Tag Archives: portrait photography

Finding WHY’s – Sameer Belvalkar

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

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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.

A New Dimension in Fashion – Anai Bharucha

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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.

Nikon NIKKOR Z 50mm F/1.4 Lens Review

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Hi and welcome back to Asian Photography and today is special. Special because we are going to review Nikon’s latest prime lens, the 50mm F/1.4, which is only their second 1.4 prime lens for the Z mount, the first one being the 35 F1.4, we have reviewed that one as well.

When I see this lens, then I am wondering – is Nikon trying to redefine the market one lens at a time? Because there is one thing that Nikon is doing much better than the competition. Priced at ₹80k while the competitors are ₹1.3 lakh+

Whose it For?

The 50mm is probably my favourite lens and for the ones that’ve been shooting for a while, these were the lenses that everyone would invest in, before brands started giving the options for the 24, 35mm, etc. The beauty of this lens is that it is versatile and can be used for a variety of applications – street photography, portraits, weddings, etc. And it is built like that as well.

Look, Body & Feel

At first glance you can instantly feel that this lens is light and compact as compared to other 1.4 lenses. It weighs 420g with a filter size of 62mm. It feels well-built and premium, which means that the materials used are good and at this price point it is weather sealed.

And when attached to the Nikon Z6III, which we have used to review this lens, it feels well-balanced.

Feels well-balanced with Z6 III – still from our review video

This lens has very minimal controls. There is one ring set to control focus, and another ring you can set to do other functions like exposure compensation in-camera. And that’s it. There’s no dedicated aperture ring, no more custom programmable buttons, no AF-MF switch, and no other bells & whistles. It also doesn’t come with their VR image stabilization technology.

With that in mind, let’s move on to the image quality tests, and let’s see if they have cut any corners.

Image Quality

The pics from the lens are good. In daylight the pictures are sharp and well-detailed, yes they aren’t the sharpest on the edges but the quality that it is able to deliver is great.

In lowlight, the image quality is similar to daylight with adequate amount of sharpness throughout the frame, more in the center and tapers off in the sides.

Autofocus

Even the autofocus performance of the lens is good. This has a stepping motor and at most it works fast and silent, which makes making pictures very easy and stealthy. So be it day time or night time, due to its wide aperture this lens is super fast at acquiring focus.

Bokeh

With a prime lens you are always looking for those beautiful bokeh and this lens doesn’t disappoint. The bokeh are well rounded and nice. In some cases, you do see the onion or egg shapes but overall they are very pleasing to the eye.

CA Value

As usual, we tested the lens through QuickMTF and got a CA value of 0.60 pixels, which at this price point is decent. This is one area where more expensive lenses might have the edge on this one, but regardless, it can be corrected in post very easily.

Lens flare and ghosting

There is very minimal lens flaring and ghosting in the lens and if you use it smartly then it can actually give you some creative output.

Conclusion

So what do we think about the NIKKOR Z 50mm F/1.4 lens? Nikon has possibly hit the sweet spot with this lens. You get all of this performance in a compact and light body for a price of Rs. 80k. And in comparison there are options from the competitors that start at ₹1.3 lakhs and I know what you are thinking. Nikon also has that option with their F/1.8 S lens. But this also makes me wonder why would a consumer buy this when they can get a S lens for ₹50k?

Check out our video review:

Vivo India Launches Second Edition of Vivo Imagine Smartphone Photography Awards

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Vivo India has recently announced the second edition of the vivo Imagine Smartphone Photography Awards in celebration of World Photography Day. This initiative is aimed at encouraging photographers to explore their creativity and showcase their unique perspectives using smartphone cameras. Esteemed filmmaker Zoya Akhtar will lead the jury, which also includes renowned photographers Vineet Vohra, Rakesh Pulapa, and Aamir Wani.

The awards feature six distinct categories: Nature & Wildlife, Architecture, Portraits, Night & Light, Motion, and Street Photography. Photographers can submit their entries on the official website from August 19 to September 8. Out of all submissions, 30 finalists will be selected by the jury. These finalists will then participate in a final challenge, with their submissions further evaluated.

Winners will be celebrated at a grand finale event in Mumbai. The grand prize includes a cash reward of INR 5 lakhs, while the winners of each category will receive a vivo X100 Pro smartphone. Finalists will also have the opportunity to attend exclusive photography masterclasses led by the jury members to refine their skills.

Geetaj Channana, Head of Corporate Strategy at vivo India, highlighted the theme “Joy of Imagination,” emphasizing the brand’s commitment to merging technology with artistic expression. Zoya Akhtar expressed her excitement about discovering new talent through this initiative, which celebrates the power of visual storytelling.

Capturing the Soul of the Streets: A Guide to Street Portrait Photography

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In the dynamic world of photography, street portrait photography stands out as a fascinating and immersive genre. It’s an art form that captures life in its most candid and raw form, portraying the essence of humanity against the backdrop of the bustling streets. This guide is meticulously crafted for both beginner and intermediate photographers who aspire to delve into the captivating world of street portrait photography. Here, we will explore a myriad of tips and tricks that will not only elevate your photography skills, but also enhance your understanding and appreciation of this profound art form.

Understanding Street Portrait Photography

Street portrait photography is more than just taking pictures of people on the streets. It’s about storytelling, capturing emotions, and depicting the vibrant tapestry of urban life through the lens of your camera. Unlike staged portraits, street portraits are spontaneous and authentic, offering a glimpse into the soul of society.

1. Mastering the technical basics

Before diving into the streets, it’s crucial to have a firm grasp of your camera’s settings and the basics of photography. Understanding exposure, aperture, shutter speed, and ISO will allow you to adapt quickly to varying lighting conditions and capture sharp, well-exposed images. Practice shooting in manual mode to gain full control over your photographs.

2. The right gear for the job

While the best camera is the one you have with you, certain gear can make street portrait photography more effective. A versatile lens, such as a 50mm or 35mm prime lens, is ideal for capturing the essence of street life without being too intrusive. These lenses also offer excellent image quality and the ability to shoot in low light conditions. Additionally, a camera with a silent shutter mode can be invaluable for taking candid shots without drawing attention.

3. Building a connection

One of the most significant aspects of street portrait photography is the connection between the photographer and the subject. Whenever possible, engage with your subjects before taking their photograph. A simple smile, nod, or a few words can go a long way in making them feel comfortable and more open to being photographed. This connection often translates into more natural and expressive portraits.

4. The art of composition

Composition plays a pivotal role in the impact of a street portrait. Be mindful of the background and surroundings to avoid clutter that can detract from the subject. Utilise compositional techniques such as the rule of thirds, leading lines, and framing to create more engaging and balanced images. Always be on the lookout for interesting juxtapositions and contrasts that can add depth to your portraits.

5. Capturing emotions and stories

The heart of street portrait photography lies in its ability to convey emotions and stories. Strive to capture the expressions, gestures, and interactions that reveal your subject’s personality and mood. Be patient and observant, waiting for those fleeting moments that can transform a simple photo into a powerful narrative.

6. Lighting is key

Natural light is a street photographer’s best friend. The golden hours, early in the morning and late in the afternoon, offer soft, flattering light that can enhance the mood of your portraits. However, don’t shy away from the challenges of harsh midday light or the dramatic shadows it can create. Experiment with different lighting conditions to discover unique perspectives and moods.

7. The importance of ethics and respect

Respect and ethics should be the foundation of your street photography practice. Always consider the dignity and privacy of the people you photograph. If someone indicates that they do not wish to be photographed, respect their wishes. Be aware of cultural sensitivities and legal restrictions, especially when travelling to new places.

8. Post-processing techniques

Post-processing is an essential step in realising your vision for a street portrait. Adjusting exposure, contrast, and colour can help to bring out the best in your images. However, strive to keep edits minimal to preserve the authenticity of the moment. Software like Adobe Lightroom and Photoshop offers powerful tools for refining your photos while maintaining their natural feel.

9. Continuously learning and evolving

Street portrait photography is a journey of continuous learning and growth. Seek inspiration from the work of renowned street photographers, participate in workshops, and immerse yourself in photography books and magazines. Most importantly, practice relentlessly. The more you shoot, the more your skills and unique style will develop.

10. Sharing your work

Sharing your photographs with the world is not only rewarding, but also an excellent way to receive feedback and gain exposure. Utilise social media platforms, photography forums, and exhibitions to showcase your work. Engaging with the photography community can provide valuable insights, inspire new ideas, and open doors to exciting opportunities.

11. Embrace spontaneity

Street photography thrives on spontaneity. While it’s good to have a plan or a concept in mind, be open to the unexpected. Sometimes, the most compelling images are born from unplanned moments. Let the rhythm of the streets guide you, and be ready to capture whatever comes your way.

12. Focus on the eyes

In portrait photography, the eyes often hold the most emotion and can draw viewers into the photo. When possible, focus on the eyes of your subject to create a powerful connection between the viewer and the photograph. This simple technique can dramatically increase the impact of your portraits.

13. Experiment with perspectives

Don’t be afraid to experiment with different shooting angles and perspectives. Crouch down, climb up, or shoot from the hip to find unique vantage points that offer fresh takes on everyday scenes. Changing your perspective can also make your subjects feel more at ease, capturing them in a more natural state.

14. Utilise reflections and silhouettes

Reflections in windows, mirrors, and puddles can provide a creative and often abstract dimension to your street portraits. Similarly, silhouettes can create mystery and drama, adding another layer to the narrative of your image. These techniques can help your work stand out and evoke stronger emotional responses.

15. The decisive moment

Henri Cartier-Bresson, a pioneer in street photography, introduced the concept of the “decisive moment”. This is the idea that there exists a perfect instant to capture an image that encapsulates the essence of a scene. Cultivate patience and keen observation to recognise and capture these fleeting moments.

16. Understand the power of colour

Colour can significantly affect the mood and feel of a photograph. Warm colours can evoke feelings of happiness and comfort, while cool colours can convey melancholy or calm. Pay attention to the colours in your scene and consider how they contribute to the story you’re trying to tell.

17. The role of Black and White

Black and White photography can strip away distractions and focus the viewer’s attention on the subject, textures, and composition. It can also lend a timeless quality to your images. Experiment with black and white conversions in post-processing to see how it changes the mood and impact of your portraits.

18. Capture the environment

While the focus of portrait photography is often on the individual, the environment can play a crucial role in telling a richer story. Include elements of the surroundings to provide context and depth to your images. This approach can help convey more about the subject’s life and the essence of the location.

19. Learn from critique

Be open to critique from fellow photographers and enthusiasts. Constructive feedback can provide new perspectives on your work and highlight areas for improvement. Learning from critique is essential for growth and development in your photographic journey.

20. Document your progress

Keep a record of your work and review it periodically. This will not only show you how much you’ve grown, but also help you identify consistent themes and subjects in your photography. Understanding your own progress and interests can guide your future development and refine your personal style.

Embarking on your journey

With these additional insights, your toolkit for street portrait photography is now richer and more diverse. Remember, the essence of street photography lies in capturing the beauty of everyday life, the unguarded moments that reveal the depth of human emotion and connection. Each point in this expanded guide is designed to encourage you to explore, experiment, and express your unique vision through the lens of your camera. The streets are a canvas, and you, the photographer, are the artist. Embrace each opportunity, learn from every shot, and continue to share the world through your eyes. The journey of street portrait photography is endless, filled with growth, discovery, and boundless creativity.

– Sanchit Mishra