On the other hand, this new importance given to photography, has also inspired and attracted to the big cities of India, many international photographers who are said to be more into abstract, conceptual and creative photography than famous Indian photographers such as Raghu Rai, who are known for their photojournalist skills and aesthetics considered classic or realistic in nature - people, landscapes and what is blatantly recognized as travel photography or the India of Lonely Planet.
Whether all this fits into theoretical debates on Art or to the various theory discourses accepted by the international photographers community and the Art snobby/bitchy fraternity, is up to the reader/thinker to decide, but no one can deny that if we are looking for a unique style of photography to be called Indian, we can surely look at every single bharatiya wedding album sitting in the dusty corner of any kind of accommodation of any kind of society strata in India be it a slum in Dharavi, a penthouse in Bandra, a chawl in Lower Parel or a historical building in Colaba.
Half of the job in the business of wedding photography relies on retouching softwares used with digital files and cameras and that allow photographers to bring out the creativity accumulated during their IT and graphic design studies. People and married couples are copied and pasted in floral, architectural and spaceshipeal backgrounds; colors are emphasized and saturated; peoples faces are on the gothic white skin tones and everybody needs to essentially look very serious, sad and solemn in the face of a new scary wedded life.
