Tag Archives: professional photographer

Travelling The World’s Gullies – Shreepad Gaonkar

Shreepad Gaonkar was an avid cricketer when he picked up a camera for the first time to document his journey and, later on, a tournament. What has transpired since then, is an inspiring spectacle, as he’s travelled over 34 countries, working with various tourism boards. Asian Photography spoke to him about ethical and responsible travel photography, bucket shots, challenges and more. Excerpts:

What inspired you to take up travel photography?

Ever since I was a kid, I was into cricket, which I played for over 18 years throughout school, university, club and corporate cricket. I completed my B.Sc. IT degree and later did a Sports Management degree working for six years in IPL as an Operation Manager across 11 cricket stadiums in India. I was playing club cricket in Mumbai, organising grassroot cricket tournaments, coaching under 14 kids and also working in IPL & ISL at the age of 22. This indirectly introduced me to documenting my travels on the phone over the years until one day I realised that I was good at it and people started appreciating it on social media. Eventually, I ended up borrowing my friend’s DSLR just to understand what a camera is, how to operate, what settings to set, etc. My hunger grew with every small thing I loved about the camera, which led me to my first official shoot for a cricket tournament — capturing a T20 match at DY Patil stadium, which would also open my doors for travel. So my passion for cricket and my curiosity for documenting and travelling made me get into photography.

What are some of the biggest challenges you face as a travel photographer? Have these changed over the years?

Firstly, I believe travel photography/cinematography is not everyone’s cup of tea, I have seen the best DOPs struggle when it comes to a guerrilla shooting or a “run & gun” travel shoot which has challenges that come out of nowhere. You have to adapt to situations and luckily, my previous work culture from managing IPL and major leagues and handling immense pressure 24×7 really made me tough mentally. Now, when I have challenges, I always look at it as with my management brains rather than me being a photographer. Some of the biggest challenges I face is while taking drone shots in India, the process is really way long to ideally secure aerial permissions as compared to other countries. I have been to 34 countries and the process to get the permits overseas is much easier even for a beginner or a tourist than taking permissions in India, that really hurts.


How do you balance travelling light while still having the right equipment?

I honestly film a lot more than photography, but I travel with just a couple of lenses, and right now, using a Sony A7S3. The process is to have variable lenses with a combination of a prime either 35mm or a 50mm. I prefer filming handheld more than using a gimbal, as handheld gives you more natural and dynamic perspective. I add one drone, usually my Mavic Air 2s which is lighter than newer drones and this specific drone has travelled with me to 26 countries, so it works out to be the best for me. Also over the years, I’ve realised that you actually don’t need a dozen equipment when you travel as long as you are clear of what you want as the end output. I film as per the edit, as I edit myself, so when I am on ground filming I have an advantage of choosing what I want to shoot and how the film ought to look like.

Over the years, has the story behind the shot taken a backseat over aesthetics?

Yes, the audience and the brands I work with at times are very specific with what they want rather than what inputs I can give as an artist. I believe a lot of photographers and videographers will agree with this – oftentimes, we like to keep a raw and natural touch to the art with minimal post-production, but the focus has been shifting on the other side nowadays. When  working for a lot of tourism boards, I always suggest to film in the natural environment with more focus on candid moments. This really brings out the best visuals, which looks more natural and real rather than appearing staged. Yes, aesthetics are important, but It’s a superb feeling to make a non-fiction as a fiction, the clients really like it, and it brings out the story really well.

Has the advent of “Instagram photography” influenced how you shoot pictures?

I’ve been on Instagram since 2013 and a lot has changed over the past 11 years. I would say it has played a critical role in my career, as it really shaped my thought process over the years. In a way, yes, it influenced me in a lot of ways. It inspired me to make content whether it is reels, carousel, stories and put forth my perspective to the world. Eventually adapting to the world and blending my style with it, but the intent was always learning something new and less focus on the numbers and followers. A lot of my  colleagues appreciate my work and mention that I should have a million followers, but I always stick to the quality of the content rather than just the quantity. As I firmly believe that what matters the most for me is I do justice with my perspective and the final output, rest will follow.

Is there a place you keep returning to because of its photographic appeal?

Filming and capturing the Ganpati festival in Mumbai and Lalbaug. Wherever I am in the world, I make sure I never miss filming Ganeshotsav. I have been following this ritual for 10 years, and have made three official YouTube songs, countless reels and some epic memories. I have learned more on the streets of Lalbaug than anywhere in the world. The Lalbaug chaos helped me shape myself as a multitasker as you have very limited time to do everything — photos, videos, flying a drone, video editing and then coming back home to craft the entire thing.

What are your thoughts on ethical travel photography?

We should be ethical in general in everything we do. The discipline, the passion, the values I learned on the cricket field has taken me places. Being a sportsperson, I’ve always had a certain way of approach in doing things and I implemented them on & off the field – which indirectly helped me reach where I am. Not that I have achieved a lot, I am still learning. Respecting people, culture, different environments is an integral part of travel photography/videography. For instance, I always try to communicate to people if I badly want a portrait or If I see some unique character on the streets I take their consent before filming, and how do I do it? I just give a smile if they greet back, then start the conversation. It works at times and if it doesn’t, I simply say “it’s alright, no worries”. Moreover, we should always be careful of what environment we are filming in. For instance, I was filming for Israel Tourism at Dead Sea and I had the official permission to fly the drone for one hour, but I only flew for 10 minutes to get the overall vibe, considering the border issues. So being proactive but what environment we are filming is really very important.

With over-tourism being a growing issue, how do you practice responsible travel photography?

Yes, it’s a matter of concern. We should be mindful of what we do, there are creators who will risk everything to take photos and videos just for views and numbers, but we ought to think about other outcomes too. Another practice is we should try to film during the non-peak hours especially if we are filming in different countries so it doesn’t disturb or create unnecessary hassle. Highlights should be on the culture, history, and the story, not just the aesthetics.

Where do you see the future of travel photography going?

The future of travel photography is evolving fast, influenced by technology. We should thrive for more authentic content, immersive story telling capturing the real essence of the place. I am really super impressed by the immersive videos made for Apple Vision Pro and really looking forward to getting into that, which is the next step of making interactive videos using the VR and 360 gear.

Do you have a bucket shot?

Yes, I do have a bunch of them. Having travelled in over 34 countries, I wish to at least do 190 in this lifetime. Last year I was in Lapland in Finland and I saw the Northern lights for the first time, but that was like just for 10 minutes, and in that time, I just captured a couple of shots. I really hope to do it again and capture a time lapse of the Northern Lights and an aerial shot of me with the active volcanoes in Iceland.

The Art of Capturing Expeditions – Alex Stead

Alex Stead is a professional photographer known for capturing breathtaking landscapes, adventurous expeditions, and dynamic lifestyle imagery. With over a decade of experience, his work spans from the Arctic to the deserts, blending storytelling with stunning visuals. He has collaborated with global brands and tourism boards, crafting compelling narratives that inspire wanderlust. He also has a deep passion for wildlife and remote expeditions. Asian Photography caught up to him to talk about his background, storytelling, expeditions, and the evolution of travel photography.

Do you remember the first photo you ever took that made you think, “This is what I want to do”?

Growing up, I’ve always wanted to be a photographer, but I didn’t really know that it could be a proper career or that I could make a living out of it. I spent a lot of my childhood wandering London with my camera, capturing the city. In 2012, it was the Olympics which were being held in London, and we’d managed to get a few tickets to some events. One of which was the Men’s 200 Meter with Usain Bolt, and we luckily had pretty good seats. So as a 15-year-old with a big lens I had borrowed, I managed to get some great photos of the event. While I’d know for a while that I wanted to be a photographer, this gave me great confidence that it could be something I could achieve. Even though I never went into sports photography, I tried all areas of photography before finding travel, lifestyle and automotive which is mostly what I do today.

How do you decide what stories to tell through your photography?
When deciding what stories to tell through my photography, I consider several factors. I think about what resonates personally with me and what stories I want to convey. This could be an intriguing destination or a theme that has caught my interest. I also reflect on the relevance of the story to my audience or the client, looking for topics that might inspire or evoke a strong response. Additionally, I consider the visual elements available, such as lighting, composition, and colour, ensuring they can effectively communicate the intended narrative. I also want to explore as much of the world as I can, so I look for intriguing places which I’d like to capture.

What’s the hardest thing to capture in travel photography that people might not realise?
I think travel photography in general is all quite hard and easy at the same time. It’s very easy most of the time to travel to a country and take a photo, like a lot of normal tourists do. However, it’s a very different and challenging job to capture a location in a way which grabs someone’s attention on the front of a website or a magazine. It’s hard to always create captivating images when it’s not always ideal conditions, so your creativity always has to be switched on to the max at every location. To make sure you get the most captivating photo, the best composition, you are in the right place for the best light which could only last a few seconds. 

I think overall as a travel photographer you have to master so many photography skills and environments. For example, I could be one week in Antarctica and the next in the desert, so I very much learnt over the years how to work in different environments and that’s something which people don’t realise is hard. How you have to adapt your photography skills to the environment very quickly. Not to mention how physically hard sometimes photography can be, I usually carry about 15KG of camera gear. Perhaps more if I need big lenses for wildlife.

How do you choose your next destination to photograph?
Most of the time the places I end up aren’t down to me, but it’s down to my paying clients. Of course, I spend a lot of my time pitching projects or ideas to clients, however the creative teams in their agencies or the brand HQ make the decision where a project will happen. That said, I love to have more personal projects where I reach out to tourism boards or brands in certain countries and put together a project there. In the future, I want to spend a lot more time in the Arctic and the Antarctica regions exploring, so I’ve been pitching ideas to expedition companies.

I also love capturing wildlife, so I’m constantly pitching ideas around that, however there isn’t a huge amount of income from wildlife photography, so these are mostly personal projects.

Do you travel with a plan in mind, or do you let spontaneity guide your photography?
I always do a lot of research before going on a trip, I really want to get to know the places I’m going before I set off. I spend a lot of time on Google Maps and street view understanding the environment. Especially if I’m shooting for a client, we have a lot of locations and ideas in mind, so we are on the same page about what we are producing. That said, things don’t always go to plan, or you find a hidden gem which didn’t come up in your research, so it’s good to be spontaneous at times and see where it takes me. When on location we always try to find a good local guide and that really helps us get the most out of the trips I do. I love going to countries where you can self drive and explore though. Places like New Zealand have been one of my favourites to go to as you can just road trip and explore with being spontaneous.

What do you do when things don’t go according to plan?
I’ve learned over the years how to be very adaptable and embrace change quickly. Before a trip I do a lot of research on the places I’m going and always have a backup plans if things go wrong. A lot of the time on travel projects we don’t book accommodation till the same day and change our itinerary constantly with the weather. 

Of course, this is not always possible in more remote areas, however it certainly helps to be as adaptable as possible. Sometimes, even with all of this, you don’t always get the most ideal conditions for the photos you imagined creating at that location. However, with a lot of my work if the weather is “bad” I lean into the more interesting weather. I think as a travel photographer you learn quickly to shoot in all weather, lighting, and environment conditions. Within that, looking for more interesting compositions, for example. 

What’s one piece of gear you can’t live without?
For me, I use a polarizer in a lot of my work, so this is something which I couldn’t live without. A polarizer reduces reflections and glare, intensifies colours, and darkens skies. I think it’s a great way of improving your daytime work and making the light less harsh. 

How do you see travel photography evolving in the next decade?
It’s hard to say where I think travel photography is going, however the changes I’ve seen in my 10+ years of doing this, travel photography is evolving a lot more into short format video. With the rise of social media, 9×16 video is highly popular, so I see a lot of photographers including myself adapting to this medium and telling stories through this. One thing I really hope stops is the rise of AI-generated travel content. However I see this growing and growing sadly to a point where we can’t tell what is real and what is fake.

What’s your best photo till now and the story behind it?
I don’t think I can say I have one “best photo”, however one I took about six years ago really still stands out to me. I was in Iceland on a long term project for a company and was watching sunset at the iconic black sand beach lookout. It was I believe late April/ early May so was coming towards puffin season, however so far on the trip and the hours being at this view point we hadn’t seen them. However, as it got closer to sunset, they came out and were diving off the cliff to go fishing. I noticed two puffins coming together quite often so I laid down and slowly moved closer trying not to disturb them. I also changed lenses to a much wider one, most people shoot puffins with a 70-200 mm, but for this I’d got a 14-24 mm to try to capture the sunset and landscape.

What’s one thing you wish you knew before you started? 

I wish I knew a lot more about the business side of photography. It’s not an easy industry, and actually 80% of my time is spent behind a desk running the business side of things.

Framing Timeless Elegance – Bharat Rawail

Bharat Rawail is a prolific fashion and commercial photographer, capturing images with an element of simplicity with elegance. He has worked with brands, modelling agencies and celebrities in his career of over 15 years, aiming to create stunning photos with immaculate detail. He is renowned for his style, and he is a brand ambassador for Nikon and Nanlite.

Asian Photography spoke to him about storytelling, vision, trends, creative blocks and more. Excerpts:

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?

© Bharat Rawail

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.

© Bharat Rawail

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?

© Bharat Rawail

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?

© Bharat Rawail

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?

© Bharat Rawail

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.