Tag Archives: photography insights

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

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.

Chasing Timeless Traditions – Roshani Shah

How Did Your Pursuit Of Photographing Festivals Begin?

My journey with festival photography began with Ganpati celebrations in Mumbai, and soon after, the Pushkar Camel Fair in 2017. Being in the midst of such vibrant crowds made me realise how diverse and beautiful India truly is—each region, each community, each tradition is so unique. What started as curiosity soon became a passion, because festivals gave me an opportunity to experience India beyond my immediate surroundings. They aren’t just events, they are living stories of people, culture, and emotion and that is what pulled me deeper into festival photography.

What Is Your Favourite Festival You’ve Shot So Far?

Ganpati has always been close to my heart. I’ve been documenting it for nearly a decade now, and every year it feels just as powerful and energising as the first. There’s an unmatched sense of positivity, the colours, the music, the smiles, the devotion. It’s a festival where you truly feel the city breathing in rhythm with its people.
Another festival that stands out for me is Pandharpur Wari. The warmth and openness of the people, the way they welcome you into their journey, and the respect and safety I’ve experienced as a woman photographer there makes me deeply connected to it. When you feel safe and grounded, your creativity expands, you stop worrying and start seeing more stories. The connection with these festivals are different, and that’s why Wari, alongside Ganpati, remains one of my absolute favourites.

What Is The Ratio Of Documentary/photojournalistic Photos To Creative Photos You Typically Shoot At A Festival?

I would say the ratio is about 50-50 between documentary-style photos and more creative photos. The documentary side comes into play mostly during cultural events or festivals, where I focus on capturing the in-depth essence of traditions, rituals, and the atmosphere. On the other hand, my creative work leans more towards street style and daily life whether it’s a minimalist approach or observing the everyday rhythm of people around us. Both approaches balance each other, and together they shape the way I tell stories through photography.

How Do You Prepare Mentally And Technically Before Attending A Large-scale Festival?

Preparation is both mental and technical. Mentally, I research and visualise the crowd, the flow, and the energy of the festival, this helps me get into the right headspace. Technically, I prepare everything down to the smallest detail: what gear to carry, how to protect my camera, what attire will allow me to blend and move freely in the crowd, even the placement of my bag (always in front in crowded areas). Every location demands its own approach, whether I’m blending into the colours of Rajasthan or preparing for the long walks of Wari, I make sure I’m comfortable enough to stay present and focus on capturing stories.

What Is The Most Unique Spectacle You’ve Witnessed And How Did You Capture It?

One of the most unforgettable spectacles I’ve seen was during a Ganpati festival in a village, to visually see the entire village come together in unity. Dozens of Ganpati idols were carried on people’s heads, all moving towards immersion. Just before the visarjan, they formed a huge circle, placed the idols in the center, and performed the final Aarti. The sight of hundreds of villagers in traditional attire, the glowing Diyas, the chants, the golden light, it was overwhelming. I barely had time to think, I just lifted my camera and clicked, making sure I didn’t miss that fleeting but extraordinary alignment of people, culture, and nature. That frame remains etched in my memory forever.

What Is One Thing You’d Do Differently If You Were To Start Over?

If I were to start over, I’d dive even deeper into the idea of connection earlier in my career. Over the years, my ongoing project “Diptych” has taught me how everything around us is interconnected from patterns to traditions, from rituals to human emotions. The more I travel and document festivals, the more I see these invisible threads tying people and places together.
Looking back, I realise that embracing this perspective earlier would have helped me refine my storytelling sooner. But at the same time, perhaps it was necessary to evolve gradually, to notice, and then to connect the dots through experience.

What Is Your Bucket Shot?

Varanasi has always given me countless frames, especially of the Ganga Aarti, which I’ve photographed from almost every possible angle. But one day, I challenged myself to see it differently to shift focus from the grand scene to the smaller, symbolic elements which they have in Aarti.
That’s when I created what I consider one of my bucket shots: a priest holding an incense stick, with a line of smoke rising perfectly in front of his eyes, almost as though it was drawn there intentionally. It was one of those microseconds that you can’t plan—not a moment before, not after—only then. For me, that photograph embodies the beauty of patience, timing, and observation, and it will always remain special.