MAM
Madison Media Infinity wins the media AOR of Polycab India
Mumbai: Madison World’s unit Madison Media Infinity has won the media agency of record for Polycab India. The account was won in a multi-agency pitch involving several rounds of presentations.
Polycab India is a manufacturer of wires and cables and a fast growing FMEG (fast moving electrical goods) company with a consolidated turnover of Rs 122+ billion. Polycab India offers a diverse range of lifestyle-enhancing products, such as Polycab BLDC fans, LED lights, water heaters, smart automation solutions (IoT), switches, and switchgears, to name a few. Polycab’s 23 manufacturing facilities are spread over four locations: Halol, Nashik, Roorkee, and Daman.
On this association, Polycab India executive president and CMO Nilesh Malani said, “We are excited to partner with Madison Media Infinity as our media AOR agency and look forward to their expertise across the media spectrum, which includes media strategy, planning, buying, and partnership. This association will help us in our future growth and brand building.”
Madison Media Infinity COO Abhik Banerjee added, “In Polycab’s endeavour to be the leading electrical solutions provider, we’re pleased to join forces. Creating amazing work along with Team Polycab will be an incredible experience for us and we look forward to working with them on this journey of growth and success.”
Madison Media handles media planning and buying for blue chip clients like Godrej, Marico, Asian Paints, Titan, Blue Star, TVS, Raymond, Ceat, Pidilite, Bajaj Electricals, McDonald’s, Lodha, Shaadi.com, and many others.
Madison Media Infinity is a part of Madison World, India’s largest homegrown communication agency, established in 1988. As many as 500 advertisers used Madison World through its 11 units last year.
MAM
Raghu Rai passes away at 83, leaves behind iconic legacy
Padma Shri-winning photographer documented history across 5 decades.
MUMBAI: The lens may have stilled, but the stories it captured will never fade. Raghu Rai, one of India’s most celebrated photojournalists, passed away on April 26, 2026, at the age of 83. He breathed his last at a private hospital in New Delhi after battling cancer and age-related health issues.
His son, Nitin Rai, revealed that Rai had been diagnosed with prostate cancer two years ago, which later spread to the stomach and, more recently, the brain. Despite multiple rounds of treatment, his health had declined in recent months.
Born in 1942 in Jhang, Punjab (now in Pakistan), Rai entered photography in his early twenties, inspired by his elder brother, photographer S. Paul. Beginning his career in the mid-1960s, he went on to build a body of work that spanned more than five decades, contributing to global publications such as Time, Life, GEO, Le Figaro, The New York Times, Vogue, GQ and Marie Claire.
His global recognition took a decisive leap in 1977 when legendary French photographer Henri Cartier-Bresson nominated him to join Magnum Photos, placing him among the world’s most respected visual storytellers.
Rai’s lens chronicled both power and poignancy. He photographed towering figures such as Indira Gandhi, Dalai Lama, Bal Thackeray, Satyajit Ray and Mother Teresa, while also documenting defining moments like the Bhopal gas tragedy later captured in his book Exposure: A Corporate Crime.
Over the years, he published more than 18 books, building an archive that blended journalism with artistry. His contributions were recognised early when he was awarded the Padma Shri in 1972 for his coverage of the Bangladesh War and refugee crisis. In 1992, he was named “Photographer of the Year” in the United States for his work in National Geographic, and in 2009, he was honoured with the Officier des Arts et des Lettres by the French government.
Rai is survived by his wife Gurmeet, son Nitin, and daughters Lagan, Avani and Purvai. His last rites will be held at Lodhi Cremation Ground in New Delhi at 4 pm on Sunday.
With his passing, Indian photojournalism loses not just a pioneer, but a patient observer of history, one frame at a time.
