In an industry risking saturation, fighting fleeting trends and technical perfection, Sameer Belvelkar offers a refreshingly grounded, wise perspective, tracing a career forged by the relentless pursuit of the process of creation. From the disciplined days of film photography for newspaper reportage, this acclaimed photographer discovered that the core of their “why” lay in the transformative power of the camera: changing how people see themselves.

Asian Photography spoke to him, discussing the necessity rules to break, the pitfalls of chasing a single “style”, and why continuous, humble self-challenge remains the most vital element of a successful portfolio. Excerpts:

When did you find your “why” for photography, and more specifically fashion?

I am one of the many photographers in love with their medium. I started freelancing for a photography magazine, then became a press photographer, shooting reportage for an English Daily. Those were the days of film. While colleagues complained about opportunities, I shot everything from overflowing manholes to collapsed trees, and traffic snarls. I received rationed film rolls from media houses, forcing me to account for every shot. I loved the variety I was shooting—food, spaces, lifestyle—and the process of rushing to the lab, cutting and processing the film in the darkroom, and patiently waiting for the images to come alive, while the remaining film was put back into my camera.

During this period, I realised my WHY was the process of creation itself, tackling controlled and uncontrolled environments, utilising light and the situation, and creating an interpretation of what I clicked for others to experience.

My WHY further narrowed down to the people I shot. I noticed that when I photographed ordinary people, I unknowingly changed their self-perception. I believe that when someone feels good about themselves, their state of mind improves, leading to a better, more confident life. This transformative power became the high, the core WHY, for my work.

Fashion became the most obvious choice for earning a living, driven more by having people and communication skills than solely technical photography skills. Everyone wants to look good, and I enjoyed making everything look good. Your camera is limited; your ability to communicate is key. Inspired by photographers like Annie Leibovitz, Helmut Newton, Richard Avedon, and Mario Testino (by their simplicity, minimalism, and graphic impact), I aspired to create my version of that work.

“Break the rules but know them first”. Could you tell us an instance of breaking the rules of photography to create art?

With the onset of digital photography, the number of people wielding a camera went up exponentially. The photos that stand out are those where the rules are forgotten, and inner creativity is honoured. Today you have a chance of your photos standing out more by going against what has been said about sharpness, grain or shadows, mid-tones, and highlights. Instagram filters are a prime example—light leaks, over/underexposure, and light flares—were once considered defects in film photography.

Art is subjective, and I always emphasise that a technically correct photograph is seldom creative, and a creative photograph need not be technically correct. If everyone aims for perfect exposure, what do you truly contribute? Motion blur, high ISO, double exposures, or intentional over/underexposure will make your photos distinctive.

However, to break the rules effectively, you must first know them: understand correct exposure, read a histogram, strive for low ISO for large reproductions, and master lighting ratios (like 1:2) and classic setups (Rembrandt, butterfly, broad, narrow light). This foundational knowledge is paramount.

A favourite example of rule-breaking was a series of candid shots I took of Kareena Kapoor on the set of We Are Family in Australia. I had a brief, bright, sunny window between takes. I asked for a few candid shots, but she immediately slipped into her diva mode. With no time to check settings, I started shooting high-speed. This resulted in a series of highly overexposed images that were exceptionally tasteful and unique.

In fashion, I often break the rules intentionally by underexposing a shot, adding intentional motion blur, or using multiple exposures. Sometimes, relinquishing control can stun you with the outcome. I firmly believe that the best work often happens through you, not just by you. When I pick up the camera, a force takes over. I know the desired outcome, but the rules broken are spontaneous. What appears on the tethered computer is often beyond my initial imagination, and honestly, it doesn’t feel like I’ve done it. I don’t take undue credit for a lot of my work; it’s a humbling and grounding experience.

What is your signature in a photograph and how do you integrate it?

I constantly hear that every photographer needs a “style”, but where is the challenge in finding one style and repeating it endlessly? That approach quickly flatlines your creative development. It’s far more exciting to challenge yourself with every shoot: lighting differently, approaching the concept uniquely, or using an unconventional focal length.

I cannot claim to have one particular style. My vetted portfolio shows a wide range of approaches. Sticking to a mastered style is often an artist’s refuge against insecurity, a way to guarantee a good outcome and effectively translate their vision. They stick to it “ad nauseam“.

Having said that, my muscle memory does influence certain elements:

• I often use a slightly low or high angle.
• I love shooting people looking serious or away from the camera.
• I prefer cool tones over warm, often adding blues and greens to the shadows.

This preference for cool, less approachable tones makes the photograph feel slightly “not of this world” and is likely a reflection of my own personality: a bit standoffish and less immediately approachable. Every artist integrates a large part of who they are into their creation.

My core working method is to approach everything without excessive planning. This creates a window for magic to happen: things take their own form, light behaves unexpectedly, and the subject is captured authentically.

What’s the best learning you’ve got from an on-set disaster?

Thankfully, I haven’t had any on-set disasters, but the most important lesson I’ve learned is this: You are only as good as your last shoot.

Your portfolio is a constantly evolving organism. The world judges you by the energy, intent, and quality of your most recent work, not what you created five years ago. Every shoot is an opportunity to raise the creative and emotional bar. This mindset fosters humility.

No matter your stature, the camera resets everything each morning. A new location, subject, or brief demands a fresh approach. I adopt this philosophy to avoid complacency. Despite shooting major blockbuster stills and top celebrities, I never internally acknowledge that “I have arrived“. I still get nervous shooting a portfolio for a newcomer. This ensures I put my best foot forward every time. Anyone can have beginner’s luck with one or two good shoots; consistent, exceptional work is where the true craft lies.

This philosophy is not pressure, it is purpose. For instance, when I shot an entire black-and-white series of Arjun Rampal in Australia, I was told he had never been captured with that look or element before. While he is a natural showstopper, getting that unique element is my credit. Otherwise, any photographer clicking him is bound to get a great shot, and that credit belongs to him.

What fashion photography trend do you think will feel dated fastest?

I recall a time when everyone was shooting black and white semi-nudes; it became so ubiquitous that people requested I omit them from my presentations. That trend flashed and vanished.

Currently, the trend that I believe will date fastest is complex lighting with excessive shadows; it’s not commercially viable. I believe people now seek more simplicity: clean lighting and straightforward shots. When you use multiple lights, it’s often difficult to tell if the output was intentional or merely a technical mess.

You’d be surprised how challenging it is to light a plain white background for flat, even white light, and then light a face cleanly with minimal shadows. In my presentations, the clean, minimalistic shots are always the most appreciated. The results achieved with just one or two lights, a reflector, and a cutter are truly enigmatic. I seldom need more. We live in a world where one light source (the sun) lights the entire planet. The studio effort is essentially an attempt to replicate that light to make things look vivid, believable, and relatable.

Where or how do you see your work evolving in the next five years?

I believe in the things that happen to me rather than the things I force to happen. Control is an illusion; most of my plans have failed, while what took shape naturally was far superior to my aspirations. This is only clear in hindsight (the further away you move, the clearer things become, like viewing a mountain from a distance versus its base).

I have moved to doing very selective shoots, adhering to two criteria: Is it making me money, or is it adding a new feather to my cap? If one is satisfied, I accept the job.

People often ask if I will move to cinematography, assuming a linear progression. It is not. I don’t have the patience for it; being married to a project for days, followed by weeks of editing, is beyond my capacity. I love the immediacy of still photography: I shoot for a day, deliver the final product in under a week, and move on to something new.

However, years of passive learning on major film sets (like Jodhaa Akbar, My Name Is Khan, We Are Family) and campaigns (Xiaomi, LG, Tanishq, Samsung) exposed me to the production and direction aspects of filmmaking. This has helped me segue into production and direction for Ad films with major brands and stars. I love the overall creation process.

Over the next five years, I definitely hope my ability to ‘see’ improves. My profession is, essentially, the profession of ‘seeing’ things others miss and translating them via the camera. The clearer I see things in my mind, the easier the translation. Composition is king. Since anyone can click a good photo, your composition (seeing skills) is the only differentiator. Given the choice, I want to be more reckless with my composition (for personal work) and try to bring out a personality in my subjects they aren’t even aware of. That is more exciting.

Top 3 things for a newbie to remember while entering the set/fashion photography industry.

• Groom yourself: No one wants to see a photographer with unkempt hair and a beard wearing tatters and flip-flops. That image of an artist is long gone.
• Communication: No matter how good a photographer you are, it’s communication that’s going to get you the job. It will also be the deciding factor in how you extract the shots from your subjects. It’s the holy grail of any photoshoot, according to me. There is no bigger disaster than a silent photographer and a confused/bored model.
• Shoot more than just professionally: You already have everything you need for a shoot. Flip that around, no amount of equipment/gear is going to make you feel ready for the shoot you have in mind. Some of my best shoots have been with the most elementary equipment. Photography, like any art form, needs to be practised every day like a ritual. Stop waiting for the perfect camera, lens, model, studio, opportunity, paid job, just keep shooting.