Behind the Scenes: My Photography Process
See exactly how I build a frame. From lighting choices like the optical snoot to directing a model, this is the raw work behind my final fashion and commercial shoots.
Here’s a full breakdown of a lighting setup. I explain how we use an amber magnum reflector, an optical snoot, and strip boxes to create a multi-layered, colorful look. You can hear me directing the model: "Chin down, bhai, only on the eyes."
A quick glimpse of me and the team at work. This is the reality of a shoot, a lot of small adjustments and collaboration to bring the 'Neo-Baroque Noir' vision to life.
This BTS video shows the energy on set for a colorful, high-fashion shoot. You can see the full setup with the grey backdrop, multiple lights, and the team working together to get the shot.
About Behind the Scenes: My Process
On my sets, we don't just point and click. You’ll notice in the videos how I use an amber magnum reflector or an optical snoot to build the image layer by layer. It’s not just about the gear; it’s about directing the gaze. If you hear me saying, 'Chin down, bhai, only on the eyes,' that’s me cutting the noise to focus purely on the intensity of the shot.
Photography isn't magic. It's a series of technical decisions. In the videos on this page, you’ll see my 'pitara'—a literal box of findings like Fresnel sheets—that I pull from when the vision needs a push. I don't believe in generic shoots where everything is pre-planned to death.
If we’re doing a high-fashion editorial, we are using tethering via Capture One to get instant, agency-level feedback, not guessing on a back-of-camera LCD. Whether it’s Noir, commercial beauty, or jewellery campaigns, I’m obsessed with the light. I strip back the distractions, use my strip boxes and snoots to sculpt the face, and direct the model until the emotion in the eyes is absolute.
It’s messy, it’s loud, and it’s a full-team effort with my stylist and MUA. You aren't just hiring a guy with a camera; you’re stepping onto a set where we work until the light hits perfectly. If you want a shoot that looks like it belongs in Hunter or Mob Journal, this is how we get there.
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