Tag Archives: landscape photography

Sentience: A Manifesto for Modern Landscape Photography

The world of landscape photography is currently at a crossroads. For decades, the recipe for a “great” photo has been fairly rigid: find a famous mountain, arrive at sunrise, set your tripod to a specific height, use a wide-angle lens, and wait for the “hero light”. But in 2026, we are witnessing a quiet revolution. As artificial intelligence becomes capable of generating “perfect” sunsets with a single tap, the value of that technical perfection is plummeting.

If a machine can create a flawless vista of the Himalayas, why do we still trek for days to see them? The answer doesn’t lie in the pixels; it lies in the presence.

The “Sentient Landscape” is a philosophy that moves away from the hunt for the perfect shot and toward a deeper, more visceral relationship with the world around us. It’s about slowing down, embracing the “messy” reality of nature, and using your camera not just as a recording device, but as a sensory bridge. Here is how we redefine the craft for an era that values soul over sharpness.

Finding Poetry in the Small Stuff: The Intimate Landscape

We have been conditioned to think that “landscape” means “everything”. We reach for our widest lenses to cram as much of the horizon into the frame as possible. But there is a profound, quiet power in doing the exact opposite.

The Intimate Landscape is the art of extraction. It’s about using a telephoto lens—the kind you’d usually use for birds or sports—to zoom into the patterns of the earth. When you remove the sky and the horizon, you remove the context of scale. A ripple in a sand dune can look like a vast desert; the bark of an ancient tree can look like a topographical map of a canyon.

By looking for the “landscape within the landscape”, you stop being a tourist and start being an observer. You begin to see rhythms, textures, and shadows that the “hero shot” hunter misses. It’s the difference between hearing a symphony and listening to the vibrato of a single violin string.

Painting with the Cosmos: Astro-Landscape Impressionism

Astrophotography is often the most technical, rigid genre of them all. It’s usually about noise reduction, star tracking, and pinpoint sharpness. But the stars aren’t just cold dots of light; they are ancient, pulsing energy.

Astro-Landscape Impressionism – specifically through a technique called Intentional Camera Movement (ICM) challenges the “sharpness” rule. Imagine standing under a brilliant night sky, perhaps with Jupiter or the Milky Way burning bright above you. Instead of locking your camera down on a heavy tripod, you hold it. As the shutter stays open for a few seconds, you move the camera with a slow, deliberate rhythm.

The result is a dreamscape. The stars turn into streaks of light, blending with the silhouettes of trees or mountains. It looks less like a photograph and more like a painting by Van Gogh or Monet. You aren’t capturing the geometry of the night; you are capturing the feeling of standing under the infinite. It’s a way of saying, “This is how the night felt to me,” rather than “This is what the night looked like.”

The Atmospheric Protagonist: When Weather Becomes the Hero

How many times have we checked the weather forecast, seen “cloudy and rainy”, and decided to stay home? In the conventional world, rain is a nuisance. In the Sentient world, the storm is the story.

When we wait for the “perfect” light, we are essentially asking nature to perform for us. But the most honest moments in nature are often the most difficult. A mountain peak that is half-hidden by a heavy monsoon mist is infinitely more mysterious than one under a clear blue sky. A forest floor during a grey, drizzly afternoon has a depth of colour—a “neon” green to the moss and a deep obsidian to the wet rocks—that a bright sun would simply wash out.

“Weather as the Hero” means leaning into the low contrast. It’s about realising that fog isn’t hiding the landscape; it is the landscape. It adds a sense of “Soft Fascination”, a psychological state where our brains can rest and recover by looking at the gentle, repeating patterns of nature without the harsh glare of a “hero” sun.

With all that being said, we’d advise not going out in bad weather, such that it can cause damage to your equipment or harm to you, just to try and get a “good” shot.

The Intentional Pause: The Psychology of Not Releasing the Shutter

Source: Reddit.com/u/life_is_a_conspiracy

The biggest barrier to great photography in 2026 isn’t bad gear; it’s the digital trigger-finger. We take thousands of photos, hoping that one of them will be “the one”. This “spray and pray” method actually disconnects us from the very place we are trying to capture.

The most avant-garde advice for a modern photographer is simple: Stop shooting, or to be more precise, stop shooting as much.

Practice the “Five-Frame Limit“. Go to a beautiful location and spend three hours there, but allow yourself only five clicks of the shutter. What happens to your brain when you do this is fascinating. You stop looking at your screen and start looking at the land. You notice the way the wind moves through the grass. You feel the change in temperature as a cloud passes. You hear the distant call of a bird.

When you finally decide to press the button, that frame carries the weight of those three hours. It isn’t just a picture; it’s a memory that has been carefully selected and refined by your own presence. This is what it means to “shoot with intent”.

PS: Film photography is totally not dead, try taking it up if you’re struggling with the issue of the digital trigger-finger, and have got some coin to spare.

Vying For An Authentic Future

As we move further into a world of digital perfection, Sentient Landscapes offer a path back to what makes us human. It reminds us that photography isn’t about the gear we use, it always has been about the way we choose to see.

By embracing the intimate, the impressionistic, and the atmospheric, and by slowing our pace to match the rhythm of the earth, we create images that are uniquely ours. They might not be the “cleanest” or the “sharpest” shots on social media, but they will be the most honest.

In 2026, the most radical thing you can do as a photographer is to stop trying to be a machine and start trying to be a soul in the wilderness.

Master of Moments – Marsel Van Oosten

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Marsel van Oosten is an award-winning photographer known for his profound artistry, especially his striking wildlife portraits. His work often blends the grandeur of landscapes with the intimate presence of wildlife, revealing the delicate balance of nature. His photographic style and thought-process has earned him critical acclaim, as well as the Wildlife Photography of the Year award. Asian Photography spoke to him about conservation, AI vs authenticity, lessons from the field and more.

For Marsel van Oosten, the path to becoming one of the world’s most recognised wildlife photographers was not paved with an early obsession for the camera. In fact, while studying art direction and graphic design at art school, photography was a medium he openly disliked. It was only after entering the professional world as an art director at an international advertising agency that he began to appreciate the profound power of still images. Tasked with selecting photographers for global ad campaigns, he was forced to dissect various styles and visual languages. Over 15 years, he collaborated with hundreds of top-tier photographers, treating every interaction as a masterclass. Eventually, this professional observation turned into a personal pursuit, though his first attempts during holidays were met with frustration. With a designer’s eye, he knew exactly what a “good” photograph should look like, but he lacked the technical vocabulary to execute it. This led to a period of intense self-education through amateur photography magazines, where he mastered the fundamentals before a honeymoon to Tanzania—his first safari—permanently shifted his focus toward the wilderness.

“The biggest threat to our planet is the idea that someone else will save it”

When reflecting on the motivations behind his transition into wildlife and conservation, Van Oosten explains that his travels have allowed him to witness a world in a state of rapid decline. He notes that with each passing year, more species are pushed toward the brink of extinction while ecosystems are systematically destroyed or polluted. His work is fuelled by a desire to inspire a sense of urgency in the viewer, grounded in the belief that “the biggest threat to our planet is the idea that someone else will save it.” He describes a “global narcissism pandemic” fuelled by social media, where the hunt for “likes” has turned into a destructive force. He points to the Masai Mara as a tragic example of how greed, corruption, and unsustainable “selfie tourism” can lead to conservation disasters. While he acknowledges that social media has occasionally amplified conservation efforts, he remains wary of how the unhinged pursuit of a “cool shot” often overlooks the welfare of the animals and the integrity of the environment.

This otherworldly landscape was photographed in Argentina with a drone. Marsel had Daniella walk to a predetermined location to add scale to the image.

When asked how he would define his specific photographic signature, Van Oosten emphasises a rejection of current trends in favour of an internal creative compass. In a field as saturated as wildlife photography, he finds that staying true to reality while avoiding excessive processing is the ultimate challenge. His style is an extension of his character: a relentless pursuit of order within chaos and a deep-seated aversion to visual clutter. Drawing heavily from his graphic design background, he prioritises graphic shapes, balanced lines, and clean compositions. He avoids what is popular, choosing instead to document subjects that inspire him personally, which he believes is why his work often feels fresh to the public. Central to his signature is the “idea” behind the frame. Because photographers have little control over wild subjects, he invests heavily in research and pre-visualisation. Before a shoot, he studies existing imagery of a subject specifically to ensure he does not replicate it, planning his trips with clinical precision to capture the specific image already living in his mind.

Regarding the specific image that might define him as a photographer, Van Oosten points to the cover of his book, MOTHER, which features an elephant standing at the very edge of Victoria Falls. This particular shot, which was one of his first publications in National Geographic, serves as a bridge between his two primary passions: wildlife and landscape. He notes that while both genres require vastly different skill sets, his favorite work often exists at their intersection—a landscape image with a strong wildlife element. For him, the Victoria Falls elephant represents “perfection” and acts as a visual manifesto for his entire career.

This photo of a male golden snub-nosed monkey consists of two exposures: first, Marsel took the picture with the monkey, then waited until the monkey had left the frame and shot a second exposure with a longer shutter speed to create movement in the water. He combined the two exposures in Photoshop. Shanxi, China.

The conversation naturally shifts to the technicalities of the digital darkroom. When asked about the extent of his post-processing, Van Oosten compares the role of a photographer to that of a Michelin-starred chef. A great chef uses the best ingredients, but the mastery lies in creating a dish that is more than the sum of its parts—achieved through a “creative sauce” of herbs and spices. In his world, post-processing is that sauce. However, he strives for a result that looks entirely unprocessed and natural, a feat he describes as being much harder to achieve than applying a standard filter or preset. He is obsessed with subtle details that most viewers may never consciously notice. His process is one of patience; he refuses to publish an image immediately after a first session, knowing that a fresh perspective the following day will inevitably reveal necessary refinements. He critiques photographers whose styles are built entirely on heavy colour treatments, arguing that if one removes those filters, the underlying images are often mediocre. For Van Oosten, a truly memorable image must stand on its own without the crutch of digital manipulation.

The rewards of such a high-stakes career are often tempered by unforeseen consequences. When discussing his most rewarding moment in conservation, he recalls winning the overall title of “Wildlife Photographer of the Year” for his image of golden snub-nosed monkeys. At the time, the species was largely unknown to the general public. The image went viral, appearing in newspapers and exhibitions across the globe, successfully generating the awareness needed to secure funding for their protection. Yet, he speaks candidly about the “double-edged sword” of such fame. The surge in awareness created a massive demand for tourism in a fragile Chinese ecosystem that could not sustain the influx, ultimately forcing the area to close. This realization has changed his approach, making him far more secretive about the locations of fragile ecosystems to prevent his own work from inadvertently causing their downfall.

When Nikon asked Marsel to shoot photos to promote the new Z7, he suggested they shoot in the tsingy mountains of Madagascar. Tsingy means “where you can’t walk barefoot.” This is the sharpest landscape in the world, perfectly suited to the extreme sharpness of the new camera and lenses. Marsel hired a local mountaineer to bring the landscape to life and demonstrate the sheer scale of these formations.

In the modern era, the conversation inevitably turns to technology. When asked how he promotes authenticity in the age of Artificial Intelligence, Van Oosten offers a perspective that often sparks heated debate. He leans on his art school education, asserting that in art, there are no rules. He distinguishes between “functional” photography—such as forensic, scientific, or news photography—which must adhere to strict reality, and photography as an art form, which includes nature. While he personally prefers to stay close to the scene as he witnessed it, he holds no grudge against those who use AI or heavy manipulation to realise a creative vision. He predicts that many genres will lose the “battle” against AI because it allows creators to achieve what wildlife photographers never could: total control over the subject. While many argue that AI-generated images lack soul or connection, Van Oosten is more pragmatic, stating that for him, it is always about the end result. He views the “trust” people place in cameras as a historical accident, noting that we don’t question the integrity of a Rembrandt painting just because it isn’t a literal photocopy of a scene.

“Authenticity is not relevant in art, and I don’t think a photographer has a responsibility to disclose how the work was made”

Finally, when asked about the most important lesson he has learned while shooting in some of the harshest conditions on Earth, his answer is surprisingly simple. Beyond the technical mastery, the gear, and the conservation goals, he has learned to enjoy every single moment spent in the wilderness. He acknowledges the privilege of existing in a world of such spectacular biodiversity. Even on the days when the light is poor, the animals are elusive, and he doesn’t capture a single frame, he remains deeply grateful. For Van Oosten, the primary goal is never to take those moments for granted, recognising that being a witness to nature is a reward in itself.

A female tiger and her cub have climbed a large rock formation from which they have a good view of their territory. South Africa.

February 2026 Issue

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Asian Photography Magazine February 2026 Edition is out ✨

Read the issue now: CLICK HERE

In this issue, explore:

Pro Profile

Master of Moments – Marsel Van Oosten

Tips & Tech

How to Capture Deep-Space Objects with breathtaking Landscapes
Astronomical Events in 2026 & How to Photograph Them
Astrophotography featuring Historical Sites
Sentience: A Manifesto for Modern Landscape Photography

Reader Article

Deep-Sky Astrophotography Under City Skies – Aquib Ali Ansari

Reviews

Canon RF 45mm F/1.2 STM

Photographing the Night Sky – Bhavya Desai, Editor-in-Chief

Astrophotography is perhaps the purest reminder that photography is not merely about capturing what we see – it is about revealing what time, patience and curiosity allow us to witness. In an era driven by speed and instant gratification, pointing a lens toward the night sky becomes a deliberate act of resistance. It demands stillness. It rewards preparation. And above all, it reconnects us with a scale far beyond human urgency.

In this issue we’ve also featured a conversation with the renowned Marsel van Oosten — who underscores a powerful truth. That the night sky is not a separate genre, it is merely an extension of landscape storytelling. Astrophotography is less about chasing settings and more about cultivating patience.

The celestial calendar of 2026 offers photographers a rare invitation. Events like meteor showers, planetary gatherings and dark-sky windows that reward those willing to prepare.

We’ve also featured an article on Deep-space astrophotography, which pushes this philosophy even further. Honestly, astrophotography is an exercise in perspective. In my opinion it’s a vast universe, where a photographer becomes both observer and interpreter. The result is more than an image—it feels like a reminder that photography, at its best, invites us to slow down, look upward and rediscover wonder. Something that more of us should do even in Day-to-Day Life.

Slow Mind, Soulful Stills – Mahendra Bakle

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Mahendra Bakle is a travel and documentary photographer from India whose work captures cultural stories and human connection across Asia. His images—often set in remote villages—blend natural light, emotion, and authenticity to reflect the soul of a place. Previously featured on our On The Horizon section, he’s now an internationally acclaimed artist featured in publications like National Geographic and more. Asian Photography caught up with him, talking about the evolution of his work, travel lessons, underrated skills and more. Excerpts:

How would you introduce yourself to someone who’s never heard of your work?

I’m a travel and documentary photographer from India. My work focusses on capturing cultural stories, traditions, and people in their natural environments, typically in remote and lesser-known regions across Asia. I’m especially drawn to moments where light, texture, and human emotion intersect. I spend time getting to know the people I photograph, typically sharing conversations, tea, or even laughter before lifting the camera. This approach helps me create authentic, respectful portrayals of the soul of a place and its people.

But, at the core, I remain a curious traveller with a deep love for culture, light, and storytelling through the lens.

How have you and your work evolved over the years?

Over the years, both my photography and my personal perspective have evolved in profound ways. When I first started, I was focussed mainly on capturing beautiful moments — interesting faces, scenic places, or striking compositions. But as I travelled more, especially through remote villages and culturally rich regions across Asia, I realised that the real power of photography lies in storytelling and human connection.

I’ve grown from being a silent observer to an engaged documentarian. Now, I spend more time understanding the people I photograph—their lives, traditions, and daily rituals. That connection reflects in my work, which has become more intimate, emotionally layered, and culturally grounded.

I’ve evolved technically as well. My editing style has become more refined—natural tones, subtle light enhancements, and a focus on preserving authenticity. Tools like Lightroom and Photoshop have helped, but the biggest change was internal: I’ve learned to slow down, wait for the right moment, and let the story reveal itself rather than chase it.

Each image today feels less like a photo and more like a conversation—a small but powerful bridge between cultures. That’s the evolution I’m most proud of.

What’s the earliest lesson travel has taught you, and is it still relevant today?

One of the earliest and most important lessons travel taught me is humility—the understanding that no matter how much you know, there’s always more to learn from the world and its people. When I first began travelling for photography, I would enter a place with a camera and curiosity. But very quickly, I realised that true stories don’t come to you unless you slow down, listen, and approach every place and person with deep respect.

While sitting with a tribal elder in Nagaland or sharing coffee with a monk in Myanmar, I learned that being present and open-hearted reveals far more than any guidebook ever could. That lesson remains just as relevant today—if not more—especially in a world where things move fast and surface-level interactions are common. For me, meaningful photography still begins with humility, patience, and respect. These are timeless values, both in life and in art.

Has Instagram changed your perspective about photography?

Yes, Instagram has definitely influenced my perspective—both in positive and challenging ways. In the beginning, it pushed me to be more consistent with my work, to develop a recognisable style, and to curate how I present stories. It helped me connect with photographers and cultures around the world, and brought my work to people I would have never reached otherwise. That visibility has opened doors to exhibitions, collaborations, and even meaningful conversations with strangers who resonated with an image.

However, I’ve also had to be careful not to let the platform dictate my vision. With the constant pressure to post, chase engagement, or follow trends, it’s easy to lose sight of why we begin in the first place. I’ve learned to use Instagram as a tool to share, not perform—to stay true to the slower, more intentional documentary style that defines my work, even if it doesn’t always follow the algorithm.

My core values in photography — storytelling, authenticity, and connection—remain unchanged even with the challenge that Instagram has presented.

With photography becoming more democratized now, what’s the most underrated skill newcomers ought to focus on?

In today’s world, almost anyone can take a beautiful picture—cameras are smarter, editing tools are more accessible, and inspiration is everywhere. Amidst all this, I think the most underrated skill is developing and staying true to your own unique visual style and voice.

When I look back at my journey, what set my work apart wasn’t just technique—it was the consistency in how I saw and told stories. For me, that meant focussing on natural light, human connection, cultural authenticity, and subtle, respectful colour tones. It took time to discover that voice, and even more discipline to protect it from trends and algorithms.

Newcomers often try to replicate popular styles for quick attention, but I believe true growth comes from shooting what you genuinely care about, again and again, until your work begins to speak for you—even without a caption.

So yes, learn the technicals, explore platforms, be inspired—but also spend time understanding what moves you, and allow that to shape your photography. That’s what will make your work stand out in the long run.

How do you think one can stay curious after mastering the basics?

I stayed curious by remembering why I started photography in the first place—not just to make technically perfect images. Even after mastering the basics, I still approach every assignment or journey with the mindset of a student. Curiosity grows when you step out of your comfort zone—whether it’s visiting a new place, learning from someone else’s process, or even trying to see the familiar with fresh eyes. Sometimes, I’ll go back to the same village or location, but with a different lens—emotionally and literally—and it leads to a completely new perspective.

I also find inspiration in slowing down. When you stop chasing shots and start observing more deeply, new layers begin to reveal themselves—light changes, human expressions shift, stories unfold. That’s where curiosity thrives.

So for me, the key is to keep exploring—not just the world, but also within myself. Photography is not a destination; it’s a lifelong journey, and there’s always something new to learn, feel, or express.

How do you teach someone to capture the story of a place rather than just a pretty snapshot?

I tell them to slow down, observe, and connect with the people and rhythm of the place. Understand the culture, light, and emotions around you. A story isn’t just seen—it’s felt. When you feel it, the camera becomes a bridge, not just a tool. That’s when storytelling truly begins.

How do you measure your success?

I measure success not just by awards or recognition, but by the emotional connection my work creates. When someone sees one of my images and feels something—curiosity, empathy, respect—that’s success. It’s also in the trust of the people I photograph and the stories I’m honoured to share with honesty and heart.

What’s your photographic signature?

My photographic signature lies in capturing authentic cultural moments with natural light, soft tones, and emotional depth. I focus on people in their environments—often in rural or remote regions—framed with simplicity, texture, and quiet storytelling. My images aim to reflect not just what a place looks like, but what it feels like.

Capturing Travel Chronicles – Chris Ha

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Chris Ha’s work is a visual treat to see, not only because of the passions that’s reflected in his well-composed frames, but also in the effort he puts in breaking tough concepts of post-processing in his videos. Spanning across multiple genres, his work has amassed admirers and acclaim from around the world. Asian Photography caught up with him to talk about his journey, mistakes, key learnings and more. Excerpts:

When did travel photography become more than just a hobby for you?

I’ve always loved photography. Back in my college days, I worked at a photo lab and would spend hours

studying other people’s photos, trying to understand what made them compelling. For years, I actually

focussed more on concert photography — capturing fast-paced moments in low light taught me a lot about timing, composition, and storytelling. I’ve carried a camera with me everywhere, but it wasn’t until my wife and I travelled to Japan in 2023. Travel photography really became something more. I posted a few photos from that trip on social media, and they unexpectedly went viral. That’s when I realised I wanted to take travel photography more seriously and share it as a form of art. It’s such a rewarding feeling when people connect with your work and see the beauty you saw at that moment.

What’s the first thing you learnt doing travel photography?

One of the first lessons I have learned is that the best moments in travel photography often happen when you least expect them. You have to let the scene come to you – not the other way around. That learning really showed itself during a trip to the Atacama Desert in Chile. We were driving in the early hours of the morning on our way to another location when I spotted something out of the corner of my eye. A

herd of vicuñas were quietly grazing, with the Andes mountains in the background, and the first light of sunrise casting a golden glow across the scene. It was surreal. I quickly asked the driver to pull over, grabbed my camera, and shot it right out the window. That photo ended up being one of my favourite captures. It was a reminder that sometimes the most powerful images aren’t planned – they happen when you’re fully present and ready to respond.

What are some mistakes you made early on that you wish someone had warned you about?

One big mistake I made early on was thinking I had to capture everything. I’d try to document every angle and every moment, afraid I’d miss something. But in doing that, I wasn’t really slowing down to observe or be intentional with my shots. Over time, I realised that great photography is less about volume and more about vision. It’s about waiting for the right moment, the right light, and the right feeling.

Another lesson was realising, you don’t need the latest gear to take great photos. I used to shoot on an older Canon 5D Mark III until just last year. It didn’t have all the features of modern mirrorless cameras, but it helped me master the fundamentals. Having limitations pushed me to be more creative and intentional every time I picked up the camera.

How do you handle failure or disappointment?

I’ve definitely had trips where the weather didn’t cooperate, access was restricted, or the photos just didn’t turn out the way I imagined. It’s frustrating at the moment, but I’ve learned to see those situations as part of the process. Not every shoot is going to be a win, and that’s okay.

I try to treat those moments as a reminder to stay flexible and present. Sometimes the best shots happen

when you stop chasing the original plan and start paying attention to what’s around you instead. And even if I come home without the photo I wanted, I’ve usually gained something else – a new idea, a better understanding of the location, or simply a good story. Those “misses” have helped me grow just as much as the successful shoots.

At what point did you feel confident enough to start sharing your knowledge with others?

It was after my first few travel photos went viral on Instagram. Until that point, I was mostly shooting for myself. There’s always that doubt in the back of your mind—wondering if people will connect with your work the same way you do. But seeing others respond to the photos and ask how I captured certain shots gave me the confidence to start sharing more of my process. That acknowledgement helped me realize that what I’ve learned could actually help others on their own journey. And the more I shared, the more I enjoyed being part of that creative exchange.

Was teaching always part of the plan, or did it happen naturally as you grew in your career?

It was never part of the plan, but I genuinely enjoy it. As I started sharing more of my work, people began

asking questions — about my camera settings, editing, or how I captured a specific moment. I realised I liked helping others figure it out. It’s fun to support someone in their own creative journey and help give them the confidence to share their art. The world just feels richer when more people are showing how they see things in their own unique way.

Has teaching others ever helped you see your own work in a new way?

Absolutely. Teaching forces you to slow down and really think about why you do what you do. When I break down my process for someone else, it makes me more intentional with how I shoot and edit. Sometimes I’ll explain something I do out of habit, and in doing so, I realise there’s actually a more efficient or creative way to approach it.

It’s also inspiring to see how other people interpret the same scene or technique differently. That perspective reminds me to stay curious and keep evolving. Teaching isn’t just about giving knowledge – it’s a two-way exchange that keeps me learning too.

What’s one piece of advice you always give to new photographers, no matter where they’re starting from?

Just start shooting and get your work out there. Don’t wait until everything feels perfect. The best way to grow is by doing, experimenting, and learning as you go. And don’t be afraid to share your work, even if it feels daunting at first.

Putting your photos out into the world, especially on social media, can feel intimidating. You might worry

about what others will think or whether your work is “good enough”. But the truth is, sharing your art is part of the process. It helps you build confidence, get feedback, and find your voice. Everyone starts somewhere, and the only way to improve is to keep showing up.

May 2025

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Asian Photography Magazine May 2025 Issue is out!

📸 Cover by: Chris Ha

In this issue, explore:

Capturing Chronicles – Chris Ha
Slow Mind, Soulful Stills – Mahendra Bakle
Best Travel Destinations in India
How to Take Sharp Travel Photos Without a Tripod
Minimalist Travel Photography
Tips for Shooting Landmarks Without Making Them Cliche

Travelling The World’s Gullies – Shreepad Gaonkar

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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.

April 2025

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Asian Photography Magazine April 2025 Issue is out!

📸 Cover by: Alex Stead

In this issue, explore:

The Art of Capturing Expeditions – Alex Stead
Travelling The World’s Gullies – Shreepad Gaonkaar
Best Travel Photography Gear For All Budgets
Drone Photography On The Road
Portraits of a Culture
Street Photography in Crowded Place

Canon India Announces RF 20mm F/1.4 L VCM

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Canon has also expanded its RF Hybrid Primes line up with the RF 20 mm f/1.4 L VCM lens. Joining the 24 mm, 35 mm, and 50 mm f/1.4 lenses, this ultra-wide-angle lens offers smooth autofocus, minimal focus breathing, and a physical iris ring for video shooters. Weighing 519g, it has a 67 mm filter thread, a rear filter holder, and is dust-resistant.

Designed for both stills and video, the lens features built-in focus breathing reduction for stable compositions, smooth subject tracking, and silent operation. Its high-thrust VCM ensures precise, rapid autofocus, while a clickless iris ring allows seamless aperture adjustments during filming. The lens shares consistent size, weight, and controls with Canon’s other f/1.4L VCM primes, reducing the need for rebalancing when swapping lenses.

Optically, the RF 20mm F1.4L VCM introduces BR optics to minimize chromatic aberration, along with aspherical elements that correct distortions like sagittal coma flare—perfect for astrophotography. ASC and SWC coatings reduce flare and ghosting, ensuring crisp, high-resolution images even in challenging lighting. With its outstanding image quality and future-proof design for 8K imaging, this lens is a must-have for professionals seeking both precision and versatility.

The Canon RF 20mm F/1.4 L VCM is priced at ₹1,58,995.