Nayan Khanolkar, Special Mention, 2003
Winning the Sanctuary Wildlife Photography Award meant a great deal to me. Although I had won photography awards from the Photographic Club of India before, those were judged mainly on technical skills. This was my first natural history prize, and as a researcher, capturing natural history moments was why I took up photography in the first place. Sanctuary was the only major platform in India at the time – a big stage to be noticed nationally. In the pre-digital era, with just 36 frames and expensive film, every shot mattered. So winning a national award for capturing such moments was truly encouraging.
Wildlife photography was a very offbeat career back then, mostly a hobby for the wealthy. Pursuing it professionally was risky, so this award validated my choice and gave me confidence. Sanctuary provided many opportunities to publish my work through its magazine and Inheritance series books. It taught me that photography without a meaningful story is pointless. After decades, I’ve realised it’s the story behind the images that truly matters and sets you apart.
Regarding climate change, photography has only just begun documenting it. While images alone won’t reverse the crisis, policy and international action are crucial. Wildlife photography has significantly raised awareness and inspired millions. Sanctuary played a vital role during a time when hunting was still common in India, shifting instincts from hunting to photography, changing people’s focus rather than trying to suppress it.
During my research career, I was posted at Keoladeo Ghana National Park and spent hours watching Sarus Cranes from hides, documenting their behaviour. When I got a good camera, Bharatpur became my priority. The images I captured weren’t isolated shots but part of larger stories. Sarus Cranes, famous for their pair bonding and courtship, mentioned even in the Mahabharata, became a symbol of undying love through my lens. Those photos emotionally connected with people and were widely recognised, including on The Bharatpur Inheritance book cover and in traveling exhibitions, proving how powerful photography can transform minds.
My key advice to photographers is: don’t chase equipment – chase the story. You can create compelling stories even with a smartphone. Too many people obsess over gear as a status symbol rather than a tool for storytelling. Instead of upgrading their skills, they upgrade their equipment and blame gear for poor photos.
Currently, my focus is more photojournalistic and documenting places where humans and big cats intersect. With rapid development in India, human encroachment into wildlife habitats is increasing, and it’s vital to highlight these urgent, often overlooked stories.
A biology teacher and self-taught nature photographer, Nayan Khanolkar has spent over 15 years documenting Indian wildlife. Acclaimed for his bird photography, he now focuses on urban leopards. Through his images, he strives to raise awareness about animal behaviour and inspire conservation of India’s rich natural heritage.
Kalyan Varma, Sanctuary Wildlife Photographer of the Year, 2005
I still vividly remember the evening I got the call. I wasn’t told outright that I’d won, but that my image had made it to the final round and was requested to send the story behind it. I was at a friend’s place, and when I heard that, I literally yelled and jumped in the air! I hadn’t even owned a zoom lens yet. I started my wildlife photography journey with a macro lens – so hearing that a macro image of an ant had made it was incredible news.
Winning the Sanctuary Award was a turning point. With the prize money, I bought my first zoom lens. It gave me the confidence to believe I was on the right path. Just a few months into my photography career, this recognition fueled my passion and gave me faith that I could pursue it seriously.
Sanctuary has been India’s oldest and only dedicated wildlife magazine for decades. Every year, all of us eagerly awaited the Awards. In the early years, it was about discovering amazing photos of animals and behaviours many of us didn’t even know existed. Later, it became a powerful platform to showcase the abuse we inflict on nature – images of conflict, habitat loss, and more that moved people deeply and even influenced policy changes.
For me personally, it was about making an ant the star. Usually, large mammals win the top prizes, so being able to tell micro-stories from the natural world was especially meaningful.
Today, most wildlife in India is already well documented. With the rise of social media, we need images that truly stand out – photos that tell a story or call us to action. The era of just beautiful animal portraits is over; now we need images that spark curiosity and provoke thought.
In the last decade, I’ve shifted fully into making documentaries. It’s the same storytelling language but with moving images, allowing me to dive deeper into the stories nature has to tell.
Kalyan Varma is an Emmy-nominated wildlife filmmaker, photographer and a conservationist. Over the last 18 years, he has worked on over 30 wildlife films for broadcasters around the world. He recently produced and directed ‘Wild Karnataka’ which won two national awards and became the first wildlife film to be released in theatres across India. He actively uses the power of storytelling to communicate issues related to our environment.
Yashpal Rathore, Sanctuary Wildlife Photographer of the Year, 2019
I still remember that quiet evening when I got the call telling me my crane image had won the overall award in 2013. I was happy but didn’t fully believe it until I received the official email from Sanctuary Asia. I had to read it twice for it to sink in. That moment was deeply emotional for me. Wildlife photography is often a solitary journey fueled by patience, passion, and purpose, so having my work recognised by an institution I’ve long admired was incredibly validating.
Professionally, the award was a boost. It gave credibility to my work and helped shine a light on lesser-known species and fragile ecosystems. More than that, it reaffirmed my belief that visual storytelling is a powerful tool for change. Since then, I’ve focused on creating narratives that don’t just show wildlife’s beauty but provoke thought about what we risk losing.
Platforms like the Sanctuary Wildlife Photography Awards are vital because they amplify the voices of the wild. They spotlight vanishing species and threatened habitats, creating empathy and awareness where words alone often fail. A single powerful image can capture urgency and beauty in ways statistics cannot.
For this crane image, my creative perspective was unique – I wanted to show the bird from the perspective of the grain it feeds on. Overcoming technical challenges to bring this idea to life made the image even more special.
My advice to photographers: prioritise storytelling. Gear and technique are important, but the emotion and message behind the image are what truly resonate. Spend time observing your subject with respect for the animal, its habitat, and the moment.
Beyond exploring ecosystems worldwide, I’m preparing for a 33-day Antarctic expedition this year. I’m also working on a coffee table book titled Elusive, documenting India’s diverse ecosystems and highlighting lesser-known but critically endangered species that are just as vital to our environment as the major fauna.
Yashpal Rathore, an electrical engineer and certified eco-volunteer, is a passionate naturalist, photographer, and filmmaker. He collaborates with the Karnataka Forest Department on conservation efforts, develops innovative camera traps, and has co-authored ‘Tiger Tiger Burning Bright’ to mark 50 years of Project Tiger.
Prasenjeet Yadav, Special Mention, 2011
I still vividly remember the day I got a call from my friend Varun Thakkar in Nagpur. He told me one of my photos had made it into that year’s Sanctuary Wildlife Photography Awards. At the time, I was a researcher at NCBS Bengaluru, working with very basic camera gear. So having my image recognised nationally was incredibly validating. It made me realise that photography is about vision and storytelling, not just fancy equipment. Up until then, photography was a side passion while I focused on research, but that moment planted the seed that maybe this could become more than just a hobby.
Winning the Sanctuary award was the spark that set my journey in motion. It gave me confidence to take photography seriously and consider it as a career. Fourteen years later, I’m now a National Geographic photographer and writer, telling stories from India to the world. That first award wasn’t just recognition, it was a turning point that helped me imagine a future I hadn’t dared to dream of.
I believe education and awareness are the first steps toward real conservation, and platforms like Sanctuary play a crucial role in this, especially in India. For over two decades, the Awards and the magazine have spotlighted critical conservation issues through powerful images. They’ve inspired generations to care deeply about wildlife and to pursue careers in ecology and conservation.
Photography has a unique power. It can challenge assumptions, shift perspectives, and move people in ways data often cannot. A single image can spark empathy or outrage, and that emotional connection often drives real change. That’s why I believe wildlife photography is essential in the broader conversation about conservation and climate change. Still, it’s just one tool among many, and we’re only beginning to unlock its full potential.
The image that won the award was simple, yet surreal – a spiderweb delicately backlit by a lamp. It wasn’t a dramatic scene or a charismatic animal, but its minimalism gave it immense power. While much wildlife photography is about action and intensity, this image invited stillness and close observation. It reminded me that wonder isn’t always in the big or bold – it can be found in the smallest, quietest corners of nature if you take the time to look.
Instead of advice, I’ll share what’s worked for me: meaningful photographs come from deep personal connections. Find a story or cause that truly matters to you – something that won’t let you rest until you act on it. Let that consume you. India is full of extraordinary stories about nature, people, resilience, loss, and hope. You don’t need the best gear or to travel far; what you need is curiosity, honesty, and persistence.
To the next generation of wildlife storytellers: your voice and your lens matter. Go out, tell the stories that move you, and trust they will move others too.
For the past three years, I’ve been working on a National Geographic story about tigers in India, focusing on the central Indian landscape. It’s been a challenging but rewarding journey – capturing not just the animals, but the ecosystems, people, science, and conservation efforts that shape their world. The story is set to publish at the end of September – keep an eye out for it.
Prasenjeet Yadav is a molecular biologist turned National Geographic photographer, who uses visual storytelling to popularise science and conservation. His work spans India’s sky-islands, eastern Himalaya, and Narcondam Island. A founder of Shoot for Science, his stories appear in National Geographic, BBC, NPR, and The New York Times.
Sandesh Kadur, Special Mention, 2012
Being recognised in the Sanctuary Wildlife Awards was a fantastic way to showcase my work nationally. Peer recognition plays a huge role in professional growth, and this award helped solidify my place in the wildlife photography community.
Sanctuary has been such an important part of growing up in India. It was our window into the natural world, and the stories within the magazine shaped how we understood the environment around us. The Sanctuary Wildlife Photographer of the Year Awards (SWPA) became a much-anticipated annual event, showcasing the best nature and wildlife photography. What set SWPA apart was its focus not just on technical perfection but on the story behind the image. From early on, it emphasised critical topics such as climate change and conservation, helping bring these issues to national attention.
I think it was the sheer spontaneity of the moment and the perspective I chose that made the image stand out. The Atlas moth is a remarkable creature, and I was immediately drawn in by its symmetry and texture. Instead of using a macro lens as I had first intended, I decided on a fisheye lens — something that gave the image a more immersive, almost surreal feel. I shot it from just a few centimeters away, which allowed its scale and character to really come through.
Sometimes it’s that mix of curiosity and spontaneity that leads to something unique. This photograph had found its way across various media platforms around the world — from Nicaragua to Nagaland — becoming a viral image of sorts. Perhaps it resonated because it captures the unexpected majesty of an often-overlooked creature.
My advice: be original, creative, and technically sound, but most importantly, seek out a compelling story. Images that tell impactful stories resonate the most. And don’t shy away from addressing urgent issues such as conservation. Now more than ever, it’s vital to confront what truly matters.
Recently, my documentary project about the Nilgiris titled India’s Blue Mountains – A Shared Wilderness, was released in theaters across India.
BAFTA-winning filmmaker Sandesh Kadur is known for his wildlife documentaries that have aired on renowned global networks. A National Geographic Fellow and Explorer Trustee, he uses the power of visual storytelling to inspire conservation. As the founder of Felis Creations, his award-winning work spans diverse ecosystems and advocates for the protection of our last remaining wild spaces.
Lalith Ekanayake, Sanctuary Wildlife Photographer of the Year, 2013
The moment I learned I won the Award is etched in my memory. I remember staring at the message in disbelief, then feeling overwhelmed with emotion. As both a practicing physician and a wildlife photographer, the recognition was deeply affirming. It validated years of dedication and countless hours spent in the wild. Professionally, it was a turning point. The award aligned my name with ethical, conservation-driven photography and opened doors in both the art world and conservation circles.
That winning image – a mugger crocodile leaping from a muddy waterhole with a chital in its jaws, captured a raw, fleeting moment of nature’s power and fragility. It wasn’t just a dramatic predator-prey scene; it was a story of survival, real and unmanipulated.
The Sanctuary platform has been vital in shaping public consciousness. By showcasing honest and emotionally resonant imagery, it allows people to connect with wildlife on a deeper level. In an age of climate crisis, photography can serve as a visual wake-up call – a powerful tool capable of influencing policy, sparking conversations, and building empathy.
Since the award, I’ve viewed my photography less as art and more as storytelling with a purpose. My work has been published and exhibited internationally, and I’ve been fortunate to speak about the power of visual narratives. I now focus on stories that highlight the intersection of human activity and wildlife such as my current long-term project documenting the impact of human waste on wild elephants in Sri Lanka. At the same time, I’m exploring creative expressions in avian photography and continuing to balance my medical practice with art and advocacy.
My advice to aspiring photographers is simple: be patient, respectful, and honest. Great wildlife photography isn’t about gear or luck – it’s about empathy, perseverance, and understanding your subject. Don’t chase awards – chase truth. Use your lens not just to capture beauty, but to question, to reveal, and to make a difference.
Dr. Lalith Ekanayake is a Consultant Physician and Specialist Gastroenterologist, and the only certified expert in Diving and Hyperbaric Medicine in Sri Lanka. A lifelong naturalist and award-winning wildlife photographer, he uses his lens to spotlight the intricate connection between humans and nature. His work has been featured in international platforms and prestigious exhibitions, reflecting his deep commitment to conservation and ethical storytelling.
Dhritiman Mukherjee, Special Mention, 2011
Winning the award really motivated me to push myself further in this field. Sanctuary has been incredibly important for conservation in India. When it started, there was no other platform like it. It wasn’t just a magazine; it created a whole community of wildlifers, photographers, researchers, and conservationists across the country. It brought us together, gave us a voice, and helped build a shared sense of purpose.
Photography plays a key role in any conversation, even when showing examples of bad photography – we still need an image. The beauty of photography is that it doesn’t require language. Reading a few lines takes time, but a photograph can communicate instantly. Whether you’re Bengali, Marathi, or English-speaking, an image is a universal way to share a story and connect with many people.
My advice for competitions is to enjoy the process and not take them too seriously. Judging is subjective – what’s good or bad depends on the viewer. When I judge, I look for something new, something I haven’t seen before, whether it’s aesthetic, scientific, or conservation-related. New photographers should keep this in mind. No one judges the person behind the camera; judges express their own preferences.
Participating in competitions is valuable because it encourages photographers to explore new ideas, new aesthetics, conservation topics, or species. I don’t like to call it a competition; it’s an awards programme aimed at inspiring exploration. It’s not about being better than others. There are no ‘best’ or ‘bad’ photographers, only photographers. What truly matters is what you contribute to the field.
Right now, I’m working on coastal and island biodiversity in the Andaman and Nicobar Islands and Lakshadweep, elephant conflict in Odisha, the intertidal ecosystem of Bhitarkanika, the often-overlooked role of forest guards in the Sundarban, and hornbill habitat in Pakke.
One of India’s most accomplished nature and wildlife photographers, Dhritiman Mukherjee is an explorer and wanderer. In the last twenty years, he has pushed his limits as a photographer to do work that is compelling as well as scientifically essential.
Sachin Rai, Sanctuary Photographer of the Year, 2007
I can’t recall the exact moment I found out I had won the Sanctuary Wildlife Photography Award, but I do remember how I felt. I was absolutely thrilled. That year, I had won both the first prize and shared second prize, with one of my images receiving a special mention. For someone who had long admired the platform, it was overwhelming in the best way possible.
At the time, I was working as a web designer. It was a job I loved and one that allowed me to travel and invest in good camera gear. But after the award in 2007, everything began to shift. Suddenly, people started reaching out asking me to teach photography, and to take them on wildlife tours. It was an entirely new direction I hadn’t planned for, but it felt right. That recognition gave me the confidence to switch careers and dive headfirst into wildlife photography workshops and tours. Back then, before social media took off, Sanctuary Asia was the platform. Having my work featured and recognised in print carried weight. It felt like a rite of passage.
Platforms like the Sanctuary Wildlife Photography Awards were, and still are, critical. Back then, they served as one of the few windows into conservation stories from remote corners of India. We’d eagerly wait for every issue to learn about places such as Tadoba or Melghat or discover tales of species we hadn’t even heard of. Photography, in that sense, became a way of storytelling – capturing fleeting moments and making people care about them.
One such moment for me came during a trip to the Eaglenest Wildlife Sanctuary in 2007. My friend Shashank Dalvi and I had gone there in search of birds and were lucky enough to spot a Ward’s Trogon, an incredibly elusive species, sometimes called the ‘Phantom of the Forest’. I knew that very few people had a clean shot of this bird in the wild. We quietly got off our bike, sat down on the forest floor, and waited. The light was low, the vegetation thick, but I managed to get a few shots of it perched on a moss-covered branch. Then, in a stroke of luck, it took off – flying straight toward us. I captured it mid-flight, the blur of its wings perfectly illustrating its ghost-like movement. I think that’s what made the image stand out: not just its rarity, but the way the photo conveyed the spirit of the bird.
Looking back, I’d say this journey has taught me the importance of patience, curiosity, and genuine passion. To young photographers out there – don’t chase likes or follow trends. There’s so much still left to explore. Go beyond just tigers and elephants. Look into the lives of frogs, hedgehogs, moths, and even termites. There are untold stories waiting everywhere, if you’re willing to notice them.
Today, I continue to lead photography tours and feel lucky to travel to some incredible places. But in my downtime, you’ll still find me crawling through the underbrush, looking for frogs, snakes, and geckos – still chasing that same thrill I felt when I first started.
A professional wildlife photographer from India with two decades of experience capturing rare and elusive species across the globe, Sachin Rai’s work highlights nature’s diversity and beauty, aiming to inspire curiosity and hope. He has helped re-discover a frog species in India, and he also leads global photography tours.
