Author Archives: Anirudh Iyer

Nikon Z5 II Review – Best Entry Level Full Frame Camera?

The Nikon Z5 II is creating buzz in the entry level camera space, but does it deliver where it matters? In this detailed review, we go beyond the spec sheet to help you understand how the Z5 II performs in real-world scenarios. Whether you’re stepping into full-frame for the first time or looking for a reliable second body, this video will give you clarity. This isn’t just a rundown—it’s a practical look at why the Z5 II could be a smart investment for photographers. Stay till the end for our verdict on whether the Z5 II is just an update—or a step forward. Like, comment, and subscribe to support more thoughtful reviews.

Tracking Adrenaline – Jamey Price

Jamey Price is an award-winning motorsports photographer whose journey began from love for watching races which transformed into a lifelong passion for storytelling through imagery. From shooting local sports to covering global racing events, Jamey has carved a niche with his dynamic style, sharp eye for light, and dedication to capturing moments that can’t be repeated. Asian Photography spoke to him about creativity, handling client needs vs creative needs, innovation, future and more. Excerpts:

How did your passion for motorsports and photography begin?

I have always loved motorsport and Formula 1. I grew up watching racing on the television and it seemed so fast, colourful, exotic and cool. Photography was a much later passion that I picked up in college when I was gifted a very basic, entry-level DSLR and kit lens. But I knew I loved it from minute one. 

How did you begin your professional career?

I took the camera I was given and brought it to all kinds of college level sporting events. From swimming to horse racing, to soccer and football and everything in between I could find. It all taught me about how to use a camera, how to understand light in different conditions and storytelling aspects. I did two internships with newspapers that were in my area and learned so much from the other photographers and from the picture editors. It really helped me understand the industry. It was a long leap from interning to working professionally. So I did some weddings , and random other photography assignments before I started earning money at it.


I was also working a full time job for a period until I could get my photography work off the ground. It was a slow build of saving money to upgrade equipment and meeting new people that would give me new & better opportunities. My first racing work came from the internships that allowed me to build my portfolio and eventually paid work covering a few races for a UK-based wire service. Everything I’ve done has really come from the network of people that I met along the way at different levels of sporting events that allowed me the opportunity to go cover something else. 

What was your biggest lesson that still carried immense significance?

I think one of the biggest lessons I’ve learned is that being a professional photographer isn’t about how good you are at taking a photo. But also how good you are at marketing, making connections with other photographers and business owners. I know some amazing photographers that will never be able to go truly professional because they are too afraid to talk to anyone. 

How do you prepare for race days?

A lot of my race day prep involves looking at weather forecasts, walking the track and spending some time watching older races. If I’ve never been to a track, watching older races can help you understand some of the corners, the racing line the drivers use, and seeing how it looks from a broadcast TV point of view. But nothing will be more valuable than actually being there and walking it to see how to get from corner 1 to corner 5 etc.
Gear wise, my gear list doesn’t really change from event to event. I carry a long prime lens (400mm f2.8) as well as lenses that range from 70-200 F/2.8 down to 14-24mm. I find zoom lenses most useful trackside , but I carry a few prime lenses for pitlane and paddock work, and lastly I shoot on two Nikon Z9 mirrorless bodies that I have with me and on me at all times.

How do you innovate in motorsport photography? Do you pre-visualize your end frames?

Innovation is hard. Everything has been done before by someone. I don’t try to innovate. I try to tell stories. Tell stories for my clients. What was their weekend like? Trying to find cool locations on track that show how amazing the cars or the track is. 

What’s a misconception about motorsport photography you’d like to clear?

Motorsport photography is NOT AT ALL glamorous. It is long hot sweaty days, with miles and miles of walking while carrying your own gear and editing your pictures after a 17-hour work day, and then doing it all over again tomorrow. It’s an amazing job and great way to make a living, but it is not for everyone. 

What is the ratio of photojournalistic photos to creative photos you take? What’s the extent of post processing you do in either?

Honestly it depends on my client. Some clients allow and want me to be creative and have fun. Other clients want me to hit their shot list and do it in a somewhat boring way to make the sponsors on the car happy. But I try to build up enough of a relationship with my clients to make sure they know that while I am capable of doing the boring stuff, I’m better at the creative stuff, and that’s what drew them to my pictures in the first place. Any photographer could go do the boring stuff. So let me do what I’m good at.
As far as post processing goes, I always tell people that for motorsport, you need to be a good photographer first, and an editor third or fourth. When delivering hundreds of images per day, I can’t spend time adding rainbows and unicorns to an image with post processing. My “editing” involves a quick contrast or crop adjustment and checking to make sure the picture is sharp where I want it to be sharp, and send it. It is truly 3-5 seconds per image before I deliver it. My clients are expecting images within 30-45 minutes after a practice session or race is over. So I can’t spend many minutes adjusting each picture. It needs to be more or less the way I wanted it straight out of the camera. 

Could you tell a story where you missed a crucial shot and what you learned from it?

There is really only one shot that comes to mind. When Daniel Ricciardo won the Monaco Grand Prix for Red Bull Racing in 2018. I heard a rumor that he was going to jump into the famous Monaco harbour after he won, and so I waited for him by a railing to jump into the water, but instead he only jumped into the Red Bull pool, and didn’t have time to jump in the harbour. I missed the iconic shot of him doing a swan dive into the pool, but it happens. You can’t get every picture you ever wanted to capture. You move on, and try to get the next one. 

What are some learnings you wish you were taught when getting into this field?

The things I have learned , and tried to share with others is the business knowledge I’ve learned. This is a “cool” job with great access to big events, and unfortunately because of that, many people are willing to do it for free, or almost free. But that doesn’t help you, or other photographers coming after you. Charging money for our services is important because we are providing an important part of a team, driver or sponsors’ marketing. 

Where do you see the future of this genre and your photography?

I’m not sure what the future holds. I know AI is changing things for a lot of industries, but will it replace live sports coverage? I really don’t know. But for the time being, covering a moment that can’t and won’t happen again is important. 

Your three key pieces of advice for people getting into motorsport photography.

1) Go to races. Any races, not just F1. Go to anything where there are wheels and an engine. Learn about photography and story telling and light.

2) Don’t rely on gear to make better pictures. You don’t need the latest and greatest camera and lenses to make amazing images. Photographers have been making amazing images in motorsport long before 20 frames per second, and car autofocus tracking and 40mega pixel cameras. You don’t need fancy to make something cool that makes you stand out from the other fans trying to become a professional.

3) Be passionate about whatever it is you’re doing. 

Apple’s iOS 26 Brings Changes to Imaging Experience, Camera APP and Photos

Apple’s new design overhaul brings an update to the Camera app in iOS 26, iPadOS 26, and macOS Tahoe 26, making everyday photography feel more immersive and intuitive. The redesigned UI prioritizes easy reach for core controls while minimizing distractions. Buttons, sliders, and toggles now live within a refined control layer that adapts as you frame shots or switch modes. In the app, navigation and tools morph fluidly to stay out of the way until you need them, keeping the focus squarely on capturing the moment. New gestures streamline access to pro tools, and the layout now curves with the edges of modern displays for a more cohesive, hardware-conscious experience. 

Possibly one of the most disliked upgrade for users was the redesigned Photos App in iOS 18, which now gets a much needed redesign. The new Photos app in iOS 26 complements the new Camera experience with a cleaner, more fluid interface. Browsing feels faster and more immersive, with dynamic transitions and updated navigation that responds to how you interact. Albums are easier to organize, search is more intelligent, and editing tools are now grouped more intuitively. Built with the new Liquid Glass design language, every element — from buttons to background panels — subtly reflects your content and surroundings, creating a photo viewing experience that’s as rich and expressive as the memories it holds.

Apple also debuted the new Liquid Glass interface – which is a translucent, responsive material that shapes the entire experience, refracting surrounding content and reflecting your environment in real time. Liquid Glass marks a leap in UI design for Apple, making interactions in the Camera & photos app across Apple’s platforms more alive, tactile, and visually rich.

This update will be available from iPhone 11 onwards (Apple Intelligence updates available only on iPhone 15 Pro and iPhone 16 series phones). The Developer version of iOS 26 is now made available and the Public Beta will be available from July with the final version coming out in Fall this year.

Here’s how you enable iOS BETA on your iPhone: https://www.youtube.com/shorts/0gFj34_t7KU

June 2025

Asian Photography Magazine June 2025 Issue is out!

📸 Cover by: Jamey Price

In this issue, explore:

~ Tracking Adrenaline – Jamey Price
~ Detailed Shots That Matter: Close-ups That Tell A Story
~ From DSLRs to Drones: Expanding Auto Photography Toolbox
~ Night Rides: How to Shoot Cars After Dark
~ How to Build A Portfolio To Appease Motorsports Teams

Lexar Appoints Supertron Electronics as Indian Distributor

Lexar has named Supertron Electronics Pvt. Ltd. as its official pan-India distributor for key product categories. The agreement will see Supertron handle the distribution of Lexar’s storage products—including pen drives, microSD cards, internal and portable SSDs, and DRAM modules—across both consumer and enterprise markets.

With this move, Lexar aims to expand its distribution network and improve product availability across the country. Supertron’s nationwide presence, including over 50 branches and operations in more than 750 cities, is expected to support this goal. The company’s reach also includes a sales force and a network of more than 15,000 channel partners.

Fissal Oubida, General Manager – India, Middle East, and Africa at Lexar, said that India represents a key market for the company and that the partnership is part of its strategy to broaden its footprint in the region.

Currently, Lexar holds a leading position in the CFexpress and SD card segments in India. The company now plans to grow its presence in other areas, such as SSDs and DRAM solutions.

Vibhor Agarwal, CEO of Supertron Electronics, stated that the collaboration would allow them to offer a broader range of memory and storage products to their customer base and aligns with evolving technology demands in India.

The partnership reflects an effort to adapt to increasing data storage needs across a range of users, including professionals, gamers, and enterprises.

Sony Unveils FX2 Cinema Camera

Sony has unveiled the FX2, a hybrid cinema camera aimed at next-gen filmmakers. It combines the 33MP full-frame sensor from the a7 IV with a compact, video-centric body similar to the bigger FX3 and a tilting 3.68M-dot electronic viewfinder (EVF).

The FX2’s video capabilities include shooting 4K 10-bit 4:2:2 All-I recording, dual base ISO (800/4000) in S-Log3, and up to 15 stops of dynamic range. It also includes photo-friendly features such as a mechanical shutter and the ability to capture JPEG or HEIF stills even while recording video.

Designed with videographers in mind, it features a large REC button, full-size HDMI, multiple mounting points, shutter angle control, a cooling fan, and support for the optional XLR top handle. A fully articulating screen, anamorphic de-squeeze (1.33x & 2x), and new dynamic active stabilisation mode to enhance versatility.

Autofocus improvements include Sony’s AI-powered real-time recognition AF for people, animals, insects, and vehicles, plus AI auto framing. However, 4K 60p recording uses an APS-C crop (1.5x), and 4.7K RAW is only possible via external recording.

The FX2 will be available in August in two options:

  • Body-only: $2699 or ₹2,25,000 (approx.)
  • With XLR handle: $3099 or ₹2,60,000 (approx.)

With its hybrid-friendly features and improved usability, the FX2 is essentially an a7 IV in an FX3-style body, but with an EVF and better stills support.

BenQ Unveils “Retina-class” 5K Professional Monitor

BenQ has announced the PD2730S, a 27-inch 5K monitor designed for professionals in design, content creation, and visual production. With a “Retina” class resolution of 5120 × 2880 pixels which equates to a pixel density of 218 PPI.

The PD2730S features 98% DCI-P3 colour gamut coverage and Delta E ≤ 2 accuracy. It is both Pantone and Calman Verified, with BenQ’s AQCOLOR Technology supporting colour consistency. Their “Nano Matte” Panel helps reduce glare, and an integrated KVM switch enables control of multiple devices from a single setup.

Connectivity options include Thunderbolt 4, USB-C, and HDMI. Thunderbolt 4 supports data transfer up to 40Gbps, power delivery up to 90W, and daisy-chaining of multiple monitors, offering compatibility with MacBook workflows. The monitor also includes Display ColorTalk and Palette Master Ultimate softwares for calibration and colour management across devices – suitable for workflows including VFX production, high-resolution photography, and cinematic video editing.

“The PD2730S is a response to the evolving expectations of today’s creative workforce — professionals who require uncompromising accuracy, fluid Mac ecosystem integration, and enhanced multitasking capabilities,” said Rajeev Singh, Managing Director, BenQ India.

The PD2730S is priced at ₹1,02,500 and will be available through the BenQ e-Store, Amazon India, and select electronics and IT retailers.

Slow Mind, Soulful Stills – Mahendra Bakle

Mahendra Bakle is a travel and documentary photographer from India whose work captures cultural stories and human connection across Asia. His images—often set in remote villages—blend natural light, emotion, and authenticity to reflect the soul of a place. Previously featured on our On The Horizon section, he’s now an internationally acclaimed artist featured in publications like National Geographic and more. Asian Photography caught up with him, talking about the evolution of his work, travel lessons, underrated skills and more. Excerpts:

How would you introduce yourself to someone who’s never heard of your work? 

I’m a travel and documentary photographer from India. My work focusses on capturing  cultural stories, traditions, and people in their natural environments, typically in remote and  lesser-known regions across Asia. I’m especially drawn to moments where light, texture, and  human emotion intersect. I spend time getting to know the people I photograph, typically sharing conversations, tea, or even laughter before lifting the camera. This approach helps me create authentic, respectful portrayals of the soul of a place and its people. 

But, at the core, I remain a curious traveller with a deep love for culture, light, and storytelling through the lens. 

How have you and your work evolved over the years? 

Over the years, both my photography and my personal perspective have evolved in profound  ways. When I first started, I was focussed mainly on capturing beautiful moments — interesting  faces, scenic places, or striking compositions. But as I travelled more, especially through  remote villages and culturally rich regions across Asia, I realised that the real power of  photography lies in storytelling and human connection. 

I’ve grown from being a silent observer to an engaged documentarian. Now, I spend more  time understanding the people I photograph—their lives, traditions, and daily rituals. That  connection reflects in my work, which has become more intimate, emotionally layered, and  culturally grounded. 

I’ve evolved technically as well. My editing style has become more refined—natural tones,  subtle light enhancements, and a focus on preserving authenticity. Tools like Lightroom and  Photoshop have helped, but the biggest change was internal: I’ve learned to slow down, wait for the right moment, and let the story reveal itself rather than chase it. 

Each image today feels less like a photo and more like a conversation—a small but powerful  bridge between cultures. That’s the evolution I’m most proud of. 

What’s the earliest lesson travel has taught you, and is it still relevant today? 

One of the earliest and most important lessons travel taught me is humility—the  understanding that no matter how much you know, there’s always more to learn from the  world and its people. When I first began travelling for photography, I would enter a place with a camera and curiosity. But very quickly, I realised that true stories don’t come to you unless you slow down, listen, and approach every place and person with deep respect. 

While sitting with a tribal elder in Nagaland or sharing coffee with a monk in Myanmar, I learned that being present and open-hearted reveals far more than any guidebook ever could. That lesson remains just as relevant today—if not more—especially in a world where things move fast and surface-level interactions are common. For me, meaningful photography still begins with humility, patience, and respect. These are timeless values, both in life and in art. 

Has Instagram changed your perspective about photography? 

Yes, Instagram has definitely influenced my perspective—both in positive and challenging  ways. In the beginning, it pushed me to be more consistent with my work, to develop a recognisable style, and to curate how I present stories. It helped me connect with photographers and cultures around the world, and brought my work to people I would have never reached otherwise. That visibility has opened doors to exhibitions, collaborations, and even meaningful conversations with strangers who resonated with an image. 

However, I’ve also had to be careful not to let the platform dictate my vision. With the  constant pressure to post, chase engagement, or follow trends, it’s easy to lose sight of why we begin in the first place. I’ve learned to use Instagram as a tool to share, not perform—to stay true to the slower, more intentional documentary style that defines my work, even if it doesn’t always follow the algorithm. 

My core values in photography — storytelling, authenticity, and connection—remain unchanged even with the challenge that Instagram has presented. 

With photography becoming more democratized now, what’s the most underrated skill  newcomers ought to focus on? 

In today’s world, almost anyone can take a beautiful picture—cameras are smarter, editing  tools are more accessible, and inspiration is everywhere. Amidst all this, I think the most  underrated skill is developing and staying true to your own unique visual style and voice. 

When I look back at my journey, what set my work apart wasn’t just technique—it was the  consistency in how I saw and told stories. For me, that meant focussing on natural light,  human connection, cultural authenticity, and subtle, respectful colour tones. It took time to  discover that voice, and even more discipline to protect it from trends and algorithms. 

Newcomers often try to replicate popular styles for quick attention, but I believe true growth  comes from shooting what you genuinely care about, again and again, until your work begins  to speak for you—even without a caption. 

So yes, learn the technicals, explore platforms, be inspired—but also spend time  understanding what moves you, and allow that to shape your photography. That’s what will  make your work stand out in the long run. 

How do you think one can stay curious after mastering the basics? 

I stayed curious by remembering why I started photography in the first place—not just to make technically perfect images. Even after mastering the basics, I still approach every assignment or journey with the mindset of a student. Curiosity grows when you step out of your comfort zone—whether it’s visiting a new place, learning from someone else’s process, or even trying to see the familiar with fresh eyes. Sometimes, I’ll go back to the same village or location, but with a different lens—emotionally and literally—and it leads to a completely new perspective. 

I also find inspiration in slowing down. When you stop chasing shots and start observing  more deeply, new layers begin to reveal themselves—light changes, human expressions shift,  stories unfold. That’s where curiosity thrives. 

So for me, the key is to keep exploring—not just the world, but also within myself.  Photography is not a destination; it’s a lifelong journey, and there’s always something new to  learn, feel, or express. 

How do you teach someone to capture the story of a place rather than just a pretty  snapshot? 

I tell them to slow down, observe, and connect with the people and rhythm of the place.  Understand the culture, light, and emotions around you. A story isn’t just seen—it’s felt.  When you feel it, the camera becomes a bridge, not just a tool. That’s when storytelling truly  begins. 

How do you measure your success? 

I measure success not just by awards or recognition, but by the emotional connection my  work creates. When someone sees one of my images and feels something—curiosity,  empathy, respect—that’s success. It’s also in the trust of the people I photograph and the  stories I’m honoured to share with honesty and heart. 

What’s your photographic signature? 

My photographic signature lies in capturing authentic cultural moments with natural light,  soft tones, and emotional depth. I focus on people in their environments—often in rural or  remote regions—framed with simplicity, texture, and quiet storytelling. My images aim to  reflect not just what a place looks like, but what it feels like. 

Capturing Travel Chronicles – Chris Ha

Chris Ha’s work is a visual treat to see, not only because of the passions that’s reflected in his well-composed frames, but also in the effort he puts in breaking tough concepts of post-processing in his videos. Spanning across multiple genres, his work has amassed admirers and acclaim from around the world. Asian Photography caught up with him to talk about his journey, mistakes, key learnings and more. Excerpts:

When did travel photography become more than just a hobby for you?

I’ve always loved photography. Back in my college days, I worked at a photo lab and would spend hours

studying other people’s photos, trying to understand what made them compelling. For years, I actually

focussed more on concert photography — capturing fast-paced moments in low light taught me a lot about timing, composition, and storytelling. I’ve carried a camera with me everywhere, but it wasn’t until my wife and I travelled to Japan in 2023. Travel photography really became something more. I posted a few photos from that trip on social media, and they unexpectedly went viral. That’s when I realised I wanted to take travel photography more seriously and share it as a form of art. It’s such a rewarding feeling when people connect with your work and see the beauty you saw at that moment.

What’s the first thing you learnt doing travel photography?

One of the first lessons I have  learned is that the best moments in travel photography often happen when you least expect them. You have to let the scene come to you – not the other way around. That learning really showed itself during a trip to the Atacama Desert in Chile. We were driving in the early hours of the morning on our way to another location when I spotted something out of the corner of my eye. A

herd of vicuñas were quietly grazing, with the Andes mountains in the background, and the first light of  sunrise casting a golden glow across the scene. It was surreal. I quickly asked the driver to pull over, grabbed my camera, and shot it right out the window. That photo ended up being one of my favourite captures. It was a reminder that sometimes the most powerful images aren’t planned – they happen when you’re fully present and ready to respond.

What are some mistakes you made early on that you wish someone had warned you about?

One big mistake I made early on was thinking I had to capture everything. I’d try to document every angle and every moment, afraid I’d miss something. But in doing that, I wasn’t really slowing down to observe or be intentional with my shots. Over time, I realised that great photography is less about volume and more about vision. It’s about waiting for the right moment, the right light, and the right feeling. 

Another lesson was realising, you don’t need the latest gear to take great photos. I used to shoot on an older Canon 5D Mark III until just last year. It didn’t have all the features of modern mirrorless cameras, but it helped me master the fundamentals. Having limitations pushed me to be more creative and intentional every time I picked up the camera.

How do you handle failure or disappointment?

I’ve definitely had trips where the weather didn’t cooperate, access was restricted, or the photos just didn’t turn out the way I imagined. It’s frustrating at the moment, but I’ve learned to see those situations as part of the process. Not every shoot is going to be a win, and that’s okay. 

I try to treat those moments as a reminder to stay flexible and present. Sometimes the best shots happen

when you stop chasing the original plan and start paying attention to what’s around you instead. And even if I come home without the photo I wanted, I’ve usually gained something else – a new idea, a better understanding of the location, or simply a good story. Those “misses” have helped me grow just as much as the successful shoots.

At what point did you feel confident enough to start sharing your knowledge with others?

It was after my first few travel photos went viral on Instagram. Until that point, I was mostly shooting for myself. There’s always that doubt in the back of your mind—wondering if people will connect with your work the same way you do. But seeing others respond to the photos and ask how I captured certain shots gave me the confidence to start sharing more of my process. That acknowledgement helped me realize that what I’ve learned could actually help others on their own journey. And the more I shared, the more I enjoyed being part of that creative exchange.

Was teaching always part of the plan, or did it happen naturally as you grew in your career?

It was never part of the plan, but I genuinely enjoy it. As I started sharing more of my work, people began

asking questions — about my camera settings, editing, or how I captured a specific moment. I realised I liked helping others figure it out. It’s fun to support someone in their own creative journey and help give them the confidence to share their art. The world just feels richer when more people are showing how they see things in their own unique way.

Has teaching others ever helped you see your own work in a new way?

Absolutely. Teaching forces you to slow down and really think about why you do what you do. When I break down my process for someone else, it makes me more intentional with how I shoot and edit. Sometimes I’ll explain something I do out of habit, and in doing so, I realise there’s actually a more efficient or creative way to approach it.

It’s also inspiring to see how other people interpret the same scene or technique differently. That perspective reminds me to stay curious and keep evolving. Teaching isn’t just about giving knowledge – it’s a two-way exchange that keeps me learning too.

What’s one piece of advice you always give to new photographers, no matter where they’re starting from?

Just start shooting and get your work out there. Don’t wait until everything feels perfect. The best way to grow is by doing, experimenting, and learning as you go. And don’t be afraid to share your work, even if it feels daunting at first.

Putting your photos out into the world, especially on social media, can feel intimidating. You might worry

about what others will think or whether your work is “good enough”. But the truth is, sharing your art is part of the process. It helps you build confidence, get feedback, and find your voice. Everyone starts somewhere, and the only way to improve is to keep showing up.

May 2025

Asian Photography Magazine May 2025 Issue is out!

📸 Cover by: Chris Ha

In this issue, explore:

Capturing Chronicles – Chris Ha
Slow Mind, Soulful Stills – Mahendra Bakle
Best Travel Destinations in India
How to Take Sharp Travel Photos Without a Tripod
Minimalist Travel Photography
Tips for Shooting Landmarks Without Making Them Cliche