Album Ayodhya '24
Photo essay for TIME magazine on the frenzy leading to the consecration of the Ram temple.
The World of Mahesh Shantaram. Documentary Photographer and Data Scientist for the Public Good.
Politics In the paradox that is Ayodhya, old and new comes down to a point of view. I was witness to the myth-making frenzy over the merger of temple and state.
Patriarchy I scribbled: "If only one parent's name is required in my passport, I would like it to be my mother's. Since I am equally a son to my parents, I trust this should not pose a problem to your department."
Essay Journey through the intertwined narratives of four women's wedding days and the author's own journey into and out of wedding photography.
Series A fictional narrative through one dreary wedding night in an India tearing at its seams.
Book A fictional narrative through one dreary wedding night in an India tearing at its seams.
Did BMRCL stage a payments disruption to nudge users toward smart cards? A data-driven investigation into the February 2025 fare hike.
Get to know Bengaluru City through the lens of its metro's ridership. See how commuters and weekenders use the metro.
Mahesh Shantaram
Data Scientist.
Documentary Photographer.
Visual Storyteller.
Bangalore, India.
Hi, I’m Mahesh Shantaram, a Bangalore-based data scientist working in the public interest, with an earlier career as an independent documentary photographer.
For over a decade, my work focused on long-form, narrative documentary projects examining Indian society, politics, and institutions. My photography projects were built over years rather than assignments, requiring deep fieldwork, pattern recognition, and the ability to synthesise complex social systems into coherent, accessible narratives. This work was shown internationally at festivals including Photoquai (Paris), PhotoPhnomPenh, Delhi Photo Festival, Addis Photo Festival, Chobi Mela, and Angkor Photo Festival, among others.
One such project, Matrimania, used India's wedding industry as a lens to examine class, aspiration, consumption, and social power. Another, Last Days of Manmohan, documented political culture in India during the lead-up to the 2014 general elections by deliberately misusing the visual language of news photojournalism to study politics as theatre. More recently, my work turned to portraiture and lived experience, focusing on racism faced by African migrants living in India through projects such as Racism in India: The African Portraits.
Over time, the analytical spine of this work began to matter more to me than the medium itself. I transitioned into data science to continue doing what I had always done: interrogating systems, working with evidence, and communicating complex realities to the public. Today, I work at the intersection of data analysis, visualisation, and storytelling, using statistical reasoning and computational tools to make sense of public systems, infrastructure, and policy.
I hold a degree in Computer Electronics and a diploma in photography from Paris, and I've been based in Bangalore since 2006. My work—whether photographic or computational—remains driven by the same question: how do large systems shape everyday life, and how can we make those systems legible to the people who live inside them?
Circumstances once forced me to steer a Volvo bus to safety. I've also flown a plane after six pints of Guinness (not recommended). I still can't drive a car.
Type a message below and hit send to open a chat with me.
Get in touch to say hello.
ms@thecontrarian.in