Author Archives: Anirudh Iyer

The Rise of Street Couture Photography

Street couture photography has taken over fashion culture in a way few trends have before. It blends high fashion with real world grit, turning sidewalks into runways and everyday people into style subjects. This shift did not happen overnight. It grew from a mix of social media influence, shifting brand priorities, and a global appetite for authenticity. What used to be a niche style is now a major force shaping how fashion is captured, consumed, and imagined.

Where It All Began

Traditional fashion photography once lived almost entirely inside studios or tightly controlled outdoor sets. Everything was directed. Lighting, poses, and styling followed a clear plan. Early street style photographers began to introduce a new kind of spontaneity. They focused on what people were actually wearing at fashion weeks or in creative neighborhoods. Their images felt unscripted, fast, and honest.

As social platforms grew, these images spread across the world in minutes. Audiences loved the raw energy and immediacy. They felt more connected to the people in the photos than to distant supermodels in curated campaigns. Brands noticed. What began as documentation of personal style became a visual language that designers and marketers wanted to tap into.

What Makes Street Couture Different

Street couture photography is not the same as simple street style. It pairs the freedom of real environments with the sophistication of high fashion. Think luxurious fabrics against worn brick, couture silhouettes moving through subway stations, or bold accessories contrasted with crowded city streets. It is the meeting point of polish and imperfection.

Several elements define the style. First, the environment becomes a character. Weathered textures, city noise, and unusual angles create tension and personality. Second, the models feel more human. Their expressions are often relaxed or mid movement. There is charm in the unpredictability. Third, the clothes are styled for impact but worn in ways that feel lived in. This blend makes the images resonate with audiences who crave fashion that feels both aspirational and reachable.

Why Audiences Connect With It

People respond to street couture photography because it feels alive. There is momentum in the frame. It captures the sense that fashion is part of everyday life, not something reserved for catwalks or glossy magazines.

This style also reflects cultural diversity. Photographers are not restricted to conventional beauty standards or typical fashion settings. They can cast unique talents, work in unconventional locations, and create stories that reflect their own communities. The result is imagery that feels inclusive.

Another factor is transparency. Audiences know the photos were not created in a bubble. They can see the world around the model. It signals honesty at a time when consumers are increasingly skeptical of overproduced campaigns.

The Role of Social Media

Street couture photography thrives on platforms like Instagram, TikTok, and Pinterest. These spaces reward content that feels candid and visually striking. A single image with strong composition and personality can spread quickly.

Short form video has added even more momentum. Behind the scenes clips, styling breakdowns, and location scouting videos build connection between photographers and viewers. They invite people into the process. This sense of shared experience fuels loyalty and engagement.

Social media also allows photographers to develop their own brands. They can show consistent aesthetics, attract new clients, and collaborate with stylists, models, and designers who share their vision. The ecosystem encourages experimentation. A fresh idea can go from concept to global visibility in a day.

How Brands Are Using the Style

Major fashion houses, streetwear labels, and emerging designers have embraced street couture photography. It aligns with a consumer base that values authenticity, individuality, and culture. Instead of staging elaborate studio sets, brands now commission photographers to shoot in markets, parks, rooftops, and residential streets.

Campaigns built around this approach suggest confidence and edge. They also highlight how clothes move in the real world. This is useful for brands aiming to connect with younger shoppers who care about practicality and personality.

Smaller labels gain even more from this style. It allows them to compete visually with bigger players without the cost of traditional production. A strong concept, a compelling model, and a vivid location can achieve a high impact look on a modest budget.

The Skills Behind the Lens

Street couture photography may look spontaneous, but it requires precision. Photographers must adapt to shifting light, unpredictable movement, and crowded environments. They often need quick reflexes and a strong sense of timing.

Composition plays a major role. Since backgrounds are uncontrolled, the photographer must frame the shot in ways that highlight the clothing while using the urban setting as texture instead of distraction. This balance is key.

Communication also matters. Models need direction that keeps them natural while maintaining the energy of the scene. Small changes in posture or movement can transform the shot.

Finally, editing ties everything together. The post processing approach tends to be bold yet grounded. Colours may be rich, shadows deep, and textures sharp. The goal is to amplify the contrast between luxury and street grit without losing authenticity.

Challenges in the Genre

Street couture photography brings unique challenges. Busy locations can lead to interruptions. Lighting can shift quickly. Noise, weather, and crowds require patience and agility. Some cities have strict rules about shooting in public spaces. Permits may be required.

Models also need to feel comfortable working in public. Not everyone enjoys posing with strangers watching. Photographers must create a sense of ease, even in chaotic surroundings.

Despite these challenges, many photographers find the process rewarding. It offers creative freedom and the thrill of capturing something unplanned yet perfect.

Cultural Influence and Future Trends

Street couture photography has played a major role in redefining what fashion imagery can be. It helped blur the line between high fashion and everyday style. It encouraged designers to draw inspiration from youth culture, music scenes, and local communities. It also pushed photographers to think beyond traditional beauty.

The future of this style is likely to lean even more into hybrid formats. Expect more motion content, more experimental lighting techniques, and more collaborations with musicians, dancers, and performance artists. As cities evolve, new environments will emerge as backdrops. Abandoned industrial sites, modern transit hubs, and community spaces may become key stages for visual storytelling.

Technology will shape the next phase as well. Compact cameras, powerful mobile devices, and AI assisted workflows will give photographers more tools to create fast and refine efficiently. Yet the core appeal of the genre will remain the same. People love images that feel honest, confident, and deeply connected to real life.

Ready to Meet the Street?

The rise of street couture photography reflects a cultural shift toward authenticity, individuality, and movement. It captures fashion in its most relatable form. It respects the chaos of everyday environments and uses that energy to elevate style. For photographers, it opens creative pathways. For brands, it offers a modern way to reach audiences. For viewers, it delivers images that feel alive.

Street couture photography is not just a trend. It is a new chapter in fashion imagery, shaped by real streets, real stories, and a global community eager for creativity that feels close to home.

The Economics of Fashion Photography: Rates, Rights, and Realities

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Fashion photography looks glamorous from the outside. It is filled with bold visuals, stylish teams, and fast moving creative energy. Behind the scenes, though, it runs on a complex set of costs, negotiations, and legal structures that shape what photographers can charge, how images can be used, and how careers survive in a competitive market. Anyone working in this industry, whether photographer or client, needs a clear view of the economic engine that keeps it all moving.

The Market Behind the Aesthetics

Fashion photography sits at the intersection of art and commerce. Photographers must deliver images that feel fresh and emotionally charged, but they also have to operate as business owners. Studio rentals, assistants, retouchers, equipment, insurance, and post production all add up. A photographer’s rate is not just a fee for clicking a shutter. It is a fee for managing a small production.

There are several tiers of work. Editorial shoots for magazines pay very little, but offer prestige and creative freedom. Commercial shoots for brands pay the real bills. Campaigns, e-commerce, lookbooks, and social content all fall into this category. The economics shift with each tier. The more a client stands to earn from the images, the more a photographer can and should charge.

Understanding Rates

Rates vary widely because the market has many segments. A new photographer shooting for small boutiques may earn a few hundred dollars per day. A mid level photographer hired by a regional brand might charge between 1,500 and 5,000 per day. A top tier photographer shooting a global campaign can command five or six figures. The variation reflects skill, demand, the size of the client, and the scope of usage.

Clients often misunderstand what a rate covers. A day rate usually only covers the photographer’s time and expertise. Production fees, equipment rentals, lighting techs, digital techs, retouchers, and location costs sit on top of that number. If a client expects the photographer to manage these elements, they should expect a larger budget. Fashion shoots are collaborative events. A lower budget limits the ability to bring in seasoned crew, and the results usually reflect that.

Another factor is experience. A photographer charging a higher rate has often spent years investing in their craft. The price represents not just skill but consistency, problem solving, and the ability to deliver under pressure. Clients pay for confidence that the job will be done right.

Usage Rights and Licensing

If rates decide how much the photographer earns, usage rights decide how much value the client receives. Licensing is the core of the business. When a client pays a photographer, they are buying permission to use the images in specific ways. This can include geography, duration, and type of media.

A small boutique might license images for one year of social media and website use. A global fashion house might license images for worldwide print, digital, and outdoor advertising. These two sets of rights carry very different values.

Photographers must protect their rights because images can live for years beyond the original shoot. A client may want to use the photos in a new region or for a new campaign. If the licensing terms were clear, the client must pay to extend the usage. This is not greed. It is the foundation of intellectual property law. Creative work has value, and usage fees recognise that value.

Buyouts and Why They Cost More

Some clients request a buyout. This gives them broad and often unlimited use of the images. Buyouts simplify things for clients but shift all long term value to them, so they come with a higher price. A photographer who gives up future licensing income needs to be compensated up front.

For inexperienced clients, the cost of a buyout can feel confusing. The simplest way to think about it is this. A buyout lets the client use the images across every platform, for as long as they want, without ever paying again. This is a significant advantage. The fee reflects that level of ownership.

The Reality of Competition

Fashion photography is crowded. New photographers enter the market every year with fresh styles and lower costs. This puts pressure on established professionals who carry higher overhead and deeper responsibilities. Social media also blurs the lines. Clients sometimes choose influencers with cameras or hobbyists who shoot for exposure. The problem is simple. Low prices rarely cover real production needs, and the final quality often suffers.

That said, competition is not entirely negative. It pushes photographers to refine their voices, sharpen their business skills, and maintain strong relationships with clients and crews. The market rewards clarity, professionalism, and consistency.

The Importance of Transparent Communication

Almost every financial conflict in fashion photography comes from unclear communication. Photographers must learn to send detailed estimates that outline day rates, production costs, licensing terms, overtime policies, retouching fees, and delivery timelines. Clients must read these documents carefully and ask questions whenever something feels unclear.

Clear communication has another benefit. It builds trust. When both sides understand the budget and the boundaries, the shoot runs smoother. Misunderstandings lead to disputes, late payments, and strained relationships. Transparency protects everyone.

Hidden Costs Clients Often Overlook

Clients unfamiliar with the process are often surprised by the number of additional line items in a photography estimate. Here are the common ones:

Retouching: Good retouching takes skill and time. High quality fashion work cannot skip this step.
Digital technicians: They manage files on set, ensure accurate colour, and protect against data loss.
Equipment: Professional cameras and lights cost more than most clients expect.
Location fees: Even simple studio rentals or location permits can cost thousands per day.
Talent: Models, stylists, makeup artists, and hair stylists elevate the shoot. Their rates vary based on experience.

Once clients understand these layers, the overall cost makes more sense. They see that the photographer is not pocketing the entire budget. The money supports a team that works together to produce images that match a brand’s goals.

Where the Industry Is Headed

The future of fashion photography is shaped by digital content needs, short attention spans, and a growing demand for authenticity. Brands want more assets created in less time. They want behind the scenes clips, short videos, and vertical formats. Photographers are adapting by expanding their skill sets, hiring hybrid crews, and investing in motion capable equipment.

Artificial intelligence is another factor. Some brands experiment with AI generated models or backgrounds. This does not remove the need for photographers, but it shifts expectations. Photographers must stay flexible and offer creative approaches that technology alone cannot replicate.

At the same time, the value of strong visual storytelling remains steady. Fashion still relies on images that feel alive. That part of the business does not change.

The Bottom Line

The economics of fashion photography are shaped by three forces—the cost of production, the value of usage rights, and the competitive landscape. Photographers who understand these forces can set fair rates, protect their intellectual property, and build profitable careers. Clients who understand them can budget accurately and form long term partnerships with creatives who elevate their brands.

The glamour of fashion may get people through the door, but the real work happens in the negotiations, the planning, and the clear communication that makes a shoot successful. When everyone understands the economics, the creative process flows with far less friction and far more impact.

Photographing Dark Skin Tones in Fashion: Techniques & Sensitivity

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Fashion photography has the power to celebrate identity, culture, and beauty. Yet for decades, the industry often failed to light and photograph dark skin tones with the care and expertise they deserve. The problem never stemmed from dark skin, it came from photographers who were trained on narrow standards and equipment calibrated for lighter complexions. As the fashion world pushes for greater inclusion, the ability to photograph dark skin with accuracy and respect has become an essential skill. When done well, the results are striking. The richness of tone, depth, and texture creates images that command attention and honour the subject.

This article explores the techniques and sensitivities needed to capture dark skin beautifully, with a focus on practical lighting choices, exposure strategies, styling considerations, and the mindset that keeps the work respectful.

Understanding Light and How Skin Responds

Dark skin absorbs more light than lighter skin. This means photographers must think more intentionally about how they shape and distribute their light. The goal is not to blast the subject with brightness. The goal is to reveal detail and dimension while keeping the natural richness of the skin intact.

Soft, diffused light is the strongest foundation. It wraps gently, avoids harsh falloff, and helps maintain depth. A large softbox, umbrella, or window source works well. When using harder light, it should be controlled with precision. Strong highlights can look beautiful on dark skin, but uncontrolled hotspots can flatten the shot.

Lighting ratios also matter. If the key light is too strong relative to the fill, the shadows can fall off too quickly. A balanced ratio preserves detail in the darker areas of the face. Photographers who understand this can create portraits that feel vibrant rather than muted.

Exposure: A Crucial Step

Many photographers make the mistake of overexposing dark skin in an effort to brighten it. This strips away the natural tone and removes the depth that makes the skin so compelling. Instead, the focus should be on achieving a clean exposure that brings out detail without washing out the subject.

Exposing for the highlights is a reliable approach. Dark skin often carries beautiful highlight areas along cheekbones, the forehead, and the bridge of the nose. If these highlights are preserved, the rest of the tones can be managed in post without distortion.

Tools like zebras and histograms help prevent clipping. Shooting in RAW provides even more flexibility. It allows the photographer to adjust shadows, contrast, and colour temperature with care. The idea is to respect the skin as it is, not to force it into a lighter or flatter version of itself.

Colour Balance and Skin Accuracy

White balance can either lift or dull dark skin. A slightly warmer balance often brings out radiance without changing the skin’s natural tone. Too much warmth, however, can make the subject appear artificially red or orange. The aim is nuance. Every face has its own balance of undertones. Photographers who take the time to understand these differences create images that feel true.

Avoiding heavy blue or green casts is important. They can create a grey or muddy effect that is difficult to correct. If shooting in mixed lighting environments, gel the lights or switch to a single consistent source. Clothing colours and backdrop tones should also be chosen with care. Colours like emerald, cobalt, burgundy, and gold often complement dark skin beautifully. Pale pastels can work if the lighting is strong enough to separate the subject from the background.

Highlights, Texture, and Shine

Dark skin often reflects light in striking ways. This gives photographers creative opportunities. Highlights can sculpt the face and enhance its shape. Shine on the skin can look elegant, powerful, or editorial when controlled. The key is intentional placement.

Using a touch of oil or moisturiser can create a glow. Using powder can reduce unwanted shine without making the skin appear flat. Makeup artists who specialise in dark skin tones understand how to balance these elements. Their contributions are invaluable. Photographers should collaborate with them rather than dictate adjustments that might undermine the final look.

Backdrops That Elevate, Not Diminish

The background affects how the viewer sees the skin. Rich jewel tones and deep neutrals often elevate dark skin by enhancing contrast without overwhelming the subject. Very dark backdrops can work when the lighting provides strong separation. Very pale backdrops can work when the exposure is balanced and the lighting is soft.

What matters is intention. If the backdrop and clothing compete with the skin, the final image loses power. When each element supports the subject, the portrait feels cohesive.

Sensitivity Behind the Lens

Technique matters, but sensitivity matters just as much. Dark skin tones have long been underrepresented or misrepresented in fashion photography. Many people with dark skin grew up seeing images that did not reflect them accurately. This history shapes their experience on set.

A respectful photographer acknowledges this context. They communicate openly. They ask about comfort with lighting, makeup choices, and styling. They avoid language that frames dark skin as difficult or challenging. Words carry weight. Saying the skin is beautiful and worth capturing with care builds trust and confidence.

Representation behind the scenes also helps. When the crew includes people who understand the lived experience of the models, the entire environment becomes more inclusive. This leads to better images because the subjects feel seen and respected.

Fashion Context: Celebrating Beauty and Presence

Fashion photography aims to elevate style, mood, and personality. When photographing dark skin, the creative potential is immense. The richness of tone pairs naturally with metallic fabrics, strong silhouettes, bold prints, and sculpted hair. Shadows and light interact in ways that feel cinematic. The result is imagery that stands out in a saturated market.

Many designers are creating collections that celebrate Black identity and culture. When photographers apply proper lighting and sensitivity, they help these collections reach their full visual potential. They also contribute to a more inclusive fashion landscape.

Retouching: A Gentle Hand

Retouching dark skin should focus on refinement, not alteration. Removing blemishes or stray hairs is fine. Changing the natural tone or texture is harmful. Texture is part of the beauty. Dark skin often looks best when retouching is subtle and respectful.

Avoid brightening the skin in post. Avoid smoothing it to plastic. Maintain the shadows that give the face its shape. Retouching should support the beauty that is already present. Anything else undermines authenticity.

The Bottom Line

Photographing dark skin tones in fashion requires skill, intention, and empathy. The techniques are straightforward once understood. Soft light, balanced exposure, proper white balance, and thoughtful colour choices bring out the richness of the skin. Collaboration with makeup artists and stylists adds polish. Respect for the model builds trust and elevates the final image.

When these elements come together, the results are powerful. Dark skin glows. Features stand out with clarity. Fashion becomes more inclusive. Photography becomes more honest.

The goal is not simply to capture an image. It is to celebrate beauty that has long been overlooked. Photographers who master this responsibility do more than take pictures. They help reshape the industry into one that recognises and honours everyone.

How Gen Z Is Redefining Fashion Photography Trends

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Gen Z grew up in a digital world that moves fast, speaks visually, and rewards individuality. Their influence on fashion photography is not subtle. It is reshaping how images are made, how stories are told, and how brands communicate. What once followed rigid rules now feels fluid, candid, and personality driven. The shift is cultural as much as aesthetic. Gen Z wants honesty, creativity, and connection, and their expectations have pushed fashion photographers to rethink the craft from the ground up.

A Break from Gloss and Perfection

For decades, fashion photography leaned toward polished surfaces. Retouching was heavy. The lighting was flawless. Models looked almost otherworldly. Gen Z does not respond to that ideal. They grew up seeing unfiltered posts, real faces, and chaotic timelines. For them, perfection is not the goal. Relatability is.

This preference has changed the industry. Many brands now commission campaigns that feel raw and loose. Photographers shoot with natural light, minimal retouching, and an emphasis on character rather than flawlessness. Grain, blur, and texture are no longer mistakes. They are intentional ways to signal authenticity.

Gen Z wants images that feel lived in. The result is a more grounded visual language where the viewer feels close to the moment rather than outside of it.

The Rise of Personal Aesthetic

Older generations often followed trend cycles set by runways and magazines. Gen Z follows personal taste instead. They curate identities from thrift stores, subcultures, nostalgia, and online communities. This mix of influences shapes how they approach photography.

Gen Z photographers are not afraid to blend styles. They might combine Y2K colour palettes with 70s film aesthetics and 90s rave visuals. They borrow freely and confidently. The outcome is an eclectic approach where individuality matters more than tradition.

Because of this, the fashion world now embraces a wider range of creative voices. New photographers no longer feel pressured to mimic established professionals. They can build entire careers on distinct aesthetics that reflect their personality. Brands see value in that uniqueness and increasingly hire photographers who bring a strong signature look rather than a conventional one.

Digital First Storytelling

Gen Z consumes most of their fashion content on phones. This changes everything. Vertical formats, looping videos, quick cuts, and interactive elements push photographers to think about how their images will be experienced rather than just how they look.

Fashion photography is no longer only about the final still. It is about the surrounding ecosystem. Behind the scenes clips, short interviews, studio process videos, and dynamic transitions all contribute to the storytelling. Gen Z wants to feel like they are part of the creative process. They look for transparency and personality behind the shots.

Because of this, photographers now plan shoots with multiple formats in mind. A strong campaign includes stills, motion, and social specific content. The set becomes a playground where spontaneous moments can be just as valuable as planned shots.

Low Budget Creativity Takes Center Stage

Gen Z is resourceful. Many started photographing with phones or inexpensive cameras. They learned to work with limited tools and solve problems creatively. That mindset continues even as they enter the professional world.

This has created a shift toward low budget ingenuity. Photographers use found objects for props, thrifted outfits for styling, and natural locations instead of high cost studio builds. They rely on creativity to elevate simple setups. This approach resonates with audiences who see beauty in innovation rather than luxury.

Brands have taken note. Many campaigns now lean into a DIY feel because it aligns with Gen Z values. The work feels accessible, clever, and real. The emphasis is on the idea rather than the budget.

Diversity as a Standard, Not a Statement

One of the most meaningful changes Gen Z brings to fashion photography is a commitment to representation. Diversity is not a trend for them. It is a baseline expectation. They want to see people of all skin tones, genders, body types, and identities featured with respect and visibility.

This shift affects casting, styling, lighting, and narrative choices. Photographers are pushed to understand how to work with different skin tones, how to make space for varied expressions of identity, and how to avoid tokenism. Gen Z calls out inauthentic representation quickly, so brands must practice true inclusion rather than surface level gestures.

The result is a broader, richer visual world. Fashion photography now reflects a wider spectrum of humanity, which makes the work feel more honest and modern.

Nostalgia Meets Modern Technology

Gen Z has a deep love for the past. Film cameras, point and shoot devices, vintage lenses, and early digital cameras all hold appeal. They enjoy the imperfections that come with these tools and the emotional texture that digital precision sometimes lacks.

At the same time, Gen Z is highly adept with technology. They edit on phones, use mobile apps for colour grading, and experiment with digital overlays. They mix analogue and digital techniques without hesitation.

This hybrid approach creates images that feel timeless yet modern. A single photo might have film grain, soft focus, and a colour palette inspired by early 2000s pop culture while still being shot on a mirrorless camera and graded with advanced software. This blend defines much of Gen Z visual culture.

Breaking Traditional Rules

Gen Z does not follow the classic rulebook of photography. They shoot in harsh sunlight. They tilt the camera at odd angles. They crop aggressively. They embrace lens flare, motion blur, and mixing colour temperatures. Old rules like “never shoot against the light” hold no weight.

This rebellion creates a sense of freedom. The focus shifts from technical perfection to emotional resonance. What matters is whether the image feels interesting or alive. The rule breaking mindset invites experimentation, and that energy now shapes mainstream fashion photography.

The Social Influence Loop

Gen Z not only consumes images, but also creates them constantly. They document daily life, share outfits, film short clips, and experiment with edits. This constant production loop means they have a strong visual instinct even without formal training.

The line between influencer content and professional fashion photography is thinner than ever. Brands sometimes hire creators whose personal style carries more cultural weight than a large agency. Photographers must adapt to this new landscape where creators, stylists, models, and audiences all shape trends together.

Gen Z expects collaboration. They value shared creative ownership. This collective spirit influences how shoots are planned and executed.

Sustainability and Ethical Awareness

Gen Z cares about environmental and ethical issues. This influences everything from styling choices to production approaches. Photographers are encouraged to use sustainable materials, support ethical brands, and avoid wasteful sets.

The visuals themselves often echo this mindset. Natural settings, reusable props, and simple styling choices show respect for the environment. The emphasis is on conscious creativity rather than excess.

Bottom Line: The Generational Shift

Gen Z is redefining fashion photography by valuing authenticity, individuality, diversity, and creativity over polish and tradition. They merge past and present. They embrace digital and analogue. They bring strong ethics, fast paced storytelling, and a willingness to break rules. The result is a vibrant, experimental, and human centered approach to fashion imagery.

This shift is not temporary. It reflects a larger cultural move toward openness and self expression. As Gen Z continues to enter the industry in greater numbers, their vision will shape fashion photography for years to come. The future looks bold, honest, and wonderfully unpredictable.

Finding WHY’s – Sameer Belvalkar

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In an industry risking saturation, fighting fleeting trends and technical perfection, Sameer Belvelkar offers a refreshingly grounded, wise perspective, tracing a career forged by the relentless pursuit of the process of creation. From the disciplined days of film photography for newspaper reportage, this acclaimed photographer discovered that the core of their “why” lay in the transformative power of the camera: changing how people see themselves.

Asian Photography spoke to him, discussing the necessity rules to break, the pitfalls of chasing a single “style”, and why continuous, humble self-challenge remains the most vital element of a successful portfolio. Excerpts:

When did you find your “why” for photography, and more specifically fashion?

I am one of the many photographers in love with their medium. I started freelancing for a photography magazine, then became a press photographer, shooting reportage for an English Daily. Those were the days of film. While colleagues complained about opportunities, I shot everything from overflowing manholes to collapsed trees, and traffic snarls. I received rationed film rolls from media houses, forcing me to account for every shot. I loved the variety I was shooting—food, spaces, lifestyle—and the process of rushing to the lab, cutting and processing the film in the darkroom, and patiently waiting for the images to come alive, while the remaining film was put back into my camera.

During this period, I realised my WHY was the process of creation itself, tackling controlled and uncontrolled environments, utilising light and the situation, and creating an interpretation of what I clicked for others to experience.

My WHY further narrowed down to the people I shot. I noticed that when I photographed ordinary people, I unknowingly changed their self-perception. I believe that when someone feels good about themselves, their state of mind improves, leading to a better, more confident life. This transformative power became the high, the core WHY, for my work.

Fashion became the most obvious choice for earning a living, driven more by having people and communication skills than solely technical photography skills. Everyone wants to look good, and I enjoyed making everything look good. Your camera is limited; your ability to communicate is key. Inspired by photographers like Annie Leibovitz, Helmut Newton, Richard Avedon, and Mario Testino (by their simplicity, minimalism, and graphic impact), I aspired to create my version of that work.

“Break the rules but know them first”. Could you tell us an instance of breaking the rules of photography to create art?

With the onset of digital photography, the number of people wielding a camera went up exponentially. The photos that stand out are those where the rules are forgotten, and inner creativity is honoured. Today you have a chance of your photos standing out more by going against what has been said about sharpness, grain or shadows, mid-tones, and highlights. Instagram filters are a prime example—light leaks, over/underexposure, and light flares—were once considered defects in film photography.

Art is subjective, and I always emphasise that a technically correct photograph is seldom creative, and a creative photograph need not be technically correct. If everyone aims for perfect exposure, what do you truly contribute? Motion blur, high ISO, double exposures, or intentional over/underexposure will make your photos distinctive.

However, to break the rules effectively, you must first know them: understand correct exposure, read a histogram, strive for low ISO for large reproductions, and master lighting ratios (like 1:2) and classic setups (Rembrandt, butterfly, broad, narrow light). This foundational knowledge is paramount.

A favourite example of rule-breaking was a series of candid shots I took of Kareena Kapoor on the set of We Are Family in Australia. I had a brief, bright, sunny window between takes. I asked for a few candid shots, but she immediately slipped into her diva mode. With no time to check settings, I started shooting high-speed. This resulted in a series of highly overexposed images that were exceptionally tasteful and unique.

In fashion, I often break the rules intentionally by underexposing a shot, adding intentional motion blur, or using multiple exposures. Sometimes, relinquishing control can stun you with the outcome. I firmly believe that the best work often happens through you, not just by you. When I pick up the camera, a force takes over. I know the desired outcome, but the rules broken are spontaneous. What appears on the tethered computer is often beyond my initial imagination, and honestly, it doesn’t feel like I’ve done it. I don’t take undue credit for a lot of my work; it’s a humbling and grounding experience.

What is your signature in a photograph and how do you integrate it?

I constantly hear that every photographer needs a “style”, but where is the challenge in finding one style and repeating it endlessly? That approach quickly flatlines your creative development. It’s far more exciting to challenge yourself with every shoot: lighting differently, approaching the concept uniquely, or using an unconventional focal length.

I cannot claim to have one particular style. My vetted portfolio shows a wide range of approaches. Sticking to a mastered style is often an artist’s refuge against insecurity, a way to guarantee a good outcome and effectively translate their vision. They stick to it “ad nauseam“.

Having said that, my muscle memory does influence certain elements:

I often use a slightly low or high angle.
I love shooting people looking serious or away from the camera.
I prefer cool tones over warm, often adding blues and greens to the shadows.

This preference for cool, less approachable tones makes the photograph feel slightly “not of this world” and is likely a reflection of my own personality: a bit standoffish and less immediately approachable. Every artist integrates a large part of who they are into their creation.

My core working method is to approach everything without excessive planning. This creates a window for magic to happen: things take their own form, light behaves unexpectedly, and the subject is captured authentically.

What’s the best learning you’ve got from an on-set disaster?

Thankfully, I haven’t had any on-set disasters, but the most important lesson I’ve learned is this: You are only as good as your last shoot.

Your portfolio is a constantly evolving organism. The world judges you by the energy, intent, and quality of your most recent work, not what you created five years ago. Every shoot is an opportunity to raise the creative and emotional bar. This mindset fosters humility.

No matter your stature, the camera resets everything each morning. A new location, subject, or brief demands a fresh approach. I adopt this philosophy to avoid complacency. Despite shooting major blockbuster stills and top celebrities, I never internally acknowledge that “I have arrived“. I still get nervous shooting a portfolio for a newcomer. This ensures I put my best foot forward every time. Anyone can have beginner’s luck with one or two good shoots; consistent, exceptional work is where the true craft lies.

This philosophy is not pressure, it is purpose. For instance, when I shot an entire black-and-white series of Arjun Rampal in Australia, I was told he had never been captured with that look or element before. While he is a natural showstopper, getting that unique element is my credit. Otherwise, any photographer clicking him is bound to get a great shot, and that credit belongs to him.

What fashion photography trend do you think will feel dated fastest?

I recall a time when everyone was shooting black and white semi-nudes; it became so ubiquitous that people requested I omit them from my presentations. That trend flashed and vanished.

Currently, the trend that I believe will date fastest is complex lighting with excessive shadows; it’s not commercially viable. I believe people now seek more simplicity: clean lighting and straightforward shots. When you use multiple lights, it’s often difficult to tell if the output was intentional or merely a technical mess.

You’d be surprised how challenging it is to light a plain white background for flat, even white light, and then light a face cleanly with minimal shadows. In my presentations, the clean, minimalistic shots are always the most appreciated. The results achieved with just one or two lights, a reflector, and a cutter are truly enigmatic. I seldom need more. We live in a world where one light source (the sun) lights the entire planet. The studio effort is essentially an attempt to replicate that light to make things look vivid, believable, and relatable.

Where or how do you see your work evolving in the next five years?

I believe in the things that happen to me rather than the things I force to happen. Control is an illusion; most of my plans have failed, while what took shape naturally was far superior to my aspirations. This is only clear in hindsight (the further away you move, the clearer things become, like viewing a mountain from a distance versus its base).

I have moved to doing very selective shoots, adhering to two criteria: Is it making me money, or is it adding a new feather to my cap? If one is satisfied, I accept the job.

People often ask if I will move to cinematography, assuming a linear progression. It is not. I don’t have the patience for it; being married to a project for days, followed by weeks of editing, is beyond my capacity. I love the immediacy of still photography: I shoot for a day, deliver the final product in under a week, and move on to something new.

However, years of passive learning on major film sets (like Jodhaa Akbar, My Name Is Khan, We Are Family) and campaigns (Xiaomi, LG, Tanishq, Samsung) exposed me to the production and direction aspects of filmmaking. This has helped me segue into production and direction for Ad films with major brands and stars. I love the overall creation process.

Over the next five years, I definitely hope my ability to ‘see’ improves. My profession is, essentially, the profession of ‘seeing’ things others miss and translating them via the camera. The clearer I see things in my mind, the easier the translation. Composition is king. Since anyone can click a good photo, your composition (seeing skills) is the only differentiator. Given the choice, I want to be more reckless with my composition (for personal work) and try to bring out a personality in my subjects they aren’t even aware of. That is more exciting.

Top 3 things for a newbie to remember while entering the set/fashion photography industry.

Groom yourself: No one wants to see a photographer with unkempt hair and a beard wearing tatters and flip-flops. That image of an artist is long gone.
Communication: No matter how good a photographer you are, it’s communication that’s going to get you the job. It will also be the deciding factor in how you extract the shots from your subjects. It’s the holy grail of any photoshoot, according to me. There is no bigger disaster than a silent photographer and a confused/bored model.
Shoot more than just professionally: You already have everything you need for a shoot. Flip that around, no amount of equipment/gear is going to make you feel ready for the shoot you have in mind. Some of my best shoots have been with the most elementary equipment. Photography, like any art form, needs to be practised every day like a ritual. Stop waiting for the perfect camera, lens, model, studio, opportunity, paid job, just keep shooting.

Lux Aeterna Vitae – Pamela Hanson

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What began as a childhood spent adapting to new cultures transformed into a riveting, memorable career in the world of fashion. Pamela Hanson’s pictures effortlessly speak authentically, trust and openness. Shaped by the film-era discipline, her work has travelled around the world, featured on various covers and is also a permanent part of the Smithsonian.

Asian Photography spoke to her about film-era sensibilities, environments shaping creative vision, the importance of mentorship and more. Excerpts:

How did growing up in multiple places and moving around shape your creative vision?

I’m not entirely sure how to pinpoint it, but I know that my time in Paris had a profound influence on me— everything there feels different. I was captivated by the light, the people, the overall style, and the sheer beauty of the city. It left an imprint on how I see the world and how I approach my work. Growing up as an American in Europe, I often felt like a perpetual outsider.

But that sense of being a foreigner turned out to be a gift—it gave me a sense of independence and freedom, allowing me to move through life unbound by a single cultural identity. I’ve always been fascinated by different cultures and people, and I’ve always loved to travel. The constant movement, the exposure to new places, and the experience of adapting to different environments have been deeply inspiring in themselves.

Living in Colorado was another important chapter. It gave me the space and quiet to truly learn the craft of printing and processing in a low-pressure environment. I also had the privilege of living with someone who encouraged me and helped me gain the confidence to pursue photography as a career. I have a particular love for shooting on location, outside of a studio, because every city and country carries its own unique personality. I’ve found that I can get comfortable almost anywhere and even thrive in unfamiliar situations, which has shaped the way I approach photography and life.

How important is mentorship in photography, especially fashion? Could you give us an instance of a mentor opening your eyes to something, like a new perspective?

Mentorship has been incredibly important to me. When I first started shooting in Colorado, I experimented with all kinds of styles and felt like I needed to work strictly within the fashion industry. What I realised, though, is that what I truly love is capturing the human experience—documenting people in life.

After graduating, I started looking at fashion magazines and found myself most drawn to Arthur Elgort’s images. All my favourite photos—the ones I felt were truest to me—were intimate images of my friends and their lives, and that seemed to resonate in his work as well. I tracked him down and met him in New York while figuring out my next steps. He suggested I move to Paris, where I already had friends and spoke the language, and he hired me as a third assistant—mostly as a driver and gofer when he came for shoots. I assisted him around four times on major Vogue shoots, which helped me understand how the industry really worked. This experience was an incredible gift, and I am deeply grateful to him for these opportunities.

How did you build your approach to a photography shoot?

I always spend a significant amount of time talking with the editors or art directors I’m collaborating with, or anyone involved in shaping the story ideas. These conversations are essential because they help me understand the vision, the tone, and the direction everyone wants to take. After that, I try to dig deeper into the specifics—discussing what the fashion theme might be, who the celebrity or subject is, and what projects they are currently working on or promoting. This helps me tailor the concept so it feels authentic and engaging.

Once I have a clear understanding of the project, I dive into research. I look at stories in cinema, photography books, and other visual references that can help me create a mood for the shoot. This not only informs the aesthetic, but also gives the subject inspiration and context for their role in the story. Whenever possible, I like to meet or speak with the subject beforehand—it’s incredibly valuable for building rapport and understanding how to bring out the best in them during the shoot. I also believe it’s crucial to continually expose yourself to a wide range of creative influences. Looking at books, movies, art, and exhibitions keeps me inspired, helps me refine my voice, and ensures my work stays fresh. Inspiration can come from anywhere, and staying curious allows me to approach each project with new perspectives and ideas.

Building on the approach, how do you balance the creative needs and capturing organic moments?

I try to stay open to what might happen in the moment on set, embracing organic developments that aren’t forced, and resisting the urge to be too rigid or overly controlled. I spend a lot of time thinking, planning, and preparing beforehand, considering all the technical and creative aspects, but once I’m on set, I leave myself room to respond to whatever naturally arises. Sometimes this can be as simple as noticing how the light falls and figuring out how to make the weather work in my favour, or sensing someone’s mood and adjusting accordingly.

Anything can happen when a group of people comes together, and the beauty of the process is in staying flexible and attentive. I try to remain open to all possibilities and to use whatever is available to craft the best images I can in that moment. It’s about responding to circumstances rather than imposing too rigid a structure, about being present and mindful of what is in front of you, and finding inspiration in unexpected moments.

At the heart of it, I believe it’s essential to stay open, keep learning, and remain true to what you see and love, trusting your own instincts above all else. It’s far too easy to get lost in what you think you “should” be doing, in the expectations of others, or in imagined judgments. These external pressures can cloud the creative process. By staying true to yourself and trusting your own vision, you allow authenticity and originality to guide your work. That trust—both in yourself and in the process—is what allows for moments of real magic to unfold.

What are your earliest learnings about sensibility from the film-era that still stay relevant today?

My earliest learnings about sensibility came from shooting film, and they still anchor my work today. I still shoot film stock and print those images in my studio. When you learn on film, you learn to slow down and pay attention—to light, weather, gestures, to emotion, to quiet transitions that happen in front of the lens. When every frame costs something, you learn to wait for the moment rather than shoot our way toward it. That cultivated a kind of intentionality that digital technology hasn’t replaced.

Film also taught me to trust my instincts. Without the ability to check the back of a camera, you develop an internal meter—not just for exposure and technical understandings, but for feeling. You learn to sense when the picture is there, even before you take it. That sensibility becomes a way of seeing that never leaves you.

And maybe most importantly, the film era taught me to embrace imperfection. Grain, softness, the way light behaved on different stocks—these weren’t flaws; they were part of the photograph’s soul. Even now, with all the precision digital offers, I still look for that humanity and texture in every image. Retouching and photo manipulation were virtually nonexistent in the way we know them today, so the honesty of the image mattered—you had to get the moment, the expression, the energy, and the crops in camera.

My new book, Pamela Hanson: The 90s, released by Rizzoli this year, is a reminder of how deeply that sensibility shaped me. The photographs—all shot on film in the late 80s and 90s—have a kind of authenticity and immediacy that can only come from that era’s process. Revisiting those negatives reaffirmed what film taught me from the beginning: that sensitivity to atmosphere, connection, and timing is timeless.

As someone who’s built deep, trusting relationships with your subjects, how do you see the “female gaze” evolving in fashion photography?

I’m not particularly fond of that expression because it can feel limiting, as if all women see or create in the same way. I think it’s less about a “female gaze” and more about a personal gaze. Everyone brings their own perspective, experiences, and instincts to their work, so subjects naturally respond differently to each photographer. In reality, every photographer—regardless of gender—brings a unique blend of personality, intuition, lived experience, and emotional sensitivity to their work. Because of that, subjects respond differently to each of us. The dynamic between photographer and subject is incredibly nuanced, shaped by trust, energy, curiosity, and the very particular way one person sees another.

What is exciting to me about evolutions in fashion photography is seeing how many incredible female photographers are out there today, creating powerful, innovative images and reshaping the landscape of visual storytelling. It’s inspiring to witness such a wide range of voices contributing to the medium as well as in film.

Any tips for upcoming photographers to find their voice in the crowd today?

I imagine it must be incredibly challenging, especially now when there are so few magazines and so many photographers all competing for attention. The landscape is crowded, and it can be easy to feel unsure of your own direction. But I would say the most important thing is to trust your Eye and trust your instincts. Try not to spend too much time on social media as it’s so easy to get swept up in what everyone else is doing, and before you know it, you’re being influenced in ways you don’t even realise.

At the same time, keep yourself educated and stay curious. Never stop learning or looking for new sources of inspiration, whether that’s through books, exhibitions, conversations, travel, or simply observing the world around you. The more you feed your mind and broaden your perspective, the stronger and more personal your work becomes. Balancing constant growth with a commitment to your own vision is what ultimately shapes your voice as a photographer.

December 2025

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Asian Photography Magazine December 2025 Edition is out 💍

Cover 📸: By Sameer Belvalkar

In this issue, explore:

Pro Profile

Finding Why’s – Sameer Belvalkar
Lux Aeterna Vitae – Pamela Hanson

Tips And Techs

Does High Fashion Still Need Print Magazines?
How Cinematic Lighting is Transforming Fashion Shoots
The Economics of Fashion Photography: Rates, Rights & Reality
Photographing Dark Skin Tones in Fashion: Techniques & Sensitivity
How Gen Z is Redefining Fashion Photography Trends

Reviews

vivo X300 Pro Camera Review – Best Android Flagship Camera?

The Idea of Print in Fashion

It is true that the nature of print—especially in the world of fashion—has changed. Some would
argue this is true across other creative categories as well. While fashion print may no longer
dominate the market as it once did, its impact remains unmistakably iconic, cemented by the
legacy of defining magazine brands and legendary spreads such as Vogue and its global peers.
That said, the growing influence of digital fashion media cannot be ignored. Content today is
consumed in vast volumes across digital platforms, but trends emerge and fade at dizzying
speed—sometimes within days. This fleeting nature is the reality of digital consumption: fast,
expansive, but often ephemeral.

In this issue, we attempt to unravel some of these very questions. Many of you may have
reflected on them yourselves. Truth be told, I have also questioned the long-term survival of
print more times than I can count. Yet, with every passing year—and in an era increasingly
clouded by misinformation—I find myself more convinced that print will continue to stand the
test of time.

This endurance is not only rooted in ethical credibility, but also in the intrinsic, iconic value of
print. Even today, when editorial teams plan an issue, the approach is layered, deliberate, and
nuanced. This holds especial relevance for fashion magazines. Think of a winter collection from
a fashion house—it communicates identity, emotion, design philosophy, and intent. A fashion
magazine functions in much the same way, translating vision into a tangible, lasting form.

Some readers may question the premise of this editorial. However, these reflections are
supported by our own internal data, particularly within the photography ecosystem. Even
today, close to 80% of our subscribers continue to choose print over digital—despite our
consistent efforts to promote digital subscriptions for their speed and convenience. While our
digital audience has grown steadily, it remains significantly smaller than our print readership.

And speaking of fashion, print, and enduring icons, this month’s issue features an exclusive
interview with Pamela Hanson—a rare figure whose photographs have graced the covers of
some of the world’s most influential magazines. Alongside her, we spotlight homegrown talent
Sameer Belvalkar, a photographer whose work with leading fashion brands and celebrated
personalities has shaped visual narratives for decades.

In a world chasing the next scroll, the next swipe, and the next trend, print asks us to pause. To
look closer. To engage deeper. Fashion, photography, and print share this singular quality—they demand attention, and reward it with longevity. And perhaps, that is precisely why print continues to matter.

So Until Next Time….Cherish this issue

–

vivo X300 Pro Camera Review – Best Android Flagship Camera?

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Watch our video review here

Last year, we got the X200 for review, and it impressed us with its performance for a non Pro phone. But this year we’ve received an upgrade – the X300 Pro – and we’ve been playing around with it for a few weeks. Priced at ₹1,09,00, in this review we will see how this phone performs in our camera tests.

Look, Body and Feel

The design language hasn’t changed much as compared to last year’s model, and it feels similar to an iPhone and you could easily mistake it for the 16 Pro Max. It feels great in the hand, but the camera bump at the back has become bigger and while this gives you a natural finger resting place, it might not be for everyone, especially with bigger hands.

Camera Bump

The camera module at the back is familiar and has become noticeably bigger. The collaboration with ZEISS is evident with their logo and the T* symbol. There’s one tiny change wherein the flash has moved to the other side of the device.

Camera Specs:

The vivo X300 Pro comes with performance filled to the brim as expected of an android flagship. It features a triple camera setup which includes:

50MP Main camera
50MP Wide camera
New custom 200MP telephoto sensor by Samsung, Mediatek and vivo (14.3MP output with 50 and 200MP options available)
50MP Front camera
50MP hi-res photo option available on all sensors
OIS available on Main and Telephoto cameras, rated to CIPA 5.5 standards

The X300 Pro is powered by Mediatek Dimensity 9500 processor and V3+ & VS1 imaging chips. Video-wise, it can shoot at up to 8K at 30fps and 4K at up to 120fps, with LOG—which is only available in 4K.

Daylight Main

The main camera features a new 50MP Sony LYT-828 sensor that gives the output at 14.3MP which allows you to shoot 1x (24mm), 1.5x (35mm) and 2x (48mm). The images are vibrant, saturated and detailed. In some cases they are more natural while in the others they do tend to over pop slightly. The shadows and highlights performance is good overall.

The pics are also sharp and detailed—although there is a hint of processing when a human subject is in the frame. One thing to note is that the processing takes a second especially in the hires mode. Quick tip, you can change the display to focal length (24, 35mm, etc) or multiples (1x, 2x, etc) inside the menu.

Daylight Wide

The wide camera remains unchanged from last year, featuring the 50MP Samsung JN1 sensor which gives you an output of 14.3 MP and a hires mode with 50MP output option.

The images shown from the wide lens seem more natural looking than the main camera. They represent the actual scenes and the pics aren’t very poppy or oversaturated. The details and sharpness is decent and since these are more natural looking images, the shadows and highlights performance is slightly under. There is visible distortion as well in the images— although something that is expected from phone cameras.

Daylight Telephoto

The phone features a brand new “High Sensing Sensor HPB” telephoto sensor, which is a collaboration between Vivo, Mediatek and Samsung. By default the output is again 14.3MP and it can still shoot images at 50 MP and 200 MP. And unlike previous models, the hi-res setting can be accessed from the main menu itself without needing to scroll to the additional menu on the right.

This camera gives you an optical zoom of 3.5x and can go up to 200x digital zoom and this is easily the best lens in the camera set up. The pics are sharp, detailed, crisp even at higher zoom ranges. Yes, there is visible processing at higher zoom range, but the images up to 10x are easily usable. Beyond that you can see some visible noise, but if you are shooting texts, then even at higher zooms the images are good.

And like most phones you can see colour shifting as you move up on the zoom range. The images up to 10x show proper colour reproduction and the shifting starts as you move up on the zoom range from there. We would’ve loved to shoot with the extender as it adds another 2.5x optical zooming capability and based on the examples we’re seeing online, it might be a worthwhile investment for serious hobbyists or enthusiasts.

Lowlight

In lowlight the images are surprisingly good.

From the main camera the images are sharp, vibrant and well saturated. The colour reproduction is also on point—in fact since there is aggressive processing, the images look really sharp and detailed and to the naked eye these look really good. Yes, in some cases they aren’t the actual scene, but they surely make the images look pleasing. I liked the even tonality also of the colours in the images.

In wide lens, similar to the daylight—the images are more natural and they display less processing as compared to the main camera. But there is visible flaring and ghosting and the sharpness is decent.

In telephoto the images do display heavy processing (there is an option inside to turn this down to normal or completely off), but they do appear sharp and detailed up to 10x. The performance behind 10x is decent and there is colour shifting visible like the daylight performance. In some cases though when it doesn’t focus then you can see the output without processing as well. The flaring and ghosting performance is better in this lens and overall the images do appear vibrant, poppy and over saturated in some cases.

Portraits

In terms of portraits, it gives you five options to shoot portraits. And the images are pretty decent. They display good colour range and sharpness, although there is visible skin smoothening in them. The edge detection is good and the bokeh performance is also great—the ZEISS signature. But in some cases we found the images to give a slightly soft look. In daylight the images are very sharp and detailed and there isn’t much to complain about.

One interesting thing about this flash is that it uses different distances while shooting in different lenses. For a telephoto it will throw further away while in the main it is closer. From the image stand point it lights up the pics better with fill light—but in terms of the output we think it could be better.

Macro

There is a super macro mode with reports suggesting the minimal focusing distance as 14 cm. The images from it are decent and can be used in most cases. But there is visible colour shifting in the image while shooting on wide/main and telephoto.

Front

The front camera has been bumped up to a 50 MP camera as compared to the 32 MP from last year. This is now a 50 MP Samsung JN1 sensor—same as the rear wide camera. The image output is at 14.2MP and you can shoot at 0.8x, 1x and 2x.

Interestingly, the X300 Pro gives you an option to take selfies at 50 MP like the rear camera, which is a feature unseen in other phones. And the images from the phone are good. They are sharp and detailed, natural and pleasing to the eye. The bokeh performance is good—even in low light and the edge detection in portraits is also decent and the skin tonality and reproduction is also good. The phone does do slight skin smoothening even in the natural mode.

Front Video

The front camera can shoot videos at 4K at up to 60fps. The image quality from this is decent and natural, not straying away too much from the reality, which being a little bit vibrant and poppy. The portrait video feature adds to this by separating the subject from the background with good bokeh performance and edge detection as well.

Video

The vivo X300 Pro is capable of shooting at 8K at 30 fps, and also 4K at up to 120 fps. It also features LOG shooting with live video preview – which means you can preview the video normally, but the video recorded will be in the Log format—essentially giving you greater dynamic range while editing and to do your own colour grading. One thing to note is that Log video shooting isn’t available in 8K, which we don’t think is going to be a dealbreaker considering the number of people actually shooting in 8K are going to be very less.

Qualitywise, the videos are natural, vibrant, and very stable. There’s OIS in two out of three cameras, and more than that, when going from one focal length to another, there’s only a small shift in colours and tonality. However, going from 1x to 2x looks like a slight drop in image quality because the 2x lens is digital, at least in the preview and 2x to 3.5x feels like a huge jump up in image quality because we’re moving towards the excellent telephoto camera.

More than that, when you tap on the lenses, the shift isn’t immediate, the zoom eases in and out, making the overall feeling way smoother.

Image is well exposed with plenty of dynamic range for everyday videos, and if you need any more DR, then the Log feature gives you that option. Another feature to note is that there are “personalised styles” now available in the camera, like colour presets or shooting modes, but switching to them will restrict your shooting to 1080p at 30fps, which is not good if someone wants to explore these options.

Pro level options – the Vivo X300 Pro doesn’t only let you shoot different frame rates, resolutions and video formats (H.264 and H.265), but also allows you to change bitrates between Normal and High—which is essential if you want to retain image quality and sacrifice storage space or vice versa.

The autofocus is very similar to a mirrorless camera wherein it automatically now detects and tracks subjects, shifting focus from one subject to another effortlessly.

Things We Like

Display – The Vivo X300 Pro features a 6.7 inch 120Hz LTPO AMOLED display tuned to ZEISS master standard with 2000 nits of HBM brightness and 4500 nits of local peak brightness—plenty enough to shoot in broad daylight and supports HDR content viewing. You can also shoot HDR videos and photos with the phone—most of the photos we showed are shot in HDR by-default.

Battery and charging – this phone comes with a massive 6510 mAh battery, which was a trend we predicted back when we reviewed the OnePlus Nord 5. This is backed by the capability to charge at 90W wired and 40W wireless. In our testing, the phone could last over a day and a half in balanced mode, giving plenty of time for even power users to power through an entire day.

UI – The Vivo X300 Pro comes with the brand new Origin OS 6 preinstalled, the experience inside the operating system and the camera app is smooth. The app opens swiftly and without any hitches, the top-down menu feels refined and the OS gives you plenty of options to customise to your liking.

Things We Didn’t Like

Heating – After an extended shoot session, especially 4k videos, the screen was noticeably warm to the touch. Inside the camera menu there’s an option to extend the shooting duration, which is a nice touch, but during the day there’s a very real chance of overheating.

Conclusion

How do we find the cameras of Vivo X300 Pro? Well in one word they are GOOD. They shoot sharp and detailed images and the telephoto is surely impressive. Yes, few things can be better – like the aggressive processing, the colour shifting, but aspects like the good video performance, battery life and new UI – combined makes this a decent phone to buy.

The cameras surely do get a thumbs up from us and make it a worthwhile contender to be crowned as the best android flagship camera.

Sony Launches A7 V in India

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Sony India has introduced the A 7V, the fifth-generation model in the Alpha 7 full-frame mirrorless series. It features a newly developed partially stacked 33.0MP Exmor RS CMOS sensor and the latest BIONZ XR2 image processing engine with an integrated AI unit. The camera delivers enhanced autofocus performance, including faster and more accurate Real-time Recognition AF and Real-time Tracking. With 759 phase-detection points covering up to 94% of the frame and low-light operation down to EV -4.0, the A7 V offers reliable subject detection in challenging conditions. High-resolution RAW processing is now supported through Imaging Edge Desktop.

The A7 V achieves blackout-free continuous shooting up to 30 fps with 60 AF/AE calculations per second and includes a Pre-Capture function that records up to one second before the shutter is pressed. It offers up to 16 stops of dynamic range and improved Auto White Balance using AI-driven scene and light source analysis.

For video creators, the camera supports 7K oversampled 4K 60p recording in full-frame mode and 4K 120p in APS-C/Super 35mm mode, with full pixel readout and no pixel binning. Dynamic Active Mode stabilization and AI-based Auto Framing further enhance handheld and content-focused shooting. Updated noise reduction and improved internal microphones support cleaner audio.

Sony also launched the FE 28-70mm F3.5-5.6 OSS II, a compact lens optimized for high-speed continuous shooting and coordinated stabilization.

Both products support Sony’s sustainability goals, with manufacturing powered by renewable energy and eco-friendly packaging. The A7 V body will be available from 10 December 2025, with the M-kit following in February 2026.

vivo Launches X300 Series in India

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vivo India has unveiled its latest flagship duo — the vivo X300 and X300 Pro — with a strong spotlight on next-gen mobile imaging co-engineered with ZEISS. The series introduces a 200MP Ultra-Clear camera system, promising significant leaps in portrait, telephoto, and low-light photography.

The vivo X300 Pro leads the lineup with a 200 MP ZEISS APO Telephoto Camera, India’s first Telephoto Bird Shots mode, and compatibility with the new ZEISS 2.35x Telephoto Extender Kit, enabling up to 8.5x optical zoom. It also features a 50MP ZEISS Main Camera with CIPA 5.5-rated stabilization (for main and telephoto cameras), dual imaging chips (V3+ and VS1), and 4K 120 FPS dual-focal-length recording with Dolby Vision and 10-bit Log support. AI-driven imaging additions include AI Storyboard, AI Landscape Master, Stage Mode 2.0, and improved Live Photos, with features tailored for Indian photography preferences.

The compact vivo X300 sports a 200MP ZEISS Main Camera, 50MP telephoto, 50MP wide-angle AF camera, and CIPA 4.5-rated stabilization (for main and telephoto cameras). Both models introduce an enhanced Adaptive Flash System for brighter and more natural illumination across focal lengths, along with upgraded portrait and cinematic video tools including 4K 60 FPS portrait video.

The smartphones run OriginOS 6 out of the box, offer up to 7 years of security updates, and are powered by the MediaTek Dimensity 9500 chipset. The X300 and X300 Pro pack 6040mAh and 6510mAh batteries respectively, both supporting 90W wired charging and 40W wireless charging capability.

Pricing starts at ₹75,999 for the X300 and ₹1,09,999 for the X300 Pro, available from December 10 across major online and offline platforms with multiple launch offers.