Working with watercolours, Lekegian produced a series of figurative and genre studies in the detailed style of his teacher, displaying Orientalist tendencies borrowed from Valeri and French academic painter Jean-Léon Gerome.

After establishing his studio opposite the Shepheard's Hotel in Cairo's European district, Lekegian positioned himself as an 'artistic' photographer, distinguishing himself and his work as aesthetically superior to his mainly Armenian, French or Greek competitors, such as Jean Pascal Sébah or the Zangaki brothers.

[4] As Chief Curator of Photography at the Israel Museum, Nissan N. Perez, wrote, "the details in masonry and the angle of view in Deutsch's paintings El Azhar - The Arab University in Cairo and The Scribe are doubtlessly comparable to Lekegian's photographs of the same places.

He is a rare practitioner of the time who believed that his medium was on par with any other art form and constantly experimented with and developed its aesthetic qualities.In his book New Egypt (1905), to which Lekegian had contributed photographs of buildings, native people and an equestrian statue of Mohamed Ali, American travel writer Amedée Baillot de Guerville (1869–1913) wrote: "There are very few good photographers in Egypt, and I should advise those amateurs who do not develop their own work to be very careful.

[8] Further, a library box with 58 unbound albumen prints measuring 22 x 28 cm on light blue mounts, most of them titled in French, numbered and signed "Photogr.

[11] In 2010, the Municipal Medieval Museum of Bologna, Italy, presented an exhibition titled Memoires d'Egypte with an accompanying catalogue of historical photographs of the Near East by Felice Beato, Félix Bonfils, Andreas Reiser and Lekegian.