Tag Archives: camera gear

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

Leave a reply

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.

Sony India launches 400-800mm Super Telephoto Zoom Lens at ₹264,990

Leave a reply

Sony India has announced the FE 400-800mm F6.3-8 G OSS, its first 800mm super-telephoto zoom G Lens. Designed for wildlife, sports, birding, and landscapes, this lens offers high-resolution performance, fast autofocus, and superior stability with an inner-zoom mechanism that maintains its center of gravity.

With six ED glass elements, an 11-blade circular aperture for smooth bokeh, and advanced coatings to reduce flare, the lens ensures outstanding clarity. Two precision linear motors enable fast, silent autofocus, keeping up with the A9 III’s 120 fps burst speed. A focus range switch and focus hold buttons enhance usability.

Optical image stabilization allows handheld shooting without blur, while a durable, dust and moisture-resistant design ensures reliability. The tripod mount foot rotates easily for horizontal or vertical orientation. This lens is also compatible with 1.4x and 2x teleconverters, extending the range up to 1600mm.

The Sony 400-800mm F6.3-8 G OSS will be available across Sony stores and dealers in India from March 17, 2025, for ₹264,990.

DJI Launches Osmo Action 5 Pro Starting at ₹35000

Leave a reply

DJI, a leader in drone and camera technology, has unveiled its latest action camera, the Osmo Action 5 Pro, boasting several industry-first features that elevate it to professional standards. The new camera combines rugged durability with exceptional image quality, pushing the boundaries of action photography.

The Osmo Action 5 Pro’s standout feature is its groundbreaking (up to) 13.5-stop dynamic range, which enhances both high dynamic range and low-light performance. This range is powered by a next-gen 1/1.3” sensor with a 2.4 μm pixel size, making it the first action camera to offer professional-level specs. With the ability to capture 10-bit D-Log M and support hybrid log-gamma (HLG) displays, it excels in both high-brightness and low-light conditions. Additionally, its SuperNight mode uses AI noise reduction to deliver superior clarity in extremely dark environments.

Battery life is another area where the Osmo Action 5 Pro excels, with a 4-hour continuous recording capability—a 50% improvement from its predecessor. This is made possible by a more efficient 4nm chip and a larger 1950mAh battery. Even in extreme temperatures as low as -20°C, the camera can last for up to 3.6 hours. Fast charging is another feature, offering two hours of shooting from just 15 minutes of charging.

The Osmo Action 5 Pro is also the first action camera to offer built-in subject centering and tracking without the need for a gimbal. Using a 4nm chip and machine learning, the camera automatically adjusts framing to keep subjects centered, enhancing video quality for dynamic action scenes.

For underwater enthusiasts, the camera is waterproof to a depth of 20 meters without an additional case. It includes features like automatic underwater recording and a built-in pressure gauge to track depth and time, ensuring both creative flexibility and user safety.

The camera is equipped with dual OLED high-brightness touchscreens, providing clear visibility even in bright daylight, and offers improved audio quality via the DJI OsmoAudio™ ecosystem, which connects directly to the DJI Mic 2 Transmitter for studio-quality sound.

Other notable features include 47GB of built-in storage, Wi-Fi livestreaming, timecode support for multi-camera synchronization, and live photo capabilities. The DJI Mimo app allows creators to adjust settings, preview footage, and edit videos directly on their smartphones.

The Osmo Action 5 Pro is available now at DJI’s online store and authorized retailers. The Standard Combo is priced at $35,250, while the Adventure Combo, which includes additional accessories, retails for ₹44,250.