Apratim Saha

Internationally renowned photographer Apratim Saha has been living his dream of travelling to various countries for his photographic assignments and workshops for the past three decades. Apratim is a contributing photographer for National Geographic, Getty Images and Stocksy United. He is a Canon Brand Ambassador, a Friends with Vision ambassador for Datacolor, and ambassador and mentor for Nisi, Godox, Vanguard, Dxo and Blackrapid.

He has successfully established EXPOSURE, a three-winged photography platform comprising of ‘Exposure – The School of Photography’, ‘Exposure – Travel and Photography’ & internationally acclaimed ‘Exposure Magazine’.

Botei Rys, a Kazakh Eagle Hunter with his eagle from Altantsögts district of Bayan-Ölgii Province in western Mongolia.

With over 38 years of experience, from traditional film to digital photography, he is a commercial photographer specializing in people photography, portraiture, lifestyle & editorial clients. Besides commercial works, Apratim also shoots other subjects that stimulate his visual or emotional sensibilities.

Presently he has been travelling to some very remote places in various countries to reach out to the indigenous people for his book, “In the Verge of Extinction”.

The tragedy of life is not death but what we let die inside of us while we live.

Which visual mediums do you use?

My primary focus is photography, but I occasionally do videography as well. When I do, it’s typically centered around documentary or behind-the-scenes coverage, complementing my photographic work.

An old cormorant fisherman on the Li River, Guilin, China.

How did you get started in this?

I started photography at the age of twelve, inspired by my father and his medium-format, twin-lens reflex camera—a fully manual analogue camera. Over the years, I experimented with various cameras, including the Rolleiflex, Yashica Mat G, Yashica FX3 Super, Nikon F2, and Nikon F601. However, for the past 19 years, I’ve been using Canon. As a young boy, I spent countless hours looking through my father’s photos and watching him process his black-and-white images, which left a lasting impression on me.

Eagle Hunter Ermekbay’s son Aktilek(Ақтілек), is migrating with his animals in the Altai mountains during a brutal snowstorm.

When I was a child, my father subscribed me to National Geographic magazine. Seeing those images and how deeply connected Nat Geo photographers were with their subjects fueled my dream to become a National Geographic photographer, travel the world, and document people’s lives. I began as an analogue photographer, primarily shooting with Kodak Ektachrome E100VS, my favorite transparency film.

Eagle Hunter Yermyek’s son Akhtikek is migrating with his animals in the Altai mountains during a brutal snowstorm, Mongolia.

I still remember hearing the BBC announcement in early 2012 that production had stopped—it felt like my dream was slipping away. The news was so upsetting that I stopped shooting for nearly two years, reluctant to embrace digital. But as the industry shifted, I had to adapt. I took many oaths and dove into the digital era—and I’m still keeping those oaths.

Eagle Hunter Yermyek’s son Akhtikek is migrating with his animals in the Altai mountains during a brutal snowstorm, Mongolia.

Do you have a particular area of interest or genre you’re interested in?

I’m a photojournalist, and my main focus is people. Besides my commercial work—like lifestyle, portrait, and industry photography—people photography holds a special meaning for me. It brings me a deep sense of satisfaction and inner fulfillment that goes beyond any compliment or award. For me, awards and certificates feel superficial in comparison; what truly matters is the joy I can bring to someone being photographed, especially if they’ve never been in front of a camera before.

Ermekbay Koshegen, an Eagle Hunter, braves a brutal snowstorm with his eagle Akbalak (Ақбалақ) during the winter migration in the Altai Mountains.

When I see them smile at the photo I just captured, it feels more rewarding than any award could. It’s my way of showing gratitude and respect for them, even if it’s just for that moment.

Connecting with my subjects and bringing out their true selves is everything in my kind of photography. In people photography, winning a person’s trust and confidence is the most important part. Being able to meet them on their level and communicate honestly allows me to capture their perfect expression.

To me, a great photograph should say something about a person or offer a glimpse into their life. A good picture stirs up curiosity, making us want to know more about them and their story.

Barzabai with his eagle and horse on Tolbo lake which is a freshwater lake located 45 km south-east of Ulgii town.

Who and/or what inspires you most?

There are many great photographers whose work has inspired me, but I believe Henri Cartier-Bresson stands out as a significant influence, not just on me but on countless other photographers as well. Others who have inspired me include Elliott Erwitt, Robert Frank, Raghubir Singh, and David Alan Harvey. Each of these photographers brings a unique perspective and approach to their work, which resonates deeply with me and continues to shape my own photographic journey.

Naga Sadhus are meditating at Kumbh Mela, Allahabad, India.

How did you come across color management and how it has helped you to produce high-quality work?

It’s a long story! 😊 As I mentioned earlier, I was an analogue photographer and initially resistant to digital. During that transition, I stopped shooting for nearly two years because I was against manipulation. However, as I realized the entire world was shifting to digital, I found I had no other alternatives. Eventually, I had to embrace the digital realm and promised myself that while I would shoot in digital format, I would never manipulate my images.

A one-eyed Suri tribal man from the Omo Valley, Ethiopia.

When I first made the switch, I struggled with color accuracy. My monitor’s colors didn’t match the print output in magazines, which was frustrating. After some research, I discovered that there might be an issue with my monitor calibration. More than 16 years ago, I found the Spyder3, and it changed everything for me. Once I started using Datacolor Spyder products—from the Spyder to Checker and Cube—I was thrilled with the quality of my final output, and there was no going back.

Over the years, I upgraded from Spyder3 to Spyder4, Spyder5, and SpyderX. Now, I use the Spyder X2 Ultra, which allows me to easily work with my 10-bit HDR monitor. With this setup, my images on the monitor and the printed output match perfectly.

What Datacolor color management tools are in your work bag/workspace and why?

The type of photojournalistic work I do doesn’t require me to carry color management tools in my bag. However, when working on commercial projects such as portfolios or industrial photography, I make sure to bring my Spyder Checkr and Spyder Cube for accurate color consistency.

In my workspace, I always keep the Spyder X2 Ultra, Spyder Checkr, and Spyder Cube. These tools are essential for me to ensure precise color calibration and maintain consistency across my work.

What are the benefits of accurate color reproduction and how are you using Datacolor products within your workflow?

Let me ask you a question: What is the length of the pen you’re holding? Suppose you say it’s 6 inches. If I ask how you arrived at that measurement, you might say you guessed or measured it. The correct answer is that you need to measure it accurately. You understand what 0 and 1 are, so you can establish a reference point. Standards are crucial for comparison, but what if your measuring scale is wrong? Then your measurements will also be incorrect!

Now, when you’re processing an image on your monitor—adjusting exposure, saturation, or any particular color—you’re assuming your monitor is accurate. But what if your monitor has a color cast or its white point (brightness) is off? Then you’ll end up with a totally wrong output.

Portrait of a Hamar tribal man of Ethiopia with his firearm.

For example, if your monitor is brighter than the standard, you might unintentionally decrease the exposure of your image. Conversely, if it’s too dim, you might increase the exposure, but ultimately, you’re making incorrect adjustments.

Every monitor has issues; they all need calibration. Each one has some color cast and requires correction of its white point. Accurate color correction is essential at every stage—from shooting to post-processing to your final print output. Even studio matching is vital.

In my workflow, I use tools like the Spyder Cube, Spyder Checker, Spyder X2 Ultra, and the StudioMatch feature to ensure everything is aligned and accurate.

Portrait of a Suri tribe woman in Omo Valley, Ethiopia.

What’s your biggest challenge at work these days?

One of the biggest challenges I face these days is balancing the aesthetic side of photography with the business and logistics of running workshops, tours, and my photography institute. Managing international photo tours, coordinating with agents across different countries, navigating travel restrictions, and ensuring seamless execution can be both complex and time-consuming.
Despite these challenges, my passion for photography keeps me going. Every new experience, every story I capture, and every student I mentor makes the journey worthwhile.

A camel shepherd is with his camel during Pushkar Mela, Rajasthan.

What’s your objective when you create something?

My objective when I create something is to tell a compelling story that resonates with people on an emotional level. Whether it’s a photograph, a documentary-style video, or a curated experience through my workshops and tours, my goal is to create a deep connection between the subject and the audience.

A camel shepherd is showing his camel running to the client during Pushkar Mela, Rajasthan.

I strive to capture authenticity—the raw emotions, the culture, and the essence of a place or person. At the same time, I ensure that my work maintains a strong visual and aesthetic appeal. Every image should evoke curiosity, inspire thought, and make people see the world from a different perspective.

Wife of a camel herder is preparing food during Pushkar Mela, Rajasthan.

What is your Color Management Tip?

My top color management tip is to calibrate your monitor regularly using a reliable tool like the Spyder X2 Ultra. Consistent calibration ensures that the colors you see on your screen match how they will appear in print or on other devices.

Camel shepherds are preparing their food at night during Pushkar Mela, Rajasthan, India.

Additionally:

Use a color chart (like the Spyder Checkr) for accurate color reproduction, especially in controlled shoots.
Work in a color-managed environment—neutral lighting conditions and a properly set up workspace can make a big difference.
Always shoot in RAW to retain maximum color data for precise adjustments in post-processing.

Color accuracy is essential for maintaining consistency across different platforms and delivering high-quality, professional work.

After bathing, a group of young Sadhus gathers early in the morning during the Kumbh Mela in Allahabad, India.

Any tips or advice for photographers just beginning their career?

If you’re using a digital camera, don’t just click away—plan your shots as if you were shooting with film. This approach will help you learn the technical aspects of photography faster and develop your skills. Always study light whenever you can; it’s your best friend and your worst enemy. Understanding how light interacts with your subjects will elevate your photography significantly.

Sondhi Puja (Evening Puja) on the Ganges during Kumbh Mela, Allahabad, India.

I always say you should never be handicapped by your camera. It’s not the camera that takes the photo; it’s you. You need to see, visualize, and find the message you want to express through your pictures. That is the essence of photography. The camera is just a tool—nothing more than that.

Never over-process your images. Learn the maximum limits of processing and stick to them—don’t go beyond. Subtlety often leads to more powerful images.

The Church of Saint George in Lalibela, Ethiopia.

When showcasing your work, focus on your best shots rather than your average ones. How you select your best work is crucial; by critically analyzing and rejecting lesser images, you’ll be able to highlight your strongest pieces. Don’t be afraid to share your work with experienced photographers and ask for their feedback. Every good photographer shoots a lot but only shares the standout shots!

The Church of Saint George in Lalibela, Ethiopia.

Network with other photographers and artists. Engaging with a community can provide valuable feedback and inspiration. Attend workshops, exhibitions, and local meet-ups to connect with others who share your passion.

Dev Depawali in Varanasi, India.

As you progress, be prepared for criticism. Don’t be discouraged; you won’t be able to satisfy everyone. Instead, view feedback as an opportunity for growth. Develop your own style and carve out a niche that sets you apart from others. This distinction is essential for your growth as a photographer.

Dev Depawali in Varanasi, India.

Finally, keep shooting and experimenting. The more you practice, the more you’ll discover your voice and refine your technique. Embrace both successes and failures, as they are all part of the learning process. Remember, photography is not just a skill; it’s a journey, and you have to walk that road—there are no shortcuts!

Mashal Jatra at Thimi, Kathmandu, Nepal.

My go-to color management tools

SpyderPro

Advanced color calibration for your editing monitor

Spyder Cube

White balance in absolute perfection

Spyder Checkr Photo

Correct colors from the start of every shoot.

“Never over-process your images. Learn the maximum limits of processing and stick to them—don’t go beyond. Subtlety often leads to more powerful images.”

– Apratim Saha

Looking for more inspiration?

Explore all the ways to connect with the Apratim Saha

Which visual mediums do you use?

How did you get started in this?

Do you have a particular area of interest or genre you’re interested in?

Who and/or what inspires you most?

How did you come across color management and how it has helped you to produce high-quality work?

What are the benefits of accurate color reproduction and how are you using Datacolor products within your workflow?

What’s your biggest challenge at work these days?

What’s your objective when you create something?

What is your Color Management Tip?

Any tips or advice for photographers just beginning their career?

My go-to color management tools

SpyderPro

Spyder Cube

Spyder Checkr Photo

“Never over-process your images. Learn the maximum limits of processing and stick to them—don’t go beyond. Subtlety often leads to more powerful images.”

Looking for more inspiration?

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Which visual mediums do you use?

How did you get started in this?

Do you have a particular area of interest or genre you’re interested in?

Who and/or what inspires you most?

How did you come across color management and how it has helped you to produce high-quality work?

What are the benefits of accurate color reproduction and how are you using Datacolor products within your workflow?

What’s your biggest challenge at work these days?

What’s your objective when you create something?

What is your Color Management Tip?

Any tips or advice for photographers just beginning their career?

My go-to color management tools

SpyderPro

Spyder Cube

Spyder Checkr Photo

“Never over-process your images. Learn the maximum limits of processing and stick to them—don’t go beyond. Subtlety often leads to more powerful images.”

Looking for more inspiration?

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