Tag Archives: Nature Photography

Photographing Marine Wildlife 101

Marine wildlife is among the most fascinating yet challenging subjects a photographer can take on. From seabirds gliding over the horizon to dolphins breaching the surface, or the mesmerising underwater ballet of manta rays and coral reef inhabitants, every encounter offers both artistic and technical hurdles. Mastering the craft of capturing life above and below the waves requires preparation, respect for the environment, and a good balance between skill and patience.

1. Preparation: Know Your Environment

Before even picking up the camera, study the ecosystem you’re entering.

Research animal behaviour: Learn when turtles nest, when whales migrate, or when seabirds feed. Timing your trip with these natural rhythms increases your chances of sightings.

Respect regulations: Marine protected areas often have strict rules about approaching wildlife. Stay updated and follow them closely.
Gear checks: Saltwater is brutal on equipment. Carry protective housings, silica gel packs, hydration vests and additional distilled water to rinse gear with after shooting.

2. Overwater Photography

Marine wildlife isn’t always underwater—some of the most dramatic shots happen at or above the surface. Photographing over water comes with its own unique set of challenges. Unlike land-based shoots, you are often on a moving platform—a rocking boat, a kayak, or even the shoreline with shifting tides. This constant motion means you need to balance stability, anticipation, and quick reflexes.

Lighting is another factor to consider. The surface of the ocean reflects sunlight in unpredictable ways, creating glare and contrast issues that can wash out your subject or obscure details. Morning and late afternoon light often work best, providing softer tones and reducing harsh reflections. Weather conditions also play a critical role: calm seas provide mirror-like surfaces for reflections of birds or marine mammals, while rougher conditions can add drama, with crashing waves and spray enhancing the sense of power in your image.

Animal behaviour is often fleeting and these moments happen quickly and rarely repeat in exactly the same way, so observation and patience are crucial. Keeping a keen eye on the horizon, watching for surface disturbances like ripples or bait balls, and being ready with your camera at all times significantly improve your chances of capturing that perfect split-second action.

Overwater photography also presents a creative opportunity to play with perspective. Positioning yourself at a lower angle close to the waterline can make subjects appear larger-than-life, while higher vantage points from cliffs or ships help you tell the story of the animal in relation to its vast oceanic environment. By combining patience, technical skill, and a sensitivity to the environment, photographers can create overwater images that are as dramatic and captivating as those shot beneath the surface.

Recommended Gear

Telephoto lenses (300mm+): Essential for capturing whales, dolphins, or seabirds without disturbing them.
Stabilization: A tripod topped with a gimbal head helps counteract rocking boats.
Polarizing filters: Reduce glare and improve contrast on the water’s surface.

Techniques:

Anticipate movement: Dolphins and whales rarely breach twice in the same spot. Watch for cues like ripples or bird activity that hint at action.
Use fast shutter speeds: To freeze splashes or birds in flight, work at 1/1000 sec or faster.
Framing with the horizon: Keep horizons straight to maintain balance in compositions.

3. Underwater Photography

Taking the plunge opens a completely new dimension. Light behaves differently, colours fade quickly, and movement is three-dimensional.

Unlike shooting from land or boats, underwater photography requires not only technical camera skills, but also strong swimming or diving ability. The ocean is a constantly shifting environment, and success depends on your comfort and confidence beneath the surface. Good buoyancy control, efficient finning, and calm breathing are as important as shutter speed or aperture settings—without them, your shots will be shaky, poorly framed, or full of disturbed sediment.

Diving practice is essential. Scuba divers and free divers alike need to build the ability to hold position without harming fragile corals, stirring up sand, or startling marine life. The better your control in the water, the more opportunities you’ll have to get close to subjects without intrusion. A nervous or poorly trained swimmer will spend more energy fighting currents and adjusting gear than actually taking photographs.

Light also behaves very differently underwater. Within just a few metres, reds and oranges fade, leaving your images overwhelmingly blue or green unless you compensate. Photographers need to master both artificial lighting (strobes, torches) and natural light positioning to restore the vibrancy of marine life. Currents, visibility, and depth changes can further complicate shooting conditions, which is why diving fitness, situational awareness, and patience are just as critical as knowing your exposure triangle.

Underwater photography also asks you to become part of the ecosystem rather than an observer from a distance. Animals often approach when you remain still, calm, and non-threatening. Training yourself to hover silently in the water column not only improves your safety, but also encourages more natural interactions with marine wildlife. When you combine strong aquatic skills with photographic knowledge, your images will carry a sense of intimacy and fluidity that can’t be achieved from above the surface.

Recommended Gear

Underwater housing: A robust, pressure-rated casing specific to your camera.
Wide-angle lenses: Crucial for large subjects like manta rays or schools of fish.
Strobes/lights: Artificial lighting restores colour lost at depth (reds vanish after just 5–10 metres).

Techniques

Buoyancy control: Perfect buoyancy ensures steady shots without disturbing the seabed or animals.
Close approach: Water reduces clarity; the closer you get (ethically), the sharper and more vibrant your images.
Manual white balance: Adjust settings to counteract blue/green colour cast when shooting without strobes. Just like with most of our tips, always shoot RAW alongside JPEG to get the most amount of flexibility in your images.

4. Safety First

Regardless of over or under water, remember that you’re entering their ecosystem, so respect and boundaries are of paramount importance.

For you: For surface photography, secure gear with straps and avoid leaning dangerously from boats.

Underwater, never push your limits. Watch your air, depth, and currents.

For them: Never chase, touch, or feed marine wildlife. Ethical photography means letting animals behave naturally.

5. Storytelling with Marine Photography

The best images don’t just show animals; they tell stories about life in the ocean. Remember, the animals and their environments you’ll capture not only tell the story of the present, but also stories of the past, spanning millions of years.

Capture interactions: A mother and calf whale, predator-prey dynamics, or a turtle surrounded by cleaner fish.

Include environment: Wide shots that show coral reefs, kelp forests, or open ocean convey scale and context.

Highlight conservation: Use your work to raise awareness about pollution, climate change, or endangered species.

Ready to Dive In?

Marine wildlife photography blends adventure, patience, and respect for nature. Overwater, it challenges you to deal with distance and unpredictability. Underwater, it demands technical mastery and calm composure. But the rewards – a breaching whale against a sunset, a sea turtle gliding effortlessly through turquoise waters, or the surreal glow of plankton at night – are unlike any other genre.

Whether you’re just starting with a zoom lens from shore or diving into the depths with full underwater rigs, remember: the ocean is both a subject and a partner. Treat it with respect, and it will offer endless photographic treasures.

Gir’s Portrait Pundit – Tapan Sheth

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Tapan Sheth is a wildlife photographer who’s carved a name for himself through iconic portraits of Indian big cats, especially the Asiatic lions. Through his images, he aims to spread awareness and awe for the rich biodiversity in India with a keen eye on conservation. Asian Photography spoke to him about documenting & conserving wildlife, animal behaviour, unforgettable moments in the wild, and crucial newbie advice. Excerpts:

What first inspired you to focus on Indian wildlife, especially big cats?

When I visited the forest for the first time on a vacation trip, I never imagined it would change my life. The first time I saw an Asiatic Lion in Gir, it completely moved me. I still remember the feeling—the raw power, the grace, and the silence of the forest broken by its presence. It was almost magical. From that day, I knew I wanted to spend my life around them.

Big cats, for me, are not just animals. They are symbols of strength, survival and beauty. Over the years, I’ve spent countless hours in Gir, just observing them. Lions, tigers, and leopards have a presence that is impossible to ignore. Their strength, grace, and silent confidence make them stand apart from all other animals. For me, they are not just predators, but true guardians of the forest. Watching a lion walk with authority, a tiger blend perfectly with its jungle, or a leopard resting silently on a tree branch feels like watching pure magic.

I love big cats because each encounter feels personal, like meeting an old friend. What inspires me the most is how important they are for the balance of nature. By protecting them, we protect the whole ecosystem around them. That connection is what made me focus my work on these incredible animals.

Your images often capture intense animal behaviour. How do you anticipate those moments?

Capturing animal behaviour is all about patience, observation and understanding the forest. Animals never follow a script, so you can’t really predict every move, but you can prepare yourself to read the small signs they give. I spent a lot of time just watching them without clicking, and slowly started noticing patterns. For example, when a lion licks its nose, it often means a yawn is coming. When any big cat holds its tail straight and horizontal, it usually shows irritation or is a warning signal. Birds often poop before they take off, and different calls or alarm voices from animals can tell you that danger is nearby. These little signs are like clues to what might happen next.

Experience also plays a big role. The more time you spend in the wild, the better you get at anticipating behaviour. Sometimes it’s as simple as noticing the time of day. Early mornings or late evenings are usually when animals are most active. At other times, it’s about understanding their body language and the environment around them.

But honestly, the biggest factor is patience. I’ve learned not to rush, to sit quietly, and let the forest reveal its moments. When you respect the space and rhythm of wildlife, you get rewarded with those rare and intense behaviors—a lion roaring, a leopard stalking, or even a small bird protecting its nest. It’s not just about pressing the shutter at the right time, it’s about being present, observing deeply, and letting nature guide you.

Do you see yourself more as a storyteller or a documentarian when photographing wildlife?

This question is a little tricky because I feel I am both, and which one comes forward depends a lot on what I am shooting. Every photograph, no matter how simple, is both a document and a story at the same time.

When I photograph any subject, I often think like a storyteller. Their expressions, movements, and interactions are full of emotions and drama. A lioness carrying her baby in her mouth and shifting to another place, or two tigers fighting for territory already tells a powerful story. Through my lens, I try to capture that mood so people who see the picture can feel the same energy I experienced in that moment.

At the same time, I can’t ignore the documentary side of my work. Every image also becomes a record of wildlife behaviour, habitat, and even conservation value. For example, documenting any big cat crossing a railway track, or some passage of migrant birds rarely seen in a particular area, or even a unique natural history behaviour of an animal, all add important knowledge. Sometimes, a simple photograph of a frog, a snake, or even a tiny insect becomes a valuable piece of documentation of India’s biodiversity.

So, I don’t see storytelling and documentation as separate things. They walk together in my photography. A photo may move someone emotionally while also teaching them something real about the subject. That balance is what I try to achieve. If someone looks at my picture and feels a story while also learning something about the animal or its world, then I know I have done justice to both roles.

Indian wildlife is under pressure from habitat loss. How do you hope your photography contributes to conservation?

Indian wildlife is facing many challenges, and habitat loss is one of the biggest. Forests, grasslands, wetlands—all of these are shrinking, affecting every living creature. As a wildlife photographer, I believe my photography can help by creating awareness and building an emotional connection between people and nature.

Whenever I take a picture, my aim is not only to capture the beauty of an animal, but also to tell its story. When people see such images, they often feel a sense of admiration and respect for the animal. This connection can inspire them to care more about wildlife and the need to protect it.

I also try to share my work through exhibitions, talks, workshops, and social media so that more people can see the value of protecting our natural heritage. My hope is that when people fall in love with the beauty of Indian wildlife, they will support conservation efforts in their own way.

I see photography as a bridge between humans and nature. If my images can touch hearts and encourage even a few people to respect and protect wildlife, then I feel my work has made a positive difference.

If you had to describe the essence of Indian wildlife in one image you’ve taken, which would it be and why?

This image of an Asiatic lion walking along a dusty forest path is very close to my heart. Asiatic lions are found only in India, and their last home is the Gir forest. That makes this picture very special, because it immediately represents something unique about Indian wildlife that cannot be seen anywhere else in the world.

The forest around the lion, with its mix of golden and green trees, adds another layer to the story. It shows the natural beauty of India’s wild spaces—raw, wild, and full of life. These landscapes are not just backgrounds; they are the lifelines that allow animals like lions to survive and thrive. Through this frame, I wanted to capture not only the animal, but also its world.

The way the lion walks down the path, calm yet confident, gives a sense of power and freedom. It is a reminder of why these animals are called the “kings” of the forest. For me, it also reflects the pride of India’s biodiversity—strong, resilient, and truly one of a kind.

As a wildlife photographer, I believe one image should speak both emotionally and factually. This picture does that. It tells the story of a rare species and at the same time highlights the importance of protecting their home. To me, this single frame represents the essence of Indian wildlife—a combination of unique species, beautiful landscapes, and the deep connection between them.

What’s been your most unforgettable moment behind the lens so far?

There have been many special moments in my photography journey, but if I have to choose the most unforgettable ones, two experiences stand out clearly in my heart.

The first one was in Gir, when I saw a lioness carrying her tiny cub gently in her mouth while shifting it to a safer place. In my 12 years of photographing wildlife, this was the very first time I had witnessed such a scene. It was not just a rare sight, but also an incredibly emotional one. Watching the bond between mother and cub, the care and responsibility in her every step, touched me deeply. I still remember the moment so clearly—I actually had tears in my eyes while clicking. It was one of those times when nature makes you feel humble and grateful just to be present.

The second unforgettable moment was when I saw the famous tigress Riddhi with her cubs. They were crossing an island, moving gracefully through the water. The sight of a strong tigress leading her young ones, showing them how to survive, was breathtaking. It felt like watching a live drama of strength, courage, and motherhood, all unfolding right in front of me.

Both of these moments are etched in my memory forever. They remind me why I fell in love with wildlife photography—it’s not just about the picture, it’s about the emotions, the stories, and the privilege of witnessing such raw and beautiful moments in nature.

What would be the most vital thing you’d like to teach a newbie photographer about wildlife?

If I had to teach one vital thing to a new wildlife photographer, it would be this—don’t just focus on clicking pictures. Learn about the animals first, study their species, their behaviour, their habitats, and the role they play in nature. When you understand your subject, your photography becomes more meaningful and powerful.

Respecting the animals and mother nature is equally important. Always maintain a safe distance, avoid disturbing them, and never harm their environment just to get a shot. Wildlife photography is not about chasing popularity or getting likes and shares on social media, it’s about observing, learning, and telling the story of nature in the right way.

Cameras and lenses are so advanced today that anyone can take sharp and beautiful pictures. What will truly set you apart is your knowledge, patience, and respect for wildlife. Spend more time watching and understanding your subjects before clicking. The more you know, the better your images will be.

Like the famous line from the movie 3 Idiots—Don’t run after success; focus on excellence. In wildlife photography, excellence comes from respect, knowledge, patience, and a genuine love for nature.

No Subject Too Small – Aparupa Dey

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Aparupa Dey is a wildlife photographer dedicated to capturing the raw beauty of Indian wildlife. Her work spans across multiple habitats and species, highlighting the charms and challenges faced by her subjects. For her, no creature is too small, as is reflected by the respect and space she gives to them while wading through muddy plains and waist-deep waters pursuing the perfect shot. Asian Photography spoke to her about capturing a wide range of subjects, evolution of process, risks she took while making photographs and more. Excerpts:

How has your work and process evolved over the past years?

Over the years, my work and process have evolved significantly, shaped by both experience and deeper observation of wildlife. Initially, my focus was largely on capturing the obvious moments like clear sightings, striking compositions, and technically perfect shots. But with time, I’ve learned to slow down, anticipate the behaviour of the subjects.

Now, my process is much more research-driven and thoughtful. I spend considerable time studying species, their habitats, and behaviour patterns before even stepping into the field. The evolution of my work reflects a shift from purely technical execution to a more holistic approach blending preparation, patience, and creative vision to create images that resonate deeply with viewers.

What drew you to capturing smaller animals and birds rather than focusing on only big mammals?

I don’t judge animals based on size; I see them all simply as life. Growing up in a rural area abundant with wildlife, I began my journey as a hobbyist, often spending time by the riverside in my village, capturing little colourful birds, jackals, mongooses, and other creatures. Over time, I realised that these lives aren’t just existing, they each have a world of their own. If you take the time to observe closely, you’ll see how they interact, protect their nests, nurture their young, and display behaviours full of intention and complexity. It was this fascinating world and these behaviours that drew me to focus on them, even more than travelling to exotic locations.

Could you describe your preparation before entering the field and how do you choose your subjects on the field?

If I know the place and what I am going to capture then most probably I know what to expect and where. But things change when I go to a new place. Usually, it begins with selecting the species I want to photograph. Then I study them, their habitat, the best time for sightings, and the prevailing weather conditions. I also gather details about their life cycle, such as mating seasons or the right time to spot cubs.

And they do exhibit different kinds of behaviour during different times. For instance, if you visit a blackbuck habitat during their mating season, you’ll often witness males locking horns in dramatic fights to display their strength and to defend their territory. If one can position themselves against the setting sun, then they can capture dramatic images of black bucks locking horns with dust arising into the golden light. That’s where my research pays off.

After that, I connect with local guides to get firsthand insights and cross-check my research. I make sure to prepare weather-appropriate clothing, protection for my camera gear, and do a basic financial analysis of travel and related stuff. I also watch videos on YouTube about the location to get a sense of the landscape and possibilities there. Once all this groundwork is done, I set out on the field.

What was your riskiest experience in the wild—in terms of light, weather, movement or safety?

I think my recent Red Panda expedition in Nepal stands out the most. The terrain was extremely tough—we had to constantly ascend and descend sizeable mountains covered with thick bamboo, making movement nearly impossible. Carrying all our equipment through that was especially challenging. The slopes were steep, the ground damp, and being in a temperate forest meant the weather was unpredictable. Thick fog often reduced visibility to just half a meter, making every step an intense challenge.

How has guiding other photographers influenced your photography and vision?

Well, this is something which is a by-product of interacting with other people or fellow photographers. It forced me to observe more carefully, and explain the “why” behind every shot when asked, whether it’s about composition, behaviour or patience. It made me more conscious of my own approach, helping me refine my techniques. It’s also broadened my perspective, as seeing how others interpret the same scene often inspires me to experiment and look at wildlife in new ways.

How do you see fresh possibilities, perspectives and shots while shooting at the same place/spot?

The goal isn’t just to photograph a species, but to capture it in action and in dialogue with its environment. Even when the place and species are familiar, their behaviour and the natural conditions are constantly changing. By ‘natural condition’, I mean elements like light, shadows, clouds, rain, mist, temperature, and wind etc. all of which shift daily. These factors, combined with the species’ behaviour, open up countless possibilities for unique shots. And if you feel like your images are starting to repeat, simply switch to a different lens or focal length, and a whole new range of possibilities unfolds. And personally this concept has worked for me.

I started photography in 2014 a little actively while I was a student. From 2014 to 2022, for eight long years I kept on returning to the same stretch of river which is approximately 2km away from my home with my mother to capture wildlife and each day I returned with tons of images and a heart full of happiness of capturing and observing something special. Therefore all I would say is keep returning to the same spot whenever you can. Even if some shots repeat, you never know what fresh combination of action and environment awaits you next time.

If you could capture one image that represents your philosophy as a photographer, what would it look like?

If I could capture one image that represents my philosophy as a photographer, it would be of a wild animal completely absorbed in its natural behaviour, framed in harmony with its surroundings. Not a staged moment or a dramatic chase, but a quiet, authentic interaction between the species and its environment, maybe a bird silhouetted against shifting light, or an elephant emerging through mist. For me, that balance between subject, action, and nature’s variables is what truly defines my vision: to tell stories that are honest, intimate, and deeply connected to the wild.

Symphony of The Wild – Marina Cano

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Marina Cano is a wildlife photographer well-versed in creating breathtaking narratives of the wild. Her monochromes especially stand out—featuring grit, texture, emotional depth, an element of warmth, exuding visual poetry. Her work has received acclaim from around the globe and she has been highly commended in the prestigious Wildlife Photographer of the Year awards as well as International Photography Awards. Asian Photography spoke to her about her journey, challenges, her signature style and creative vision and more. Excerpts:

How Did You Begin Photographing Wildlife?

I began photographing wildlife almost naturally, following my father’s path, who was an amateur photographer. It was a way to connect my love for nature with my passion for photography. I’ve always felt a deep fascination for animals and wild places, and picking up a camera allowed me to express that connection in a creative way.

At the beginning, I spent a lot of time exploring nature close to home, observing animals and learning to be patient. Over time, my curiosity and desire to discover new landscapes and species took me further, especially to Africa, which became a turning point in my career.

What’s the most challenging environment you’ve shot in, and how did you manage it?

Honestly, the most challenging environment for me is when I’m sitting at my desk at home, not out in Africa or on another adventure.

But beyond that, the toughest situations have been those where I had only a single opportunity to capture the moment, whether it was photographing horses running or cheetahs hunting. I feel much more comfortable with intimate and calm scenes than with high-action shots.

Another adrenaline time was shooting with Craig, one of the last big tuskers in the world, in Amboseli, Kenya. To be close to such a gentle giant is a huge privilege and one of the times where my heart beats faster.

Another challenging experience in Patagonia, photographing pumas in the “end of the world” winds was another extreme: pressing the shutter with numb fingers while the icy gusts hit my face. But the result was worth it.

How do you achieve the level of intimacy with your subjects?

I think this comes from my background in art studies. I’ve always been fascinated by Baroque painters, the dramatic lighting, the foreshortening, the intense atmosphere.

That particular ambience captures my attention, and I try to replicate that same drama and intimacy in the scenes I photograph, like animals playing, fighting, or the tender moments between mothers and cubs. I always try to work with that special light that enhances the full emotion I see.

How do you practise patience in the field?

This question assumes a sense of impatience, but that simply isn’t the case for me. When I’m in the bush, I’m in a state of complete happiness, fully immersed in nature, waiting for the magic to happen, and appreciating every second.

When your motivation is passion and love for wildlife, everything that nature offers feels like a gift. And if things don’t unfold as expected, I simply trust that another opportunity will come tomorrow or in the future.

There’s an element of softness and warmth in your images, how do you achieve that? Is it your signature style?

Yes, I would say that softness and warmth have naturally become part of my signature style. It comes from a combination of artistic intention and emotional connection with my subjects.

My background in art has always influenced the way I see light. I’m particularly drawn to soft, golden light because it creates a gentle painterly atmosphere.

I also try to approach wildlife with respect and closeness, allowing intimate moments to unfold without intrusion (and that is also thanks to my 600mm lens). That emotional bond often translates into the final image, giving it tenderness.

My goal has always been to go beyond documentary shots—I want each photograph to feel like a timeless portrait, full of poetry.

How do you keep your creative vision fresh after working in the field for years?

I collaborate with people from all around the world who constantly inspire me, through their talent, their personalities, and the unique places they come from. Every journey offers new experiences: the landscapes, the food, the culture… all of it feeds my creativity.

I’m always learning, staying open to different influences. Travel, art, people, and, above all, nature itself are endless sources of inspiration for me. Nature is never the same twice, the light, the seasons, the behaviour of animals. Everything changes constantly, and that keeps my vision alive and evolving.

I also challenge myself to experiment with new techniques and perspectives. Sometimes it’s as simple as changing the way I observe a familiar place, or with new assignments that allow me to see things differently. That sense of curiosity is what keeps my work fresh, even after many years in the field.

What’s the one thing you’d do differently if you started over today, one advice for beginners?

I could start over, I would learn to trust my own work earlier. I would remind myself to work hard, stay focused, and, yes this time to be patient. Things don’t happen overnight, growth in photography, like in nature, takes time.

My advice to beginners is to believe deeply in your vision and follow your passion with persistence. If there’s true passion, nothing can stop you. No matter the challenges you face, you’ll always find the strength to keep going.

Also, don’t rush to compare yourself with others. Everyone has their own path, their own rhythm, and their unique way of seeing the world. Embrace that individuality, it’s what will make your work stand out.

Most Impactful Wildlife Photos Over The Last Years

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Wildlife photography plays a very important role in the wildlife conservation movement. Every year we’re fortunate to witness rare moments captured by skill, precision, and luck of photographers who toil for their shot for years. Several of these images managed to strike a chord with us, so we decided to showcase the images and the stories behind them. From notorious snow leopards to glorious blue whales to heart-wrenching moments, we assure you these stories are one-of-a-kind. These photos are listed in no particular order of their impact, but it is an homage to the work the people behind the lens put alongside helpers and guides.

Ndakasi’s Passing

For 13 years, the caregivers at Virunga National Park, Democratic Republic of Congo took care of Ndakasi, an endangered mountain gorilla, orphaned as her mother was killed by poachers. Her story was captured by photographer Brent Stirton, who is well-known for photographing conservation efforts. The image is striking not only for its tenderness, but for the story it holds: a gorilla orphaned by violence, raised with devotion, and loved like family until the end. Stirton’s lens frames the extraordinary bond between species, reminding us that conservation is not just about saving animals in the abstract, but about relationships, compassion, and the fragile lives at stake. It’s a portrait of grief, but also of connection, one that lingers long after the first glance.

House of Bears

Photographer Dmitry Kokh captures a surreal moment where polar bears have taken refuge in the abandoned structures of a Soviet-era weather station on Kolyuchin Island in the Russian Arctic. Taken during a 2021 expedition, the image shows a polar bear peering out from a broken window, embodying the eerie stillness of a bygone era overtaken by nature’s resilience. The bears’ presence in these human-made ruins highlights the profound impact of climate change, which has forced these normally solitary creatures to adapt to new environments in search of food and shelter. Kokh’s use of a low-noise drone to capture this scene emphasises the delicate balance between human encroachment and wildlife, offering a poignant commentary on the intersection of nature and human history. The photograph has garnered international acclaim, winning top honours at the Nature Photographer of the Year Award and being featured in the Wildlife Photographer of the Year exhibition, underscoring its significance in wildlife conservation discourse.

Toxic Trip

Sri Lankan photographer Lakshitha Karunarathna captured a grim scene of a lone Asian Elephant wading through a colourful landfill in Amapara, Sri Lanka. The image is a haunting testament to the collision of wildlife and human activity: amidst heaps of food scraps, the elephant is forced to ingest plastic and other harmful debris, a slow but deadly consequence of encroachment on its natural habitat. Over the past three years, Karunarathna has been documenting these human-induced threats to the region’s roughly 300 elephants—of which 20 have reportedly died over the last eight years—revealing not just the resilience of these majestic creatures, but the dire environmental pressures they face daily. The photo is both visually compelling and profoundly sobering, highlighting the urgent need for responsible waste management. This picture has already received several acclaims, including the Wildlife Photographer of the Year awards.

Waiting for Freedom

Known for his work in the Rhino Conservation project, photographer Neil Aldrige shot this Southern white rhinoceros with its face covered by a cloth awaiting release in Botswana’s Okavango Delta—earning him the coveted World Press Photo. This story underscores the urgent conservation efforts to protect rhinos from escalating poaching threats in South Africa. The rhino’s relocation to Botswana, a sanctuary free from the pervasive poaching crisis, symbolises a beacon of hope for a species classified as ‘near threatened’ due to the high value of their horns on the black market. Aldridge’s photograph not only documents a critical moment in wildlife conservation, but also serves as a powerful visual call to action, highlighting the resilience of rhinos and the dedicated efforts to ensure their survival.

The Surrogate Mother

Martin Buzora‘s poignant photograph was highly commended in the 2019 Wildlife Photographer of the Year People’s Choice Award. Captured at the Lewa Wildlife Conservancy in northern Kenya, the image portrays Elias Mugambi, a dedicated ranger, gently interacting with Kitui, an orphaned black rhino. Kitui’s mother was unable to care for her due to blindness, and the young rhino was left vulnerable to poaching. Elias often spends weeks away from his family, providing round-the-clock care to orphaned rhinos like Kitui, ensuring their safety and well-being in the sanctuary. Buzora’s photograph highlights the deep bond between humans and wildlife, emphasising the importance of conservation efforts and the tireless work of individuals like Elias in protecting endangered species.

No Place Like Home

Emmanuel Tardy captured a brown-throated three-toed sloth clinging to a barbed wire fence post in Costa Rica’s Alajuela Province. The sloth, having crossed a road, instinctively grasped the fence, mistaking it for a tree—a desperate act reflecting the challenges posed by habitat fragmentation. Tardy’s image, which garnered a highly commended recognition in the 2025 Wildlife Photographer of the Year awards, underscores the urgency of preserving natural habitats and establishing wildlife corridors to ensure the survival of species like the sloth.

The Embrace

Sergey Gorshkov was awarded the Grand Title at the 2020 Wildlife Photographer of the Year competition. Captured in Russia’s Land of the Leopard National Park, the image depicts a female Amur tiger, also known as the Siberian tiger, embracing an ancient Manchurian fir tree. The tiger is scent-marking the tree by rubbing her cheek against its bark, a behaviour that communicates her presence and territorial boundaries to other tigers. Gorshkov employed motion-sensor cameras over a period of 11 months to document this rare and intimate moment. The photograph not only showcases the beauty and majesty of the Amur tiger, but also highlights the challenges faced by this critically endangered species, with only around 500 individuals remaining in the wild. The Embrace serves as a poignant reminder of the delicate balance between wildlife and their habitats, emphasising the importance of conservation efforts to protect these magnificent creatures.

Ice Bed

Nima Sarikhani photograph Ice Bed won the 2023 Wildlife Photographer of the Year People’s Choice Award, capturing a poignant moment of a young polar bear resting atop a small iceberg in Norway’s Svalbard archipelago. After three days of searching through thick fog, Sarikhani’s persistence paid off when he encountered the bear just before midnight. The bear used its strong paws to carve out a bed on the iceberg before drifting off to sleep under the midnight sun. Sarikhani’s image, chosen from over 75,000 votes, highlights the delicate balance between wildlife and their habitats, emphasising the impacts of climate change and habitat loss.

Sunset Moment

Yet another metaphorical representation of deforestation and habitat destruction, French photographer Olivier Puccia shot this picture of a baby Hanuman langur embracing its mother at a hilltop temple in the town of Ramtek, Maharashtra. The soft, serene sunlight envelopes the sky in warmth and the village below is sunk in a hue of blue, drawing a line between nature and humans’ development.

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

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

Fearless Frames, Lasting Legacy – Dr Latika Nath

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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