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Abstract
ABSTRACT This paper delves into the literary works of Frederick Walter Champion, particularly focusing on With a Camera in Tiger-Land, The Jungle in Sunlight and Shadow, and the article titled ‘From the Photographer’s Point of View’. Additionally, it examines Jim Corbett’s My Kumaon – Uncollected Writings to investigate the early phase of tiger photography in India, portraying it as a manifestation of imperial power. This power shift is subtly illustrated through a notable transformation in British sportsmanship from gun to camera. The intersections of human-animal relations undergo a profound reconfiguration as a sportsman’s tools and identity evolve with the integration of the camera into the hunting landscape. The concluding years of the British Raj in India ushered in a more civilized, advanced, and nonviolent approach to human-animal interactions through the advent of camera hunting. The act of photographing majestic felines serves as a tangible representation of the burgeoning animal welfare movement in the West and emerges as a symbolic gesture towards animal conservation in India. Furthermore, this paper delves into the exploration of how British hunters strategically employed cameras and photography as compelling justifications to uphold the integrity of their sportsmanship. By framing animal photography within the realm of sport, the discussed texts provide an avenue for this article to scrutinize tiger photography as a discursive space intricately interweaving the concepts of visuality, animal, power dynamics, and conservation efforts.
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