Image credits: All images sourced from Rohan Shrestha’s Instagram account.
There’s a certain energy that infuses Rohan Shrestha—one that’s equal parts artistic instinct and grounded wisdom. Born into the lens of legacy as the son of renowned photographer Rakesh Shrestha, Rohan has carved his own space in Indian photography with a language that’s unmistakably his own.
Over the past two decades, he has photographed the who’s who of Bollywood, global icons like Lionel Messi and Neymar, and shot evocative portraits that have found homes in leading fashion editorials. But speak to him, and you’ll quickly realise—his camera is only part of the story.
Rohan—as a photographer—is an observer of culture, people, and moments—someone as at ease on a fashion set as he is 30 metres underwater, scuba-diving with sharks in the Galápagos. His ability to move between worlds—celebrity, editorial, commercial, and personal—is what makes his body of work feel both expansive and intimate.
What sets him apart is not just his eye, but his ethos. He speaks of gratitude like a constant refrain, credits his father for foundational wisdom and shares his journey with an openness that disarms. In this interview, we dive into the process, the pressures and the pure joy behind the frames—through the lens of the man who’s been behind so many.
Q: What were your growing-up years like? When and how did you find yourself taking an interest in fashion photography?
Rohan Shrestha (RS): Growing up was, well, exactly what you’d imagine for someone raised by a photographer. I was surrounded by cameras my entire life. There are pictures of me as a baby, playing with these massive cameras—so in that sense, photography was always around me. My interest in fashion photography began to grow during the early 2000s—around 2008, 2009, 2010, and 2011—when Indian fashion was going through a major shift. It was just the onset of something new. If you remember the era of the Indian supermodels, it was almost like a parallel industry, very different from mainstream cinema. But honestly, my biggest fear was working in the same industry as my father. Even with nepotism or any kind of advantage, it’s a tough space. There were big shoes to fill—huge ones, in fact—and comparisons were inevitable. So I leaned more toward fashion than film. I thought, at the very least, I could carve a slightly different path to start with. I was drawn to editorials. Back then, there were so many strong publications—Vogue, Harper’s Bazaar, HELLO!, and more. Fashion was thriving.
Q: You’ve channelled your photography to bring a host of social issues to light. Where did that idea stem from? Could you tell us about the campaigns and your vision for them, as well?
RS: Well, there were two actors who helped make this shift possible for me back in the day. One of them was Abhay Deol. He was moving to America and said, “Bro, I need headshots.” And I was like, “What the hell are headshots?” This was around 2011—we had no clue what that even meant for the US market. He just said, “Google it.” And I was like, “Okay… I think Google exists.” (Laughs) So I Googled it and saw all these clean, simple pictures—Leonardo DiCaprio, Robert Downey Jr.—just wearing plain white T-shirts, doing nothing fancy. It looked so basic. And that’s when I thought, Why can’t we do this in Bombay? At the time—2010, 2011—every image of actors was so over-styled. It was all about the look, the costume, the OTT styling. It made sense because Indian fashion was at this exciting, experimental stage. Designers like Little Shilpa were doing some wild and wonderful things. Everyone had a voice, and it was amazing. But I wanted to strip that all back. I wanted to keep it real—focus on the person, the subject. That’s how the White T-shirt Series started.
As for social causes, I’ve done a lot of work with the Cancer Patients Aid Association and several animal rescue centres. I even published a book of photographs featuring rescued animals—shot the same way I’d shoot people. I approached it with the same respect and the same lens. For me, if I’m not giving back, what’s the point? Forget being a photographer—I don’t even validate myself through that alone. I’m a person first. There’s so much more to life than just our work or career. Now, I never had a vision to start that White T-shirt Series as a “thing”. It just happened. I shot Shahid Kapoor once, and he said, “Bro, why don’t you just keep doing this as a regular series? You’ll shoot actors over many years and see what unfolds.” And I thought, Yeah, that’s a freaking great idea. So I kept at it. It became like a warm-up shot whenever I was working with someone new. It helped us get comfortable—and understand each other’s language, energy, and rhythm. That’s how it organically grew. Then, one day, an editor from a major publishing house called me and said, “Why don’t you make a book out of this?” And I was like, A book? No, I don’t want to make a book. But he insisted, “This is an amazing body of work.” That’s when it hit me—I put it all together and thought, *Holy ***. This is a series.
So when people ask me where I see myself, honestly, I’ve always stumbled into things. I let the process unfold. I don’t think five or ten years ahead, because truthfully, none of us are in control of the future. We’re barely in control of the present. And I know it sounds like an Instagram quote—but I really do try to live in the moment. Because the minute I start obsessing about two years from now, I get anxious. If I don’t hit those targets, then what? Why set myself up for that? Especially as a creative person, it messes with your process. You start thinking about the final outcome before you even begin—and that’s cheating yourself. You have to ask: Why am I doing this in the first place? Is it for fame? For money? For accolades? Or for personal validation? Once you know that, maybe you’ll find a sense of direction. As for me—I started assisting in 2006 or 2007. It’s been almost 18 years now. I’m 40. And when people ask, “Where do you see yourself in the next five years?”—I honestly still don’t know. I just look back and go, *Holy ***, it’s already been that long.
Q: How do you prepare for your shoots? What is your process like? Do you stick to the concept or do you improvise?
RS: I try to be as flexible as I can. The thing is, I work a lot with actors—and with actors, you often have to adapt on the spot. I might give them a reference, but they don’t have to emulate it exactly. The idea is to create a certain mood but also to get the best out of the subject. Now, if the subject is clothing, then we’re trying to get the best out of the clothes. If the subject is the actor, then it’s about getting the best version of them. That’s always been my approach—I think about the subject first and then build everything else around it. So yes, I usually start with a basic idea or concept—a foundation of sorts—but I’m open to evolving it as we go along. The flow matters. Of course, it also depends on the client. If it’s an advertising shoot, everything has to be prepped thoroughly. From location scouting to pre-lighting, we often plan every single detail in advance. It’s much more structured and time-bound. But when I’m working on personal projects, I allow myself a lot more room to play. There’s more fluidity, more spontaneity.
Q: What sets your mood for photographing?
RS: Music. Music sets the mood for everything, honestly. I listen to really old jazz. I’m very old-school that way. Jazz or blues—those are my go-to’s. That kind of music helps me ease into the mood. It brings a certain calm, a kind of shanti (peace). I like my sets to feel very relaxed. I’m not a fan of too much hustle and bustle on set. I mean, sure, sometimes it’s unavoidable—but the more relaxed the energy, the better the outcome. People feed off energy. If the vibe is chaotic—too many people, too much noise—it becomes distracting for the subject. So, for me, the most important thing is to keep the subject relaxed and chilled out. That’s when the magic happens.
Q: Which has been your most coveted project so far?
RS: Shooting Lionel Messi—that would definitely be number one. Even Oprah Winfrey. I think that’s one of my favourite shots I’ve ever taken. Both were incredible moments for me.
Q: Which of your personal shoots was challenging?
RS: We’ve done a lot of challenging shoots, man. At this point, they feel like second nature. But if I had to pick one—it would be any shoot where you’re dealing with the elements. That’s always the hardest.
We once shot a campaign for an Indian brand in Ladakh, and the weather was absolutely brutal. It was freezing cold, and insanely windy, and we were on top of mountains trying to make it work. The lights were flying, and everything was chaotic. To make things trickier, the brand wanted those coloured smoke effects in the background. And of course, with the wind blowing in every direction, the smoke was all over the place. Our fingers were numb, the models were freezing, and we were battling the elements at every step. It was madness—but also unforgettable. These are the kind of shoots that stay with you forever.
Q: Which photograph of yours is your personal favourite?
RS: That’s a tough one—picking just one photograph is really hard. But if I had to choose, I’d say the moments I’ve gotten to photograph Shah Rukh Khan. There’s honestly nothing more fun than photographing that man. And I’m not saying that just because he’s Shah Rukh Khan—it’s because I’ve had the privilege of working with him over the years, and every time it is special. Sometimes, he just wants to shoot for fun, with no agenda. And that’s when you get him in his truest form. I have some of those candid, unplanned images, and they’re among my absolute favourites. I think it’s also because I’m just so happy while shooting him—I’m smiling the whole time. He’s probably looked at me a few times wondering, “Why is this guy just grinning behind the camera?” And honestly, it’s because I’m a fan. It’s pure joy.
Q: In whom do you find your photography muse?
RS: I mean, I’d love to say Shah Rukh Khan is my muse—who wouldn’t want to say that, right? And honestly, I do feel that way. When I look back at my career and sit down for interviews like this, the fact that I even get to talk about the possibility of someone like Shah Rukh Khan being my muse—it’s surreal. I think back to myself at 24, just starting out, and all I can feel is gratitude. I’m incredibly thankful for where I am today. That’s also why I give back. I’ve reached a place I used to only dream about as a kid. And however I got here—through luck, timing, hard work, or the universe aligning—I’m proud of the journey. When I work with someone like SRK, it brings me full circle. That was the dream growing up. And then suddenly, there you are—with Mr. Bachchan in front of your camera, or Shah Rukh, or Lionel Messi, or Neymar, or whoever it may be—and you have to ask yourself: Why me? Why am I the one getting these moments?
It’s the kind of thing that can trigger imposter syndrome. But then again, maybe that’s just part of chasing your dreams—you never quite believe it until you’re living it.
Q: What kind of shoots are your favourite?
RS: Honestly, the shoots I love the most are when a client calls and says, “Just shoot however you want.” When they give you complete creative freedom, when they trust your vision—that’s the dream. Because then, it’s more than just taking pictures. Your ideas, your eye, your voice—everything gets a chance to come through. There’s a lot that goes into crafting an image. And when you’re part of the planning process from the beginning, it makes all the difference. That doesn’t always happen—sometimes you’re working with agencies or walking into a set-up that’s already been decided. But when someone comes to me and says they want my distinct style—whether it’s black and white portraits or something more raw and editorial—I’m in my element. I especially love shooting at my friends’ homes in Alibaug. The vibe there is totally different from Bombay. It’s quieter, slower, and calmer. People are more relaxed, and that is shown in the pictures. So I guess what I’m saying is, my favourite kind of shoot isn’t just about the visuals—it’s about the environment, the energy, the headspace. That sense of shanti (peace)… that’s what I thrive on.
Q: One person who is on the top of your bucket list to shoot?
RS: Rajinikanth. And, if I’m really dreaming big—Michael Jordan. That’s the ultimate. It sounds like a childhood fantasy, I know, but that would be the dream. Nothing bigger than that for me.
The thing is, I’ve had these dreams since I was a kid. I’ve always been football- and basketball-obsessed. That’s literally all I do in my free time—watch matches, and follow teams. Growing up, my dream was to someday shoot a Barcelona player. That’s my club. That’s the team I’ve always supported. I remember saying it out loud to myself around 2007 or 2008: “Maybe one day, I’ll shoot a Barca player.” And then it happened—with Messi. That moment really made me believe in this whole idea of manifestation. Like, maybe this stuff works. So now, I just keep saying Rajinikanth and Michael Jordan every chance I get—just putting it out there into the universe. You never know.
Q: Who are your biggest influences/mentors?
RS: It’s always going to be my father. I worked under him for five years, and he treated me like a proper assistant—which was honestly the best thing that could’ve happened. I learned from everyone around him at the time, especially his team. I was the most junior—probably the fourth assistant—so I really had to work my way up. What stuck with me most, though, was a piece of advice he gave me before I even began my career. It might sound cliché now, but in 2008, it really wasn’t. Back then, I was this rebellious kid who thought he knew everything. One day, my father just said to me, “You think you know it all—but let me tell you this: if you ever feel like you know everything in a creative field like ours, you might as well put the camera down and retire.” That hit me hard. And it stayed with me. From 2007 to now, the world has changed dramatically—technology, photography, the way we consume visuals—everything. And that one piece of advice has kept me open. Open to learning, open to adapting, open to evolving. Even now, with AI and everything that’s unfolding in the creative industry, I don’t claim to be on top of it all—but I make sure I have a fair amount of knowledge to be there in the game.
Q: Apart from your father, who are your favourite photographers? Why?
RS: Tarun Vishwa is one of my favourite Indian photographers. I really admire him. I’ve had the chance to speak with him, and what I love most is how open and generous he is. He doesn’t have that sense of insecurity or competitiveness that you sometimes find in the industry. He’s happy to guide, advise, and support people from the generation after him. That kind of humility is rare. Plus, his work is just phenomenal—his use of lighting, and his compositions. He’s always been someone I’ve looked up to, someone I use as a benchmark. Then there’s Prabuddha Dasgupta—he’s a legend. I think he’s a favourite for almost everyone in the industry. And of course, there’s Rid Burman as well—another brilliant eye in the field.
Q: If you could choose just one person to photograph you, who would it be?
RS: I’m honestly so awkward in front of the camera… If I had to choose someone, it would probably have to be someone I don’t know—so I could just be whoever I want to be, without feeling self-conscious. I haven’t figured out the trick to being photographed well—that’s definitely not my area of expertise. That said, maybe Sheldon Santos. He worked with me for eight years, he knows me inside out. Now he’s a well-established photographer in India, and I couldn’t be prouder of him. If anyone were to shoot me, it would probably be someone like him. Or maybe Taras—he’s a friend of mine too. As absurd as it might sound, I know I’m not a “good-looking guy”, so it’s not like I’d want Mario Testino to photograph me or something. I wouldn’t look at the picture and say, “Wow, I look amazing.” That’s not going to happen. I’d probably just file the image away for press articles and move on. Oh—and one last name: Avni Rai. She’s a very close friend. Though to be honest, she hates being in front of the camera as much as I do. So maybe we could just photograph each other and get it over with.
Q: One celebrity who’s your favourite to shoot with?
RS: Shah Rukh Khan.
Q: What are your future plans?
RS: Well, here’s something not everyone knows—I’m also a scuba diver. I’ve been scuba-diving for 18 years now. Every year, I try to spend around two months outside the country, living on a boat somewhere in the middle of a random ocean, just scuba-diving. This year, in September, I’m heading to the Galápagos Islands, which are off the coast of Ecuador in South America. I’ll be there for ten days, diving with sharks and whales. That’s something I’m really looking forward to—it’s a whole other world down there.
On the work front, I have shoots lined up in New York and Paris—one is a fashion gig, and the other is more lifestyle-focused. Sometimes, I say these things casually, but then I catch myself. If I stop and think about where I was 10–15 years ago, it hits me. That younger version of me would be blown away knowing that one day, people would fly me to Paris or New York just to photograph them. That never gets old. I keep coming back to this one word—grateful. And then there’s scuba-diving. Being underwater, surrounded by nature, is the closest I’ve come to peace. And yes, I still carry my camera with me—I shoot underwater too. So in a way, I’m still the photographer, just in a completely different element.