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.
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 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.
X300 Pro and X300
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.
In response to India’s growing use of AI-enabled devices across consumer electronics, industry, and professional workflows, driving demand for faster and higher-capacity storage solutions. Lexar has announced its 2025 product lineup for the Indian market, featuring new memory cards, portable SSDs, and internal NVMe SSDs. The latest SD, microSD, and CF Express cards target AI-assisted imaging, drones, and 4K/8K content workflows, offering higher read/write speeds and larger capacities.
With AI now embedded in smartphones, IoT systems, vehicles, and automation infrastructure, the need for reliable memory products continues to increase. Government initiatives such as Make in India and the Production-Linked Incentive (PLI) scheme are also contributing to the growth of domestic semiconductor development
The updatedInternal SSD range is designed for tasks involving AI, machine learning, gaming, real-time rendering, and high-resolution editing, aiming to improve system responsiveness and stability. For mobile and hybrid work environments, the new portable SSDs provide high-speed data transfer and compact designs suitable for field use.
As sectors such as content creation, gaming, e-commerce, and manufacturing scale their digital operations, demand for advanced storage solutions is expected to continue rising across the country.
OPPO India has launched the new Find X9 Series, strengthening its presence in the premium smartphone segment. The lineup includes the Find X9 and Find X9 Pro, featuring a next-generation Hasselblad co-engineered camera system, upgraded battery technology, and enhanced performance powered by the MediaTek Dimensity 9500 chipset.
The Find X9 Series features a refined design with slim profiles, flat-edged frames, and AMOLED displays offering up to 3600 nits peak brightness and 120Hz refresh rates. Both models include Corning Gorilla Glass Victus 2 and IP66/IP68/IP69 protection ratings.
The Find X9 Pro’s camera system includes a 200MP Hasselblad Telephoto Camera, Ultra XDR Main Camera with the Sony LYT-828 sensor, 13.2x lossless zoom, and 4K 120fps Dolby Vision video recording. The Find X9 features a 50MP main camera with improved low-light performance, alongside ultra-wide and periscope telephoto lenses.
Battery capacities reach 7025mAh on the Find X9 and 7500mAh on the Find X9 Pro, paired with 80W SUPERVOOC fast charging and 50W wireless charging. Both devices run ColorOS 16, introducing new AI features, enhanced cross-device connectivity, and improved privacy through OPPO’s AI Private Computing Cloud.
The Find X9 Pro is priced at ₹1,09,999 (16GB + 512GB), while the Find X9 starts at ₹74,999 for the 12GB + 256GB model. Both devices will be available from November 21 across OPPO’s online store, Amazon, Flipkart, and retail outlets. OPPO has also introduced the Hasselblad Teleconverter Kit at ₹29,999 and the Enco Buds3 Pro+ TWS at ₹2,099.
The wedding season is here—and with it, the frenzied hunt for the perfect photographer, the right décor, and a venue that screams grand. Weddings in India aren’t just celebrations; they’re productions. And over the last decade, aggregator websites have pitched themselves as the ultimate fixers—digital bridges connecting families to vendors who make their big day happen. But behind the glossy ads and Instagram-perfect branding, cracks are beginning to show.
In recent months, professional photographers have reached out to Asian Photography, flagging what they call a “systemic problem” in the wedding industry—where aggregator platforms promise visibility and high-quality leads, but fail to deliver on both fronts. And worse, charge a premium while doing so.
We decided to dig in. And after months of analysing submitted records, one thing became clear: the fairy-tale narrative of India’s booming wedding-tech scene might be glossing over some serious realities.
The Promise vs. the Paywall
For wedding vendors—photographers, makeup artists, and designers—platforms like WedMeGood, Wedding Sutra, and Weddingz are the modern-day marketplaces. Listing yourself is free, but if you want to actually be seen, you pay. It’s a model that has worked well across several industry types, nothing fishy about that.
These ‘premium’ packages are marketed as gateways to guaranteed visibility and “assured high-quality leads”. The pitch? That your next big client—the one willing to pay for your artistry—is only a subscription away.
WedMeGood membership plans for Mumbai
But for many vendors, that dream has turned into an expensive illusion.
The Sales Pitch That Went Sour
Take the case of a local photography business True Shades Photography and its founder Arshid Bhimji. They were approached by WedMeGood’s sales team with an offer—a premium tier promising 300+ leads per year with a premium price tag of ₹3.6L+GST attached.
The founder was initially skeptical, having been burned before. But the sales team insisted that things had changed—that WedMeGood had evolved, that its decade-long experience guaranteed results.
Convinced, the studio signed up, paying only part of the substantial sum—a decision that would prove to be wise in the future.
Three months and countless follow-ups later, the results were dismal. Fewer than half the promised leads had come through, and most were either spam or irrelevant. And this wasn’t during an off-season lull—it was the peak of India’s wedding season.
Lead numbers showing far below expected rate during peak wedding season
When the founder compared notes with peers, the picture was clear. Dozens of vendors across categories—from photographers to make up artists—were reporting the same story.
A Pattern Emerges
A scan through public reviews and industry forums revealed a troubling pattern. Vendors alleged aggressive sales tactics, misleading assurances and a near-impossible refund process once things went south.
One photographer who bought WedMeGood’s top-tier package for an entire year said he received “virtually no return”on investment. What followed, he claims, was worse—unresponsive customer managers and vague, evasive answers whenever he demanded accountability.
Third party reviews concurring with the experience of True Shades Photography
The Fine Print Problem
Here’s where the story takes a sharper turn.
While sales teams allegedly use words like “guaranteed leads”, WedMeGood’s own Terms & Conditions explicitly say the opposite—that lead estimates are not guaranteed, and that performance may vary widely.
In other words: what’s sold on the call, isn’t what’s written in the contract. This could be a bait-and-switch that would raise eyebrows in any other industry. But in the fragmented wedding market, where most vendors are independent professionals with limited legal recourse, it often goes unchallenged.
WedMeGood’s Response
To ensure balance, we reached out to Anand Shahani, Co-Founder of WedMeGood, with specific questions regarding the complaints.
About Lead Numbers
Shahani acknowledged that discrepancies in lead volumes can occur, even among vendors subscribed to the same plan in the same city. According to him, WedMeGood acts only as aplatform, not a lead generator. “It’s ultimately up to the user to click through a profile,” he said, which seems fair.
He shared internal data showing that a mid-tier membership in Hyderabad typically receives 35-58 leads annually, while the top-tier might see 67-111 and that this count is based on historical records of partners on the platform. He added that the lead counts and price would vary depending on the city and demand-supply metrics.
Screenshot supplied to us by WedMeGood
Shahani added that the company is open to an independent audit by an industry body and claimed that WedMeGood actively invests in spam detection. Verified spam leads, he said, are not counted toward the vendor’s total.
However, vendors do claim that “spam” inquiries remain visible on their dashboards— counted and charged as valid leads.
We followed up with questions about these inconsistencies, the sales team’s alleged pressure tactics, and why the company continues to market packages with “assured” visibility if none can actually be guaranteed.
About Spam Leads
Shahani stated that its system allows vendors to mark leads as spam while also using backend algorithms to automatically detect and flag suspicious activity and said it is working to improve spam detection accuracy.
About Unfulfilled Lead Commitments
Addressing concerns about unfulfilled lead commitments, he reported that 30% of photographers receive more than their promised leads, 68% meet expected commitments, and only 2% fall short, while also emphasising long-term vendor renewals reflecting consistent performance. He also added that many users who discover vendors on the platform later contact them directly through social media, which the company does not count in its own lead data.
About Sales Team’s Tactics
Furthermore, he also clarified that its sales and partner success teams operate separately to ensure both onboarding and ongoing support–describing this as a standard industry practice–and noted that vendors who wish to avoid follow-up calls can request to be added to a “Do Not Contact” list.
When Leads Cost More Than They’re Worth
For vendors like the founder of True Shades Photography, who presented us with extensive records, the situation is clear: the return on investment simply doesn’t add up and despite conversation with WedMeGood CEO–no refund has been made on his request.
He now advises new photographers to skip expensive subscriptions altogether. “Assist experienced shooters, build your reputation, and rely on referrals. It’s slower—but real”.
The Bigger Picture
Aggregator platforms are not inherently flawed. The model works in theory: vendors get exposure, customers get convenience. But when the delivery fails, the imbalance erodes trust and it doesn’t end with one vendor or one company, but snowballs on the entire ecosystem.
Yes, there are success stories on WedMeGood. But the volume of dissatisfaction also raises an important question: Is the platform doing enough to ensure that success isn’t the exception but the rule?
Our Take
The wedding industry thrives on reputation. One bad review can undo years of goodwill—and the same applies to platforms. If WedMeGood and others like it want to remain relevant, transparency must replace opacity. Sales scripts can’t outshine statistics.
Charging vendors thousands while offering assurances of “potential leads” is not a sustainable business model. Although running a platform has its challenges and we understand that, there needs to be a more robust solution. And standard industry practices aren’t meant to be followed to the T, they’re meant to be improved upon and evolve with time.
Vendors would do well to remember one golden rule: In an industry built on trust, the best leads are still word-of-mouth—not paywalled promises.
Epson has launched a new initiative to enhance robotics education in India. The program aims to bridge the gap between academic learning and industry needs by providing hands-on training and practical exposure to modern manufacturing technologies.
As part of the initiative, Epson has established a state-of-the-art Robotics Lab at Ramaiah Institute of Technology (MSRIT), Bengaluru, and plans to set up another at Vellore Institute of Technology (VIT), Chennai. These labs feature Epson’s advanced SCARA and 6-Axis robots used in industries for assembly, material handling, packaging, and inspection.
Epson has also completed its first internship program, training 22 students from four premier engineering institutes over 19 days at its Bengaluru Solution Center. More than 100 students are expected to benefit from similar programs in FY25.
Siva Kumar, Sr. General Manager, Sales and Marketing, Epson India, said “we believe in empowering the next generation of engineers with the tools and training they need to thrive in a rapidly evolving industry.” He further added “our partnerships with academic institutions and the dedicated internship programme are all about giving students the exposure they need to step confidently into the workforce.”
The Hamdan bin Mohammed bin Rashid Al Maktoum International Photography Award (HIPA) closed its 14th season recently in Dubai with an awards ceremony at the Museum of the Future (MOTF), celebrating a global set of images that interpreted the theme of ‘Power’. The images included a touch of the elements to the intimate, including the nature’s fury to human endurance.
By Bhavya Desai
This year’s edition drew an extraordinary 87,000 submissions from roughly 50,000 photographers worldwide – that’s a lot of entries – making the jurors’ life difficult.
And at the heart of it all was an evening – set with the winning photographs of those whose work literalises the show’s theme. The US$200,000 Grand Prize went to Italian photographer Gianluca Gianferrari for a monumental shot of Mount Etna – molten fragments lighting up snow – an image that speaks to geological force and visual drama.
Other category winners included Karine Aigner’s jaguar portrait (General—Colour) and Ali Jadallah’s portfolio “Burden of Survival”, which documents life under siege and uses storytelling to register human power and its costs. Those images – whether volcanic, predatory or political – treated power as a physical and moral force the camera can both reveal and question.
But what caught my attention was that HIPA’s organisers framed the competition itself as an exercise in civic and cultural soft power: HIPA Secretary-General Ali Khalifa bin Thalith highlighted the award’s growing global reach and its aim of promoting photography as a tool for communication and social reflection.
And as an ode to art itself – the ceremony was hosted at one of Dubai’s most symbolic cultural venues, the Museum of the Future – symbolising the push to expand programming (including the Dubai Photo Forum) underlining how the emirate is using flagship cultural events to position itself as a global conveyer for the arts.
Officials said the scale of entries and the calibre of the jury demonstrate Dubai’s ability to attract and amplify work from across continents.
Power in the frame
Judges noted that the strongest submissions treated “power” ambiguously and layered meaning into a single frame: natural force (volcanoes, oceans, storms), animal presence (the jaguar’s raw authority), institutional power and the human will to survive (Jadallah’s Gaza series), and even the kinetic authority of elite athletes.
The new Drone (Video) and Portfolio categories continued to reward long-form, narrative approaches that use sequencing and motion to build a more complex sense of agency showcasing how story telling is king.
Special honours for Rick Smolan and Mark Smith
HIPA also presented special awards recognising careers and contemporary influence. American photographer and author Rick Smolan – a legend received an Appreciation Award similar to a Lifetime Achievement in our part of the world acknowledging the decades-long career in large-scale, impact-driven visual projects.
Mark Smith was honoured with the Photography Content Creator Award for his prolific wildlife work and digital reach – the kind of storytelling that has made his work on nature and conservation visually viral.
Stay tuned for exclusives with both these photographers in our magazine.
The Local Hero
UAE’s own Yousef Bin Shakar Al Zaabi also was honoured with a third place in the General Black and White category. This was his second time winning the award – with the previous one in a different category.
India Also Made The Cut
Indian photographers featured among the shortlist and prize-winners this year. In the main “Power” category, Deepak Singh Dogra and in the Drone (Video) category, Shantha Kumar Nagendran placed third.
It wasn’t a surprise that there were many Indian participants across categories highlighting that, contributors from the subcontinent remain a consistent presence in the competition’s shortlist and exhibitions said the officials.
But apart from the cultural initiative HIPA’s 14th edition reinforced Dubai’s strategy of hosting major cultural platforms to foster artistic exchange and international visibility.
By hosting the ceremony at the Museum of the Future and linking awards to public programming such as the Dubai Photo Forum, HIPA extends the life of the competition beyond a single gala. Exhibitions, talks and workshops help translate prize winning images into ongoing conversations about climate, conflict, conservation and creativity.
That civic choreography – public venue, high prize money, international jury and media attention – is great optics and cultural diplomacy play that raises Dubai’s profile as an arts hub while giving photographers access to new audiences.
As OM System re-enters India, they face a significant uphill battle ahead of them. Known previously as Olympus, the brand is known for sticking to its ethos of innovating in the Micro Four Thirds space. Bhavya Desai spoke to Vivek Handoo, Vice President – Head of APAC/Managing Director, OM SYSTEM about what’s the road ahead. Excerpts:
Olympus decided to exit the camera business in 2020. What prompted this decision? At that time, Olympus’ India operations were largely focused on the medical division. The company aimed to be a clear leader in the medtech space, and that strategic direction led to selling off the imaging business. Before that, in India, continuing the imaging operations wasn’t viable as the company wanted to prioritise its medical business — that’s when we exited the market.
What are the challenges you foresee as you re-enter the Indian market? A major challenge is perception. Over the last few years, there’s been an overwhelming push for full-frame cameras. Brands like Sony and Canon have built strong narratives around full-frame systems. We’ve always stayed true to our Micro Four Thirds (MFT) philosophy — compact, lightweight cameras that perform exceptionally outdoors. However, in India, the “bigger sensor is better” mindset is still strong. Educating consumers that MFT can produce professional results will be key.
The second challenge is brand recognition. We’re no longer “Olympus”; we’re now “OM System.” A lot of people in India, they read OM System as Om system, which is an auspicious name within the country – so they think that it’s a local business and don’t realise it’s the same Olympus, even though we carry the same DNA and heritage, it’ll take time and effort to establish OM System as the new identity.
Can you still use the Olympus name? We have rights to use “Olympus” until the end of this year, but all new cameras and lenses since the transition carry OM System branding. By the end of next year, we’ll completely phase out the Olympus name.
Most of the world has shifted to mirrorless full-frame or APS-C systems. Do you think MFT will require more education for Indian consumers? Absolutely. The Indian market is heavily driven by wedding photography, where full-frame dominates. That’s why we’re positioning ourselves clearly in the outdoor photography niche — wildlife, macro, travel, and landscapes — where our system truly excels.
Our products are compact, rugged, and technologically advanced. In countries like Australia and Japan, OM System is seen as a strong alternative to leading brands because we’ve been able to communicate these strengths effectively. We’re taking the same approach in India, even if it takes time.
What would you say is OM System’s USP? Three things stand out:
Form factor: Our smaller sensor allows compact cameras and lenses without compromising quality. For example, our new 50-200mm lens is a fraction of the size and weight of its full-frame counterparts.
Weather sealing: Our bodies are IP53 rated, they’re dustproof, rainproof, freezeproof, and shockproof — perfect for the outdoors.
Handheld stability: We pioneered in-body image stabilisation and continue to lead in it. Most of our gear can be used handheld, eliminating the need for a tripod even in challenging environments.
What price range are you targeting in India? Our lineup starts below ₹50,000 and goes up to ₹7-8 lakh for professional lenses. Our primary focus, however, is the mid-segment — cameras priced between ₹1-2 lakh — where we see the most growth potential.
What is your current product portfolio? We currently offer six camera bodies, around 32 lenses, several binoculars, and a few audio recording devices. It’s a comprehensive ecosystem for anyone serious about photography.
Will all these products be available in India? Yes, they’re already available through our national distributor, Creative Newtech, a Mumbai-based company. We currently have around 20–30 dealers onboard and aim to reach 60–80 across major Tier 1 and Tier 2 cities. While we won’t be in every retail outlet, we’re focused on partnering with stores that understand our vision and products.
What are your near-term and long-term objectives for OM System in India? In the short term, we’re focused on making our full lineup available nationwide, onboarding key retailers, and working with photographers, influencers, and ambassadors who can showcase our products’ capabilities. We’ll also conduct workshops to help consumers experience our cameras firsthand.
In the long term, our goal is to become a clear leader in outdoor photography within the Indian market — a segment that’s growing rapidly worldwide. The Indian camera industry is valued at around $750–850 million, and we see significant growth potential in the coming years.
Which international markets are performing well for OM System? Japan remains our strongest market, followed by strong performance in China, Australia, and several European countries like Germany and the UK. We’re also seeing rapid growth in the US, Indonesia, and Thailand. Interestingly, after years of smartphone dominance, the global camera market has rebounded over the last four years — and is projected to keep growing.
With the festive season around the corner, what are your plans for India? We’re introducing several attractive pricing and bundle offers for Indian customers through the festive period, which is from Diwali to New Year. Our pricing will be among the sharpest globally, as this phase is about building brand presence and consumer trust rather than profits.
Are there plans for OM System brand stores in India? Standalone brand stores may not be immediately viable, but we’re actively pursuing shop-in-shop concepts within leading camera stores. These spaces will allow us to create an OM System experience zone. While we might explore one or two flagship stores in major metros, our priority is visibility through these focused, interactive shop-in-shop setups across India.
Will these be located in big retail chains or specialised camera markets? Primarily in camera markets. The technical expertise and hands-on experience customers expect are best provided by specialists. Entry-level models will, of course, be available online and through regular retail.
Do you have any market share goals for the near future? Internally, we’re aiming for around 5% market share in the next couple of years. Given that roughly 70-75% of the Indian market revolves around weddings — which isn’t our focus. We’re targeting the 20-25% segment centred on outdoor, wildlife, and travel photography, which is growing faster than any other category.
Who is your primary customer base in India? Our focus is on content creators, travel photographers, and outdoor enthusiasts. Post-COVID, many younger consumers have taken up photography as a creative pursuit. With travel booming and social media content creation on the rise, we’re targeting users who value portability, durability, and versatility — not just professionals but also serious hobbyists.
And in terms of video capability? All our cameras are video-capable, but we recognise the demand for more advanced video features. We’re working on upcoming products specifically tailored to content creators with enhanced video performance while maintaining our strengths in photography.
You mentioned channel partners and e-commerce — what’s the strategy there? It’s a dual approach. Channel partners are essential because Indian consumers still prefer to touch and try before buying. At the same time, e-commerce will play a crucial role once our Indian subsidiary is established. We’re also creating a network of ambassadors and workshop leaders across the country, giving users a chance to experience our products hands-on.
Workshops will focus on outdoor genres — wildlife, travel, street, and macro — where participants can test the equipment themselves. We believe our core strengths of portability and stability are best appreciated through direct experience, not just online listings.
When do you expect the Indian subsidiary to be operational? We expect to have our own subsidiary within the next 12–18 months. Initial hiring will happen through third-party arrangements until the entity is formally set up.
Anything you’d like to add for our readers? We’re genuinely excited about India. It’s our number one focus market globally right now. You’ll see a lot more engagement from us through events, collaborations, and retail presence. India’s creative energy and fast-growing photography community make it a perfect fit for OM System. We look forward to giving Indian photographers the tools to explore the outdoors with freedom, confidence, and innovation.
Canon has announced the latest addition to its EOS R mirrorless lineup – the EOS R6 Mark III and RF45mm F1.2 STM lens — aimed at professional photographers & filmmakers seeking high performance and versatility.
Succeeding the R6 Mark II launched two years ago, the Mark III features a new 32.5-megapixel full-frame sensor that offers improved autofocus, and enhanced shooting speeds of up to 40 fps (electronic) and 12 fps (mechanical). The camera also introduces a pre-continuous shooting mode, capturing up to 20 frames before the shutter is fully pressed, along with advanced subject tracking via the Register People Priority function inherited from the flagship EOS R1.
On the video front, the R6 Mark III supports 7K 60p internal RAW recording, 3:2 Open Gate video, Canon Log 2/3, and HDR PQ, catering to professional workflows. It also offers proxy recording, waveform and false colour displays, and 14 in-camera colour filters for quick creative output.
Accompanying the camera is the new RF45mm F1.2 STM, Canon’s most affordable f/1.2 lens to date. Compact and lightweight at just 346g, it provides stunning bokeh and sharpness, serving as a versatile option for both full-frame and APS-C shooters (72mm equivalent).
The EOS R6 Mark III body is priced at ₹2,43,995, while kits range up to ₹3,43,995. The RF45mm F1.2 STM lens is priced at ₹40,495 (all prices inclusive of taxes).
