Behind The Lens: My Fashion Photography Workflow
See how the magic happens before the shutter clicks. This is my lab—the lighting setups, the team collaboration, and the raw work that builds a fashion campaign from the ground up.
This is a glimpse into my studio during a shoot. You can see the setup, the team, and me directing from a low angle to get the right perspective. It's a collaborative process, and everyone on set is tuned in to the vision.
A quick look at me setting up the lights. Just being a photographer isn't enough. You need to understand your gear, how to shape light, and how to lead a team to get the shot you've envisioned.
A self-aware moment on set. This shot playfully breaks the fourth wall, showing the model interacting with the tools of the trade. It’s a reminder that even in high-fashion, we can have fun with the process.
A fashion film we shot in New York. This shows the final product of our on-location work, combining different scenes and moods to create a moving story. It's about capturing the vibe of the city and the model.
This video shows the abstract and experimental side of my work. We used flowing fabrics and colored lights with a slow shutter speed to create these painterly, in-camera effects. It's about pushing creative boundaries.
About The Process: Behind the Lens
I keep a 'pitara'—a box of gear and rare light-shaping tools I’ve collected over years of shooting in Tokyo, New York, and Mumbai. When we’re on set, I don't just rely on standard equipment; I pull from this kit to craft specific shadows and textures for your vibe. It’s about building the shot, not just taking it.
How We Build The Shot
Photography is just the final step. The work happens way before that. When you book a session with me, you’re not just hiring a camera guy; you’re getting a full creative team tuned into a singular vision. Whether we are in my Mumbai studio or on the streets of Bandra, the process remains the same: we analyze the light, we set the mood, and we execute.
My Technical Arsenal
I geek out over the gear because it allows me to bend light exactly how I want. I shoot with the Sony Alpha 1, paired with G-Master primes, but the real magic comes from the lighting. I use complex Profoto multi-light setups, optical snoots, and color gels to sculpt the face and create that cinematic, high-contrast look you see in my portfolio. If it's a commercial campaign, we use tethered shooting—you see the results on a monitor in real-time, so we can make adjustments on the fly, bhai. No guesswork.
The Collaborative Vibe
I’m direct on set. I tell my models, 'Chin down, just trust your eyes.' I work with a dedicated team—stylists, HMUA, and lighting assistants—who know how to push boundaries. We aren't here to play it safe. We’re here to create something raw and honest. If you’re coming to me for a standard, 'nice' photo, you’re in the wrong place. But if you want to push for a mood that actually stands out in a magazine or a brand campaign, let's talk.
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