MAM
Tata Swach uses popular tongue twister rhyme ‘Chandu ke Chacha’ in new campaign
NEW DELHI: Tata Swach Nanotech Water Purifier has launched a new ad campaign that emphasizes on silver’s antibacterial qualities, using an alliteration of the popular ‘Chandu ke Chacha‘ rhyme.
The new ad campaign showcases the advanced silver nanotechnology used by Tata Swach to enhance silver’s purification power without any use of harmful chemicals, thus delivering safe and pure drinking water.
The TV commercial has been created by Draft FCB+ULKA. It will be aired on major TV channels, including high impact properties from 17 November onwards. The campaign will be carried across television, print, radio, online and social media platforms.
Speaking about the new campaign Tata Chemicals COO, Consumer Product Business, Ashvini Hiran said, “Tata Swach combines technology, performance, design and convenience which makes it unique and one of the most innovative water purifiers in today’s age. The new ad campaign aims to connect with the consumers and make them aware about Tata Swach’s use of silver nanotechnology- with silver being a well known and effective purifying medium- for providing safe drinking water. The communication through this ad campaign effectively conveys that Tata Swach is a smart choice for safe drinking water.”
Draft FCB+ULKA national creative director K.S. Chakravarthy added, “It was a bold strategy by Tata Chemicals to use silver as a product differentiator for Tata Swach. The challenge we met was to reintroduce the Indian household to the power of silver and then exhibit how Tata Swach has further enhanced its efficacy. Our film uses an alliteration of the popular Chandu ke Chacha rhyme which we are confident delivers on this objective most effectively. We hope the consumers love and appreciate the nuances of the ad. Here’s wishing Tata Swach all the success with this film.”
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.
