in this fashion is a sign of how far superior it is to any work on Indian photography and indeed to most social histories which take "India" as their subject. NOTES See Ray McKenzie, "The Laboratory of Mankind': McCosh and the Beginnings of Photography in British India", History of Photography 11, No.2 (April-June 1987): 109-118, and Ray Desmond, "Photography in Victorian India", Journal of the Royal Society of ARts 134 (Dec. 1985): 48- 61. Desmond, "Photography in Victorian India", p. 53, and G. Thomas, "The Teccavi' Photographs", History of Photography 4, No. 1 (January 1980), p. 49. Christopher Pinney, "Classification and Fantasy in the Photographic Construction of Caste and Tribe", Visual Anthropology 3, Nos. 2-3 (1990), p. 262; the work in question is J. Forbes Watson and J.W. Kaye, The People of India: A Series of Photographic Illustrations, with Descriptive Letterpress, of the Races and Tribes of Hindustan, 8 vols, (London: India Museum, 1868- 75). See Vinay Lal, critical introduction to M. Pauparao Naidu, The History of Railway Thieves in India (4th ed., Madras: Higginbotham Limited, 1915, reprint ed., Gurgaon, Haryana: Vintage Books, 1996), and esp. pp. xvi-xix for a discussion of photography in relation to the colonial sociology of knowledge.