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When Wedding Aggregators Miss the Mark

Are vendors paying for promises that don’t exist?

The wedding season is here—and with it, the frenzied hunt for the perfect photographer, the right décor, and a venue that screams grand. Weddings in India aren’t just celebrations; they’re productions. And over the last decade, aggregator websites have pitched themselves as the ultimate fixers—digital bridges connecting families to vendors who make their big day happen. But behind the glossy ads and Instagram-perfect branding, cracks are beginning to show.

In recent months, professional photographers have reached out to Asian Photography, flagging what they call a “systemic problem” in the wedding industry—where aggregator platforms promise visibility and high-quality leads, but fail to deliver on both fronts. And worse, charge a premium while doing so.

We decided to dig in. And after months of analysing submitted records, one thing became clear: the fairy-tale narrative of India’s booming wedding-tech scene might be glossing over some serious realities.

The Promise vs. the Paywall

For wedding vendors—photographers, makeup artists, and designers—platforms like WedMeGood, Wedding Sutra, and Weddingz are the modern-day marketplaces. Listing yourself is free, but if you want to actually be seen, you pay. It’s a model that has worked well across several industry types, nothing fishy about that.

These ‘premium’ packages are marketed as gateways to guaranteed visibility and “assured high-quality leads”. The pitch? That your next big client—the one willing to pay for your artistry—is only a subscription away.

WedMeGood membership plans for Mumbai

But for many vendors, that dream has turned into an expensive illusion.

The Sales Pitch That Went Sour

Take the case of a local photography business True Shades Photography and its founder Arshid Bhimji. They were approached by WedMeGood’s sales team with an offer—a premium tier promising 300+ leads per year with a premium price tag of ₹3.6L+GST attached.

The founder was initially skeptical, having been burned before. But the sales team insisted that things had changed—that WedMeGood had evolved, that its decade-long experience guaranteed results. 

Convinced, the studio signed up, paying only part of the substantial sum—a decision that would prove to be wise in the future.

Three months and countless follow-ups later, the results were dismal. Fewer than half the promised leads had come through, and most were either spam or irrelevant. And this wasn’t during an off-season lull—it was the peak of India’s wedding season.

Lead numbers showing far below expected rate during peak wedding season

When the founder compared notes with peers, the picture was clear. Dozens of vendors across categories—from photographers to make up artists—were reporting the same story.

A Pattern Emerges

A scan through public reviews and industry forums revealed a troubling pattern. Vendors alleged aggressive sales tactics, misleading assurances and a near-impossible refund process once things went south.

One photographer who bought WedMeGood’s top-tier package for an entire year said he received “virtually no return” on investment. What followed, he claims, was worse—unresponsive customer managers and vague, evasive answers whenever he demanded accountability.

Third party reviews concurring with the experience of True Shades Photography

The Fine Print Problem

Here’s where the story takes a sharper turn.

While sales teams allegedly use words like “guaranteed leads”, WedMeGood’s own Terms & Conditions explicitly say the opposite—that lead estimates are not guaranteed, and that performance may vary widely.

In other words: what’s sold on the call, isn’t what’s written in the contract. This could be a bait-and-switch that would raise eyebrows in any other industry. But in the fragmented wedding market, where most vendors are independent professionals with limited legal recourse, it often goes unchallenged.

WedMeGood’s Response

To ensure balance, we reached out to Anand Shahani, Co-Founder of WedMeGood, with specific questions regarding the complaints.

About Lead Numbers

Shahani acknowledged that discrepancies in lead volumes can occur, even among vendors subscribed to the same plan in the same city. According to him, WedMeGood acts only as a platform, not a lead generator. “It’s ultimately up to the user to click through a profile,” he said, which seems fair.

He shared internal data showing that a mid-tier membership in Hyderabad typically receives 35-58 leads annually, while the top-tier might see 67-111 and that this count is based on historical records of partners on the platform. He added that the lead counts and price would vary depending on the city and demand-supply metrics. 

Screenshot supplied to us by WedMeGood

Shahani added that the company is open to an independent audit by an industry body and claimed that WedMeGood actively invests in spam detection. Verified spam leads, he said, are not counted toward the vendor’s total.

However, vendors do claim that “spam” inquiries remain visible on their dashboards— counted and charged as valid leads.

We followed up with questions about these inconsistencies, the sales team’s alleged pressure tactics, and why the company continues to market packages with “assured” visibility if none can actually be guaranteed.

About Spam Leads

Shahani stated that its system allows vendors to mark leads as spam while also using backend algorithms to automatically detect and flag suspicious activity and said it is working to improve spam detection accuracy.

About Unfulfilled Lead Commitments

Addressing concerns about unfulfilled lead commitments, he reported that 30% of photographers receive more than their promised leads, 68% meet expected commitments, and only 2% fall short, while also emphasising long-term vendor renewals reflecting consistent performance. He also added that many users who discover vendors on the platform later contact them directly through social media, which the company does not count in its own lead data.

About Sales Team’s Tactics

Furthermore, he also clarified that its sales and partner success teams operate separately to ensure both onboarding and ongoing support–describing this as a standard industry practice–and noted that vendors who wish to avoid follow-up calls can request to be added to a “Do Not Contact” list.

When Leads Cost More Than They’re Worth

For vendors like the founder of True Shades Photography, who presented us with extensive records, the situation is clear: the return on investment simply doesn’t add up and despite conversation with WedMeGood CEO–no refund has been made on his request.

He now advises new photographers to skip expensive subscriptions altogether. “Assist experienced shooters, build your reputation, and rely on referrals. It’s slower—but real”.

The Bigger Picture

Aggregator platforms are not inherently flawed. The model works in theory: vendors get exposure, customers get convenience. But when the delivery fails, the imbalance erodes trust and it doesn’t end with one vendor or one company, but snowballs on the entire ecosystem.

Yes, there are success stories on WedMeGood. But the volume of dissatisfaction also raises an important question: Is the platform doing enough to ensure that success isn’t the exception but the rule?

Our Take

The wedding industry thrives on reputation. One bad review can undo years of goodwill—and the same applies to platforms. If WedMeGood and others like it want to remain relevant, transparency must replace opacity. Sales scripts can’t outshine statistics. 

Charging vendors thousands while offering assurances of “potential leads” is not a sustainable business model. Although running a platform has its challenges and we understand that, there needs to be a more robust solution. And standard industry practices aren’t meant to be followed to the T, they’re meant to be improved upon and evolve with time. 

Vendors would do well to remember one golden rule: In an industry built on trust, the best leads are still word-of-mouth—not paywalled promises. 

Epson Launches Robotics Labs and Internship Program to Empower Engineering Students

Epson has launched a new initiative to enhance robotics education in India. The program aims to bridge the gap between academic learning and industry needs by providing hands-on training and practical exposure to modern manufacturing technologies.

As part of the initiative, Epson has established a state-of-the-art Robotics Lab at Ramaiah Institute of Technology (MSRIT), Bengaluru, and plans to set up another at Vellore Institute of Technology (VIT), Chennai. These labs feature Epson’s advanced SCARA and 6-Axis robots used in industries for assembly, material handling, packaging, and inspection.

Epson has also completed its first internship program, training 22 students from four premier engineering institutes over 19 days at its Bengaluru Solution Center. More than 100 students are expected to benefit from similar programs in FY25.

Siva Kumar, Sr. General Manager, Sales and Marketing, Epson India, said “we believe in empowering the next generation of engineers with the tools and training they need to thrive in a rapidly evolving industry.” He further added “our partnerships with academic institutions and the dedicated internship programme are all about giving students the exposure they need to step confidently into the workforce.”

HIPA 2025 14th Edition: How Dubai Exemplifies Soft ‘Power’

The Hamdan bin Mohammed bin Rashid Al Maktoum International Photography Award (HIPA) closed its 14th season recently in Dubai with an awards ceremony at the Museum of the Future (MOTF), celebrating a global set of images that interpreted the theme of ‘Power’. The images included a touch of the elements to the intimate, including the nature’s fury to human endurance. 

  • By Bhavya Desai

This year’s edition drew an extraordinary 87,000 submissions from roughly 50,000 photographers worldwide – that’s a lot of entries – making the jurors’ life difficult. 

And at the heart of it all was an evening – set with the winning photographs of those whose work literalises the show’s theme. The US$200,000 Grand Prize went to Italian photographer Gianluca Gianferrari for a monumental shot of Mount Etna – molten fragments lighting up snow – an image that speaks to geological force and visual drama. 

Other category winners included Karine Aigner’s jaguar portrait (General—Colour) and Ali Jadallah’s portfolio “Burden of Survival”, which documents life under siege and uses storytelling to register human power and its costs. Those images – whether volcanic, predatory or political – treated power as a physical and moral force the camera can both reveal and question.  

But what caught my attention was that HIPA’s organisers framed the competition itself as an exercise in civic and cultural soft power: HIPA Secretary-General Ali Khalifa bin Thalith highlighted the award’s growing global reach and its aim of promoting photography as a tool for communication and social reflection. 

And as an ode to art itself – the ceremony was hosted at one of Dubai’s most symbolic cultural venues, the Museum of the Future – symbolising the push to expand programming (including the Dubai Photo Forum) underlining how the emirate is using flagship cultural events to position itself as a global conveyer for the arts. 

Officials said the scale of entries and the calibre of the jury demonstrate Dubai’s ability to attract and amplify work from across continents.  

Power in the frame

Judges noted that the strongest submissions treated “power” ambiguously and layered meaning into a single frame: natural force (volcanoes, oceans, storms), animal presence (the jaguar’s raw authority), institutional power and the human will to survive (Jadallah’s Gaza series), and even the kinetic authority of elite athletes. 

The new Drone (Video) and Portfolio categories continued to reward long-form, narrative approaches that use sequencing and motion to build a more complex sense of agency showcasing how story telling is king.

Special honours for Rick Smolan and Mark Smith

HIPA also presented special awards recognising careers and contemporary influence. American photographer and author Rick Smolan – a legend received an Appreciation Award similar to a Lifetime Achievement in our part of the world acknowledging the decades-long career in large-scale, impact-driven visual projects. 

Mark Smith was honoured with the Photography Content Creator Award for his prolific wildlife work and digital reach – the kind of storytelling that has made his work on nature and conservation visually viral. 

Stay tuned for exclusives with both these photographers in our magazine.

The Local Hero

UAE’s own Yousef Bin Shakar Al Zaabi also was honoured with a third place in the General Black and White category. This was his second time winning the award – with the previous one in a different category.

India Also Made The Cut

Indian photographers featured among the shortlist and prize-winners this year. In the main “Power” category, Deepak Singh Dogra and in the Drone (Video) category, Shantha Kumar Nagendran placed third. 

It wasn’t a surprise that there were many Indian participants across categories highlighting that, contributors from the subcontinent remain a consistent presence in the competition’s shortlist and exhibitions said the officials.

But apart from the cultural initiative HIPA’s 14th edition reinforced Dubai’s strategy of hosting major cultural platforms to foster artistic exchange and international visibility. 

By hosting the ceremony at the Museum of the Future and linking awards to public programming such as the Dubai Photo Forum, HIPA extends the life of the competition beyond a single gala. Exhibitions, talks and workshops help translate prize winning images into ongoing conversations about climate, conflict, conservation and creativity. 

That civic choreography – public venue, high prize money, international jury and media attention – is great optics and cultural diplomacy play that raises Dubai’s profile as an arts hub while giving photographers access to new audiences.  

OM System is the new Olympus

As OM System re-enters India, they face a significant uphill battle ahead of them. Known previously as Olympus, the brand is known for sticking to its ethos of innovating in the Micro Four Thirds space. Bhavya Desai spoke to Vivek Handoo, Vice President – Head of APAC/Managing Director, OM SYSTEM about what’s the road ahead. Excerpts:

Olympus decided to exit the camera business in 2020. What prompted this decision?
At that time, Olympus’ India operations were largely focused on the medical division. The company aimed to be a clear leader in the medtech space, and that strategic direction led to selling off the imaging business. Before that, in India, continuing the imaging operations wasn’t viable as the company wanted to prioritise its medical business — that’s when we exited the market.

What are the challenges you foresee as you re-enter the Indian market?
A major challenge is perception. Over the last few years, there’s been an overwhelming push for full-frame cameras. Brands like Sony and Canon have built strong narratives around full-frame systems. We’ve always stayed true to our Micro Four Thirds (MFT) philosophy — compact, lightweight cameras that perform exceptionally outdoors. However, in India, the “bigger sensor is better” mindset is still strong. Educating consumers that MFT can produce professional results will be key.

The second challenge is brand recognition. We’re no longer “Olympus”; we’re now “OM System.” A lot of people in India, they read OM System as Om system, which is an auspicious name within the country – so they think that it’s a local business and don’t realise it’s the same Olympus, even though we carry the same DNA and heritage, it’ll take time and effort to establish OM System as the new identity.

Can you still use the Olympus name?
We have rights to use “Olympus” until the end of this year, but all new cameras and lenses since the transition carry OM System branding. By the end of next year, we’ll completely phase out the Olympus name.

Most of the world has shifted to mirrorless full-frame or APS-C systems. Do you think MFT will require more education for Indian consumers?
Absolutely. The Indian market is heavily driven by wedding photography, where full-frame dominates. That’s why we’re positioning ourselves clearly in the outdoor photography niche — wildlife, macro, travel, and landscapes — where our system truly excels.

Our products are compact, rugged, and technologically advanced. In countries like Australia and Japan, OM System is seen as a strong alternative to leading brands because we’ve been able to communicate these strengths effectively. We’re taking the same approach in India, even if it takes time.

What would you say is OM System’s USP?
Three things stand out:

  1. Form factor: Our smaller sensor allows compact cameras and lenses without compromising quality. For example, our new 50-200mm lens is a fraction of the size and weight of its full-frame counterparts.
  2. Weather sealing: Our bodies are IP53 rated, they’re dustproof, rainproof, freezeproof, and shockproof — perfect for the outdoors.
  3. Handheld stability: We pioneered in-body image stabilisation and continue to lead in it. Most of our gear can be used handheld, eliminating the need for a tripod even in challenging environments.

What price range are you targeting in India?
Our lineup starts below ₹50,000 and goes up to ₹7-8 lakh for professional lenses. Our primary focus, however, is the mid-segment — cameras priced between ₹1-2 lakh — where we see the most growth potential.

What is your current product portfolio?
We currently offer six camera bodies, around 32 lenses, several binoculars, and a few audio recording devices. It’s a comprehensive ecosystem for anyone serious about photography.

Will all these products be available in India?
Yes, they’re already available through our national distributor, Creative Newtech, a Mumbai-based company. We currently have around 20–30 dealers onboard and aim to reach 60–80 across major Tier 1 and Tier 2 cities. While we won’t be in every retail outlet, we’re focused on partnering with stores that understand our vision and products.

What are your near-term and long-term objectives for OM System in India?
In the short term, we’re focused on making our full lineup available nationwide, onboarding key retailers, and working with photographers, influencers, and ambassadors who can showcase our products’ capabilities. We’ll also conduct workshops to help consumers experience our cameras firsthand.

In the long term, our goal is to become a clear leader in outdoor photography within the Indian market — a segment that’s growing rapidly worldwide. The Indian camera industry is valued at around $750–850 million, and we see significant growth potential in the coming years.

Which international markets are performing well for OM System?
Japan remains our strongest market, followed by strong performance in China, Australia, and several European countries like Germany and the UK. We’re also seeing rapid growth in the US, Indonesia, and Thailand. Interestingly, after years of smartphone dominance, the global camera market has rebounded over the last four years — and is projected to keep growing.

With the festive season around the corner, what are your plans for India?
We’re introducing several attractive pricing and bundle offers for Indian customers through the festive period, which is from Diwali to New Year. Our pricing will be among the sharpest globally, as this phase is about building brand presence and consumer trust rather than profits.

Are there plans for OM System brand stores in India?
Standalone brand stores may not be immediately viable, but we’re actively pursuing shop-in-shop concepts within leading camera stores. These spaces will allow us to create an OM System experience zone. While we might explore one or two flagship stores in major metros, our priority is visibility through these focused, interactive shop-in-shop setups across India.

Will these be located in big retail chains or specialised camera markets?
Primarily in camera markets. The technical expertise and hands-on experience customers expect are best provided by specialists. Entry-level models will, of course, be available online and through regular retail.

Do you have any market share goals for the near future?
Internally, we’re aiming for around 5% market share in the next couple of years. Given that roughly 70-75% of the Indian market revolves around weddings — which isn’t our focus. We’re targeting the 20-25% segment centred on outdoor, wildlife, and travel photography, which is growing faster than any other category.

Who is your primary customer base in India?
Our focus is on content creators, travel photographers, and outdoor enthusiasts. Post-COVID, many younger consumers have taken up photography as a creative pursuit. With travel booming and social media content creation on the rise, we’re targeting users who value portability, durability, and versatility — not just professionals but also serious hobbyists.

And in terms of video capability?
All our cameras are video-capable, but we recognise the demand for more advanced video features. We’re working on upcoming products specifically tailored to content creators with enhanced video performance while maintaining our strengths in photography.

You mentioned channel partners and e-commerce — what’s the strategy there?
It’s a dual approach. Channel partners are essential because Indian consumers still prefer to touch and try before buying. At the same time, e-commerce will play a crucial role once our Indian subsidiary is established. We’re also creating a network of ambassadors and workshop leaders across the country, giving users a chance to experience our products hands-on.

Workshops will focus on outdoor genres — wildlife, travel, street, and macro — where participants can test the equipment themselves. We believe our core strengths of portability and stability are best appreciated through direct experience, not just online listings.

When do you expect the Indian subsidiary to be operational?
We expect to have our own subsidiary within the next 12–18 months. Initial hiring will happen through third-party arrangements until the entity is formally set up.

Anything you’d like to add for our readers?
We’re genuinely excited about India. It’s our number one focus market globally right now. You’ll see a lot more engagement from us through events, collaborations, and retail presence. India’s creative energy and fast-growing photography community make it a perfect fit for OM System. We look forward to giving Indian photographers the tools to explore the outdoors with freedom, confidence, and innovation.

Top Wildlife Photography Mistakes and How to Avoid Them

Wildlife photography is one of the most rewarding yet challenging genres of photography. Unlike studio or street photography, the subjects wild animals cannot be controlled or posed. Each moment is unpredictable, and the photographer must be prepared to capture fleeting glimpses of life in its rawest form. While the thrill of wildlife photography is undeniable, it also comes with a steep learning curve. Even experienced photographers make mistakes that can compromise their shots, the safety of the animals, or their own experience in the wild. By understanding these mistakes and learning how to avoid them, photographers can elevate their craft and create images that resonate with both beauty and authenticity.

Lack of Research and Preparation

Many photographers, especially beginners, make the mistake of heading into the field without proper preparation. Wildlife does not follow a schedule; each species has unique habits, feeding routines, and seasonal patterns. Entering a location without knowledge of these factors can result in frustration, missed opportunities, or even disturbance to the animals.

For instance, photographing tigers in India’s Jim Corbett National Park requires knowing their active hours—typically early morning and late evening. Ignorance of these patterns can leave a photographer standing for hours without any sighting. Similarly, bird photographers in the wetlands of Bharatpur must be aware of migratory patterns to capture rare species.

How to Avoid It:
Research is key. Consult field guides, watch documentaries, and connect with local wildlife experts to understand the behaviour and habitats of your subjects. Use maps and online resources to scout locations ahead of time. Planning also extends to checking weather forecasts, packing suitable clothing, and ensuring you have the necessary gear for the conditions. Preparation transforms a chaotic shoot into a purposeful expedition.

Using the Wrong Equipment

Wildlife photography requires specialised equipment. Many photographers underestimate the importance of lens choice, camera settings, and accessories. For instance, using a standard 50mm lens may be perfect for landscapes, but it is often inadequate for capturing a distant leopard or a soaring eagle.

How to Avoid It:
 Invest in telephoto lenses, ideally in the 300mm to 600mm range, depending on the type of wildlife you are photographing. Cameras with fast autofocus, high burst rates, and excellent low-light performance are invaluable. Accessories like sturdy tripods, bean bags for stability, and remote triggers can make a significant difference in capturing sharp, composed shots. Always familiarise yourself with your gear before heading into the field—there is no time to read the manual when a tiger steps into view.

Ignoring Lighting Conditions

Lighting is a cornerstone of photography, and wildlife photography is no exception. Many photographers neglect the role of natural light, resulting in flat or poorly exposed images. Harsh midday sunlight can wash out colours and cast unflattering shadows, while low light without proper adjustments can create blurred, grainy shots.

How to Avoid It:
Aim to shoot during the golden hours—shortly after sunrise or before sunset—when light is soft, warm, and directional. Overcast days can provide even, diffused light, ideal for capturing details without harsh shadows. Learn to read natural light, anticipate how it will interact with your subject, and adjust your camera settings for optimal exposure. Sometimes, subtle shifts in position or angle can transform an ordinary shot into a spectacular one.

Disturbing the Wildlife

One of the most common and potentially harmful mistakes is disturbing animals to get a better shot. Approaching too closely, making noise, or startling an animal not only risks your photograph, but can also stress the animal or trigger defensive behaviour.

How to Avoid It:
Maintain a respectful distance at all times. Telephoto lenses allow you to capture intimate details without encroaching on the animal’s space. Move slowly, wear muted clothing, and minimise noise. Understanding animal behaviour can help anticipate movements without interference. For example, knowing that elephants have a keen sense of hearing and smell can help you stay hidden while observing them from a safe distance.

Poor Composition

Even technically perfect photographs can fail if the composition is weak. Common mistakes include placing the subject dead centre, ignoring background distractions, or failing to consider natural lines and framing. A cluttered background can distract viewers from the main subject, reducing the impact of the image.

How to Avoid It:
 Use compositional techniques like the rule of thirds, leading lines, and natural framing. Position your subject against uncluttered backgrounds whenever possible. Experiment with angles and perspectives—sometimes getting lower to the ground or shooting from a higher vantage point adds depth and interest. Take multiple shots and vary your compositions; creativity often comes from experimentation.

Overlooking the Importance of Patience

Wildlife photography is not a hobby for the impatient. Animals are unpredictable, and moments of action may only last a few seconds. Many photographers give up too early, moving on without capturing the decisive moment.

How to Avoid It:
Develop patience and immerse yourself in the environment. Spend time observing animals without the camera first. Learn their routines and anticipate behaviours. Some of the most iconic wildlife images—like the snow leopard staring through the Himalayan mist or the bald eagle swooping over a frozen lake—result from hours of quiet observation and waiting. Remember, patience is a skill as much as it is a virtue in wildlife photography.

Ignoring Post-Processing Techniques

A raw image straight from the camera often lacks the polish needed for publication or portfolio presentation. Many photographers make the mistake of underestimating the power of post-processing. Subtle adjustments can enhance the story without compromising authenticity.

How to Avoid It:
Learn to use editing tools such as Lightroom or Photoshop to adjust exposure, contrast, and colour balance. Crop images to improve framing, reduce noise in low-light shots, and sharpen details for clarity. Post-processing should enhance the image, not overtake it—keeping it natural ensures the photograph remains true to the wildlife moment.

Failing to Focus Properly

Capturing a moving subject is one of the most technically challenging aspects of wildlife photography. Misfocused images are a frequent source of frustration, especially when photographing birds in flight or running predators.

How to Avoid It:
Use single-point autofocus for precision or continuous focus for moving subjects. Back-button focusing can give you greater control. Anticipate movement and pre-focus on areas where the subject is likely to appear. Practice tracking motion to ensure the camera locks on the right point consistently. Sharpness is often what separates an amateur shot from a professional one.

9. Not Understanding Animal Behaviour

A deep understanding of animal behaviour can dramatically improve wildlife photography. Misinterpreting cues can result in missed shots or unsafe encounters. For example, a crouching tiger may signal a hunting stance, while a bird puffing up its feathers may indicate distress.

How to Avoid It:
Spend time observing your subjects before attempting to photograph them. Note how they interact with each other, their environment, and potential threats. This knowledge allows you to predict movements and capture authentic, expressive moments. The more you understand your subject, the more compelling your images will be.

Lack of Backup and Organisation

After a long day of shooting, nothing is worse than losing your photographs due to insufficient storage or poor organisation. Wildlife photography often involves capturing hundreds or even thousands of images in a single outing.

How to Avoid It:
Carry extra memory cards and external storage devices. Immediately organise images by location, species, and date. Backing up files to multiple sources ensures your work is safe and makes it easier to review, edit, and build a portfolio. Good organisation also allows you to track your progress and refine techniques over time.

Focusing Only on Popular Subjects

Many wildlife photographers chase iconic animals like lions, tigers, or eagles, ignoring the smaller, lesser-known creatures that are equally fascinating. This narrow focus can limit creativity and variety in a portfolio.

How to Avoid It:
Explore macro photography, insects, reptiles, and smaller mammals. Sometimes the most captivating stories lie in the unnoticed aspects of nature—a butterfly resting on a leaf, a chameleon blending into its surroundings, or ants working collectively. These moments often require patience and keen observation but reward the photographer with unique images.

Neglecting Safety

Wildlife photography can be physically demanding and sometimes dangerous. Harsh terrain, extreme weather, and unpredictable animals pose real risks. Many photographers overlook these hazards in pursuit of the perfect shot.

How to Avoid It:
 Prioritise your safety at all times. Carry a first-aid kit, communicate your location, and adhere to park or reserve regulations. Avoid unnecessary risks, and never compromise safety for a photograph. Being cautious not only protects you, but ensures that wildlife is also not endangered by your presence.

Real-Life Anecdotes and Lessons

Professional wildlife photographers often emphasise that mistakes are part of the learning process. National Geographic photographer Paul Nicklen once shared how he spent two weeks tracking polar bears, only to miss the perfect shot because of a focus error. The experience, however, taught him to anticipate the animals’ movements and improved his future work. Similarly, photographer Cristina Mittermeier recalls countless mornings spent observing birds in Mexico, where hours of patience yielded extraordinary compositions that a rushed approach never could have achieved. These stories highlight that wildlife photography is as much about observation, patience, and learning as it is about equipment.

Practical Tips for Beginners

  1. Start Small: Begin with local wildlife or birds before tackling large predators.
  2. Learn From Others: Attend workshops, watch tutorials, and study wildlife photography portfolios.
  3. Practice Patience: Set aside long hours to observe and wait for action.
  4. Experiment: Try different angles, lenses, and camera settings to discover your style.
  5. Respect Nature: Ethical photography ensures animals remain undisturbed and habitats protected.

Wildlife photography is a journey of constant learning and self-improvement. Mistakes are inevitable, but each one offers an opportunity to refine techniques, understand subjects better, and deepen your connection to nature. By researching thoroughly, respecting your subjects, mastering your gear, and cultivating patience, photographers can create images that capture not just animals, but the stories and spirit of the wild.

Nikon supports Youth India Programme to empower future Creators

Nikon India has announced its support for the Youth India Programme as an official equipment partner. The initiative, led by Arya Chitra, General Manager of the Youth Global Program, is designed to build creativity and provide students with skills relevant to future careers.

The programme will engage with 20 schools and colleges during this financial year. It offers structured exposure to photography, filmmaking, storytelling, and responsible media use. Students will benefit from Nikon-led workshops, curated projects, and guided excursions. Dedicated media labs equipped with Nikon mirrorless cameras, media kits, and mentorship will also be set up in participating institutions.

According to Sajjan Kumar, Managing Director of Nikon India, early skilling plays an important role in preparing students for the future. The initiative encourages creativity, experiential learning, and career readiness.

The programme has begun its rollout with leading educational institutions, starting with the Global Indian International School network under the Global Schools Group. Arya Chitra highlighted “the Youth Programme is more than just photography/videography – it’s a movement of youth empowerment through creativity and purpose. Through storytelling, visual expression, and digital media, young Indians are finding their voice, and that voice is powerful.”

Sigma 17-40mm F/1.8 Art Lens Review

Watch our video review here

One of the main reasons people invest in a full-frame camera is for the benefit of full-frame lenses. And as many photographers know, APS-C lenses don’t always measure up. But Sigma is aiming to change that with its new 17-40mm F1.8. Since the claim is bold, we had to test it ourselves.
This is the Sigma 17-40mm F1.8 DC Art, priced at ₹78,000. This lens follows the legacy of Sigma’s iconic 18-35mm F1.8,
launched nearly a decade ago. In this review, we’ll walk you through its performance and whether it’s worth the upgrade.

APS-C on a Full Frame

For this review, we tested the lens on a Sony A7 IV in crop mode (1.5x). You might wonder why—but this also makes sense for newer APS-C bodies like Sony A6600 or Fujifilm XT-5. The lens is available in multiple mounts including Sony E, Fujifilm X, Canon RF and Lumix L.

Look, Build & Feel

As expected from Sigma’s Art series, the build quality is excellent. The lens feels solid in the hand, weighing 535 grams, and is built primarily from metal. Key features include:

  • Aperture ring with a click/de-click option
  • Aperture auto-lock switch
  • Two programmable buttons (top and side)
  • AF/MF switch
  • 67mm filter thread
  • Locking lens hood (standard for Sigma)

It also comes with a metal mount, weather sealing, and “Made in Japan” proudly etched on it. The zoom is internal, meaning the balance doesn’t shift while changing focal lengths—perfect if you’re planning to use it on a gimbal. Minimum focus distance is 28cm, giving you a bit of macro flexibility.

Image Quality

Shot on A7 IV

As mentioned earlier we tested this on the Sony A74 body in crop mode with a 1.5x. But we also have featured some images with the A6400 APSC camera – so watch the credits pic info carefully. The 17-40mm on APSC translates to approximately 26 to 60 mm in full frame equivalence which makes this lens versatile and it comes very close to the 24-70mm full frame lens. The F/1.8 aperture on APSC gives you a full frame equivalent depth of field of F/2.8.

The pics in daylight are very vibrant, well saturated and speaks for the quality of the lens. The sharpness and detailing are also good, although occasionally in depth it does add some softness to the sides. What was surprising was that this lens was able to provide great depth – similar to a full frame camera and I think that is its good quality.

Autofocus

While on this subject – lets speak about the autofocus as well. I was impressed by its performance. In our testing the auto focus was very quick both in the low and high focal range. Even with subjects in the foreground the lens focuses fast and delivers sharp results – so that was good to see. The motors are also silent, which adds to the shooting experience and can be important if you want to shoot without getting noticed. In video as well the focusing was smooth and breathing is very minimal, which scores this lens another point in the video category.

Lowlight

Shot on A7 IV

As good as the daylight performance was – the lowlight performance was also impressive. Some images were shot with the Sony A6400 – and for most part the images were pretty good. The sharpness and detailing were evident and even in dimly lit conditions the images were decent. Yes occasional detailing while zooming in was missing and some colour shifting was noticed, although colour shifting is more for a sensor.

Macro/Close-up

Shot on A7 IV

This lens has a minimum focus distance of 28cm, so this allows you to shoot pseudo macro images and the images are decent. The images in this case are ok. I wouldn’t say it’s a big bonus, but in case if you want to use it then you at-least have an option to shoot with.

Bokeh

Shot on A7 IV

Being an F/1.8 lens, at full frame it is equivalent at F/2.8 depth of field. The bokeh is nice to look at, it’s a mix of round and cat’s eyes depending on how light is falling on the subject. I felt the bokeh was better in the lowlight than in daylight in our testing time. But overall a decent performance in this regard.

CA Value

We ran it through Quick MTF and got a score of 0.90. That it fairly high – but in real world application, it is difficult to get that.

Flare and Ghosting

Shot on A7 IV

The flaring and ghosting performance of the lens was very impressive. Even in extreme lowlight and at a wide aperture, the lens displayed minimal flaring and ghosting. Yes occasionally there was a slight hint. But nothing of concern.

Conclusion

So what do we think about the Sigma 17-40mm F/1.8 Art lens? The predecessor to this lens was launched nearly a decade back. And it was time that Sigma offered a new replacement. And in most parts I think it delivers well. The focal length is now closer to a full frame 24-70 F/2.8 standard zoom lens. Yes, it is not all great – for instance the CA performance could be better and the lowlight has some room for improvement as well.
But what Sigma is able to deliver is a good daylight performance that it closer to a full frame 24-70 lens. And that I think for any APS-C shooter, this is a vital and worthy upgrade from a kit lens.
Priced at around ₹78,000 this definitely will feel like a full frame lens on your wallet as well. However, if you are looking forward to shooting professional level content on your APSC camera without upgrading to full frame bodies then this, we would say, is an easy choice.

Canon India Launches Nationwide Retailer Engagement Drive

Canon India has launched Retail Utsav, a partner outreach program targeting over 4,000 retailers across 45+ cities. The initiative began in Delhi, Mumbai, Bengaluru, and Kolkata, and will extend to other regions nationwide. The program is timed with the festive season and aims to engage retailers through product updates, interactive activities, and loyalty rewards.

Retail Utsav will highlight key Inkjet and Laser printer categories, ongoing schemes, and business opportunities. Activities include product quizzes, retail display programs, and gamified engagement formats, offering participants instant rewards and multiple incentive tiers.

The initiative is designed to connect with retailers across diverse regions and store formats, using a mix of knowledge sharing and interactive sessions. Cities in the program include Guwahati, Bhopal, Nashik, Surat, Cochin, Coimbatore, Udaipur, Chandigarh, and Agartala, among others.

According to C. Sukumaran, Senior Director, Products & Communication Centre, the program provides an opportunity to engage directly with retailers, share updates, gather insights, and prepare for the upcoming festive demand.

Through this initiative, Canon aims to strengthen its retail partnerships by combining engagement, information exchange, and rewards, ensuring wider participation ahead of the festive season.

August 2025

Asian Photography Magazine August 2025 Issue is out!

📸 Cover by: Arko Datta

In this issue, explore:

~ Credibility is the Core Quality of Photojournalism – Arko Datta
~ Iconic Photojournalism Moments that Changed History
~ The Role of Drones & Remote Cameras in Modern Photojournalism
~ Freelance Photojournalists and the Gig Economy: The Price of Independence

The Ever Evolving Lens of Truth

There no doubt that the world today has reached a saturation point, from AI or image manipulation, or visuals that can be misleading. But one profession that still stands the virtue of time is Photojournalism. Even today it continues to stand tall – not just as a form of storytelling, but as a vehicle for truth, emotion and impact. And in this issue, we pay homage to that
artform. In our Pro Profile section, we pay homage to the craft of one of India’s finest and most iconic names in the field – Arko Datta in an exclusive interview. His lens has captured moments that words could never fully express – raw, haunting and real.

From the grainy black-and-white frames of war zones to the high-definition aerial views captured by drones, photojournalism has evolved dramatically. The tools have changed, but the mission remains the same – to witness and share. Today, drone technology offers a bird’s-eye view of conflict zones, climate disasters and protests, adding new layers of context and storytelling.

Social media has also changed the game, allowing photojournalists to instantly share their work, build audiences and push boundaries beyond traditional publications. Yet, amid this evolution, the heart of photojournalism remains unchanged – its ability to stop time, ignite dialogue and challenge the status quo.

Arko Datta shares not just his journey, but also reflections on what makes an image unforgettable – composition, timing and above all, empathy.

For aspiring freelance photojournalists, the landscape is both promising and challenging. It’s no
longer enough to just take a great photo – you need to understand platforms, pitch effectively,
and often, brand yourself. Diversifying income through stock photography, digital publications,
grants, exhibitions and even workshops can open sustainable paths.

In this issue, we explore not just the legacy, but also the future of photojournalism. Through the
eyes of legends and the tools of tomorrow, we celebrate a profession that continues to risk,
reveal and remind us of the power of a single frame.

So, Until Next Time…
Happy Reading!!

Canon Celebrates 20th Anniversary of EOS 5 Series

Canon is marking the 20th anniversary of its EOS 5 interchangeable-lens digital camera series. Launched in 2005 with the EOS 5D, the 5 series has played a key role in making full-frame photography more accessible. In 2008, the EOS 5D Mark II brought full-HD video capability to DSLRs, sparking widespread use of video in still cameras.

Subsequent models like the EOS 5D Mark III (2012), EOS 5Ds/5Ds R (2015), and EOS 5D Mark IV (2016) focused on advancements in autofocus, resolution, and performance. In 2020, Canon introduced the EOS R5, the first mirrorless camera in the series with 8K video capability. Its successor, the EOS R5 Mark II (2024), has added AI-driven subject tracking and an advanced image processing system.

With eight models released over two decades, the EOS 5 series has been central to Canon’s imaging evolution and many photographer’s workflows. Canon says it will continue to innovate and support the creative community through ongoing development of the EOS 5 line.