Category Archives: profiles

Travelling The World’s Gullies – Shreepad Gaonkar

Shreepad Gaonkar was an avid cricketer when he picked up a camera for the first time to document his journey and, later on, a tournament. What has transpired since then, is an inspiring spectacle, as he’s travelled over 34 countries, working with various tourism boards. Asian Photography spoke to him about ethical and responsible travel photography, bucket shots, challenges and more. Excerpts:

What inspired you to take up travel photography?

Ever since I was a kid, I was into cricket, which I played for over 18 years throughout school, university, club and corporate cricket. I completed my B.Sc. IT degree and later did a Sports Management degree working for six years in IPL as an Operation Manager across 11 cricket stadiums in India. I was playing club cricket in Mumbai, organising grassroot cricket tournaments, coaching under 14 kids and also working in IPL & ISL at the age of 22. This indirectly introduced me to documenting my travels on the phone over the years until one day I realised that I was good at it and people started appreciating it on social media. Eventually, I ended up borrowing my friend’s DSLR just to understand what a camera is, how to operate, what settings to set, etc. My hunger grew with every small thing I loved about the camera, which led me to my first official shoot for a cricket tournament — capturing a T20 match at DY Patil stadium, which would also open my doors for travel. So my passion for cricket and my curiosity for documenting and travelling made me get into photography.

What are some of the biggest challenges you face as a travel photographer? Have these changed over the years?

Firstly, I believe travel photography/cinematography is not everyone’s cup of tea, I have seen the best DOPs struggle when it comes to a guerrilla shooting or a “run & gun” travel shoot which has challenges that come out of nowhere. You have to adapt to situations and luckily, my previous work culture from managing IPL and major leagues and handling immense pressure 24×7 really made me tough mentally. Now, when I have challenges, I always look at it as with my management brains rather than me being a photographer. Some of the biggest challenges I face is while taking drone shots in India, the process is really way long to ideally secure aerial permissions as compared to other countries. I have been to 34 countries and the process to get the permits overseas is much easier even for a beginner or a tourist than taking permissions in India, that really hurts.

How do you balance travelling light while still having the right equipment?

I honestly film a lot more than photography, but I travel with just a couple of lenses, and right now, using a Sony A7S3. The process is to have variable lenses with a combination of a prime either 35mm or a 50mm. I prefer filming handheld more than using a gimbal, as handheld gives you more natural and dynamic perspective. I add one drone, usually my Mavic Air 2s which is lighter than newer drones and this specific drone has travelled with me to 26 countries, so it works out to be the best for me. Also over the years, I’ve realised that you actually don’t need a dozen equipment when you travel as long as you are clear of what you want as the end output. I film as per the edit, as I edit myself, so when I am on ground filming I have an advantage of choosing what I want to shoot and how the film ought to look like.

Over the years, has the story behind the shot taken a backseat over aesthetics?

Yes, the audience and the brands I work with at times are very specific with what they want rather than what inputs I can give as an artist. I believe a lot of photographers and videographers will agree with this – oftentimes, we like to keep a raw and natural touch to the art with minimal post-production, but the focus has been shifting on the other side nowadays. When working for a lot of tourism boards, I always suggest to film in the natural environment with more focus on candid moments. This really brings out the best visuals, which looks more natural and real rather than appearing staged. Yes, aesthetics are important, but It’s a superb feeling to make a non-fiction as a fiction, the clients really like it, and it brings out the story really well.

Has the advent of “Instagram photography” influenced how you shoot pictures?

I’ve been on Instagram since 2013 and a lot has changed over the past 11 years. I would say it has played a critical role in my career, as it really shaped my thought process over the years. In a way, yes, it influenced me in a lot of ways. It inspired me to make content whether it is reels, carousel, stories and put forth my perspective to the world. Eventually adapting to the world and blending my style with it, but the intent was always learning something new and less focus on the numbers and followers. A lot of my colleagues appreciate my work and mention that I should have a million followers, but I always stick to the quality of the content rather than just the quantity. As I firmly believe that what matters the most for me is I do justice with my perspective and the final output, rest will follow.

Is there a place you keep returning to because of its photographic appeal?

Filming and capturing the Ganpati festival in Mumbai and Lalbaug. Wherever I am in the world, I make sure I never miss filming Ganeshotsav. I have been following this ritual for 10 years, and have made three official YouTube songs, countless reels and some epic memories. I have learned more on the streets of Lalbaug than anywhere in the world. The Lalbaug chaos helped me shape myself as a multitasker as you have very limited time to do everything — photos, videos, flying a drone, video editing and then coming back home to craft the entire thing.

What are your thoughts on ethical travel photography?

We should be ethical in general in everything we do. The discipline, the passion, the values I learned on the cricket field has taken me places. Being a sportsperson, I’ve always had a certain way of approach in doing things and I implemented them on & off the field – which indirectly helped me reach where I am. Not that I have achieved a lot, I am still learning. Respecting people, culture, different environments is an integral part of travel photography/videography. For instance, I always try to communicate to people if I badly want a portrait or If I see some unique character on the streets I take their consent before filming, and how do I do it? I just give a smile if they greet back, then start the conversation. It works at times and if it doesn’t, I simply say “it’s alright, no worries”. Moreover, we should always be careful of what environment we are filming in. For instance, I was filming for Israel Tourism at Dead Sea and I had the official permission to fly the drone for one hour, but I only flew for 10 minutes to get the overall vibe, considering the border issues. So being proactive but what environment we are filming is really very important.

With over-tourism being a growing issue, how do you practice responsible travel photography?

Yes, it’s a matter of concern. We should be mindful of what we do, there are creators who will risk everything to take photos and videos just for views and numbers, but we ought to think about other outcomes too. Another practice is we should try to film during the non-peak hours especially if we are filming in different countries so it doesn’t disturb or create unnecessary hassle. Highlights should be on the culture, history, and the story, not just the aesthetics.

Where do you see the future of travel photography going?

The future of travel photography is evolving fast, influenced by technology. We should thrive for more authentic content, immersive story telling capturing the real essence of the place. I am really super impressed by the immersive videos made for Apple Vision Pro and really looking forward to getting into that, which is the next step of making interactive videos using the VR and 360 gear.

Do you have a bucket shot?

Yes, I do have a bunch of them. Having travelled in over 34 countries, I wish to at least do 190 in this lifetime. Last year I was in Lapland in Finland and I saw the Northern lights for the first time, but that was like just for 10 minutes, and in that time, I just captured a couple of shots. I really hope to do it again and capture a time lapse of the Northern Lights and an aerial shot of me with the active volcanoes in Iceland.

The Art of Capturing Expeditions – Alex Stead

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Alex Stead is a professional photographer known for capturing breathtaking landscapes, adventurous expeditions, and dynamic lifestyle imagery. With over a decade of experience, his work spans from the Arctic to the deserts, blending storytelling with stunning visuals. He has collaborated with global brands and tourism boards, crafting compelling narratives that inspire wanderlust. He also has a deep passion for wildlife and remote expeditions. Asian Photography caught up to him to talk about his background, storytelling, expeditions, and the evolution of travel photography.

Do you remember the first photo you ever took that made you think, “This is what I want to do”?

Growing up, I’ve always wanted to be a photographer, but I didn’t really know that it could be a proper career or that I could make a living out of it. I spent a lot of my childhood wandering London with my camera, capturing the city. In 2012, it was the Olympics which were being held in London, and we’d managed to get a few tickets to some events. One of which was the Men’s 200 Meter with Usain Bolt, and we luckily had pretty good seats. So as a 15-year-old with a big lens I had borrowed, I managed to get some great photos of the event. While I’d know for a while that I wanted to be a photographer, this gave me great confidence that it could be something I could achieve. Even though I never went into sports photography, I tried all areas of photography before finding travel, lifestyle and automotive which is mostly what I do today.

How do you decide what stories to tell through your photography?
When deciding what stories to tell through my photography, I consider several factors. I think about what resonates personally with me and what stories I want to convey. This could be an intriguing destination or a theme that has caught my interest. I also reflect on the relevance of the story to my audience or the client, looking for topics that might inspire or evoke a strong response. Additionally, I consider the visual elements available, such as lighting, composition, and colour, ensuring they can effectively communicate the intended narrative. I also want to explore as much of the world as I can, so I look for intriguing places which I’d like to capture.

What’s the hardest thing to capture in travel photography that people might not realise?
I think travel photography in general is all quite hard and easy at the same time. It’s very easy most of the time to travel to a country and take a photo, like a lot of normal tourists do. However, it’s a very different and challenging job to capture a location in a way which grabs someone’s attention on the front of a website or a magazine. It’s hard to always create captivating images when it’s not always ideal conditions, so your creativity always has to be switched on to the max at every location. To make sure you get the most captivating photo, the best composition, you are in the right place for the best light which could only last a few seconds.

I think overall as a travel photographer you have to master so many photography skills and environments. For example, I could be one week in Antarctica and the next in the desert, so I very much learnt over the years how to work in different environments and that’s something which people don’t realise is hard. How you have to adapt your photography skills to the environment very quickly. Not to mention how physically hard sometimes photography can be, I usually carry about 15KG of camera gear. Perhaps more if I need big lenses for wildlife.

How do you choose your next destination to photograph?
Most of the time the places I end up aren’t down to me, but it’s down to my paying clients. Of course, I spend a lot of my time pitching projects or ideas to clients, however the creative teams in their agencies or the brand HQ make the decision where a project will happen. That said, I love to have more personal projects where I reach out to tourism boards or brands in certain countries and put together a project there. In the future, I want to spend a lot more time in the Arctic and the Antarctica regions exploring, so I’ve been pitching ideas to expedition companies.

I also love capturing wildlife, so I’m constantly pitching ideas around that, however there isn’t a huge amount of income from wildlife photography, so these are mostly personal projects.

Do you travel with a plan in mind, or do you let spontaneity guide your photography?
I always do a lot of research before going on a trip, I really want to get to know the places I’m going before I set off. I spend a lot of time on Google Maps and street view understanding the environment. Especially if I’m shooting for a client, we have a lot of locations and ideas in mind, so we are on the same page about what we are producing. That said, things don’t always go to plan, or you find a hidden gem which didn’t come up in your research, so it’s good to be spontaneous at times and see where it takes me. When on location we always try to find a good local guide and that really helps us get the most out of the trips I do. I love going to countries where you can self drive and explore though. Places like New Zealand have been one of my favourites to go to as you can just road trip and explore with being spontaneous.

What do you do when things don’t go according to plan?
I’ve learned over the years how to be very adaptable and embrace change quickly. Before a trip I do a lot of research on the places I’m going and always have a backup plans if things go wrong. A lot of the time on travel projects we don’t book accommodation till the same day and change our itinerary constantly with the weather.

Of course, this is not always possible in more remote areas, however it certainly helps to be as adaptable as possible. Sometimes, even with all of this, you don’t always get the most ideal conditions for the photos you imagined creating at that location. However, with a lot of my work if the weather is “bad” I lean into the more interesting weather. I think as a travel photographer you learn quickly to shoot in all weather, lighting, and environment conditions. Within that, looking for more interesting compositions, for example.

What’s one piece of gear you can’t live without?
For me, I use a polarizer in a lot of my work, so this is something which I couldn’t live without. A polarizer reduces reflections and glare, intensifies colours, and darkens skies. I think it’s a great way of improving your daytime work and making the light less harsh.

How do you see travel photography evolving in the next decade?
It’s hard to say where I think travel photography is going, however the changes I’ve seen in my 10+ years of doing this, travel photography is evolving a lot more into short format video. With the rise of social media, 9×16 video is highly popular, so I see a lot of photographers including myself adapting to this medium and telling stories through this. One thing I really hope stops is the rise of AI-generated travel content. However I see this growing and growing sadly to a point where we can’t tell what is real and what is fake.

What’s your best photo till now and the story behind it?
I don’t think I can say I have one “best photo”, however one I took about six years ago really still stands out to me. I was in Iceland on a long term project for a company and was watching sunset at the iconic black sand beach lookout. It was I believe late April/ early May so was coming towards puffin season, however so far on the trip and the hours being at this view point we hadn’t seen them. However, as it got closer to sunset, they came out and were diving off the cliff to go fishing. I noticed two puffins coming together quite often so I laid down and slowly moved closer trying not to disturb them. I also changed lenses to a much wider one, most people shoot puffins with a 70-200 mm, but for this I’d got a 14-24 mm to try to capture the sunset and landscape.

What’s one thing you wish you knew before you started?

I wish I knew a lot more about the business side of photography. It’s not an easy industry, and actually 80% of my time is spent behind a desk running the business side of things.

Fearless Frames, Lasting Legacy – Dr Latika Nath

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Dr Latika Nath, The Tiger Princess of India, has been photographing stories for years now, blending art and advocacy. Through photography, she’s paving a way for the next generation of women to come ahead and break the glass ceiling. Her work has brought her several accolades, publishings & exhibitions. Today, she is a Nikon Creator & Ambassador for Leica. Asian Photography spoke to her about her upbringing, passion for photography & wildlife conservation, the barriers she has faced in her life & her career, storytelling and more. Excerpts:

What inspired you to become a photographer, and what was the journey like?

I grew up surrounded by a family that loved the outdoors and photography. National Geographic magazines were always around, and every vacation was carefully recorded. As a child, sitting and listening to friends of my parents who were photographers had me dreaming of a life as a wildlife photographer. I got my first camera when I was five years old, and would follow my father around and take photographs on vacations. Later as a scientist, photography became a tool for documenting animal behaviour, identification, monitoring and story telling for conservation of species, cultures and communities.

I was married to a wildlife photographer and spent over a decade being discouraged from doing any photography. My photography was perceived as a threat to his, and for over a decade, I hardly ever picked up a camera. After separating from him, I realised the decade that I had lost. Cameras moved from film to digital, lenses and technology had changed, and it wasn’t a gradual process, it was a quantum leap. Kodachrome and Fuji films were things of the past, with a few specialised photographers who would continue the craft.

It was with trepidation that I borrowed a camera from my father. Unsure of my ability to learn to use it and even less certain of whether I would be able to make the kind of images I knew I wanted to, I embarked on a journey of discovery and wonder. Every image I took was for myself, allowing me to remember the details about my journeys, the places I visited, the wild animals I came across and the people I met. My memory would fall short, and I would not be able to recount the details, but my photographs reminded me of the time and the place. The photographs were taken for myself first, and then I began to slowly share a few with other people.

With renewed confidence, and excitement, I began to purchase equipment one at a time, and spent most of my time travelling. Nikon noticed my work and invited me to become an NPS member. That was the beginning of a new time. To my surprise, I realised that people actually enjoyed my photographs, and that without realising it I was being considered a member of the wildlife photographer community in India, and then across the world. It was humbling and still surprises me. Exhibitions and books followed, and I began to be spoken of as a professional photographer. And this love affair with photography continues to be a central part of my life.

What kind of stories do you love telling through your photographs?

I photograph anything that fascinates me. Portraits of Wildlife & people, landscapes, architecture, the stars, food, marine life, culture, communities, colours, patterns, textures, and emotions. Photography is my way of sharing how I see and experience the world. It is about my perspective, and about showing people a different way to look at something they might have already seen. It’s about making people think, and ask questions, and to encourage them to explore a thought or a reaction.

Much of my photography tells the stories of species and their habitats and focusses on creating awareness for conservation of the animals. However, some of the more important work I have done has also been about tribal people and their connection with nature.

Have you faced gender bias in the industry? How did you navigate it?

Of course, I did face gender bias. India is a largely patriarchal society, and most people in the early years of my career would imagine that all wildlife photographers are men. When a petite, 5’3” girl would appear, there would be comments and disbelief and a tendency to immediately rule out the possibility of even considering that I was capable of working under tough field conditions and producing decent work.

As one of the first women conservation ecologists and photographers in India, there was a definite glass ceiling that I had to break through. Persistence, commitment, and an unswerving dedication to my path were all important in making people realise that I could work with the best of them, and could not only match, but surpass the work that they were doing.

Have you worked on projects that specifically highlight women’s stories? Can you share an example?

I seldom work on women-centric projects, but one that is very close to my heart is the story of the women of the Mursi tribe of Ethiopia. Those women perform a ritual at the coming of age ceremony of a boy in their family. At this time, the young men who have been through this ritual are involved in whipping the women related to the boy who is undergoing the ceremony.

The women, except for the mother of the boy, come to the ceremony highly decorated, their hair and bodies covered in clay and butter, dancing and singing. The young men then whip the women with whips prepared on the site. The women get cuts all over their bodies and often bleed profusely.

I have an image where a very young girl is insisting that she too can be strong enough to take the whipping and is waiting for a young man to strike her with a whip while her older sister looks on. The image speaks to me and each time I look at it, it breaks my heart. This image and others are all a part of my book, and the exhibitions on Omo.

What does Women’s Day mean to you as a photographer?

As someone who belongs to a family of strong women, and someone who is constantly deriving strength and support from a community of strong, wise and compassionate women friends and colleagues, I sometimes wonder why we need a women’s day. Are we being told indirectly that one day out of 365 is for the celebration of women, while the other 364 are not?

Do we need one day a year to celebrate women? I would rather belong to a world where each day we celebrate being good human beings, where there is respect, honesty and truth. It is sad that we feel that we can only celebrate a single day in a year as Women’s Day — I capture the world through a woman’s eyes every day. Each day is a day in the life of a woman, and my photographs capture and freeze these moments in time.

How can photography be a tool for women’s empowerment?

The haunting images of the Chipko movement, the fight for the Right to Information by Aruna Roy, the recent protests in Iran about Mahsa Amini’s death and women cutting their hair, the story of the young girls like Malala from Pakistan or Greta Thunberg, or the Narmada protests by Medha Patkar, as well as the struggles of Aung San Suu Kyi or Irom Sharmila were all brought into the consciousness of people across the world through the power of photography which supplemented the written and spoken word. Images can truly change the narrative and influence change, and be a powerful tool for women’s empowerment.

Have you ever faced limitations in terms of access to certain spaces?

In India, most of the top photographers are still men. There are only a small handful of women that have made their name in fine art photography, street photography, wildlife photography, fashion photography and photojournalism. The men’s club is still elitist and one that most of us have not been able to break into these. Assignments are hard to come by, and very few journals or magazines will work with women photographers. This needs to change.

What’s a project you’ve worked on that made you feel particularly proud as a female photographer?

As one of India’s foremost wildlife photographers and the Tiger Princess of India, my three decades of work on big cats is something that I’m very proud of. I have worked across the globe and on all species of the big cats. I work on foot and have walked with many of the big cats. This is something that few photographers can do, and fewer have the courage to do. I am considered the role model for many young women entering this field, and this alone makes it all worthwhile.

Have you noticed a shift in the industry regarding how women are represented in photoshoots?

In the stories of today, strong, independent women who are decision makers, super moms, and powerful businesswomen are playing important roles in changing the narrative. The submissive housewife has disappeared, as has the gangster’s moll, and women can command centre stage presence in photoshoots as trend setters and role models.

If you could create a Women’s Day photo series, what would it focus on?

For a while now, I have been wanting to shoot a series on women weavers of India. I would very much like to shoot this and hope that I will be able to find someone who will support this dream project. The saree is a quintessential part of being an Indian woman, and I would like to tell the story of the creation of sarees through the women who create them.

A New Dimension in Fashion – Anai Bharucha

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Anai Bharucha’s artistic vision stems from a variety of places. She has shot a variety of genres starting with fashion, but her personal work is far away from what she does commercially, dwelling on themes of body positivity, wellness, individuality, family and more. Her work has gained international recognition, as she’s worked with brands like Estée Lauder, Reebok, Bodice, Vogue India, Harpers Bazaar and more. Asian Photography caught up with her, talking about her inspirations, vision behind a picture or a picture series, and the ultimate advice that is required for this day and age. Excerpts:

How did you pick up the camera? What inspired you?

I originally picked up a Nikon F70 that my uncle gave me almost 15 years ago in Hong Kong. He used to be a professional sports photographer. I shot a cricket match at the Kowloon Cricket Club (KCC) just for fun, and I remember really enjoying the process of freezing a moment in time.

My uncle praised my work with so much heart, even though it was probably just average! It gave me a sense of confidence, so I kept shooting. I came back to Bombay and started shooting my friends, and I found far more joy in shooting fashion and people. I started to apply for courses in the UK and New York, as there was nothing in India that was quite so specific in the field I wanted to explore at the time. Fast forwarding, I ended up spending three years in London at UAL. Looking back, I do not believe anyone needs to study photography (at a school), however I will always be grateful for the exposure and world I got to be part of during my time away from home. It gave me a personal sense of style and aesthetic and helped to really mould my work at a time when fashion in India meant celebrity on a white background flanked by wind machines cover shoots.

How do you see the role of women evolving in the field of photography?

This is constantly changing, and the percentage of women in the field has definitely increased in the last 10 years. However, I do feel there is still a long way to go within the advertisement or commercial photography world, especially in India.

What are some key elements that make a photograph stand out?

Every image is different and speaks to a viewer in different ways. Some of the things that might tend to catch my eye first are light, perspective, what an image is trying to say with regard to a story or narrative, and sometimes I simply get pulled into an image with leading lines.

What themes or subjects do you love capturing the most, and why?

I’m always inspired by people, the body, human behaviour, spaces, architecture and colours. I started off with fashion, but now see myself pulling further and further away from it when it comes to my personal work. Furthermore, I find myself more drawn to documentary style of work, which ultimately can integrate with fashion sometimes.

Can you describe a project or shoot that holds special significance for you?

I genuinely feel like I let every project consume me. From conceptualisation to the final edits. I sometimes obsess over the smallest details: the light, the mood, the emotion. Some projects stay with me longer than others after completion. But I can recollect a special one. A couple of years ago, I shot for a fashion brand called Reistor. The campaign was titled ‘Wear the Damn Shorts’. We shot a body positivity story with real women from all walks of life. I felt like I had the power to make everyone feel really good and confident about themselves (even if it was just for one day) and it ended up feeling like such a rewarding day.

What are some of the most rewarding moments you’ve experienced as a photographer?

Seeing my work in print, whether it’s on billboards or stores, in a magazine, or in a coffee table book still always makes me feel a deep sense of fulfilment. It’s a moment of validation for ourselves. I don’t know if digital will ever be able to replace this feeling.

Have you ever felt the need to prove yourself more in this field?

Yes. Being a woman in a male dominated industry, that feeling never quite leaves you completely. Sometimes it’s faint, just in the background. But on big advertisements sets or film sets with a hundred plus people on-site, it is much more prominent. But I do believe I am able to create some of my best work when it’s just me, my camera and my subject.

What has been the most challenging photoshoot you’ve done, and how did you handle it?

None of my shoots have been super tedious in that sense. I like to maintain a calm, easy environment on set. Sometimes the back and forth with agencies / the clients on post work has been quite challenging and draining. In general, I don’t think there’s any job I regret taking up. Everything is learning for me.

What advice would you give to young women aspiring to enter the photography industry?

Shoot for yourselves first. Don’t look at what everyone else is doing. We are living in a time when we are overloaded with digital content and everything can start to look and feel the same. Look at photo books instead of social media for inspiration. Travel. And try to find your own style of work through something personal to you – your family, your childhood, the way you see the world around you right now, anything.

What is one message you want to convey through your photography on Women’s Day?

Be yourself. Use less filters – on social media and in life.

Reaching the Stars – Navaneeth Unnikrishnan

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Mastering an awe-inspiring genre like astrophotography is a tough task, one that’s becoming tougher over the years. Navaneeth Unnikrishnan has toiled through it all and is one of the pioneers of the genre today. His pictures don’t only consist of pure astrophotography, they belong to a wide range of genres including landscapes, night landscapes, mobile photography, timelapse and more. Asian Photography spoke to him about gear, passion, time investment, workflows, and more. Excerpts:

How did you get into astrophotography?

I stumbled into astrophotography by chance when I unintentionally captured an image of the Milky Way without realising what it was. My hometown has very minimal light pollution, and one night, while observing the sky from my terrace, I noticed an unusual faint glow. At the time, I had a basic understanding of photography but no understanding of night skies, so I decided to point my camera toward the sky and take a long exposure shot. To my surprise, the image revealed intricate details that were invisible to the naked eye. That moment sparked my fascination with astrophotography, leading me to explore wide-field and deep-sky imaging.

How should one start in astrophotography if they plan to get into it?

With the advancements in camera tech today, one can even begin astrophotography using just a smartphone. Most smartphones, especially flagships, feature a “Pro Mode”, which allows manual control over shutter speed and ISO, along with the ability to capture images in RAW format. This can be a great starting point for beginners. Alternatively, one can invest in a basic mirrorless or DSLR camera equipped with a wide-angle lens (24 mm or below) and a wide aperture (f/2.8 or lower), along with a sturdy tripod. The setup is ideal for basic wide-field astrophotography. However, astrophotography goes beyond this, there are specialised forms such as deep-sky imaging, planetary imaging, lunar and solar imaging. These require dedicated equipment. For example, deep-sky imaging requires the use of a telephoto lens or a telescope mounted on an equatorial mount to compensate for Earth’s rotation and prevent star trailing. A practical step beyond wide-field astrophotography is investing in a portable star tracker, which, while limited to tracking wide focal lengths, can significantly step up your wide-field images. However, one of the biggest challenges remains access to pristine dark skies, something that is increasingly tough to find in India due to light pollution.

Does Astrophotography need a lot of patience?

Yes, astrophotography demands a great deal of patience, especially when it involves travelling to remote locations with pristine night skies, and enduring harsh conditions like extreme cold during night time sessions.

There are several forms of astrophotography. Among them, wide-field imaging is one of the most accessible and requires comparatively less patience. However, other forms, such as deep-sky imaging and planetary imaging, require a good deal of dedication. The process involves setting up heavy equipment, troubleshooting technical issues, and dealing with unexpected software errors – sometimes in the middle of imaging sessions! These challenges can test one’s patience, but are ultimately rewarding.

What are the most challenging things about Astrophotography?

Astrophotography can be challenging, and at times, even frustrating, when despite all efforts, you may return without a single usable image. There have been instances where I have travelled for days to reach a remote location, endured extreme cold, and stayed there for weeks, only to be met with consistently overcast skies. This is a reality that anyone involved in astrophotography for a while is bound to face.

Unfortunately, weather forecasting in India is not as reliable making it difficult to plan imaging sessions with certainty. Beyond weather related challenges, deep-sky imaging presents its own set of difficulties, such as tracking inaccuracies, software glitches, light pollution, poor atmospheric conditions, and issues with telescope collimation. Each of these factors can impact the imaging process, making astrophotography a pursuit that demands persistence, adaptability, and a deep passion for the craft.

What are your favourite things to shoot and why?

My favourite subject to photograph is the Milky Way. Despite capturing it countless times, I am still captivated by its beauty, the intricate dust lanes, the vibrant Rho Ophiuchi cloud complex, and the subtle H-alpha emissions that weave through the galactic core.

However, for me, photographing the Milky Way goes beyond just capturing an image. It carries a deeper, almost philosophical significance. It is a reminder that we are part of something vast, our home galaxy, stretching across the cosmos. It evokes thoughts about our place in the universe, the immensity of space, and the connection to the past, as the light we capture has travelled for thousands of years. It also sparks existential questions about time, history, and the fleeting nature of human existence in the grand cosmic timeline. Astrophotography, to me, is not just about the technical process, it’s a bridge between science, art, and introspection.

What equipment and lenses do you use for Astro, and how are they different from regular gear?

My astrophotography setup is a combination of standard photography gear and specialised astro equipment. Each piece serves a distinct purpose, from wide-field landscapes to deep-space imaging and solar observation.

My go-to gears for wide field and aurora images are Sony A1, Sony A7s Astro-Modded, along with a couple lenses like Sony 14mm F/1.8, Sony 20mm f/1.8, Sony 16-35mm F/2.8, Sony 50mm f/1.2. I love the noise performance and sharpness of the lens offered by these gears and has never failed me in extreme conditions.

For deep-space objects like nebulae, galaxies, and planetary imaging, I use dedicated cameras like ZWO ASI294MM Pro (a monochrome camera optimised for astrophotography) with Narrowband filters from Optolong to capture specific wavelengths of light, this includes Red, Green, Blue, Luminance, H-Alpha, Oxygen III, Sulfur II, a Celestron EdgeHD 8″ Telescope giving me 2032 mm focal length. I use these for distant nebulas, galaxies, planets and lunar imaging. I also use a Redcat 51 Telescope for wide field images.

For observing and photographing the Sun, I use a dedicated solar telescope designed specifically for hydrogen-alpha (Hα) light. Unlike regular telescopes, this instrument isolates a narrow wavelength of red light emitted by hydrogen atoms, revealing solar prominences, filaments, flares, and dynamic surface activity, features that would be invisible in standard white-light observations.

This is coupled with a ZWO AM5 Tracking mount. These setups allow for long-exposure imaging and tracking celestial objects with precision.

Specialised equipment significantly improves image quality, detail, and the ability to capture astronomical phenomena beyond what the naked eye can see.

What is the most underrated aspect of Astro, be it equipment, or a ritualistic practice, or a software workflow?

The Art of Astrophotography is something I would consider underrated. While technical expertise is crucial, astrophotography is equally an art form. Composition, framing, and creative processing play a vital role in shaping the final image, transforming a technically accurate capture into something truly mesmerising and unique.

In your opinion, is there a perfect astro image?

No, in my view there is no single, universally “perfect” astro image. Perfection in astrophotography is subjective and multifaceted, much like art itself. What one person considers ideal, another might see differently.

Subjective – The perception of beauty varies from person to person. Some may be drawn to vibrant colours and intricate details, while others prefer a minimalist and evocative approach. There is no absolute standard for what makes an astro photo “beautiful”; it is deeply personal and open to interpretation.

Technical vs Artistic Perfection – An image may be technically flawless, sharp focus, minimal noise, and excellent dynamic range, yet lack artistic impact. On the other hand, an image with minor technical imperfections can still be compelling due to its composition, emotional resonance, or unique perspective.

Astrophotography is constantly advancing. What was considered a “perfect” image ten years ago has now been surpassed by newer techniques and improved equipment. As camera technology and imaging gears progresses, so does our perception of what constitutes the best possible image.

Each astrophotographer approaches the craft with different priorities. Some focus on scientific accuracy, capturing celestial objects with precision, while others emphasise artistic interpretation. The idea of a “perfect” image is ultimately shaped by an individual’s goals, vision, and personal style.

What does “Astro Modding” a camera mean, and could you tell us about the process?

Astro Modding is basically modifying your camera by removing a certain filter to enhance its sensitivity to specific wavelengths of light which is Hydrogen-Alpha emission, this wavelength of light is found in nebulae. Normal DSLR and mirrorless cameras have a filter that blocks some light. This filter is good for regular pictures, but it makes it hard to see the beautiful red and pink colours of nebulae. Doing this helps with capturing more detail in emission nebulae and other Hα-rich objects. Allowing better signal collection (as the filter removed does cut some light). The downside of modding your camera is it voids your camera warranty. So I prefer doing it on an old, used camera.

It’s a lengthy process and would require good technical knowledge. Hence, I would advise you to modify it from reputable “modders”. Once the basic modification is done, it would not work well under normal daylight conditions unless you add a white-balance fix or correct it using IR/UV cut filters.

Framing Timeless Elegance – Bharat Rawail

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Bharat Rawail is a prolific fashion and commercial photographer, capturing images with an element of simplicity with elegance. He has worked with brands, modelling agencies and celebrities in his career of over 15 years, aiming to create stunning photos with immaculate detail. He is renowned for his style, and he is a brand ambassador for Nikon and Nanlite.

Asian Photography spoke to him about storytelling, vision, trends, creative blocks and more. Excerpts:

How do you approach storytelling through your images in commercial projects?

In all my projects, commercial or not, I focus on making the subject the heart of the narrative. In still images, for a viewer to connect with the photos, I believe you need to connect with what the person and their expressions are trying to communicate to you at that moment.

My approach is simple: ensuring that the subject feels seen and represented in the best possible way. In all my photos, the eyes are always the centre of attention, followed by the expression and posing. I prefer to keep the face well-lit and make sure the subject feels seen at the moment.

How do you ensure the brand’s narrative aligns with your artistic vision during a shoot?

When working with brands, my goal is to adapt to their narrative, ensuring that their product and story remain the focus. When a brand reaches out to me for a campaign, they are already positive about leveraging my style for their project. Every photo I take must not only reflect the brand’s identity, but also resonate with their target audience.

I ensure the brand’s narrative aligns with my vision to create a balance between creativity and purpose. I approach each campaign by bringing my style and creative sensibilities to merge with the brand’s story and objectives. The aim when platforming a brand in my work as a photographer is to elevate their messaging through my lens while staying true to their essence.

To achieve this, I use various lighting techniques, compositions, and more to highlight the product and support the narrative. I also constantly view the project through the shoes of a customer at various steps in the process, to make sure the photos effectively communicate the right messaging to me.

What do you do when clients push for ideas or concepts you disagree with creatively?

Creative disagreements are inevitable, I think it’s idealistic to expect otherwise. I believe that’s what leads to fresh and innovative outcomes. When clients push for ideas or concepts that differ from my approach, I am a firm believer in teamwork to achieve the end result. Pre-production is where I resolve such differences – it’s where brainstorming, ideation, and mutual decision-making happen. I love to invest time in the prep phase, welcoming ideas and discussing them thoroughly to ensure alignment before we step onto the set. A strong pre-production process should lead to mutual creative decisions; if it doesn’t, the pre-production isn’t complete.

During the shoot, I like to strictly focus on execution while staying open to all possibilities. I make it a point to capture everything: shots from the mood board, shots inspired by the client’s ideas, my own creative interpretations, and lastly, experimental shots.

I also take the time to explain my reasoning behind certain approaches, helping clients understand my process. Often, the vision becomes clearer when the client has a visual reference to see how my approach aligns with their goals. All creative processes have to be collaborative, the intention of finding mutual ground bridges the gap between creative fulfilment and client objectives.

How are fashion trends in different regions influencing your work?

Fashion trends from different regions influence my work by shaping how I adapt wardrobe choices to highlight the subject’s personality. For me, clothes complement the person and express the personality of the subject I’m capturing.

I feel fortunate to collaborate with some of the best stylists in India, whose experience ensures that wardrobes are fresh, on-trend, and authentic to the subject. During pre-production, we work together to strike a balance between trends, the concept, and the subject’s individuality.

Staying updated on trends is invaluable, and collaborating with creative minds keeps me informed about what’s in style. My approach bridges these trends with my own sensibilities to create a look that merges the outfits with the personality.

How do you keep your work fresh and avoid becoming repetitive?

To keep my work fresh and avoid repetition, I make it a priority to find inspiration daily. I spend 15–20 minutes each day exploring platforms like YouTube, Pinterest, Instagram, and Behance, as well as studying the work of DOPs, photographers, and other creatives.

This practice keeps me consistent and creatively stimulated, ensuring my perspective evolves with time. Regular introspection is another key part of my process. I often review my work from the past month or two to track growth, and consider how I could shoot my older work differently today. This helps me refine my style – it helps me recognise elements that resonate deeply with me and areas where I can push boundaries to keep experimenting.

How do you handle creative blocks or periods where you feel uninspired?

When faced with creative blocks, I like to take a mindful approach to ensure I can deliver my best work. When possible, I give myself a break to recharge and return with renewed energy and focus.

Pre-production often helps me reignite my creativity. Collaborating with my team to brainstorm ideas and refine concepts can kickstart a creative flow, turning a challenge into an opportunity for fresh perspectives. If the block persists, I turn to my hobbies – I indulge in my favourite meals or take short holidays to refresh my mind.

However, I know that breaks aren’t always feasible. On such days, I focus on the outcome and commit to working through the challenge. By focussing on the details of a single idea and meticulously planning its execution, I have found I feel better equipped to handle the block and deliver work that stays true to my standards. This balance of self-care, collaboration, and discipline ensures I stay creatively resilient.

What’s the most valuable lesson you’ve learned from a failed project or a project whose result didn’t meet expectations?

I was recently collaborating with a renowned stylist. While the team was talented, the final result felt disconnected and didn’t align with my usual standards.

In hindsight, I realised that my eagerness to impress had caused me to sideline my creative instincts and decision-making process. Overwhelmed by the opinions of the stylist, talent, and team, I failed to protect the creative space needed to execute my vision. The result was a confused outcome that lacked the authenticity and quality I strive for.

Since then, I’ve learned the importance of holding my ground during a project, no matter how many opinions come my way. While I welcome creative inputs as valuable feedback, I’ve stopped aiming to please everyone. If someone chooses to work with me, it’s because they trust my style and vision. Confidence in my own expertise and experience is crucial to delivering work that meets my standards and stays true to my creative identity.

How important do you think social media is for a photographer’s career today, and how do you leverage it?

Social media has been a game-changer for all creatives. What started as a platform for sharing personal lives has evolved into an irreplaceable tool for showcasing work and building professional credibility. I view my Instagram account as my portfolio – it’s a space to highlight my work and establish legitimacy. Today, your Instagram profile undeniably determines how people perceive your professionalism and reliability.

As we move into an increasingly digital era, social media has become indispensable. Platforms like Instagram not only allow photographers to build their portfolios, but also enable them to grow as freelancers and business owners. It’s a great way to connect with other creatives, find inspiration, and engage with potential clients.

In fact, much of my early business came through Instagram, helping me build a foundation before my work gained recognition outside the platform. Leveraging social media strategically allows me to expand my network, showcase my work, and stay relevant in a competitive industry.

How do you keep learning and growing as a photographer? Do you attend workshops, follow online courses, or have any mentors?

As a self-taught photographer, my learning, and growth have always been rooted in curiosity and experimentation. My journey into photography began spontaneously during a vacation, and since then, I’ve embraced a hands-on, trial-and-error approach to mastering the craft. I firmly believe that exploring on your own often leads to the most exciting discoveries.

I make it a point to experiment during every shoot, constantly pushing the boundaries of my style and comfort zone. Collaborating with a diverse range of creatives also plays a significant role in helping me refine my perspective and explore new ideas. I frequently study the work of international photographers, paying close attention to their lighting techniques and creative processes.

By immersing myself in global influences, I like to ensure that my work remains relevant and timeless.

What advice would you give to aspiring fashion photographers who are just starting out in the industry?

My advice to aspiring fashion photographers is simple: just start. Pick up your camera and commit to taking pictures that you like. The key is to learn and create consistently. Initially, don’t confine yourself to a specific style – explore and experiment. Shoot everything that interests you, from landscapes and food to portraits and fashion. Finding your unique style takes time, often years, so be patient.

Don’t be discouraged if your early work doesn’t match the quality of your inspirations. It takes practice and persistence to close that gap. Focus on staying consistent and disciplined; these qualities are typically underrated in creative fields, but are essential for long-term growth.

Dedication to your craft and your creative development will accelerate your progress. Every shoot, every experiment, and every challenge contributes to shaping your perspective as a photographer. Stay curious, stay open, and keep pushing forward – your journey is what will set you apart in any industry.

‘Our Cameras don’t have the Capability of our Eyes’ – Varun Aditya

Varun Aditya’s journey is one of dedication and perseverance. A journey that found his calling in photography and a passion that derived from nature. In this interview he takes us through that journey and more: Excerpts

How did photography happen? And how did you go about pursuing this dream?

I was doing my post-graduation in London and being an introvert, I always wanted to travel to open up. Aided by the fact that my parents were also travellers, that and the Western Ghats close to the Coimbatore where I resided influenced me a lot. I bought my first camera at the end of 2010 and shot London and posted that on social media platforms of those days. I started getting appreciation and that motivated me a lot.

Once while clicking an aircraft I accidentally clicked a bird in flight and got fascinated with the image. I tried recreating it, but realised that it wasn’t easy and that you have to follow their pattern. The more I started following nature, I started falling in love with it. That is how nature and wildlife started. In 2013, I started doing safaris, my first safari was in Bandipur, Karnataka and that is where I saw my first tiger, leopards and spotted deer’s and all these beautiful animals made me fell in love with nature. And that’s when I realised that this is my passion.

What inspires you about wildlife photography?

Nature, light and the animals. In my journey to understanding nature and photography, somewhere in between I fell in love with light, especially after my first safari in Bandipur. I play a lot with light and that is what inspires me when it comes to animals as well. And the more time I spent in nature with animals, I really started liking them a lot. As the saying goes ‘animals are better than humans’, I genuinely feel that they are more responsible than us. They do a lot more than human beings and I have really learnt from animals.

What are the practical difficulties that a photographer faces while shooting wildlife?

The practical difficulty that we face are unlike the other genre, except street photography. Wildlife and street photography are similar, nothing’s going to pose for you. Wildlife photography gets even trickier because the practical difficulty we face is that we got to be lucky, you really can’t create the scene. You have to wait for the scene, decide and be active with your presence of mind.

You get less than 60 seconds to shoot a cat in the Indian jungles since they are thick. Which means you have to be there at the right time, the right moment, right weather, right light and the right background. If these factors don’t align, then it is something that you have to master, which I am also in the process of doing. But in this pandemic, I have learnt that when you limit yourself with what you have then you can sharpen your creative skills. I worked on that during this lockdown and realised the difference it made when I did my first safari post the lockdown in Bandipur.

What level of research is needed before going out on the field? Is it important to know a lot about animal behaviour to get the perfect shot?

There is a lot of research that we do, but my secret is that I usually prefer to go to places in the off season. For instance, when I wanted to go Masai Mara, I went in the off season and got the idea about what I had to do for the next 10 trips. It is also advisable to go as per the weather conditions, I choose a place according to the weather, like if it is the best to go to Masai Mara is between August or September then I prefer going in November when no one would show up because of the rain. But now with global warming things are becoming unpredictable in terms of the weather as well.

Animal behaviour is important and I have learnt a lot from my mistakes over time. For instance, I would photograph lions during the day in Masai Marawhen they would only sleep. Since they sleep for over 18 hours during the daytime, they are awake in the night, which is the best time to photograph them. Similarly, capturing a cheetahwhile hunting. It is important to know that a cheetahalong with their cubs hunt a lot more, so tracking when was their last meal. This helps in being at the right place at the right time.

Another example closer to home when we track tigers and leopardsthen they always choose the same path most of the time. Or birds, they always visit a place at the same time, especially when they are feeding. These are the animal behaviours that we learn eventually from our experience which is very fascinating to learn.

How can you as a photographer help protect wildlife and conservation?

As a photographer, there are two ways that you can help in conservation. You can ask your followers to visit safaris since half of that price goes to conversation. You can also spread positivity with your pictures as a photographer. Another way to contribute is to donate to wildlife societies that work on wildlife conversation. As a wildlife photographer we can influence viewers with our pictures and I am proud to be such an influencer, since it really works.

Are there any species/animals that you will happily photograph again and again?

I am not a species driven person, to me an elephant or a pen or my mom is all the same. I try my best to capture that frame and convey a story. For me it is all about composition. But having said that, any monkey family gives you a lot of photography opportunity and that’s what I love about monkeys. Because whenever I find them they are always active, they do something or the other and support my frames. So yeah if I want to photograph any animal/species that will be any monkey.

Your image for Nat Geo’s Nature Photographer of the Year for animal portrait is incredible. How did you get that?

It was with my friend Arvind Ramamurthy who decided to go there. A place called Amboli, and it comes alive when it rains with a lot of frogs, snakes, etc. We went there to photograph the Malabar Gliding Frog and that was the first day out in the woods, we went there for three nights. We started photographing frogs and my friend spotted a Green Vine Snake, it was just 15-16 cm, very small.

The environment was beautiful and I decided to change to a wide lens from a macro lens. Others were reluctant since it was raining, but I don’t really care about the gear, I care more about the picture. So I shifted from macro lens to wide angle 16-35mm f/4 lens and I started photographing. It was really challenging as the picture was getting fogged up a lot because it was raining again and again, I had to clean the lens front element and click every time. The picture was foggy so I had to use the dehaze in the post-processing a lot which I don’t usually do. Thanks to the snake it stayed there posing for about 15 minutes.

It was a beautiful learning experience for me because that particular picture of Green Vine Snake, I named it ‘Dragging you deep into the woods’. I loved the image and the composition really conveyed the story I wanted.

Post-Processing of images has now become a common trend. Do you advise its use?

Post-processing actually depends on the image, I sit on an image for 5 minutes to an hour depending on what the image or the scene demands. I usually look for backgrounds and if I find the subject first then I follow two main rules, avoid what is distracting and include what is good. And the same thing in post-processing avoid what is distracting and enhance what is good, so it is an art of enhancing. It is really important to embrace the trend.

It was really tough for me to start learning post processing, but it is such a beautiful thing and altogether a different art of enhancing images. Our cameras do not have a capability of our eyes, our eyes have HDR, it can balance highlights and shadows and our cameras can’t do that. I don’t like cloning, removing or adding a subject. That is called digital manipulation and it works for people who like it. That is a different art. My peace comes in when I do what I love. For me it is the basic post-processing which includes highlights, shadows, whites, blacks, a bit of vibrance, I use a lot of brush as well and just the fundamentals. I would recommend people to use it, it is a good thing.

What advice would you give to young photographers who are just starting out and considering pursuing a career in wildlife photography?

My advice would be that passion will find you, don’t go searching for it. Be alive, keep thinking about what you are good at and keep trying new stuff, be adventurous. You never know what knocks your door and that can be your calling. The advice I would like to give being a wildlife photographer, to make a living out of wildlife photography is really tough. I spent six years jobless, a good portfolio on Instagram and Facebook and my website and I have one or two books as well. It took time and also it took two awards for me to get the confidence to do it professionally.

There are two ways to earn professionally in this genre. One is to teach and other is to collaborate with brands. I started teaching in 2016 by way of workshops and photography tours. And now with the number of followers that we have we approach brands that pay us.

It took me six years and it can be less for you with the world growing, be good at your work and try to be unique that’s the main thing I would say.

What are your favourite places to shoot and if you could recommend some places for our readers to shoot at?

I choose places depending on the weather, so the bunch of places that I can recommend if people are from North then I will suggest Jim Corbett in the end of April, May and June for the elephants and Kaziranga at the end of March or April when it starts to rain. I recommend Kabini for the beautiful trees and leopards and lot of cats. I recommend Kanha for the jungle since it is beautiful.

If you are looking for a National Park then it is Bandipur, Kabini as all the South India national parks are open throughout the year. I recommend Ranthambore for a lot of tigers in unique habitat, but I still to visit Ranthambore not in summer but in monsoon and winter season if you want some great photographs, starting from November to January the park is closed, sometimes they open the Zone no. 6 and 10 and maybe Zone no. 7 as well.

Interview with Cory Richards: Breaking down Ambition versus Reality

Not many can call themselves a Photographer and an Adventurer. Not because they can but probably because they won’t put themselves in a situation that stretches them to their limit and beyond. Cory Richards on the other hand seems like a photographer who is born out of adventure. Bhavya Desai speaks to him about his innate sense of adventure, his personal journey, mental toughness and his recent collaboration with a car manufacturer.
Excerpts:

What is the level of preparations that an adventure photographer undergoes ahead of any expedition?
These trips are months, if not years of making. Often times before a large expedition, like the one with the Rolls-Royce Cullinan I spent a few months in preparation, learning about the place I was going and doing research, then a couple of weeks of packing, making sure I had all the equipment I needed from a photography perspective. These things are logistical puzzles, some people would call them nightmares, some people would call them an absolute dream. I tend to think of them more as nightmares and I am always blown away by the capacity of the teams that come together and orchestrate these massive endeavours.
If you look back at all the time that I am putting into my next adventure, which I’m embarking on in spring, it is literally ten years of work. The acute preparation is around three months while the training period is about a year.

Despite vigorous preparation factors like isolation, fatigue among others take one to the edge of their mental toughness. Do you think any level of prep can do that?
I mean you can’t prepare for the rapid shifts that may or may not happen in an assignment or an expedition, because all you can do is adapt to the moment as it unfolds. That’s the nature of expeditions or exploration. The only thing that prepares for that kind of decision- making is doing that decision-making. You will not know what those decisions are going to be or what is going to predicate them.
I found that pushing through hard things have been radically trained by small things that I do at home which include my day-to-day workouts that I really push myself through. That could be incremental like pushing yourself to do more reps? Those little mechanisms we teach our mind to do in our day-to-day lives have profound impact on your morality out in the field. Also, setting goals and achieving them, accomplishing small digestible goals. When you finally reach that end where you push through your absolute limit, it will be by breaking down that final goal into digestible pieces.

What are the practical difficulties that a photographer faces while shooting in such extreme conditions?
The practical difficulties I encounter are usually environmental. Either extreme cold or extreme heat, wind. For example, when I was shooting with Rolls-Royce, we were taking the Cullinan through the Empty Quarter and we were hit by a massive sandstorm in the middle of the dessert that thrashed one of my best cameras. That’s one of those things we have to adapt to and those are sort of the environmental challenges that I encounter. On the other hand, in extreme cold conditions you are trying to keep things powered up, like your camera battery. But really, the things that are hardest are the mental hurdles, being away from home, being away from loved ones, being in life-threatening situations and accessing the risk and breaking down ambition versus reality. Those things are much more taxing, they don’t have the same acute challenge as the environmental hurdles that I often face. They are bigger life decisions and often require more attention.

What is that one thing that you cannot do without when it comes to these sort of expeditions?
Apart from a camera, any camera, it doesn’t have to be the best thing in the world. It can be a phone camera. But otherwise, a kindle or reading tablet, for me, is pivotal because it allows me an escape and allows me to stay educated and keep my mind engaged. That’s one thing that I find really powerful, keeping your mind active when you are on these long expeditions or explorations.
Having a way to diversify your thought process, be it through music or reading, so you are not constantly fatiguing your brain thinking about the objective. Another thing that is very helpful for me is my meditation practice. Again, it gives my mind a hard reset. It is something I can do on a daily basis that requires nothing but my own willingness to engage with it. I think it functionally helpful in engaging the creative process as well as to continue to foster that curiosity throughout the expedition.

What is the best and the worst memory from your expeditions/shoots?
I think usually the best is usually is the worst. Because usually a really difficult situation that comes up or something that is really impactful ends up pushing you towards growth. I can point to one that is very well known, and that is the avalanche on Gasherbrum II years ago. That was one of the most unpleasant, horrific, scary experiences of my life. But it was also a moment that pushed my career into a new trajectory. It opened a lot of doors, it made me examine myself and my own experiences with climbing and my identity and pushed me down a path towards bettering myself.
Here’s this moment that was horrifically frightening, a near-death experience, it put me through a cycle of Post-Traumatic Stress Disorder and I also got divorced. I started drinking too much and all of that ends up being this gateway into this new life, which has allowed me to grow and push beyond certain areas in my life I never thought that were possible. It has allowed me to excel and evolve as a human.

Given the current challenging scenario globally, how do you think this will change this genre, especially since travelling might be challenge for some time to come?
I don’t know that it will change the genre. I think what it is going to do is slow it for a certain period of time. I think we are going to see a dramatic reduction in the rampant travelling that we were enjoying for so long and honestly, it is a healthy pause for the planet. I think it is a healthy pause for all of us, but I don’t think it will change the genre. I think we need to be more intentional with the trips we take, with the stories we want to tell. I hope that if it changes, it would move us to adventures with purpose versus adventure for adventure’s sake.

While covering war-affected or unfortunate areas, how do you as a photographer isolate your emotions to capture the moment as is?
Honestly, there is a lot of emotional feedback, especially when you are in an area that is affected by conflict or you are in a more impoverished area. First and foremost, I try to interpret the experience by not shutting myself down emotionally and feeling what comes up for me. Quite often, those feelings are amplified or sourced from my own ignorance, my own naivety, my own privilege. So again, the emotional upwelling, when it happens, is kind of a source of information, so I never try it shut it down.
Infact, I try to use that emotion to move me towards a better picture. If I can feel and engage with the emotional response that I am having, that can direct me towards more meaningful photography, and more meaningful art. The art should be informed by the emotion, and not outside of the emotion. If I am affected, ultimately the goal is to photograph what it feels like, not what it looks like. That’s the key for great photography. I don’t mean to show people what it looks like, I need to show them what it feels like. If I can accomplish that, then I think I can accomplish something more transcendent. The only way I can do that is to be in touch with what it actually feels like: good, bad, hard, heart- wrenching at times. But those things are informative.

Any tips that you would like to give the upcoming and young talent?
Actually, you are absolutely right, there are more story-tellers on a much more global scale than we ever have. I used to think this was a very euro-centric endeavour, and I think that that is tied to the history of how the world was when it comes to exploring. I am being kind in the way I am describing that right now. I am excited to see the very faces in the diverse group of story tellers that are coming up all over the world.
My encouragement is the same with any young storyteller: Find what you are actually passionate in talking about, not what you think looks good or getting likes on social media. Find a story or stories that move you, genuinely move you, that really does ignite your limbic resonance, or your emotional response. Pursue those. Find what drives you and find a cause that you are passionate about and pursue those. If that is adventure, then great. But make sure your adventures have some purpose behind them. Try to find that purpose and with that driving force, pursue them all the way to the grave and keep pursuing them beyond when you think they are already done. Pursue those long, big stories. But pursue what you are actually passionate about, not what you think is going to get you recognition or likes, not what you think is the thing to pursue in that moment. That’s not helpful, what’s helpful is your passion.

What was the objective of collaborating with the Cullinan and did a camouflaged SUV help during this adventure?
I don’t think the wrap of the Cullinan helped at all, in fact if anything it made us more visible. The wraps are designed to make the car more difficult to photograph. The car itself, absolutely facilitated an amazing adventure, a global exploration that I could never have anticipated. The fusion of National Geographic and Rolls-Royce in this context made a lot of sense. What we were doing was trying to test how far the car could go. We were essentially field-testing and trying to break it. We didn’t break it, so it says something about it. We were also using it to facilitate truly a global exploration of the Scottish Highlands, into the Empty Quarter, in Middle East and all across the American West. It was really about testing and seeing how far I could push the automobile and the drivers, to see how much the car can take. It was just a luxurious and comfortable ride I have ever had on any other assignment.

What are your weapons of choice?
My weapons of choice are always Nikon. I love their Z system, they are the mirrorless cameras, their big D-8 cameras are amazing as well. Those are my workhorse cameras, the Z6 and the Z7. The Z6 is really great for videos and the Z7 is unmatched in terms of mirrorless performance in terms of still photography. They are light, they’re robust, they are unbreakable. That is my arsenal. But again, I always have to promote, you don’t have to have the best and the greatest. You can shoot film, you shoot on your camera phone or whatever you want. Just shoot. If you don’t shoot, you miss 100% of the shots you don’t take, to quote Wayne Gretzky.

One with The Monks – Jimmy Nelson

From running away from home at the age of 16 to having his peculiar styles in portraits, Jimmy Nelson epitomises everything that you expect from a travel photographer. Humble, hardworking and overall an affable guy, his photographs communicate the subject’s sense of being. In an interview with Asian Photography he speaks about his process and how patience always pays off.

How did you get into photography?

My journey with photography started in my childhood as my father was a geologist and spend his time away from us. I was a young child and I remember these communities and different parts of the world. I was taken out of this side of the world and put in boarding school, so I was confused between both the worlds.

But becoming a photographer was an accident. At the age of 16, I ran away to Tibet and stayed with the monks. With a small camera, I was trying to find a way to reconnect with myself and the experience that I had in my childhood. And in many ways, I’ve spent the whole of my life since then trying to reconnect with it. It’s not the photography which thrills me, but it’s using the camera to see the others and present them in a way that we’ve never normally seen them.

How did you develop an interest in photographing portraits of tribal and indigenous

people?

Well, I just described in my previous answer the interest started when I left home and went to Tibet to stay with the monks. And trying to find a way to reconnect with myself and that experience I had in my childhood. I used to capture photos of everyone who was nice to me. And that’s how I developed my interest in photographing tribal and indigenous people.

What is the most difficult and rewarding part of being a photographer for you?

Today everyone is a photographer with the growing technology and people capturing images with their smartphones and basic cameras. Everyone captures their own vision. For me this a challenge as well as good to see people evolving with the technology. I am happy that I capture something different and unique from the rest, but I don’t know how far it will go looking at the rise in technology. So the rewarding part is of course the work I do to make myself happy and the difficult part is that there is competition.

Pictures influence my work, not the photographers – Rarindra Prakarsa

From being a graphic artist to becoming a full-time photographer, Rarindra Prakarsa has had a journey that transcends from analogue to the digital era in photography. He speaks to Asian Photography about how this journey happened and also how pictures influence and inspire his work and not photographers.

How did you get into photography and what was the reason to choose this genre?

I started photography when I was in college and took up graphic arts. One of the subjects in that was Photography. During that time it was the analogue era in mid 90’s. I didn’t have camera at that time and would borrow it from my lecturer and friend. These were completely manual cameras and I wasn’t sure what I liked. But I really liked two subjects: Photography and Graphic Arts.

At that time, I liked street photography a lot and also journalism since I worked in a newspaper as graphic designer. Some photojournalists in my office influenced me on how interesting it was being in field taking picture for news. But later I realised that I couldn’t be a photojournalist, since I wanted my pictures to be seen by many people, since I love taking pictures of people and their environment. I converted my equipment to digital cameras 2004 and started developing my style. Internet was really helpful to promote my work and get the response for the style I was developing.

Your photographs have a cinematic and drawing feel to them. How do you manage to achieve this?

There are two moments that have influenced my work and my style. First was the movie ‘Last Emperor’ which featured beautiful light and cinematic art, and the second was after attending the painting exhibition of Water Spies, which influenced me on how he created the depth,

composition, light and colours.

I was trying to apply what I have seen from those arts. I was thinking that the key to achieve that taste is lighting. Of course, I am confidently speaking about this after mastering composition and all the basic photography. Next on my list is perfecting all the pictures with post-processing, making them more dramatic and colour matching.