Author Archives: Bhavya Desai

38 Best Covers of Asian Photography Magazine

Every legacy has humble beginnings, and as Asian Photography turns 38, it feels only right to pause and look back at the covers that quietly, consistently documented the journey of photography in India. What began as a modest publication—priced at just ₹7 in its infancy—has over nearly four decades grown into a living archive of an industry in constant motion.

These covers are iconic not merely because they belong to a brand we have built and nurtured, but because they chronicle photography itself: its technologies, its aesthetics, its debates, and its people. From the early days of film and darkrooms, through the turbulence of analogue versus digital, to the modern marvels of mirrorless systems and AI-led imaging, Asian Photography has watched, questioned, celebrated, and sometimes challenged the industry as it evolved.

Very few publications can claim to have documented the journey of Indian photography in both words and pictures the way Asian Photography has over the last 38 years. These covers are not just visual markers—they are timestamps of ambition, experimentation, and belief in the power of the image.

Sit back and enjoy the ride as Bhavya Desai takes you through a curated walk through some of those moments.

November & December 1989

These were the 2nd and 3rd issues of the magazine—then known as Amateur Photography, long before it evolved into Asian Photography. Priced at a modest ₹7, the magazine was still finding its voice, its audience, and its place in the ecosystem.

This issue featured an interview with Adrian Steven, a well-known photographer of the time, along with highlights from Photofair 1989—an event that would later evolve into CEIF. In hindsight, these pages feel foundational. They capture a time when photography in India was driven by passion more than profession, and when the seeds of an industry were just being sown.

February 1990

This era was dominated by large-format printers, film giants like Kodak and an unquestioned belief in chemical photography. Few could have imagined that many of these iconic companies would eventually shut shop or reinvent themselves entirely.

Looking back, this cover stands as a reminder of how permanent the present often feels—until it isn’t.

March 1990

This issue represents continuity in the magazine’s formative phase, reflecting a period when Asian Photography was steadily finding its editorial footing and visual language. The striking red of the horse matching the text colour on the cover—displays our editorial footing for the years to come.

April 1990

Barely Vol. 1, No. 7, yet this issue marked an important editorial milestone—it was the magazine’s first focused foray into photojournalism. Still early in its journey, the magazine made a decisive editorial move—turning its lens toward photojournalism. This issue marked an important shift: Photography was no longer just about form and technique, but about relevance, reportage, and responsibility.

It was an early sign of the magazine’s willingness to look beyond aesthetics and engage with the real world.

May 1990

A landmark moment. This issue featured the magazine’s first-ever Bollywood actress on the cover, photographed by the legendary Gautam Rajadhyaksha. Featuring the late, iconic Sridevi, the cover signalled a new confidence—both editorially and visually.

It wasn’t just about featuring a celebrity; it was about acknowledging photography’s growing role in shaping popular culture. And it certainly wouldn’t be the last time cinema and photography intersected on our cover.

June 1990

This cover is remembered as much for its charm as for its errors. Missing both the month and the correct issue number, it stands as a reminder of the realities of publishing in a pre-digital era.

In those days, covers were assembled physically—positives pasted by hand. Reprinting was neither quick, nor economical. The mistake stayed, and over time, became part of the magazine’s folklore.

July 1990

This was the corrected Vol. 10, earning its rightful place in history. Shot by Sateesh Paknikar and featuring the legendary classical singer Begum Praveen Sultana, the cover was also notable for its bold experimentation—it carried no cover text at all.

An audacious move for its time, it reflected a growing editorial confidence in letting the image speak for itself—letting photography take centre-stage.

September 1990

A truly special cover. Upon release, the magazine was flooded with reader queries asking how the image was created. Today, rainbow hues and colour effects are a click away. Back then, such imagery required painstaking manual work using gelatin walls and papers.

So impactful was the curiosity that the following issue (1^st Anniversary) carried a detailed illustration explaining how the image—shot by Dayaram Chawde—was created. Education has always been central to Asian Photography’s DNA.

October 1990 (1st Anniversary Issue)

Our first anniversary issue quietly planted the seeds of what Asian Photography would eventually become. While modest in appearance, it symbolised survival, intent and the belief that photography in India deserved a dedicated, serious platform.

November 1990

Pure nostalgia. The 14^th issue embodied the visual language of the 90s—dramatic, stylised and unmistakably influenced by Bollywood aesthetics. It feels like a still from a Hindi film song sequence and today stands as a time capsule of an era.

December 1990

This cover earns its place for two reasons. First, it closed out the magazine’s formative year. Second—and more importantly—it marked the first time a camera appeared on the cover.

The issue also featured a special article on Photokina 1990, one of the world’s largest photography fairs, in those days—where Asian Photography would later go on to publish a Show Daily—further cementing its international footprint.

June 1996

Due to the devastating Mumbai floods of 2005, several archival issues were lost, making it difficult to pinpoint exactly when Amateur Photography became Asian Photography. However, this cover is among the first to feature the new masthead—and a change at that—lowercase, distinctive and modern.

Featuring the work of Ajit Patel, this nature-focused cover also marked a visual evolution in how the magazine presented photography.

January 1997

An extraordinary issue featuring interviews with two legends—Annie Leibovitz and Sebastião Salgado. From Hollywood portraiture to deeply human documentary work in Mumbai, this issue represented the global breadth photography could achieve.

And also cemented our access to global photographers.

March 1997

The late 90s marked structural change. The magazine’s price increased from ₹7 to ₹30, reflecting both rising costs and a maturing readership.

This issue also featured coverage of ImageTech 1997—an immensely popular exhibition organised by Asian Photography itself—demonstrating the brand’s growing role beyond print.

July 1997

A significant visual shift. This issue introduced the first version of the masthead resembling today’s logo. The earlier design had not resonated with readers and the change reflected the magazine’s willingness to listen, adapt and evolve.

And as we would find out later—this became the iconic look of the magazine for years to come.

June 2000 & February 2001

Few debates in photography have been as polarising as analogue versus digital—and Asian Photography documented it in real time.

The February 2001 cover famously placed an SLR and a digital camera side by side. The digital camera was the Olympus E-10, boasting a then-impressive 4MP sensor. These covers now read like historical documents from the brink of a technological revolution.

But issues between 2000 and 2001 covered this topic immensely, highlighting the industry reservations and early adopters.

October 2005

By this time, the Wildlife Special had become a recognisable feature. But this cover—featuring a Cheetah and her cub staring straight into the lens—transcended the category. Shot by celebrated photographer Daniel Cox, the image felt intimate, powerful and unforgettable.

December 2008

Nostalgia defines this cover. Featuring one of the magazine’s own writers, Sanya Sundar, the issue carried a step-by-step guide titled How a Girl Next Door Can Be Turned into a Cover Model.

Today, the innocence and simplicity of the concept feel almost radical in hindsight. And also, an intent to bring some of these ideas back may be?

January 2010

A turning point. This wasn’t just about bolder covers—but a year Asian Photography took the photography industry to television through the Asian Photography Awards 2010.

It marked a moment when photography stepped into the mainstream spotlight—and the first time that it was featured on CNBC.

December 2012

A defining digital-era cover. Shot by Colston Julian and featuring Amitabh Bachchan, the image went viral on Facebook—long before the word ‘viral’ became industry jargon.

Analytics showed a 60% growth between 2012–2013, probably making this one of the most impactful covers in the magazine’s digital history.

January 2013

The 25^th Anniversary—the Silver Jubilee. Featuring Penélope Cruz, this issue also marked a major brand milestone: the penultimate change to the masthead.

A special story titled The Journey of Our Logo accompanied it. The article is still available on digital for reading. The year itself was visually ambitious, including a Paris-shot cover in July, making 2013 a standout chapter.

September 2013

An architectural photography special with a cover by Ali Rangoonwala, this issue embraced radical minimalism.

No cover lines. No distractions. Just the image. A risk—one that paid off, even if it may have been the last time such restraint was attempted.

January 2014

The 26^th Anniversary Special featured a striking visual: the number “26” created entirely from past covers.

Initially attempted using software, the design was ultimately crafted manually by the team—an irony not lost on anyone in an increasingly digital world.

The Year of 2016

This was the year products became heroes. A conscious editorial decision led to product-centric covers from June through October.

Cameras, lenses and gear finally took centre stage—and mind you looked spectacular doing so.

May 2017

A defining moment in representation. While Asian Photography had celebrated women photographers before, this issue cemented the Tribute to Women cover as a recurring, meaningful feature.

Recognition, visibility and respect were long overdue—and this issue helped push that conversation forward.

January 2018

A return of a familiar face. Amitabh Bachchan appeared again—six years after the 2012 cover—this time photographed by Rohan Shrestha.

Few subjects have spanned generations the way he has, making this cover especially symbolic.

August 2021

A deeply moving issue. Amid the global refugee crisis, the cover paid tribute to Pulitzer Prize–winning photojournalist Danish Siddiqui, who lost his life covering the Afghan war.

It also featured the work of GMB Akash, including his haunting image of a father and son wrapped in a space blanket during the Greek crisis. This cover reminded readers of photography’s moral responsibility.

February 2022

Among the many first in 38 years—this one was special—a pet as the cover star. Shot by Kaylee Greer, the image was impossible to ignore.

Those soulful, droopy eyes proved that emotional connection transcends genre.

August 2024

While Lionel Messi’s India visit dominated headlines, Asian Photography featured India’s own GOAT—Sunil Chhetri on its cover.

Shot by Sunil Patil for the Sports Special, this image became Chhetri’s most iconic retirement photograph, going viral across platforms and closing this chapter on a powerful note.

Closing Note

As Asian Photography completes 38 years, these covers stand as more than visual milestones. They are reflections of an industry finding its voice, a publication evolving with integrity, and a belief that photography—whether film, digital, or AI-driven—matters.

The covers may change. The technology certainly will. But the commitment to documenting, questioning and celebrating photography remains unwavering.

And that, perhaps, is OUR TRUE LEGACY.

Each Dive a Battle, Each Ascent A Quiet Victory – Mark Smith

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When Mark Smith speaks about birds, he doesn’t talk like a photographer chasing the perfect frame. He speaks like a witness—someone who has spent years observing, listening and quietly learning from the natural world. Winning the HIPA Award last year may have brought his work global recognition, but for Smith, the moment still feels unreal. Bhavya Desai spoke to him about his love for birds and more. Excerpts:

“It’s overwhelming,” he says, almost thoughtfully. “I’m still trying to absorb it. It doesn’t feel real yet.” The award ceremony in Dubai marked his first real experience of the city—beyond airport layovers—and the setting only amplified the sense of disbelief. Yet, recognition was never the destination. It was simply a by-product of a journey that began decades earlier.

Smith’s introduction to photography was deeply personal. As a child, following his parents’ divorce, weekends spent outdoors with his father became formative. His father handed him a Minolta camera and a roll of film, and gave him complete freedom. There were no instructions, no expectations—just plain old curiosity. Those early days in the wild planted a seed that would later grow into a lifelong fascination with animals and storytelling.

What sets Smith apart is his belief that photography is not about images—it’s about understanding. Long before ‘visual storytelling’ became a buzzword, he was already trying to see the world from an animal’s perspective. “I was always excited to learn about them,” he explains. “And I wanted others to feel that same fascination.”

That philosophy is most evident in his enduring relationship with the osprey—a bird that dominates much of his work. For Smith, the osprey is more than a subject; it’s a symbol. He speaks of its relentless determination, its refusal to give up even when injured, exhausted or robbed of its prey. “They just keep going,” he says. “Over and over again.” Watching an osprey rise from the water again and again reminded him of the mythical phoenix—where each dive seems like a battle, and each ascent a quiet victory.

Understanding such behaviour, Smith believes, is the cornerstone of wildlife photography. Knowing how fast a bird moves, how it hunts, and even how it communicates distress determines whether a photographer captures something meaningful or merely intrusive. “Some birds make a very specific sound when you’re too close,” he explains. “If you don’t recognise that, you’ve already crossed a line.”

Smith’s approach to photography changed dramatically during a pivotal period in his life, when he and his wife sold everything, they owned and travelled across the United States in a caravan. Their journey eventually led them to Colorado, where the landscapes and wildlife transformed the way, he saw the world. It was there that photography shifted from interest into an obsession—and later, to purpose.

Although Smith initially returned to photography through video, slow motion became an unexpected teacher. By stretching time, he began to see details invisible to the naked eye—minute decisions, subtle body movements, and split-second reactions. Ospreys, which hit the water at nearly 50 miles an hour, suddenly revealed their intent frame by frame. “It taught me more than I ever expected,” he says. Not just about birds—but about his own technique, his mistakes, and how to correct them.

Yet for all the technical mastery his work reflects, Smith insists that equipment is secondary. Yes, good lenses matter. Yes, high-quality glass reveals extraordinary detail. But none of it replaces time spent in the field, observing and learning. “If you don’t enjoy being out there, people can see it in your work,” he says. Passion, he believes, is non-negotiable.

Some of Smith’s most memorable moments have nothing to do with awards or accolades. One of his most powerful images—an osprey carrying a fish with a crab still clinging to it—was technically flawed, harshly backlit, and full of blown highlights. Yet it became one of his most popular photographs. “Story comes first,” he says simply.

Not all stories end beautifully though. One of his most difficult experiences involved an injured osprey struck by a car. Attempting to save the bird, Smith wrapped it in a blanket and carried it to safety. In that moment, as the bird looked at him, he felt what he describes as a “cosmic slap” —a flood of emotion, understanding and shared vulnerability. The bird died minutes later in his son’s arms and that still remains one of the most humbling moments of his life.

“That connection,” Smith reflects, “is why this matters.” Wildlife photography, for him, is not about domination or control—it’s about empathy. About recognising that animals, like people, are navigating survival, fear, and resilience every day.

For young photographers eager to enter the world of bird photography, Smith’s advice is deceptively simple: learn the bird before you learn the camera. Understand its food, its migration, its habits. Start small. Be patient. And above all, enjoy the process.

Because in the end, the most powerful images aren’t captured—they’re earned, through time, respect, and the willingness to truly see.

A Life Framed by Curiousity – Rick Smolan

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Few photographers have shaped not just how we see the world, but how the world collaborates to see itself. Rick Smolan belongs to that rare breed of visual storytellers who refused to accept the limits of the medium as it was handed to them. From redefining photojournalism to creating one of the most successful collaborative publishing models in history, Smolan’s career has been driven by a restless belief—and what is that belief—that stories are always bigger than a single frame, a single photographer, or a single point of view.

In this conversation with Bhavya Desai, Smolan reflects on photography’s shifting ground—from the analogue era to AI, from editors with fixed ideas to photographers demanding agency and from solitary image-making to global visual orchestration. What emerges is not nostalgia, but clarity: a reminder that technology changes, markets collapse and reappear, but the core responsibility of a photographer—to observe, to persist, and to tell meaningful stories—remains unchanged. Excerpts:

To call Smolan anything less than a legend would be unreal. He has always seen photographs and words not as rivals, but as partners. Early in his career, he admits, he felt the same insecurity many photographers do—the desire for images to dominate the page, to speak louder than text. But experience, and eventually publishing, taught him otherwise. Some things, he realised, photographs do better—for all other things—there are words. And when they work together, they amplify each other.

Though he still thinks of himself first and foremost as a photographer, over time he learned how to write, how to edit writers, how to guide narratives—a skillset he developed long before artificial intelligence entered creative conversations and largely without its help.

That instinct for synthesis would later define some of his most ambitious projects. Perhaps one of my favourites of his work is—The idea for The Human Face of Big Data. The idea of creating a face for an inanimate object, something you can only see and not feel seems fascinating to me—and that’s where my question to him also stems from.

And as he asserts that this idea emerged not from technology, but from conversation. For nearly 25 years, Smolan attended TED, and during one of those visits he found himself speaking to Marissa Mayer, then CEO of Yahoo!. When she asked what he planned to do next, he admitted he wasn’t sure. Her response was simple: look at big data.

At first, Smolan didn’t even know what the term meant. Mayer described a world where the devices we carry have effectively given the planet a nervous system—where each person has become a sensor, a node in a vast, invisible network collecting information about movement, habits, relationships and choices.

That metaphor unlocked everything. Big data, Smolan realised, was not about technology itself, but about what technology reveals—like a new kind of microscope, exposing patterns that had always existed but were previously invisible. Photographing big data was, of course, nearly impossible in literal terms. But photographing its impact on civilisation, on daily life, on human behaviour—that was the real story. The project resonated globally, was distributed to 10,000 influential people in a single day, landed on the cover of Fortune, and in hindsight proved prophetic. Big data, Smolan notes, was the necessary bridge to AI—microprocessors led to computers, computers to networks, networks to data, and data to artificial intelligence.

When he looks back across decades of work, the impact that gives him the most pride isn’t a single image or book, but the community his projects unintentionally created. The Day in the Life series didn’t just document moments—it brought together a global family of photographers who might otherwise have spent their careers competing. In doing so, the projects elevated photojournalism, helped create the mass market for coffee-table photography books, and delivered a particularly sweet irony: concepts rejected by 35 publishers went on to become the best-selling photography series in publishing history.

Smolan’s perspective on photography before and after 2000 is both candid and bittersweet. In the analogue era, there were fewer photographers and becoming good was harder. That difficulty created standards—and respect. Today, photography has become more commodified, even disposable. Images are made endlessly, consumed quickly, and forgotten just as fast. If you don’t look at a photo on your phone within a day or two, he notes, you probably never will. There was a time when family histories were carefully curated in albums and scrapbooks, often by mothers who acted as informal archivists of memory. That physical relationship with photographs has largely disappeared.

Asked whether social media would have amplified his reach or diluted his impact, Smolan sees both sides. Digital tools have democratised participation, and spontaneity can yield images no editor would ever plan for. But a camera in your pocket doesn’t make you a photographer any more than a pencil makes you a writer. Craft still matters. Vision still matters.

That insistence on agency—on letting photographers tell the story as it actually exists—was what pushed Smolan away from traditional photojournalism toward large-scale, conceptual collaborations. Early success with Time, National Geographic and Fortune came with a frustration familiar to many photographers: editors often sent him out with preconceived narratives. On the ground, reality rarely matched those assumptions. Yet back in the office, editors would search the images for validation rather than truth. Smolan wanted a project without that filter.

Day in the Life was born from that frustration—and from rejection. Publishers dismissed the idea as impractical, expensive and commercially unviable. They doubted anyone would care about an entire country in a single day. They doubted photographers would participate without pay. Some even suggested faking it with stock images. Unable to find support, Smolan took an unconventional route, approaching the Prime Minister of Australia, who helped broker sponsorships instead. The result was a self-published book with unprecedented marketing muscle and creative control. Free from publisher constraints, Smolan could prioritise quality over margins—six-colour printing, better paper, stronger covers. Rejection, he realised, was the greatest gift. It forced him to become a publisher.

The books themselves were edited collectively—a safeguard against ego. Multiple editors, diverse sensibilities, votes, filters. The final selection was less about individual brilliance and more about how images spoke to each other. The sequencing mattered. Sometimes two photographs side by side told a stronger story than either could alone.

On the craft itself, Smolan’s advice is deceptively simple: get close, and make technology invisible. The camera should feel like an extension of your arm, not something you’re thinking about. In the film days, every roll-imposed restraint—36 frames, constant interruptions, missed moments. Today’s abundance removes that limitation, but it also removes discipline.

But was photography once more respected as a true art? Smolan believes golden ages are only recognised in hindsight. No one expects them to end. If Life and Time could disappear or shrink beyond recognition, so could entire ecosystems of photography. The mass market for coffee-table books—something his projects helped create—has largely collapsed under the weight of digital distraction. Physical photographs, once treasured objects, now live unseen on hard drives and phones. What worries him most isn’t nostalgia, but memory itself: a collective history drowning in images no one revisits.

For young photographers, his advice is pragmatic and unsentimental. You must be a storyteller across mediums—stills, video, sound. You must work faster, travel lighter, and accept shorter assignments. Budgets are smaller, patience thinner. That often means weaker pictures, because relationships take time. Still, persistence matters. Not loud persistence, not passive waiting—but quiet determination. In the end, Smolan says, most of a photographer’s job isn’t pressing the shutter. It’s charming your way past the palace guard. The photograph comes later.

And perhaps that, more than anything, explains his legacy. Rick Smolan didn’t just document the world. He learned how to enter it—patiently, persuasively and with enough curiosity to bring others along.

iPhone 17 Pro vs vivo X300 Pro: A Flagship Camera Face-Off

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Watch our video review here

Two flagship smartphones, two very different imaging philosophies. Apple’s iPhone 17 Pro and vivo’s X300 Pro sit firmly at the premium end of the market, both priced north of the ₹1 lakh mark and both promising class-leading camera performance. With powerful processors, advanced imaging pipelines and multi-camera systems, the question is not whether they are capable – but which one does it better. This comparison focuses purely on camera performance across real-world shooting scenarios, from daylight photography to low light, portraits, macro and video.

Pricing and Positioning

The iPhone 17 Pro starts at ₹1.35 lakh, placing it firmly in the ultra-premium bracket. The vivo X300 Pro undercuts it at around ₹1.10 lakh, though street pricing and offers can narrow this gap. Both phones target serious users who expect top-tier performance, particularly from their cameras.

vivo X300 Pro

Triple 50 MP camera setup
New custom 200MP telephoto sensor by Samsung, Mediatek & vivo (14.3MP output with 50 & 200MP options available)
50MP Front camera (Samsung JN1 – 14.2MP output)
50MP hi-res photo option available on all sensors including front
Powered by Mediatek Dimensity 9500 processor and V3+ imaging chip
Video capability bumped up to 8K at 30fps and 4K at up to 120fps, with LOG – which is only available in 4K

iPhone 17 Pro

Triple 48 MP Fusion cameras on the back
18 MP front camera with a square sensor and Center Stage support
Updated Photonic Engine for better low light and color accuracy
Powered by the A19 Pro chip with 12 GB RAM (up from 8 GB)
Video: 4K up to 120 fps, with ProRes RAW, and GenLock support

Camera Performance

In daylight, the difference in philosophy becomes immediately apparent. The iPhone captures images at 24MP, while the vivo defaults to a lower-resolution output. In practice, the iPhone produces slightly sharper images, particularly noticeable when zooming in. vivo’s recent software updates have improved natural rendering, but images still tend to be marginally underexposed, affecting shadow detail and highlight recovery. vivo images are more saturated, while the iPhone leans towards neutral, accurate colours. At 2× zoom, both phones show a dip in quality, but the iPhone maintains a slight edge. vivo’s high-resolution shooting modes can recover detail at the cost of storage space, while Apple counters with its own high-resolution options.

Daylight Main

In daylight, the difference in philosophy becomes immediately apparent. The iPhone’s 48MP Sony IMX903 sensor outputs 24MP images by default, while the vivo’s 50MP Sony LYT-828 sensor produces 14.3MP images. In theory, the iPhone’s higher output resolution should translate into sharper images – and in practice, it does as well.

On zooming in, the iPhone images retain finer detail. vivo’s recent software updates have improved natural rendering, but images still tend to be marginally underexposed, affecting shadow detail and highlight recovery. vivo’s colour tuning leans towards saturation, while the iPhone remains more neutral and truer to life.

At 2× zoom, both phones show a drop in quality, but the iPhone maintains a marginal edge. vivo does counter this with its 50MP high-resolution mode on the main sensor, though this comes at the cost of increased storage usage, while Apple offers a similar high-resolution option on its main camera.

Daylight Ultra-Wide

The trend continues with the ultra-wide cameras. The iPhone’s 48MP Sony IMX972 sensor delivers better sharpness, superior distortion correction and more reliable dynamic range compared to vivo’s 50MP Samsung JN1 sensor. vivo’s ultra-wide images again appear slightly underexposed, with punchier colours but compromised shadow detail.

While vivo offers a 50MP high-resolution mode on the ultra-wide camera, the iPhone’s default 24MP output feels more refined, balanced and dependable, especially in challenging lighting.

Daylight Telephoto

Telephoto performance is a strong point for both devices, but they take very different routes to get there. The iPhone’s 48MP Sony IMX973 telephoto camera offers optical zoom up to 4× and digital zoom up to 40×. vivo’s custom 200MP telephoto sensor, on the other hand, offers optical zoom up to 3.5× and digital zoom reaching 100×.

Up to 4×, the iPhone produces sharper and cleaner images. Beyond that, vivo quickly catches up and then overtakes. At 10× zoom, both phones deliver comparable results, though vivo’s brighter output makes images appear more appealing at first glance. At extreme zoom levels, the vivo’s higher-resolution sensor gives it a clear advantage, delivering noticeably sharper images despite visible processing. For users who rely heavily on long-range photography, vivo clearly holds the upper hand once digital zoom becomes the primary factor.

Low-Light Performance

Low-light photography is more evenly matched than expected. Using the main cameras, the vivo’s Sony LYT-828 sensor delivers stronger contrast, producing more dramatic images, though it sometimes over-brightens scenes and introduces colour shifts due to aggressive processing.

The iPhone’s Sony IMX903 sensor produces more restrained and consistent results, even if the images lack some visual punch. On the ultra-wide cameras, vivo again shows better sharpness and contrast from the Samsung JN1 sensor, while the iPhone’s IMX972 maintains superior colour accuracy.

Telephoto performance follows the daylight trend, with both phones performing well at optical zoom levels, but vivo dominating once digital zoom comes into play, albeit with heavier computational processing.

Portrait Mode

Portrait photography highlights the philosophical divide between the two brands. The iPhone allows portrait shooting across all three rear cameras and produces more natural-looking images with accurate skin tones and consistent colour reproduction.

vivo offers a wider range of portrait focal lengths, made possible by its multi-sensor setup, but applies noticeable skin smoothing and occasionally inconsistent colour tuning. Edge detection and background separation are strong on both, but Apple’s portraits feel closer to reality, while vivo’s lean towards a more stylised aesthetic.

Macro Photography

Macro photography delivers an unexpected result. Despite vivo’s super macro advantage, the iPhone produces sharper images with better detail and more accurate colours. vivo does allow users to get as close as approximately 10cm to the subject, offering greater flexibility, but it also tends to alter colours from the original scene, particularly in natural textures like bark and foliage.

Front Camera Performance

On the front, vivo’s upgraded 50MP Samsung JN1 sensor delivers higher detail, particularly when zooming in. The iPhone’s 18MP square sensor produces warmer, more saturated images but clearly vivo has an edge when it comes to this one.

Video Performance

Video remains Apple’s strongest suit. While vivo’s hardware enables 8K recording, the iPhone’s output at 4K – driven by the A19 Pro chip and Apple’s image processing – remains more balanced, better stabilised and far more consistent in colour and exposure. ProRes RAW & GenLock support and dependable autofocus make the iPhone the more serious tool for content creators and professional videographers.

Battery & Thermals

Battery life clearly favours the vivo thanks to its massive 6500mAh capacity, often stretching to a day and a half of use. The iPhone, however, manages heat more effectively and remains stable during extended shooting sessions, except when recording ProRes RAW video.

Final Verdict

This is not a clear-cut win. The vivo X300 Pro excels in telephoto photography, low-light contrast, front camera detail and battery life, largely thanks to its ambitious sensor choices. The iPhone 17 Pro counters with superior consistency, more natural portraits, stronger macro performance and industry-leading video capabilities driven by its tightly integrated sensor and processing pipeline.

For users who value experimentation, extreme zoom and computational flair, vivo offers remarkable value. For those who prioritise reliability, colour accuracy and professional-grade video, the iPhone remains the safer choice. Despite vivo’s impressive hardware advantages, the iPhone 17 Pro’s overall balance and predictability give it the edge as the better all-round camera phone, albeit at a higher price.

Ashutosh Kumar continues his journey

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Ashutosh Kumar, IFS, a senior career diplomat and Special Secretary (Vigilance) with the Government of India, continues to serve in public life with distinction. A Matrix Level 16 officer, he brings over 33 years of experience across both State and Central Government administrations.

Over the course of his career, he has worked with a wide range of ministries, including Parliamentary Affairs, Labour & Employment, Consumer Affairs, Food and Public Distribution, Home Affairs, Rural Development, and Chemicals and Fertilizers. His work has combined administrative responsibility with policy engagement at the highest levels of governance.

Internationally, he has represented the Government of India at global platforms such as the United Nations and has served in diplomatic capacities in countries including the United Kingdom, France, Switzerland, and Austria.

Known for his academic excellence, Ashutosh Kumar was a consistent gold medallist and was awarded the President’s Medal for outstanding service. His professional journey is widely regarded as an example of integrity, discipline, and commitment to public service.

Through his career, he has often emphasised values such as honesty, perseverance, disciplined effort, and ethical leadership—principles that continue to resonate with young aspirants preparing for civil services and other competitive examinations. His life in public service underscores the enduring importance of integrity and responsibility in governance. He has been a chief guest at the Asian Photography Awards in the past.

‘Faraq Padta Hai’

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The photography and imaging industry is constantly changing. Over the last decade it has faced increased competition from other imaging devices, especially smartphones—with many writing off cameras to become redundant in the near future. However the industry has shown resilience and continues to grow despite its challenges. But what is the future like? Bhavya Desai spoke to Mukesh Srivastava, Head of Imaging Business (Professional & Consumer Cameras), Sony Electronics on what’s in the long haul. Excerpts:

In the long haul, what is your assessment of the industry?

The imaging industry has always thrived on transformation—from DSLRs to mirrorless technology and now Artificial Intelligence. Each shift opens new possibilities in storytelling. As audiences evolve, so do creators—from established professionals in weddings, wildlife, film, and fashion to emerging content creators from Tier 2 and 3 cities driven by online learning and influencer culture.

The future lies in hybrid solutions that deliver both exceptional stills and cinematic video. Innovation now focuses on versatility—empowering every creator to tell stories without compromise.

Where do you think the next big growth in the industry is coming from?

The creator economy is reshaping how content is consumed. This was evident at this year’s WAVES Summit, where Prime Minister Narendra Modi highlighted its potential. Conversations extended to drones, micro-dramas, short-form storytelling, and even bodycams—signalling how imaging is broadening across industries like agriculture, logistics, and surveillance.

The future will be defined by how effectively technology empowers creators—simplifying workflows, enhancing connections, and expanding influence across audiences and cultures.

What are the current challenges for Sony today and how are you navigating them?

Our biggest challenge is clearly communicating the value of our extensive camera lineup. The needs of professionals, vloggers, and hybrid creators vary widely. To address this, we’re investing in hands-on workshops, short-form videos, and Alpha Classroom—helping users understand which product fits their creative journey. Whether online or in-store, our goal is to make each camera’s value clear and accessible.

How do you see the current imaging market in India evolving—are enthusiasts driving growth, or is it professionals?

India’s market has long been anchored by professionals, but a growing segment of enthusiasts and semi-professionals is now upgrading from smartphones. This mid-tier segment is fuelling growth, making India one of the most dynamic imaging markets globally. Today’s enthusiasts are tomorrow’s professionals, and they are elevating creative standards.

Smartphones are getting more advanced—how does Sony position its cameras in this competitive landscape?

Smartphones have made photography accessible—and that’s a good thing. They’ve rekindled interest in image-making. But as creators seek more control, Sony steps in. Our ‘Faraq Padta Hai’ campaign encourages amateurs to rediscover the joy of photography and capture better images with Sony cameras.

We position our products as tools for creative control – offering superior dynamic range, interchangeable lenses, and cinematic quality, while ensuring intuitive connectivity for an easy transition from smartphone to camera.

Do you see younger creators (YouTubers, content creators, vloggers) influencing Sony’s India strategy?

Absolutely. Young YouTubers, vloggers, and influencers are driving trends in short-form video, live streaming, and hybrid content. Their need for lightweight, connected, and affordable gear directly shapes our product design and marketing.

Their feedback informs everything—from autofocus and touch interfaces to app integration—ensuring every touchpoint reflects their aspirations and supports their creative journey.

iPhone 17 Pro Camera Review: Is This Apple’s Most Serious Camera Yet?

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Watch our video review

The iPhone 17 series is here — and while the regular models got camera tweaks, the Pro lineup takes a major leap forward. All three rear cameras now feature upgraded 48 MP sensors, signalling Apple’s ambitious move in mobile photography yet.

Starting at ₹1,34,900, I’ve been using the iPhone 17 Pro as my daily driver for two weeks, snapping over 500 photos. Here’s what stood out:

Design: A Functional Plateau

Apple calls it the ‘camera plateau’ — and it’s got the internet split. Some love it, some don’t. But there’s no denying that Apple’s sleek design language has shifted toward function over form this year.

The raised module now packs the A19 Pro chip, creating more room for a larger battery, and even a vapour cooling chamber beneath. There’s also an antenna band built into the ridge for stronger 5G reception — and yes, I actually noticed a slight signal boost.

Surprisingly, this chunkier design helps the phone rest flat on a desk. But you’ll likely use it with a case anyway.

Hardware: What’s New Under the Hood

The iPhone 17 Pro’s camera setup brings some serious upgrades:

Triple 48 MP Fusion Cameras at the back
18 MP front camera with a square sensor and Centre Stage
A19 Pro chip paired with 12 GB RAM
4K video at 120 fps, plus ProRes RAW and Genlock
Updated Photonic Engine for richer colour and better low-light shots.

Daylight Main Camera Shines

The primary 48 MP Sony IMX903 sensor outputs detailed 24 MP images, thanks to smart pixel-binning and sensor cropping. Colours are punchy yet natural, contrast is balanced and highlight control is excellent. For the first time, though, I did spot some processing in the images – a first for me. At 2x zoom, resolution drops to 12 MP, and you lose a bit of texture. It’s still solid, but pixel peepers will notice.

Ultra-Wide: A Turnaround

Ultra-wide cameras have traditionally been weakest link for most phones. The 48 MP Sony IMX972 ultra-wide delivers surprisingly crisp images even in tricky lighting. It handles shadows and highlights gracefully, and while there’s mild processing visible up close, overall dynamic range and colour reproduction are good.

Telephoto: The Showstopper

This is where Apple flexes. The new 48 MP Sony IMX973 telephoto sensor is 56% larger than last year’s and offers 4x optical zoom, 8x optical-quality zoom and digital zoom up to 40x.

At 4x and 8x, images are razor-sharp with rich tonality and texture. Even at 20x or 40x, detail retention is decent — though you’ll spot some colour shifting and processing artefacts.

It’s easily the most usable long zoom ever on an iPhone. My only gripe: AE lock could be steadier, especially at higher zooms.

Low-Light Performance

Low-light shots are vibrant, clean and accurate, with minimal visible processing. The main camera captures sharp, noise-free results. The wide sensor holds its own, though fine details fade a little. The telephoto, however, continues to stand out — retaining clarity even at long zooms, something previous iPhones struggled with.

Portraits: Natural and Cinematic

Portrait mode now lets you choose 1x, 2x, 4x, and even 5x. Skin tones look authentic, colours pop naturally, and edge detection is spot-on. Occasionally, I noticed minor skin smoothing and some distortion at 4x, but overall, portraits are pleasing, refined and cinematic – sure to be a hit with the users.

Macro: Detailed but Confused

Macro mode still activates automatically — and sometimes overstays its welcome. It occasionally stays locked in 12 MP mode – due to the minimal focusing distance, even when it should switch back to 24 MP, it doesn’t.

Despite this, macro shots are shockingly detailed, with rich depth and texture that make you forget they’re technically half-resolution.

Front Camera: Smarter, Sharper Selfies

The all-new 18 MP front camera features a square sensor and Centre Stage, which adjusts framing dynamically as you move. Selfies are crisp, well-lit and colour-accurate — with minimal low-light noise.

Apple’s dual capture mode also makes it easier for vloggers to record front and back simultaneously — a thoughtful touch for creators – but it’s not for me personally.

Video: Still the Gold Standard

When it comes to smartphone video, Apple remains in a league of its own. The iPhone 17 Pro shoots 4K at 120 fps, supports ProRes RAW, and can now record directly to external devices for advanced workflows.

Footage is smooth, stabilisation is top-notch (thanks to 3D sensor-shift), and the phone handles heat exceptionally well. There’s still some lens flare and ghosting, but overall, this feels like a mini cinema camera in your pocket.

Battery Performance

With a 3,988 mAh battery, the 17 Pro comfortably lasts a full day — even with heavy photo and video use. The new vapour cooling chamber keeps temperatures in check during long recording sessions or gaming. For creators who push their phones hard, this is a quiet but meaningful upgrade – although coming from a Max it does feel like a compromise.

Verdict

I think the iPhone 17 Pro marks one of Apple’s biggest leaps in mobile photography in years.
Photographs are sharper, colours are truer, and the telephoto system finally delivers usable long-zoom shots.

But there are still some quirks — visible processing in some scenes, occasional colour shifts, and macro confusion — but none are deal-breakers. With improved battery life, cooling and professional-level video tools, the 17 Pro is a capable, pro-grade camera system that fits in your pocket.

Xiaomi 15 Review

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The latest addition to Xiaomi’s flagship series has landed, and we’ve spent the past few weeks testing the Xiaomi 15. Priced at ₹64,999—and around ₹59,999 with card offers—this compact phone carries forward Xiaomi’s strategy of delivering solid performance without hiking the price over last year’s 14 which we reviewed last year. With its continued Leica collaboration, let’s dig into the camera system of the 15.

Look, Body & Feel

There are a few noticeable changes to the design this time around. The square camera module—a Xiaomi staple—still defines the back, but it now looks visibly slimmer from the side, with more pronounced camera rings. The flash has shifted position and now sits outside the main module. The glossy back from the 14 has been replaced with a more refined matte glass finish. The fingerprint sensor has also been moved slightly higher, making it easier to reach.

What stands out most is the overall form factor: the Xiaomi 15 feels smaller, lighter, and better balanced in the hand. It’s hard to pinpoint, but the size, weight and grip combine to make this device feel more refined and comfortable to use.

Camera Specs

Let’s get into the numbers:

Rear Cameras: Triple 50MP setup (a step up from the 14)
Front Camera: 32MP sensor, f/2.0 aperture
Processor: Snapdragon 8 Gen Elite
Software Support: 4 years of OS updates, 6 years of security patches
Configuration: Only one variant – 12GB RAM + 512GB storage

Daylight – Main Camera

The main camera features the same 50MP Light Fusion 900 sensor as the Xiaomi 14. The images output at 14.5MP and, overall, are decent. We tested all shots on the Leica Authentic mode, but even then, the photos leaned heavily towards saturation. Colour accuracy and dynamic range were impressive—scenes like cloud-filled skies were captured beautifully without shifting hues.

However, there were notable issues with shadows and highlights, especially in high-contrast scenarios, leading to some underexposed results. Most disappointingly, zooming in on these images reveals clear pixelation and a noticeable drop in clarity. Distortion is also a problem, making it feel less polished than expected.

Daylight – Wide Camera

The ultra-wide camera uses the same 50MP Samsung ISOCELL JN1 sensor found in the 14, outputting at 14.45MP. It performs reasonably well. There’s no colour shift, and the tonal balance, highlights, and shadows are slightly better than the main camera.

Dynamic range and contrast are good, but distortion is an issue again. Zoomed-in clarity also struggles.

Daylight – Telephoto Camera

Xiaomi 15 features a 50MP floating telephoto lens with the Samsung JN5 sensor. This offers up to 60x digital zoom with 2.6x optical zoom. Up to 2.6x, image quality holds up—photos are sharp and usable. Between 5x and 10x, sharpness drops off, though some shots remain passable. Beyond 10x (particularly around 230mm), quality falls off a cliff. At 60x, images suffer from colour shift, fringing, and general un-usability.

Interestingly, telephoto shots are the most vibrant of the lot, despite using the same Leica Authentic setting. Distortion is still a weak point, but at least colour consistency remains solid, even at higher zoom levels.

Macro

The telephoto lens doubles as a macro shooter, and performance here is strong. Like the 14, the Xiaomi 15 delivers sharp, vibrant macro images, allowing you to get as close as 10cm to the subject. Tonal range and detail are impressive—even when zoomed in. This is one of the camera’s standout features.

Low-Light Performance

With the same sensor but a newer processor, don’t expect a leap in low-light capabilities. The main camera produces decent images—processed but saturated and vibrant. Sharpness isn’t its strength in these conditions, which is par for the course.

The ultra-wide follows suit: images are colourful and poppy but lack fine detail. That said, it handles tonal range a bit better than the main camera and appears less over-processed. There is also occasional flaring.

Surprisingly, the telephoto camera performs better than expected in low light—up to 2.6x. Images are sharp and usable, although some colour shift occurs (the mustard pillow test being a case in point). Beyond 3x, pixelation creeps in, and image quality deteriorates quickly.

Portrait Mode

Portraits on the Xiaomi 15 come with Leica’s full suite of effects and the option to shoot using different lenses. The results are generally pleasing—natural, vibrant colours and good dynamic range, even when capturing skies behind the subject (e.g. Rajan’s portrait).

However, edge detection is hit or miss. Some portraits lock onto the subject beautifully; others miss focus entirely. Sometimes, over-sharpening makes edge detection worse. Colour shifting was also noticeable in side-by-side comparisons.

Zoomed-in portraits introduce more distortion and don’t hold up well under scrutiny. In low light, colour accuracy dips further, and exposure inconsistencies are evident—e.g., the orange t-shirt appearing washed out or oversaturated.

Front Camera

The front camera sports a 32MP sensor, f/2.0 aperture and a 22mm equivalent lens. It delivers decent results in both daylight and low-light conditions, with vibrant colours and fair dynamic range. Nothing groundbreaking, but good enough for most use cases.

Video

The Xiaomi 15 shoots up to 8K at 30fps (a step up from the 14), and 4K at 60fps. Video performance is solid. Even in low light, footage looks clean, and stabilisation deserves special mention—it’s smooth and reliable across scenarios.

Conclusion

So, what’s the verdict on the Xiaomi 15’s cameras? Honestly, they’re a bit of a let-down. After the solid performance of the 14, expectations were high—especially since the price hasn’t changed much. But the camera system feels inconsistent. Yes, the images are eye-catching—vibrant and saturated—but under the surface, issues with clarity, sharpness, distortion, and edge detection stand out.

There’s potential here, and perhaps software updates will help smooth things out. It’s frustrating because the Xiaomi 15 nails so many other aspects: sleek design, great build, powerful internals, and long-term software support. But for a phone with Leica’s name attached, the camera should’ve been the star, not the compromise.

OnePlus 13 vs Vivo X200 Camera Test

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The semi-premium camera phone segment is a highly competitive space, with manufacturers continuously pushing the boundaries of innovation. Over the years, these devices have become more feature-packed – and more expensive. Both the OnePlus 13 and Vivo X200 come with a triple-camera setup, making the camera system a key factor in their appeal. Today, I’ll find out which of these two delivers the better camera performance.

Camera Setup

OnePlus 13 Camera Setup:

50 MP triple-camera system, co-developed with Hasselblad
Main Camera: Sony LYT-808 (same as Oppo X8 Pro), features ALC coating
Ultrawide Camera: Samsung JN5
Telephoto Camera: Sony LYT-600
Front Camera: 32 MP Sony IMX615, doubles as an island
Processor: Snapdragon 8 Elite

Vivo X200 Camera Setup:

50 MP triple-camera system with Vario-Tessar branding
Main Camera: Sony IMX921 sensor
Ultrawide Camera: Samsung JN1 sensor
Telephoto Camera: Sony IMX882 (3x optical zoom | 100x digital zoom | 15cm macro)
Front Camera: 32 MP ƒ/2 (Ultra Wide)
Processor: MediaTek Dimensity 9400

Since my initial review in the January 2025 issue, both phones have received multiple software updates. If you want to check out that review, you can visit our website.

Daylight Performance

Main Camera

Both phones feature a 50 MP sensor, but the OnePlus 13 outputs images at 14.6 MP, while the Vivo X200 outputs at 14.3 MP. The OnePlus uses the Sony LYT-808 sensor, whereas the Vivo houses the IMX921 sensor.

In terms of image quality, both phones produce noticeable differences. The OnePlus 13 tends to have a slight reddish tint, whereas the Vivo X200’s images appear slightly underexposed. However, the OnePlus excels in sharpness and zoom performance, producing crisp details even in shadows and highlights. Both cameras deliver well-saturated images with a good tonal range, but at times, OnePlus photos can look slightly flat and neutral.

When shooting against the light, the OnePlus 13 handles lens flares much better, which I confirmed through multiple tests.

Ultra-Wide Camera

Both phones feature a 50 MP ultra-wide sensor, but with different Samsung sensors—JN5 on the OnePlus 13 and JN1 on the Vivo X200. The OnePlus outputs at 14.6 MP, while the Vivo delivers 14.28 MP.

Like the main cameras, both ultra-wide sensors produce natural and neutral colours. However, the Vivo’s images tend to have higher contrast, making them appear slightly processed or “cooked” in some cases. This processing also affects shadow and highlight details.

Overall, both cameras perform well, though the OnePlus still exhibits a slight reddish tint in some images. Sharpness on zooming in is again better on the OnePlus, while distortion control is good on both.

Telephoto Camera

The OnePlus 13 uses a Triprism lens, while the Vivo X200 opts for a periscope lens. Both feature a 50 MP sensor with 3x optical zoom, but Vivo has downgraded its telephoto sensor from 64 MP in the X100 to 50 MP in the X200. The OnePlus features the Sony LYT-600, while the Vivo has the Sony IMX882 and they both offer different zoom ranges as well. The OnePlus can zoom up to 120x, while the Vivo maxes out at 100x.

Here, Vivo produces slightly underexposed images but delivers better sharpness at higher zoom levels. Colour consistency is also more reliable on the Vivo, though OnePlus has improved in this area compared to its previous models.

A great example of this is the Vistara logo test—on the OnePlus, the logo appears slightly blackish instead of its original maroon colour, whereas Vivo reproduces the colour more accurately. However, at maximum focal range, both phones produce over-processed images, making extreme zoom largely impractical.

Low-Light Performance

Both phones have impressive low-light capabilities, as noted in my previous reviews.

Main Camera: Both deliver sharp, well-saturated images. Vivo’s high contrast makes images look more vibrant and pleasing to the eye, but OnePlus still retains better sharpness when zooming in.

Ultra-Wide Camera: OnePlus images exhibit a slight reddish tint, but its distortion control is better than Vivo’s.

Telephoto Camera: The Vivo once again shines at higher zoom levels, maintaining sharpness and consistency, while OnePlus struggles with colour accuracy.

Front Camera

They both use a 32-MP camera at the front which also shoots 4k upto 60 fps. The images from both are sharp and decent, but the OP has a better performance overall. In terms of video as well – there is a slight cool tone to the output from the Vivo, while the OP delivers more natural result. The sound recording and output also is better in the OP.

Portraits

In portraits both the phones offer 5 focal ranges to shoot at, but the Vivo goes upto 100x whereas the OP will go to a max of 85mm.

In terms of performance both are pretty good. The output is sharp and detailed in both cases and the colour accuracy is also good. The images are vibrant and well saturated. The edge detection performance is also decent in both cases. But there is visible skin smoothening in the Vivo despite the setting being off. At higher focal range there is a slight reddish and yellowish tinge in both the cameras as well. But what I liked is that the images are sharper as you move to higher zoom.

In lowlight as well the performance is good and in a studio environment – both the phones perform really well. The bokeh performance is better on the Vivo in this case, but due to the skin smoothening in some cases the images do look slightly cooked. In this case there is very little to choose between them.

Video Performance

Both phones support 4K 60fps recording with fast autofocus, and the OnePlus even shoots 8K30. Vivo’s footage has higher contrast, while OnePlus delivers more saturated colours in low light, making it look more visually appealing.

Verdict

Both phones have their strengths. Vivo X200 offers better low-light performance, stronger telephoto zoom and more consistent colour reproduction in telephoto. While OnePlus 13 delivers sharper main camera images, better contrast, no skin smoothening in portraits, and an overall more fluid user experience, especially with its new processor and display.

While the Vivo X200 is a good camera phone, as a complete package, the OnePlus 13 is simply better. Its overall user experience, display quality and software refinements make it the superior choice, especially after recent updates that addressed previous concerns that I had.

Watch our review video:

Nikon Z6III Review: Does It Actually Outperform?

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The Nikon Z6III was launched in June 2024 with the tagline ‘Outperform’. Nikon has positioned it as a camera that excels in both photography and videography. Its predecessor, the Z6II, was released in 2020, making this upgrade a long-awaited one. We had the opportunity to test the Z6III extensively for over a month before featuring it in our magazine.

Watch our video review:

Who Is It For?

This camera is designed for users seeking a versatile tool capable of handling various photography styles, including street, sports, landscapes, and weddings. Nikon has emphasized this versatility in its marketing and communications as well.

Look, Body and Feel

If you’re a Nikon user, the Z6III will feel instantly familiar. The build quality is excellent and at 760 grams, the camera strikes a balance between sturdiness and portability. The deep, comfortable grip enhances handling, while the two programmable function buttons on the back offer quick access to settings.

Most of the button placements remain consistent with the Z6II, ensuring a seamless transition for existing users. A slight redesign on the top right accommodates the video, ISO and exposure compensation buttons for easier access. This ergonomic refinement enhances usability and these buttons can be customized as well.

The rear buttons are well-positioned, and while a joystick is present, the OK button often feels
more intuitive. A significant upgrade from the Z6II is the fully articulated rear screen, maintaining the same size and resolution but now offering greater flexibility for shooting at different angles – a welcome improvement.

Nikon has not explicitly claimed weather sealing for this body, but given the outperform branding, it’s reasonable to expect a degree of durability against the elements.

What Makes It Special?

The Nikon Z6III introduces several standout features, including the world’s first 24.5 MP partially stacked full-frame sensor. This innovation provides key advantages, as claimed by Nikon, such as:

Unlimited photo buffer
Internal RAW at up to 6K60p and ProRes RAW recording up to 5.4K up to 60p
4K120 video recording (Dx crop)
60 & 120fps burst rate in JPEG mode (120fps in Dx crop)
20fps burst rate with an electronic shutter

Image Quality

The overall image quality is impressive, delivering sharp and detailed photos with excellent dynamic range. Colour saturation and reproduction are accurate, while shadow and highlight retention are commendable. In high-contrast scenarios, some adjustments may be necessary, but the performance remains strong.

Shutter Performance (Electronic & Mechanical)

Thanks to its partially stacked sensor, the Z6III supports an electronic shutter. However, some flickering
was noticeable in certain lighting conditions, a common issue with electronic shutters. Rolling shutter effects were present but less pronounced compared to older models like the Sony A7 IV, benefiting from the newer sensor technology.

The mechanical shutter offers 14fps burst shooting, while the electronic shutter reaches 20fps. The ability to shoot continuously is excellent, though the camera does heat up slightly in burst mode, however it isn’t anything that can’t be managed.

Autofocus & Tracking

The upgraded AF system introduces subject detection and 3D tracking, marking a significant improvement over its predecessor. In both daylight and low light, the autofocus performs exceptionally well, locking onto subjects with impressive accuracy.

However, in crowded scenes, the focus can momentarily shift between eyes before recognizing a new subject. This minor issue could potentially be resolved through a firmware update. Tested with 35mm and 50mm f/1.4 lenses, the autofocus speed was as fast as Nikon advertises.

ISO Performance

The Z6III handles ISO well. Even at high ISOs like 6400 to 12,800, images remain usable, though
sharpness and clarity take a slight hit. In challenging conditions, capturing the shot often takes
precedence over achieving perfection.

For video, high ISOs paired with fast f/1.4 lenses result in clean, noise-free footage, expanding creative possibilities for filmmakers.

Video Capabilities

In terms of video the camera offers 6K recording up to 60fps and 4K up to 120fps (with crop). Also much like the other cameras, it also has a 125-minute recording limit, making it highly practical.

Even in extreme low light, the camera delivers high-quality video with minimal noise. Paired with 35mm and 50mm f/1.4 lenses, the results are quite cinematic.

The RED Acquisition

With Nikon acquiring RED, we anticipate deeper integration of RED’s technology into Nikon cameras. And you can see a hint of that in this camera. Z6 III can shoot compressed RAW video recording, previously exclusive to high-end models like the Z8 and Z9. It also has LUT support for N-RAW and N-Log footage, allowing users to match RED’s signature colour science. Nikon has made these LUTs freely available on their website.

Electronic Viewfinder (EVF)

The Z6III features a 5.76 million-dot EVF, delivering sharp visuals. It has a refresh rate of 60Hz with 120Hz unclaimed, as there is an option to turn on “high framerate” in the menu. However, the EVF sensor is extremely sensitive, causing the screen to turn off with even slight movements – something to be mindful of.

Conclusion

At a price of ₹2.23 lakh, does the Nikon Z6III truly ‘Outperform’?
Compared to other cameras in its category, it offers a good balance of features, performance, and value. Nikon has strategically positioned it between entry-level models like the Z5 and professional bodies like the Z8/Z9.
Now there are always a few things that can be improved in every product and this isn’t any different. But overall, for someone who is looking to shoot images and video both, I can see this being a compelling buy, and one that we surely give our thumbs up!