A story often told in film circles is that Raj Kapoor had a strict rule for any still photographer on his set — wait till the scene is wrapped up to click photos of the leads. But legend has it that the filmmaker was so impressed by photographer Damodar Kamat’s work in Jis Desh Mein Ganga Behti Hai (1960) that he hired him for all his forthcoming movies, knowing that he had a knack for discreetly capturing beautiful images while a film shoot was underway. That is how cinephiles came to see rare images from Sangam (1964) and Teesri Kasam (1966), through Kamat’s lens. Enduring Legacies: Edition 1 — Timeless Frames: Photographic Journey Through Indian Cinema, a six-day exhibition in the city, will celebrate the late gifted photographer whose pictures have served as the bridge between Bollywood of the past and today.

The latter’s shot for ‘Guide’