An exhibitions of Black & White Photographs To do is the most important aspect of our life and this links us with our present, past and fu-ture. Therefore, the choice or decision one makes at any particular point of time, one realizes, transforms into an agenda for our future. And these agendas are emotional tools that reveal interesting facets of our body, soul and mind. B Narsing Rao, celebrated film maker, poet and painter, comes forward with fragile links of a past which is revealed some twenty years later in the form of a monochromatic photo exhibi-tion titled ‘Unsung Moments’. This series of photographs takes us back into a trajectory where familiar, yet a distant memory gradually greets the eye. And automatically, the memory initiates the process of connecting us to a fragmentary moment of the past, which we personally may not have lived, but one that existed simultaneously in the linear passage of our personal time. A casual, yet emotional documentation of people and places unravels a Hyderabad, which was moving at a quaint and unhurried pace of time. Discarding all sorts of iconic and monumental facets of the city ' Unsung Moments'leads us into a comfort zone of a lively past, which comprised and contributed to the fabric of life. Winding through busy bazaars and lazy by –lanes, crossing the countryside and stopping to check on people, the photographic enquiry registers an intimacy with the landscape and the life busting in its lap. Vendors and wanderers willfully pose before the camera. And their portraits unfold their lives of task, toil and triumph, in fact they are the leitmotif of Rao’s Photographic journey. With a few exceptions of still life, where he focuses upon engaging forms such as a close up of a shanty door or niches of a ruin, or even frames of junkyards, it is the people in his journey who bind the multiplicity of life and its celebrations. The task, toil and the triumph of human spirit etches for the spectator a spectacular record of life. A record that portray the wanderlust of the gypsies in search of livelihood or saga of the settlers who are engaged in toil of a lifetime. Obviously, what meet the eyes of the spectator are the grueling lives of this unsung humanity. But, besides capturing the existential futilities, the visage of these people reflects a joyousness and complete oneness with life. The experience of viewing this series is further enhanced by the fact that life, two decades ago, was absolutely the same as it is today. But, clearly the unhurried pace of life denotes a special texture and tone to this fabric called life. The magnificent play of light upon the forms in the photographs uplifted this documentary to almost an art form. The lack of color only accentuates and endorses the play of gray between the starkness of black and white. While the people in the pictures provide umpteen references for the viewer’s understanding, the still life, sans humans, contributes to this display a high degree of artistry. Inherent in these images is a fine sensitivity of abstract art. Especially the junkyard stills and the perspective shoots, conveys the urge of the photographer who focuses upon uninspiring details to freeze fantastic result eventually. Above all, every still unravels a significant story of life in Hyderabad. Real stories that have contributed to the largesse are of its history which remained unsung and unnoticed.