What sparked your interest in wildlife photography, and how did your journey begin?
I have had the love for nature, adventure and outdoors since my school days and started with hikes, camping and river rafting and anything which would push me towards natural spaces. Being an avid reader in my school days I read books published by Jim Corbett and, in my twenties I landed up in Corbett National Park and fell in love with the Kumaon landscape. All the writings published Jim Corbett were in front of me and I could relive them through what I saw. That pushed me to start visiting those woods regularly. Eventually, I ended up training myself as a naturalist and started working in that landscape.Photography was a byproduct and a tool for documenting what I saw. Then, I was fortunate to guide some talented photographers and, in the process, learn the science behind the camera. I still believe photography is a lifelong learning journey. And that’s how it all began.
You have traveled extensively for your work. Is there a particular place that holds a special place in your heart?
The Kumaon landscape has been my alma mater and it will always be close and special to my heart. You always feel special and amazing when you are in the land which has been your training ground.
Your images often tell powerful stories. How do you approach storytelling through your photography?
An image is equal to thousand words but thousand words do not necessarily define an image. That has been my belief when I look through the viewfinder. As a journalist I believe that my images should convey those thousand words and not the fact that I am forcing the thousand words to relate to an image.
Wildlife photography requires patience. Can you share a moment when patience truly paid off?
It happens all the time. Whenever you are thinking a conceptual image nature tests your patience to the extreme. At times you don’t end up getting that image. For one of the books – Tales from the Bush – I remember conceptualising this image of a leopard with the backdrop of the Reni Pani Jungle Lodge gate and that camera trap deployment was done for 45 days. Finally we got that image which became the main image of the book as it speaks a lot about wildlife thriving outside the protected areas.
What are the key camera settings you rely on for capturing fast-moving wildlife?
It depends on the moment. On a lot of occasion I would slow down the shutter speed as motion blurs fascinate me a lot. But when the moments demands freezing the subject I would actually try to analyse the light condition and act accordingly.
How do you handle the unpredictable nature of wildlife while composing your shots?
So, in my mind I would usually have a “plan A” when it comes to pre visualisation but then immediately I would have a “plan B” as well and if nothing is working I would just pick up my binocs and enjoy the moment and observe the natural history unfold in front of me and plan for the next opportunity wherever it’s going to happen.
Have you ever faced a technical failure at a crucial moment? How did you manage it?
I remember in the Mara in 2015 I noticed that within the first day of my month long visit my camera battery was draining very fast. And a DSLR exhausting battery within an hour was an issue I had not faced earlier. So throughout that month on my key camera I had to shoot. Once the shot was done I used to unplug the battery and keep it in my pocket when the camera wasn’t in use. It was a challenge to work this way for the entire month but if it must be done, it must be done.
What role do you believe wildlife photography plays in conservation?
As wildlife photographers we are all ambassadors of the natural world. It is through our images that we play the role of spreading that love, compassion and care towards the natural world. It’s a job which comes with lot of responsibility and the fraternity of wildlife photographers need to understand that responsibility.
How do you ensure ethical practices while photographing animals in their natural habitat?
Ethics is a very subjective issue. What is ethical for me may be unethical for someone else and vice versa. However, there are certain universal codes of ethics which everyone must be aware of. Disturbing the habitat, disturbing a species for an image, tampering with natural elements for an image, manipulating a story in order to make it dramatic – essentially the interest of wildlife and its habitat is of paramount importance for me and should be the same for everyone.
What are your thoughts on the impact of tourism on wildlife photography and conservation efforts?
Tourism is vital aspect of wildlife conservation as it is the direct tangible benefit one can see where money flows in through the communities and creates livelihood opportunities for the people who live around the protected areas and with the associated wildlife. Policy makers across the world should think about streamlining tourism policies so that natural spaces and the wildlife that inhabit them becomes more and more accessible to the masses. What you see is what you love and care for. Regulation is definitely important but a lot of times regulations impact tourism negatively when the policies are not thought through properly.
For that it is important to involve tourism associations, subject matter experts and take their opinions because a lot of times a broader understanding and perspective helps a lot in formulating localised policies.
You have worked on multiple books and projects. Can you tell us about a project that challenged you the most?
Books for me is an effective medium to tell compelling stories. I love writing and I love weaving images together so that it all comes together to tell a narrative. All the books have had their set of challenges but I feel Jamoon – a project executed in one 10 square kilometre landscape was quite unique and challenging. The time frame was limited. The forest was raw, unexplored and a lot of my naturalist skills had to come into play along with technology to create that book.
How has social media changed the landscape of wildlife photography?
Social media has is flaws and boons. It has definitely helped photographers to showcase their work to a larger audience. You learn from your peers and colleagues. However it has also ensured that you spend less time analysing images as social media has literally become a forum full of creative pollution. Reels have further diverted people from still photography. So at the end of the day it’s a tool which should be used judiciously as a learning platform like it used to be.
What is the most memorable encounter you have had with an animal in the wild?
Ever since I picked up the Book of Indian Mammals two decades ago I was fascinated seeing the image of the clouded leopard on the cover. After repeated failures when I finally got to see the clouded leopard in flesh and blood, it was probably the most cherished moment for me.
Many young photographers aspire to follow in your footsteps. What advice would you give them?
Focus on the art of photography and hone that skill as that is something which will keep you motivated to keep trying and experimenting with new ideas and concepts.
What’s one mistake you see beginners making in wildlife photography, and how can they avoid it?
Being too stuck in the equipment debate. Which camera, which lens, which equipment. It’s not these factors but the person behind the camera who makes the difference. There is an image meant to be taken with whatever equipment you have. Once you realise that you will be in a happier creative space.
How do you stay inspired and continue pushing creative boundaries in your work?
The desire to create. Creating something that challenges my brain and my body is the only thing that pushes me to get out of the bed daily.
If you could photograph one species that you haven’t yet, what would it be and why?
So, the clouded leopard image I made was the Sunda clouded leopard in Borneo. I dream to document this species in India as that will be the mainland clouded leopard.
What’s next for Shivang Mehta? Any upcoming projects or dreams you’re working on?
I am more like an octopus with various tentacles. From books to films to photo stories to developing ideas like Wild Clicks which can benefit the photographic community at large, my brain remains occupied with this variety of work I keep thinking about. As I mentioned at the end of the day is the constant desire to create which keeps me going as a professional.
