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Finding WHY’s – Sameer Belvalkar

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

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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.

Framing Timeless Elegance – Bharat Rawail

How do you approach storytelling through your images in commercial projects?

In all my projects, commercial or not, I focus on making the subject the heart of the narrative. In still images, for a viewer to connect with the photos, I believe you need to connect with what the person and their expressions are trying to communicate to you at that moment.

My approach is simple: ensuring that the subject feels seen and represented in the best possible way. In all my photos, the eyes are always the centre of attention, followed by the expression and posing. I prefer to keep the face well-lit and make sure the subject feels seen at the moment.

How do you ensure the brand’s narrative aligns with your artistic vision during a shoot?

When working with brands, my goal is to adapt to their narrative, ensuring that their product and story remain the focus. When a brand reaches out to me for a campaign, they are already positive about leveraging my style for their project. Every photo I take must not only reflect the brand’s identity, but also resonate with their target audience.

I ensure the brand’s narrative aligns with my vision to create a balance between creativity and purpose. I approach each campaign by bringing my style and creative sensibilities to merge with the brand’s story and objectives. The aim when platforming a brand in my work as a photographer is to elevate their messaging through my lens while staying true to their essence.

To achieve this, I use various lighting techniques, compositions, and more to highlight the product and support the narrative. I also constantly view the project through the shoes of a customer at various steps in the process, to make sure the photos effectively communicate the right messaging to me.

What do you do when clients push for ideas or concepts you disagree with creatively?

Creative disagreements are inevitable, I think it’s idealistic to expect otherwise. I believe that’s what leads to fresh and innovative outcomes. When clients push for ideas or concepts that differ from my approach, I am a firm believer in teamwork to achieve the end result. Pre-production is where I resolve such differences – it’s where brainstorming, ideation, and mutual decision-making happen. I love to invest time in the prep phase, welcoming ideas and discussing them thoroughly to ensure alignment before we step onto the set. A strong pre-production process should lead to mutual creative decisions; if it doesn’t, the pre-production isn’t complete.

During the shoot, I like to strictly focus on execution while staying open to all possibilities. I make it a point to capture everything: shots from the mood board, shots inspired by the client’s ideas, my own creative interpretations, and lastly, experimental shots.

I also take the time to explain my reasoning behind certain approaches, helping clients understand my process. Often, the vision becomes clearer when the client has a visual reference to see how my approach aligns with their goals. All creative processes have to be collaborative, the intention of finding mutual ground bridges the gap between creative fulfilment and client objectives.

How are fashion trends in different regions influencing your work?

Fashion trends from different regions influence my work by shaping how I adapt wardrobe choices to highlight the subject’s personality. For me, clothes complement the person and express the personality of the subject I’m capturing.

I feel fortunate to collaborate with some of the best stylists in India, whose experience ensures that wardrobes are fresh, on-trend, and authentic to the subject. During pre-production, we work together to strike a balance between trends, the concept, and the subject’s individuality.

Staying updated on trends is invaluable, and collaborating with creative minds keeps me informed about what’s in style. My approach bridges these trends with my own sensibilities to create a look that merges the outfits with the personality.

How do you keep your work fresh and avoid becoming repetitive?

To keep my work fresh and avoid repetition, I make it a priority to find inspiration daily. I spend 15–20 minutes each day exploring platforms like YouTube, Pinterest, Instagram, and Behance, as well as studying the work of DOPs, photographers, and other creatives.

This practice keeps me consistent and creatively stimulated, ensuring my perspective evolves with time. Regular introspection is another key part of my process. I often review my work from the past month or two to track growth, and consider how I could shoot my older work differently today. This helps me refine my style – it helps me recognise elements that resonate deeply with me and areas where I can push boundaries to keep experimenting.

How do you handle creative blocks or periods where you feel uninspired?

When faced with creative blocks, I like to take a mindful approach to ensure I can deliver my best work. When possible, I give myself a break to recharge and return with renewed energy and focus.

Pre-production often helps me reignite my creativity. Collaborating with my team to brainstorm ideas and refine concepts can kickstart a creative flow, turning a challenge into an opportunity for fresh perspectives. If the block persists, I turn to my hobbies – I indulge in my favourite meals or take short holidays to refresh my mind.

However, I know that breaks aren’t always feasible. On such days, I focus on the outcome and commit to working through the challenge. By focussing on the details of a single idea and meticulously planning its execution, I have found I feel better equipped to handle the block and deliver work that stays true to my standards. This balance of self-care, collaboration, and discipline ensures I stay creatively resilient.

What’s the most valuable lesson you’ve learned from a failed project or a project whose result didn’t meet expectations?

I was recently collaborating with a renowned stylist. While the team was talented, the final result felt disconnected and didn’t align with my usual standards.

In hindsight, I realised that my eagerness to impress had caused me to sideline my creative instincts and decision-making process. Overwhelmed by the opinions of the stylist, talent, and team, I failed to protect the creative space needed to execute my vision. The result was a confused outcome that lacked the authenticity and quality I strive for.

Since then, I’ve learned the importance of holding my ground during a project, no matter how many opinions come my way. While I welcome creative inputs as valuable feedback, I’ve stopped aiming to please everyone. If someone chooses to work with me, it’s because they trust my style and vision. Confidence in my own expertise and experience is crucial to delivering work that meets my standards and stays true to my creative identity.

How important do you think social media is for a photographer’s career today, and how do you leverage it?

Social media has been a game-changer for all creatives. What started as a platform for sharing personal lives has evolved into an irreplaceable tool for showcasing work and building professional credibility. I view my Instagram account as my portfolio – it’s a space to highlight my work and establish legitimacy. Today, your Instagram profile undeniably determines how people perceive your professionalism and reliability.

As we move into an increasingly digital era, social media has become indispensable. Platforms like Instagram not only allow photographers to build their portfolios, but also enable them to grow as freelancers and business owners. It’s a great way to connect with other creatives, find inspiration, and engage with potential clients.

In fact, much of my early business came through Instagram, helping me build a foundation before my work gained recognition outside the platform. Leveraging social media strategically allows me to expand my network, showcase my work, and stay relevant in a competitive industry.

How do you keep learning and growing as a photographer? Do you attend workshops, follow online courses, or have any mentors?

As a self-taught photographer, my learning, and growth have always been rooted in curiosity and experimentation. My journey into photography began spontaneously during a vacation, and since then, I’ve embraced a hands-on, trial-and-error approach to mastering the craft. I firmly believe that exploring on your own often leads to the most exciting discoveries.

I make it a point to experiment during every shoot, constantly pushing the boundaries of my style and comfort zone. Collaborating with a diverse range of creatives also plays a significant role in helping me refine my perspective and explore new ideas. I frequently study the work of international photographers, paying close attention to their lighting techniques and creative processes.

By immersing myself in global influences, I like to ensure that my work remains relevant and timeless.

What advice would you give to aspiring fashion photographers who are just starting out in the industry?

My advice to aspiring fashion photographers is simple: just start. Pick up your camera and commit to taking pictures that you like. The key is to learn and create consistently. Initially, don’t confine yourself to a specific style – explore and experiment. Shoot everything that interests you, from landscapes and food to portraits and fashion. Finding your unique style takes time, often years, so be patient.

Don’t be discouraged if your early work doesn’t match the quality of your inspirations. It takes practice and persistence to close that gap. Focus on staying consistent and disciplined; these qualities are typically underrated in creative fields, but are essential for long-term growth.

Dedication to your craft and your creative development will accelerate your progress. Every shoot, every experiment, and every challenge contributes to shaping your perspective as a photographer. Stay curious, stay open, and keep pushing forward – your journey is what will set you apart in any industry.