Tag Archives: Editorial Photography

How Cinematic Lighting is Transforming Fashion Shoots

Leave a reply

Fashion imagery has always evolved alongside technology and cultural taste. In recent years, one shift has changed the visual language of the industry more than almost anything else. Cinematic lighting has moved from film sets into fashion studios, giving photographers new ways to build mood, shape stories, and create emotional impact. What was once a niche technique used by a handful of experimental artists is now a defining part of modern fashion work. The change is not just aesthetic. It reflects a broader shift in how brands want to communicate and how audiences consume images.

Why Cinematic Lighting Matters

Cinematic lighting is grounded in principles used for decades in film. It guides the viewer’s eye, controls tension, and expresses subtext. In fashion photography, it does something similar. It adds atmosphere and depth. It creates a sense of narrative. It turns a simple pose into a moment that feels part of a larger world.

Traditional fashion lighting often aimed for clarity and polish. Everything was evenly lit. Shadows were controlled. The goal was precision. Cinematic lighting takes a different approach. It uses darkness, contrast, and directional light to add emotion. Instead of showing the clothes in a strict technical way, it shows them in a setting that feels alive. This shift appeals to audiences who want images that stir something, not just document a garment.

The Influence of Film Culture

Film and fashion have always shared ideas, but the connection is stronger today. Streaming platforms have changed viewing habits. People spend more time immersed in visually rich series and films. They get used to dramatic lighting, slow building mood, and expressive shadows. When they see fashion images that echo this style, the work feels familiar and modern.

Brands are aware of this. They want campaigns that feel like stills from a movie. They want a cinematic identity that sets them apart. This is especially true for luxury houses. Cinematic lighting suggests craft and depth. It signals that the brand cares about storytelling, not just promotion.

Key Techniques Behind the Look

Cinematic lighting can take many forms, but a few techniques appear again and again in fashion shoots.

Low key lighting. This style uses strong shadows and limited light to create mystery and intimacy. It adds drama without feeling forced. The viewer pays closer attention because the frame invites curiosity.

Hard directional light: Sharp angles create bold shapes on the model and clothing. This technique can add an edgy or futuristic tone. It also emphasises texture, which helps when shooting pieces like leather, sequins, or structured tailoring.

Backlighting: When the light comes from behind the subject, it creates a glow or halo effect. This adds separation from the background and gives the frame a sense of depth. Backlight can make fabrics look luminous and fluid.

Coloured gels: Warm or cool tones change the emotional temperature of a shot. Deep red suggests intensity. Blue feels calm or surreal. Amber adds nostalgia. Colour is a storytelling tool that turns a simple scene into a mood piece.

Practical lights: These are light sources that appear inside the frame. Neon signs, desk lamps, fluorescent tubes, city lights. Practical lights make the scene feel grounded in a real environment. They also give the photographer a natural reason to shape the shadows in interesting ways.

How Cinematic Lighting helps Tell Stories

Fashion has moved closer to narrative driven imagery. Brands want campaigns that feel like chapters of a larger tale. Cinematic lighting supports this movement by giving photographers the ability to build emotion before the viewer even studies the clothes.

A soft beam of morning light suggests hope or calm. A sharp spotlight creates intensity or performance. A dim environment with glowing highlights feels secretive or romantic. These cues guide the audience’s reading of the image.

This storytelling approach benefits fashion brands in two ways. First, it helps the images stand out in crowded digital spaces. Second, it strengthens the brand’s identity. If every campaign shares a consistent cinematic mood, it becomes part of the brand’s visual DNA.

The Role of Technology

New tools are making cinematic lighting easier to control. LED panels have replaced older, hotter, bulkier lights. They allow quick colour changes and precise dimming. They can mimic sunlight, candlelight, or even reflections from screens. This flexibility saves time on set and opens possibilities that were once limited to film crews with large budgets.

Continuous lighting is also reshaping how photographers work. It allows them to see the final mood as they shoot, similar to how cinematographers operate. This real time feedback encourages experimentation. Instead of waiting to review flash exposures, photographers can adjust instantly.

Modern cameras support this evolution as well. Better dynamic range makes it possible to retain detail in deep shadows and bright highlights. Photographers can push contrast without losing quality. This encourages bolder lighting choices.

Collaboration with Film Professionals

As cinematic styles grow in popularity, fashion teams often bring in talent from the film world. Gaffers, cinematographers, and lighting technicians collaborate with photographers to create complex setups that feel sculpted rather than staged.

This cross discipline approach expands what is possible. Film lighting experts understand how to use practical lights, reflectors, and modifiers to create subtle transitions between bright and dark areas. They know how to mimic natural sunlight in a studio or build a night scene at noon. The collaboration raises the quality of the final images and strengthens the storytelling.

The Challenges of the Style

Cinematic lighting is powerful but demanding. It requires careful planning, patience, and a willingness to embrace unpredictability. Shadows can hide details that clients expect to see. Strong contrast can complicate retouching. Bright coloured gels may distort the true colour of the garments. Photographers must balance mood with clarity.

There is also the risk of overuse. Cinematic lighting can lose its impact if every frame relies on the same tricks. The best photographers use it strategically. They consider the clothing, the location, the model, and the message. They choose lighting that elevates the concept rather than overpowering it.

Why This Shift Is Here to Stay

Cinematic lighting speaks to a cultural shift toward emotional storytelling. People want images that feel like they belong in a narrative, not just in an advertisement. They want mood, intention, and atmosphere.

Fashion brands want to connect in more meaningful ways. Cinematic lighting gives them a visual language that feels sophisticated and modern. It works across stills and video, which is essential for campaigns that span multiple platforms.

As technology continues to expand, the tools will only get better. More control, more nuance, more creative freedom. The combination of artistic ambition and technical possibility ensures that cinematic lighting will remain a major force in fashion shoots for years to come.

Lights, Camera And…

Cinematic lighting has transformed fashion photography by bringing depth, emotion, and narrative power to the frame. It shifts the focus from simple product display to immersive visual storytelling. It blends the artistry of film with the creativity of fashion. Photographers gain a richer toolkit. Brands gain a stronger voice. Audiences gain images that feel memorable.

This evolution shows that fashion imagery is no longer just about showing clothes. It is about building worlds and letting viewers step inside them.

Photographing Dark Skin Tones in Fashion: Techniques & Sensitivity

Leave a reply

Fashion photography has the power to celebrate identity, culture, and beauty. Yet for decades, the industry often failed to light and photograph dark skin tones with the care and expertise they deserve. The problem never stemmed from dark skin, it came from photographers who were trained on narrow standards and equipment calibrated for lighter complexions. As the fashion world pushes for greater inclusion, the ability to photograph dark skin with accuracy and respect has become an essential skill. When done well, the results are striking. The richness of tone, depth, and texture creates images that command attention and honour the subject.

This article explores the techniques and sensitivities needed to capture dark skin beautifully, with a focus on practical lighting choices, exposure strategies, styling considerations, and the mindset that keeps the work respectful.

Understanding Light and How Skin Responds

Dark skin absorbs more light than lighter skin. This means photographers must think more intentionally about how they shape and distribute their light. The goal is not to blast the subject with brightness. The goal is to reveal detail and dimension while keeping the natural richness of the skin intact.

Soft, diffused light is the strongest foundation. It wraps gently, avoids harsh falloff, and helps maintain depth. A large softbox, umbrella, or window source works well. When using harder light, it should be controlled with precision. Strong highlights can look beautiful on dark skin, but uncontrolled hotspots can flatten the shot.

Lighting ratios also matter. If the key light is too strong relative to the fill, the shadows can fall off too quickly. A balanced ratio preserves detail in the darker areas of the face. Photographers who understand this can create portraits that feel vibrant rather than muted.

Exposure: A Crucial Step

Many photographers make the mistake of overexposing dark skin in an effort to brighten it. This strips away the natural tone and removes the depth that makes the skin so compelling. Instead, the focus should be on achieving a clean exposure that brings out detail without washing out the subject.

Exposing for the highlights is a reliable approach. Dark skin often carries beautiful highlight areas along cheekbones, the forehead, and the bridge of the nose. If these highlights are preserved, the rest of the tones can be managed in post without distortion.

Tools like zebras and histograms help prevent clipping. Shooting in RAW provides even more flexibility. It allows the photographer to adjust shadows, contrast, and colour temperature with care. The idea is to respect the skin as it is, not to force it into a lighter or flatter version of itself.

Colour Balance and Skin Accuracy

White balance can either lift or dull dark skin. A slightly warmer balance often brings out radiance without changing the skin’s natural tone. Too much warmth, however, can make the subject appear artificially red or orange. The aim is nuance. Every face has its own balance of undertones. Photographers who take the time to understand these differences create images that feel true.

Avoiding heavy blue or green casts is important. They can create a grey or muddy effect that is difficult to correct. If shooting in mixed lighting environments, gel the lights or switch to a single consistent source. Clothing colours and backdrop tones should also be chosen with care. Colours like emerald, cobalt, burgundy, and gold often complement dark skin beautifully. Pale pastels can work if the lighting is strong enough to separate the subject from the background.

Highlights, Texture, and Shine

Dark skin often reflects light in striking ways. This gives photographers creative opportunities. Highlights can sculpt the face and enhance its shape. Shine on the skin can look elegant, powerful, or editorial when controlled. The key is intentional placement.

Using a touch of oil or moisturiser can create a glow. Using powder can reduce unwanted shine without making the skin appear flat. Makeup artists who specialise in dark skin tones understand how to balance these elements. Their contributions are invaluable. Photographers should collaborate with them rather than dictate adjustments that might undermine the final look.

Backdrops That Elevate, Not Diminish

The background affects how the viewer sees the skin. Rich jewel tones and deep neutrals often elevate dark skin by enhancing contrast without overwhelming the subject. Very dark backdrops can work when the lighting provides strong separation. Very pale backdrops can work when the exposure is balanced and the lighting is soft.

What matters is intention. If the backdrop and clothing compete with the skin, the final image loses power. When each element supports the subject, the portrait feels cohesive.

Sensitivity Behind the Lens

Technique matters, but sensitivity matters just as much. Dark skin tones have long been underrepresented or misrepresented in fashion photography. Many people with dark skin grew up seeing images that did not reflect them accurately. This history shapes their experience on set.

A respectful photographer acknowledges this context. They communicate openly. They ask about comfort with lighting, makeup choices, and styling. They avoid language that frames dark skin as difficult or challenging. Words carry weight. Saying the skin is beautiful and worth capturing with care builds trust and confidence.

Representation behind the scenes also helps. When the crew includes people who understand the lived experience of the models, the entire environment becomes more inclusive. This leads to better images because the subjects feel seen and respected.

Fashion Context: Celebrating Beauty and Presence

Fashion photography aims to elevate style, mood, and personality. When photographing dark skin, the creative potential is immense. The richness of tone pairs naturally with metallic fabrics, strong silhouettes, bold prints, and sculpted hair. Shadows and light interact in ways that feel cinematic. The result is imagery that stands out in a saturated market.

Many designers are creating collections that celebrate Black identity and culture. When photographers apply proper lighting and sensitivity, they help these collections reach their full visual potential. They also contribute to a more inclusive fashion landscape.

Retouching: A Gentle Hand

Retouching dark skin should focus on refinement, not alteration. Removing blemishes or stray hairs is fine. Changing the natural tone or texture is harmful. Texture is part of the beauty. Dark skin often looks best when retouching is subtle and respectful.

Avoid brightening the skin in post. Avoid smoothing it to plastic. Maintain the shadows that give the face its shape. Retouching should support the beauty that is already present. Anything else undermines authenticity.

The Bottom Line

Photographing dark skin tones in fashion requires skill, intention, and empathy. The techniques are straightforward once understood. Soft light, balanced exposure, proper white balance, and thoughtful colour choices bring out the richness of the skin. Collaboration with makeup artists and stylists adds polish. Respect for the model builds trust and elevates the final image.

When these elements come together, the results are powerful. Dark skin glows. Features stand out with clarity. Fashion becomes more inclusive. Photography becomes more honest.

The goal is not simply to capture an image. It is to celebrate beauty that has long been overlooked. Photographers who master this responsibility do more than take pictures. They help reshape the industry into one that recognises and honours everyone.

Finding WHY’s – Sameer Belvalkar

Leave a reply

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.

Lux Aeterna Vitae – Pamela Hanson

Leave a reply

What began as a childhood spent adapting to new cultures transformed into a riveting, memorable career in the world of fashion. Pamela Hanson’s pictures effortlessly speak authentically, trust and openness. Shaped by the film-era discipline, her work has travelled around the world, featured on various covers and is also a permanent part of the Smithsonian.

Asian Photography spoke to her about film-era sensibilities, environments shaping creative vision, the importance of mentorship and more. Excerpts:

How did growing up in multiple places and moving around shape your creative vision?


I’m not entirely sure how to pinpoint it, but I know that my time in Paris had a profound influence on me— everything there feels different. I was captivated by the light, the people, the overall style, and the sheer beauty of the city. It left an imprint on how I see the world and how I approach my work. Growing up as an American in Europe, I often felt like a perpetual outsider. 

But that sense of being a foreigner turned out to be a gift—it gave me a sense of independence and freedom, allowing me to move through life unbound by a single cultural identity. I’ve always been fascinated by different cultures and people, and I’ve always loved to travel. The constant movement, the exposure to new places, and the experience of adapting to different environments have been deeply inspiring in themselves. 

Living in Colorado was another important chapter. It gave me the space and quiet to truly learn the craft of printing and processing in a low-pressure environment. I also had the privilege of living with someone who encouraged me and helped me gain the confidence to pursue photography as a career. I have a particular love for shooting on location, outside of a studio, because every city and country carries its own unique personality. I’ve found that I can get comfortable almost anywhere and even thrive in unfamiliar situations, which has shaped the way I approach photography and life.

How important is mentorship in photography, especially fashion? Could you give us an instance of a mentor opening your eyes to something, like a new perspective? 


Mentorship has been incredibly important to me. When I first started shooting in Colorado, I experimented with all kinds of styles and felt like I needed to work strictly within the fashion industry. What I realised, though, is that what I truly love is capturing the human experience—documenting people in life.

After graduating, I started looking at fashion magazines and found myself most drawn to Arthur Elgort’s images. All my favourite photos—the ones I felt were truest to me—were intimate images of my friends and their lives, and that seemed to resonate in his work as well. I tracked him down and met him in New York while figuring out my next steps. He suggested I move to Paris, where I already had friends and spoke the language, and he hired me as a third assistant—mostly as a driver and gofer when he came for shoots. I assisted him around four times on major Vogue shoots, which helped me understand how the industry really worked. This experience was an incredible gift, and I am deeply grateful to him for these opportunities.

How did you build your approach to a photography shoot? 

I always spend a significant amount of time talking with the editors or art directors I’m collaborating with, or anyone involved in shaping the story ideas. These conversations are essential because they help me understand the vision, the tone, and the direction everyone wants to take. After that, I try to dig deeper into the specifics—discussing what the fashion theme might be, who the celebrity or subject is, and what projects they are currently working on or promoting. This helps me tailor the concept so it feels authentic and engaging.

Once I have a clear understanding of the project, I dive into research. I look at stories in cinema, photography books, and other visual references that can help me create a mood for the shoot. This not only informs the aesthetic, but also gives the subject inspiration and context for their role in the story. Whenever possible, I like to meet or speak with the subject beforehand—it’s incredibly valuable for building rapport and understanding how to bring out the best in them during the shoot. I also believe it’s crucial to continually expose yourself to a wide range of creative influences. Looking at books, movies, art, and exhibitions keeps me inspired, helps me refine my voice, and ensures my work stays fresh. Inspiration can come from anywhere, and staying curious allows me to approach each project with new perspectives and ideas.

Building on the approach, how do you balance the creative needs and capturing organic moments?

I try to stay open to what might happen in the moment on set, embracing organic developments that aren’t forced, and resisting the urge to be too rigid or overly controlled. I spend a lot of time thinking, planning, and preparing beforehand, considering all the technical and creative aspects, but once I’m on set, I leave myself room to respond to whatever naturally arises. Sometimes this can be as simple as noticing how the light falls and figuring out how to make the weather work in my favour, or sensing someone’s mood and adjusting accordingly.

Anything can happen when a group of people comes together, and the beauty of the process is in staying flexible and attentive. I try to remain open to all possibilities and to use whatever is available to craft the best images I can in that moment. It’s about responding to circumstances rather than imposing too rigid a structure, about being present and mindful of what is in front of you, and finding inspiration in unexpected moments.

At the heart of it, I believe it’s essential to stay open, keep learning, and remain true to what you see and love, trusting your own instincts above all else. It’s far too easy to get lost in what you think you “should” be doing, in the expectations of others, or in imagined judgments. These external pressures can cloud the creative process. By staying true to yourself and trusting your own vision, you allow authenticity and originality to guide your work. That trust—both in yourself and in the process—is what allows for moments of real magic to unfold.

What are your earliest learnings about sensibility from the film-era that still stay relevant today?

My earliest learnings about sensibility came from shooting film, and they still anchor my work today. I still shoot film stock and print those images in my studio. When you learn on film, you learn to slow down and pay attention—to light, weather, gestures, to emotion, to quiet transitions that happen in front of the lens. When every frame costs something, you learn to wait for the moment rather than shoot our way toward it. That cultivated a kind of intentionality that digital technology hasn’t replaced.

Film also taught me to trust my instincts. Without the ability to check the back of a camera, you develop an internal meter—not just for exposure and technical understandings, but for feeling. You learn to sense when the picture is there, even before you take it. That sensibility becomes a way of seeing that never leaves you.

And maybe most importantly, the film era taught me to embrace imperfection. Grain, softness, the way light behaved on different stocks—these weren’t flaws; they were part of the photograph’s soul. Even now, with all the precision digital offers, I still look for that humanity and texture in every image. Retouching and photo manipulation were virtually nonexistent in the way we know them today, so the honesty of the image mattered—you had to get the moment, the expression, the energy, and the crops in camera. 

My new book, Pamela Hanson: The 90s, released by Rizzoli this year, is a reminder of how deeply that sensibility shaped me. The photographs—all shot on film in the late 80s and 90s—have a kind of authenticity and immediacy that can only come from that era’s process. Revisiting those negatives reaffirmed what film taught me from the beginning: that sensitivity to atmosphere, connection, and timing is timeless.

As someone who’s built deep, trusting relationships with your subjects, how do you see the “female gaze” evolving in fashion photography? 

I’m not particularly fond of that expression because it can feel limiting, as if all women see or create in the same way. I think it’s less about a “female gaze” and more about a personal gaze. Everyone brings their own perspective, experiences, and instincts to their work, so subjects naturally respond differently to each photographer. In reality, every photographer—regardless of gender—brings a unique blend of personality, intuition, lived experience, and emotional sensitivity to their work. Because of that, subjects respond differently to each of us. The dynamic between photographer and subject is incredibly nuanced, shaped by trust, energy, curiosity, and the very particular way one person sees another.

What is exciting to me about evolutions in fashion photography is seeing how many incredible female photographers are out there today, creating powerful, innovative images and reshaping the landscape of visual storytelling. It’s inspiring to witness such a wide range of voices contributing to the medium as well as in film.

Any tips for upcoming photographers to find their voice in the crowd today?

I imagine it must be incredibly challenging, especially now when there are so few magazines and so many photographers all competing for attention. The landscape is crowded, and it can be easy to feel unsure of your own direction. But I would say the most important thing is to trust your Eye and trust your instincts. Try not to spend too much time on social media as it’s so easy to get swept up in what everyone else is doing, and before you know it, you’re being influenced in ways you don’t even realise.

At the same time, keep yourself educated and stay curious. Never stop learning or looking for new sources of inspiration, whether that’s through books, exhibitions, conversations, travel, or simply observing the world around you. The more you feed your mind and broaden your perspective, the stronger and more personal your work becomes. Balancing constant growth with a commitment to your own vision is what ultimately shapes your voice as a photographer.

December 2025

Leave a reply

Asian Photography Magazine December 2025 Edition is out 💍

Cover 📸: By Sameer Belvalkar

In this issue, explore:

Pro Profile

Tips And Techs

  • Does High Fashion Still Need Print Magazines?
  • How Cinematic Lighting is Transforming Fashion Shoots
  • The Economics of Fashion Photography: Rates, Rights & Reality
  • Photographing Dark Skin Tones in Fashion: Techniques & Sensitivity
  • How Gen Z is Redefining Fashion Photography Trends

Reviews

  • vivo X300 Pro Camera Review – Best Android Flagship Camera?

The Idea of Print in Fashion

It is true that the nature of print—especially in the world of fashion—has changed. Some would
argue this is true across other creative categories as well. While fashion print may no longer
dominate the market as it once did, its impact remains unmistakably iconic, cemented by the
legacy of defining magazine brands and legendary spreads such as Vogue and its global peers.
That said, the growing influence of digital fashion media cannot be ignored. Content today is
consumed in vast volumes across digital platforms, but trends emerge and fade at dizzying
speed—sometimes within days. This fleeting nature is the reality of digital consumption: fast,
expansive, but often ephemeral.


In this issue, we attempt to unravel some of these very questions. Many of you may have
reflected on them yourselves. Truth be told, I have also questioned the long-term survival of
print more times than I can count. Yet, with every passing year—and in an era increasingly
clouded by misinformation—I find myself more convinced that print will continue to stand the
test of time.

This endurance is not only rooted in ethical credibility, but also in the intrinsic, iconic value of
print. Even today, when editorial teams plan an issue, the approach is layered, deliberate, and
nuanced. This holds especial relevance for fashion magazines. Think of a winter collection from
a fashion house—it communicates identity, emotion, design philosophy, and intent. A fashion
magazine functions in much the same way, translating vision into a tangible, lasting form.

Some readers may question the premise of this editorial. However, these reflections are
supported by our own internal data, particularly within the photography ecosystem. Even
today, close to 80% of our subscribers continue to choose print over digital—despite our
consistent efforts to promote digital subscriptions for their speed and convenience. While our
digital audience has grown steadily, it remains significantly smaller than our print readership.

And speaking of fashion, print, and enduring icons, this month’s issue features an exclusive
interview with Pamela Hanson—a rare figure whose photographs have graced the covers of
some of the world’s most influential magazines. Alongside her, we spotlight homegrown talent
Sameer Belvalkar, a photographer whose work with leading fashion brands and celebrated
personalities has shaped visual narratives for decades.


In a world chasing the next scroll, the next swipe, and the next trend, print asks us to pause. To
look closer. To engage deeper. Fashion, photography, and print share this singular quality—they demand attention, and reward it with longevity. And perhaps, that is precisely why print continues to matter.

So Until Next Time….Cherish this issue

–

A New Dimension in Fashion – Anai Bharucha

Leave a reply

Anai Bharucha’s artistic vision stems from a variety of places. She has shot a variety of genres starting with fashion, but her personal work is far away from what she does commercially, dwelling on themes of body positivity, wellness, individuality, family and more. Her work has gained international recognition, as she’s worked with brands like Estée Lauder, Reebok, Bodice, Vogue India, Harpers Bazaar and more. Asian Photography caught up with her, talking about her inspirations, vision behind a picture or a picture series, and the ultimate advice that is required for this day and age. Excerpts:

How did you pick up the camera? What inspired you?

I originally picked up a Nikon F70 that my uncle gave me almost 15 years ago in Hong Kong. He used to be a professional sports photographer. I shot a cricket match at the Kowloon Cricket Club (KCC) just for fun, and I remember really enjoying the process of freezing a moment in time. 

My uncle praised my work with so much heart, even though it was probably just average! It gave me a sense of confidence, so I kept shooting. I came back to Bombay and started shooting my friends, and I found far more joy in shooting fashion and people. I started to apply for courses in the UK and New York, as there was nothing in India that was quite so specific in the field I wanted to explore at the time. Fast forwarding, I ended up spending three years in London at UAL. Looking back, I do not believe anyone needs to study photography (at a school), however I will always be grateful for the exposure and world I got to be part of during my time away from home. It gave me a personal sense of style and aesthetic and helped to really mould my work at a time when fashion in India meant celebrity on a white background flanked by wind machines cover shoots. 

 How do you see the role of women evolving in the field of photography?

This is constantly changing, and the percentage of women in the field has definitely increased in the last 10 years. However, I do feel there is still a long way to go within the advertisement or commercial photography world, especially in India.

What are some key elements that make a photograph stand out?

Every image is different and speaks to a viewer in different ways. Some of the things that might tend to catch my eye first are light, perspective, what an image is trying to say with regard to a story or narrative, and sometimes I simply get pulled into an image with leading lines.

What themes or subjects do you love capturing the most, and why?

I’m always inspired by people, the body, human behaviour, spaces, architecture and colours. I started off with fashion, but now see myself pulling further and further away from it when it comes to my personal work. Furthermore, I find myself more drawn to documentary style of work, which ultimately can integrate with fashion sometimes.

Can you describe a project or shoot that holds special significance for you?

I genuinely feel like I let every project consume me. From conceptualisation to the final edits. I sometimes obsess over the smallest details: the light, the mood, the emotion. Some projects stay with me longer than others after completion. But I can recollect a special one. A couple of years ago, I shot for a fashion brand called Reistor. The campaign was titled ‘Wear the Damn Shorts’. We shot a body positivity story with real women from all walks of life. I felt like I had the power to make everyone feel really good and confident about themselves (even if it was just for one day) and it ended up feeling like such a rewarding day.

What are some of the most rewarding moments you’ve experienced as a photographer?

Seeing my work in print, whether it’s on billboards or stores, in a magazine, or in a coffee table book still always makes me feel a deep sense of fulfilment. It’s a moment of validation for ourselves. I don’t know if digital will ever be able to replace this feeling. 

Have you ever felt the need to prove yourself more in this field? 

Yes. Being a woman in a male dominated industry, that feeling never quite leaves you completely. Sometimes it’s faint, just in the background. But on big advertisements sets or film sets with a hundred plus people on-site, it is much more prominent. But I do believe I am able to create some of my best work when it’s just me, my camera and my subject.

What has been the most challenging photoshoot you’ve done, and how did you handle it?

None of my shoots have been super tedious in that sense. I like to maintain a calm, easy environment on set. Sometimes the back and forth with agencies / the clients on post work has been quite challenging and draining. In general, I don’t think there’s any job I regret taking up. Everything is learning for me.

What advice would you give to young women aspiring to enter the photography industry? 

Shoot for yourselves first. Don’t look at what everyone else is doing. We are living in a time when we are overloaded with digital content and everything can start to look and feel the same. Look at photo books instead of social media for inspiration. Travel. And try to find your own style of work through something personal to you – your family, your childhood, the way you see the world around you right now, anything. 

What is one message you want to convey through your photography on Women’s Day?

Be yourself. Use less filters – on social media and in life.