Self-taught photographer Shreyans Dungarwal has worked in editorial, fine art, fashion, and beauty photography for more than ten years. His path demonstrates passion, perseverance, and never-ending learning. It starts with his early days of experimenting with a Sony DSLR and his current roles as a Profoto Mentor and Sony Community Influencer. His work has appeared on the covers of prestigious magazines and has highlighted well-known models, celebrities, and international companies. Shreyans shares insights on lighting, creativity, and client rapport in this interview.
1) You’re self-taught and have built a decade-long career in photography. What first drew you into this journey?
Back then 2008, I was actually a tattoo artist. My uncle had bought one of the first Sony translucent digital SLRs, but he barely used it. I picked it up out of curiosity and instantly got hooked. At that time, I didn’t even know what RAW was. I was just shooting JPEGs on full auto, but seeing the images pop up on that little screen gave me such a rush. Even before that, I was obsessed with my Nokia N73 because it had a Carl Zeiss lens. Honestly, that phone camera felt like magic to me. Once I got my hands on the Sony, I couldn’t put it down.
No one really guided me in the beginning until I met my college senior, Praveen, who showed me the basics and little tricks. The funny part is, I now see those same tricks going viral on Instagram reels, and it makes me laugh. That’s the beauty of photography. Every day there’s something new to learn, and that’s what keeps me in love with it.
2) Your portfolio spans editorial, product, fine art, analogue, and fashion film. How do you approach each genre differently?
Like I said, photography is fun and every day brings something new to learn. I’m a sucker for learning. I started in digital photography, but by 2017 I realized I wanted to understand film how to shoot, how to develop it. I don’t get too caught up in the physics, but I care about the craft and the process.
I’ve always loved environments where I can control light. Early on, I even joined a theater company so I could shoot candid images backstage. That’s where I was asked to handle the lighting, and I had no idea what I was doing. My mentor, Shakir Mohammad, was a gaffer there, and he taught me the basics: top light, backlight, flickers, spotlights, colors, and how each introduces a character. I was fascinated. From then on, I never looked back. I carried those lessons straight into my photography. Fashion, editorials, films… they all let me experiment with shaping light, and that’s what inspires me every single day.
3) Your editorial and magazine work has appeared on leading covers. In your view, what makes a strong image stand out in editorial photography?
There are so many layers to this, and honestly, there’s no rulebook anymore. The world of editorials is weird. You’re called an experimentalist if you do something new. Some people love it, others don’t. What makes an image stand out will always keep changing.
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4) Fine art allows for more personal expression. What themes or emotions do you enjoy exploring through fine art projects?
The mind of an artist is always in a fantasy world. I still haven’t shot many of the images I carry in my head, because social media floods us with so much incredible work that we sometimes lose touch with our own ideas.
I naturally lean toward darker themes, where I keep my models deeply connected to me and not distracted by anything else. My style keeps changing like seasons. I can never stick to one type of work. If I repeat myself, I feel stale, and I don’t ever want to get bored of my own photography. So I’m always chasing something different, always hustling.
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5) Lighting is central to your work. How do you harness it differently to evoke mood and narrative across genres?
I think I just love lighting too much. These days, I light according to the face I’m working with. The mood comes second. It’s more important that the subject and the outfit look great in that lighting. Once that’s right, then I start building the mood. Editorials are where you can break rules, make something look “wrong,” and still have it turn out brilliant.
6) You’ve photographed celebrities and top models. How do you establish rapport and comfort quickly to capture genuine emotional expressions?
This is very important. I could write a book on it! For a photographer, it’s crucial to take charge of the shoot. Don’t be creepy. Don’t take selfies with them. Don’t act starstruck. Instead, talk to them. Crack a joke, share a funny incident, talk about everyday things like your mom, dad, or friends. Don’t boast about yourself. And whatever you do, be real. People know when you’re faking it.
When working with celebrities, time is limited, so I even check with their managers beforehand. Should I call them by their first name, or add sir/ma’am? That’s very important because some people prefer formality. Also, appreciate their look the moment they walk in, and make sure your first tethered shot looks incredible. If they see a great image right away, you’re good to go. Never be nervous.
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7) As someone known for strong client relationships, both creative and professional, what’s your approach to ensuring clients feel valued while remaining artistically fulfilled?
These days, clients know exactly what they want. They’re smart, and they’ve already thought through their vision. So listen to them. Those days are gone when the photographer shot freely and the client had to choose. Now, most brands are creating content. They’re not always selling a lifestyle. Sometimes they’re just selling a product.
Some brands don’t even want a story, they just want cool images, and that’s fine. It’s not about calling anyone wrong. They know what works best for them. As a photographer, you respect that and then bring your artistry to it.
8) In your role as a Profoto Mentor and Sony Community Influencer, what is the most impactful lesson you’ve shared with emerging photographers about lighting or vision?
You can have a thousand references for your next shoot, but copy-paste rarely works. Take ideas, but blend them with your own vision. Photography is easy in many ways now. Digital cameras and software can fix almost anything. But that also means we need to think deeper.
Think like a painter. Think like a poet. Add vision to your work through your image selection, your post-processing, your color grading, and your storytelling. Today, you’re not just a photographer. You’re also an editor, grader, writer, gaffer, and manager. You need to be good at everything.
9) Over the years, what has been the most valuable lesson the camera itself has taught you?
I’m an introvert, but when I’m shooting, I can talk endlessly. The camera gave me that power. It opened doors I never imagined. I’ve had the chance to meet and work with some of the most influential people in the world. I’ve traveled with them, had dinners, shared conversations, even been asked for my opinion on how they looked.
Those moments hit hard when you realize what photography has brought into your life. My camera has taught me to be honest, patient, and kind to everyone.
10) How do you measure success for yourself on a shoot? What tells you that you’ve truly captured the image you envisioned?
For me, every photoshoot has to be better than the last one. If my model is happy, I know we’re on track for a great shoot. The atmosphere needs to be positive, and during the shoot, I make sure the subject stays engaged with me through conversation and energy so they don’t lose focus.
As we go, everything keeps evolving, we need to keep finessing: lighting, makeup, hair, outfits, poses. When everything aligns, all I need is that little imperfection, that one raw, rare moment, and that’s when I know we’ve captured the shot.
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11) Your inspiration often stems from people, cultures, and traditions. Can you share a moment when a cultural detail significantly influenced a shoot?
I was shooting with Harnaaz Sandhu, who was Miss India at the time and later became Miss Universe. We were traveling together for a photo and video shoot where we had to bring out her culture and traditions. Those shoots work best when you don’t get frustrated by the situations. They can be chaotic, but if you embrace them as part of the story, the images take on a whole new depth.
When you start enjoying those cultural details instead of resisting them, the work becomes different. Every shot teaches you something, and you mature with each one.
12) You’re described as ambitious and full of ideas. How do you maintain creative momentum and guard against burnout?
I surround myself with young, hungry people who have wild ideas and fresh energy. People who aren’t lazy, who have great music taste, who are eager to learn and want to be heard. When you’re around that energy, you’ll never run out of ideas.
I don’t enjoy sitting with people who only complain, talk about “the old days” or how the industry favors the new generation. That doesn’t help anyone. Of course, I respect people with experience. I love hearing stories from those who have wisdom to share. But I prefer being around people who bring knowledge and energy to the table.
13) If photography wasn’t your path, what other medium or art form would you see yourself exploring?
Since childhood, I always dreamt of being a singer. I imagined standing on a big stage, with millions of people there just to listen to my band. Every time I see a concert, I still get that little feeling that maybe I should have tried harder. And honestly, I still believe it’s never too late.
14) Looking back on your journey, what personal habit, mindset, or belief has played the biggest role in shaping your growth?
Never think you know it all. Never let ego get in the way. Share your knowledge, but don’t give everything away for free, because free advice rarely helps people value it. Be helpful, be supportive. Photography is a small community, and if we don’t look after each other, we all fall.
15) Finally, which PhotoWhoa products or masterclasses would you recommend to photographers looking to sharpen their craft?
Every class is interesting. It really depends on what you want to learn and what’s going to benefit your business.
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Closing Thoughts
Photography is as much about curiosity and perseverance as it is about vision and technique, as demonstrated by Shreyans Dungarwal’s story. His approach illustrates how photographers are evolving as collaborators, storytellers, and makers. From understanding light to finding a balance between artistic expression and customer expectations, it’s a journey. His advice for aspiring photographers is straightforward but profound: never let ego get in the way, stay true to yourself, and never stop learning. His experience serves as a reminder that passion and honesty behind the lens are just as important to success as the actual photos taken.
