Author Archives: Anirudh Iyer

Arachnid Aesthetics – Christian Brockes

Christian Brockes’ fascination with arthropods started out as a chance encounter with one in his bathroom. Since then, he has documented many more species over the years, earning acclaim, partnerships, and an ambassadorship, for being a leading voice in macro photography as well as his creative expertise. Asian Photography had a conversation with him about techniques, patience, and purpose behind their highly stylised documentation of insect life. Excerpts:

Do you remember the first macro image you ever shot? What was it?

I started out doing portraits and business photos and had a 90mm macro lens, which I only used for its portrait capabilities. After finding a tiny jumping spider in my bathroom, I decided to use the macro lens for what it was originally intended for and was instantly fascinated by the interesting detail I was able to see in the photo – details which were hidden from the naked eye.

It sparked my interest and started my journey into the tiny world – always looking for new colours, forms, and textures.

What’s something people often misunderstand about macro photography?

To me, macro photography is like a window into that tiny world beneath our feet, which is generally and often overlooked. It is also a very powerful tool for conservation and to create attention to the world’s fascinating biodiversity.

However, macro photography is often featured less prominently in comparison to wildlife photography of bigger animals. People simply seem not to be aware of the wonderful things that are there to discover in and share from the tiny world.

Many people understand macro as only being photography at 1:1 magnification and above, but forget that also at these high magnifications there are stories to tell. Storytelling and composition can elevate macro photography even further.

Do you approach your photography more as documentation, art, or exploration?

Nowadays, I would like my macro photography to be seen as a mixture of stylised documentation. While I always emphasise on composition and also try to create a direct connection between the subject and the viewer, the thing I look for the most is the story: this can be a distinct behaviour of an insect, a hunting scene, mating, or any other interaction.

It is my wish to share my findings to create awareness and interest through these fascinating forms, colours, and features of the insects and spiders I photograph – hopefully leading to respect, which ultimately helps with conservation.

How do you balance patience and spontaneity when working with unpredictable subjects?

The trick is indeed to actually balance both: patience often rewards us with wonderful opportunities and scenes – but these happen spontaneously, so it is very important to be alert, have your setup ready and be able to control your camera blindly, when the moment comes.

I have one routine, where I stay at a promising spot for about an hour. Sometimes it is only 1 or 2 square metres. I adapted my photographic technique to align with this behaviour: I always use a flash and a diffuser, which gives me a highly mobile and compact setup and enables tack-sharp shots even during movements.

How do you see the future of macro evolving—AI, computational focus, mobile macro?

I think mobile macro is the way to go, but not necessarily with mobile phones. Smaller, real cameras, capable of reaching high magnifications while providing decent depth-of-field, would open up the field to many more people.

The Pink flower crab spider Thomisus onustus is a truly fascinating spider as it can change its color, trying to match the flowers it sits on and where it waits for prey. It can change from a plain white form to a plain yellow form and to its most spectacular pink form with stripes, which can be seen here.

The latest generation of mobile phone flagships have remarkable macro features. I use mine from time to time and the results are better than what I captured with my first camera and macro lens.

AI is far from being able to create realistic insect and spider macros – you can spot the AI-generated images easily if you’re a biologist or a naturalist.

Computational in-camera features are a big time saver. My current camera, the OM-1 Mark II, has tons of those: ND filter, graded ND filter, High-Res Shot, modes for light painting, photographing stars, and many more.

My favourites are the focus bracketing and focus stacking modes, which allow me to create a focus bracket I later combine into one image with enhanced depth-of-field. It also speeds up my process.

What are you currently experimenting with or trying to learn next?

Right now, I am pretty satisfied with both my gear and technique when it comes to macro photography of insects and spiders at high magnifications.

I’ve recently favoured single shots over focus stacks more often, as it is all about getting that one specific moment. It also saves time during post-processing.

The next thing I am currently experimenting with is filming macro at high magnifications. Creating macro movies with the same quality as my photos is challenging, as the lighting approach is very different.

Is there a specific image that you want to be remembered by?

I have two personal favourites, which are also my best known photos from publications. One is an Acorn weevil (Curculio glandium) just about to take off and spreads its wings, and the other is a zig-zag sawfly larva that has eaten its distinct zig-zag pattern into an elm leaf.

I specialise on jumping spiders, and my two favourite species, both extremely colourful – one, Habronattus americanus, is from North America and one, Stenaelurillus lesserti, can be found in southern India – would be my personal holy grail and the ultimate macro portrait.

Capturing Floral Fascination – Kristine Zāle

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Kristine’s journey began from a father’s influence and a curious eye grew into a deep, self-taught journey into the miniature world. She specialises in capturing flowers alongside insects, capturing and excelling at an intriguing perspective in macro photography. Asian Photography spoke to her about how macro photography shaped not just her creative process, but also her perspective on nature, patience, and purpose. Excerpts:

Were you always a photographer, or did macro come after exploring other genres?

My photography journey really started thanks to my dad. He always had a camera with him, capturing our family moments, and he was the one who put my first camera in my hands. Watching how he worked with his own, much more advanced camera, inspired me to keep learning and improving.

He also helped me choose my first DSLR. I remember the first time I tried manual mode and suddenly realised how much I still had to learn. While my dad’s guidance started me on this path, most of what I know now is self-taught through years of experimenting and making mistakes.

In the beginning, I just shared my photos on social media. I never thought much of it, but as people started to give feedback and encouragement, I realised this was something I wanted to pursue more seriously. Those early steps, the learning curve, and my dad’s support really shaped who I am as a photographer.

What’s something people often misunderstand about macro photography?

A lot of people think macro is easy. They think you just get close, and the background will blur out, and you have a nice photo. But macro photography takes much more skill and patience than most realise. Patience, precision, and observation are essential, but what really matters is the willingness to keep growing and improving.

Once I joined Instagram and saw the work of other creators, it pushed me to get more creative with my own photos. Inspiration from others has always driven me to try new things and keep evolving.

One technical challenge in macro is dealing with the shallow depth of field. You get super close, thinking you’ll capture the perfect insect photo, but only a tiny part ends up sharp. I had to learn how to balance distance, settings, and composition. For example, with insects, I try to shoot them from the front or side so more of their body is in the same focal plane. The same applies to flowers. It is not just about what is in focus, but choosing which parts are sharp to create a composition that works.

Have you had any close encounters with wildlife while shooting macro?

Most of my wildlife encounters are with insects, since they are my main subjects after flowers. I usually search for them locally, especially in the botanical garden. I have been lucky to spot and photograph many species, including different kinds of bees, damselflies, dragonflies, and even a cuckoo wasp. Seeing a cuckoo wasp for the first time was a real surprise.

Insects are often skittish, so I usually take a quick photo as soon as I spot one. Sometimes that first shot is the only one I get. There have been times when that photo ended up being the one I posted. Even if the subject is small in the frame, I do not mind cropping in a lot later.

One dream encounter I still hope for is photographing a praying mantis. I do not think they live in my area, but maybe one day, I will get lucky.

What’s the most important lesson you’ve learnt from a shoot-gone-wrong?

Preparation is key. Always check the weather forecast before heading out, especially the wind. Now, I make it a habit to check conditions and have a backup plan, such as staying home and editing the photos I have already taken.

Another important lesson is to make sure your gear is ready. With my old DSLR, the battery would drain quickly, especially in cold weather. I learned the hard way by running out of power before I was finished shooting. Now, I always carry a spare battery.

That said, sometimes you have to work with what you have. On a recent walk, it was really windy, but with enough patience, I managed to get many great insect photos. Nature can be unpredictable, so adaptability and a little patience can turn a difficult shoot into a successful one.

Are there still moments when you feel like a beginner, even after years of experience?

Absolutely. Even with experience, I still have days when nothing seems to go right. Sometimes I will come home with barely any sharp photos, or enough sharp photos of which none feel special or worth sharing. That is perfectly normal. I have learned that those ups and downs are just part of the creative process.

I am always discovering new techniques, often from other creators. I used to think you could only share single photos, until I learned about focus stacking. Now, I sometimes shoot multiple images and combine them for a fully sharp subject with a beautiful background. Learning new things like this keeps me feeling inspired.

Can you describe a time you had to really “earn” the photo?

Most of my photo walks are unplanned. But the photos that feel truly earned are the ones where I put in extra effort.

One photo that stands out is a dewdrop-covered cobweb during a foggy sunrise. I had to wake up at 5 AM, which is not easy for me, and drive to a bog trail. That morning, everything came together perfectly. There was thick fog, a golden sunrise, and more sparkling cobwebs than I had ever seen. I spent a long time looking for the best-looking webs and waiting for the light to be just right. When I finally got the shot, it felt incredibly rewarding.

Has macro photography influenced how you see life, outside of photography?

Definitely. Macro photography has made me much more observant and appreciative of the little things in life. Now I notice details everywhere, like tiny flowers, insects most people walk past, even the way light hits a leaf.

Getting into macro has also changed the way I relate to nature. I used to be pretty neutral about insects, but now I am much more considerate and careful around them. I even find myself moving snails or bugs off walking paths.

It has also inspired me to share what I know with others. I started a community where I share tips and tutorials. Teaching others, seeing them inspired by my work, and watching them grow brings me a lot of joy. Macro photography has helped me connect with a community and give back in a way I never expected.

Samsung Unveils Fold 7 and Flip 7

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Samsung has announced the Galaxy Z Fold7, Galaxy Z Flip7, and Galaxy Z Flip7 FE.

Galaxy Z Fold7 weighs 215g and features an 8″ main AMOLED display and a 6.5″ cover screen. It includes the Snapdragon 8 Elite processor, One UI 8 based on Android 16, and a 200MP main camera. AI tools such as Generative Edit and real-time translation are integrated. The device supports multitasking and is rated IP48 for water resistance.

Galaxy Z Flip7 weighs 188g and includes a 4.1″ FlexWindow and 6.9″ main display. It runs on “the latest 3nm processor”, has a 4,300mAh battery, and includes Samsung DeX support. The rear camera setup includes a 50MP wide and 12MP ultra-wide lens. Gemini Live is accessible from the cover screen, and One UI 8 allows voice interaction and app access without unfolding the device.

Galaxy Z Flip7 FE is a more affordable option with a 6.7″ main display, a 50MP FlexCam. It is available in Black and White.

All devices use Gorilla Glass, Armor Aluminum, and have IP48 water resistance. Pre-orders begin July 9. General availability starts July 25. Purchases include six months of Google AI Pro access and 2TB of cloud storage.

Creative Commons Launches ‘CC Signals’ to Help Photographers Battle AI

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Creative Commons has unveiled “CC Signals,” a new framework that lets data holders (photographers) specify how their content can be used by AI systems, especially for training purposes. Inspired by its widely used open licensing system, CC Signals aims to bring transparency and ethical standards to content reuse in the AI era.

The initiative addresses growing concerns over how publicly available content is used to train AI. By offering a clear, limited set of reuse options, CC Signals provides a middle ground between unrestricted data scraping and closed, paywalled ecosystems.

“CC Signals are designed to sustain the commons in the age of AI,” says Creative Commons CEO Anna Tumadóttir. General Counsel Sarah Hinchliff Pearson adds that collective action is key to ensuring a more open, fair AI future.

Creative Commons is inviting public feedback as it develops the framework, with an alpha launch planned for November 2025. More details and early design insights are available on the organization’s website.

Tracking Adrenaline – Jamey Price

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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

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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

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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

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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

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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

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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.