dives that tries to see why photographers see the way they see.
Raj Lalwani soaks in the poetry that runs through the meditative photographs of Abbas Kiarostami, the legendary Iranian filmmaker, whose journey shares a significant link to the history of photography.
Saul Leiter’s photographs are of the rhythms that lie within the delicacy of the everyday, his vision, as decisive, as his colours, fluid. Raj Lalwani looks back.
From the long lost Bombay tram to a homeopathy propagandist, from Umberto Eco to the BJP, Raj Lalwani engages in an ambling, slightly rambling conversation with Chirodeep Chaudhuri and Jerry Pinto on photography, books, memories and Bombay, our shared difficult loves.
Raj Lalwani turns the pages of Raghu Rai’s warm and fuzzy memoir, and is drawn into memories of his own.
Retracing a runaway love story he photographed in Ladakh, Raj Lalwani ponders over wedding photography and the crisis of authorship.
In a heartfelt, contemplative tribute, Ritesh Uttamchandani recollects his conversations with the elusive master, S Paul.
When we heard of the passing of Kishori Amonkar, the legendary vocalist of Hindustani classical music, one immediately thought of the legendary Raghu Rai and his iconic portraits of her, a part of his larger, extensive documentation of people of the arts. Rai recounts a rather affectionate time when he met Amonkar.
A little more than a year ago, Homegrown had asked a few young photographers to write on one photograph that has greatly influenced their practice. Raj Lalwani on this photograph by Swapan Parekh.