Tag Archives: landscape photography

Slow Mind, Soulful Stills – Mahendra Bakle

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

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

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

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

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

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

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.

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

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.

Nikon Z6III Review: Does It Actually Outperform?

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

Who Is It For?

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

Look, Body and Feel

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

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


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

Still from our review video


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

What Makes It Special?

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

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

Image Quality


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

Shutter Performance (Electronic & Mechanical)

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

Electronic shutter banding


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

Autofocus & Tracking


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


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

tracking performance


ISO Performance


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


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


Video Capabilities

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

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


The RED Acquisition

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


Electronic Viewfinder (EVF)


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


Conclusion

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

Watch our video review: