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Postcards From
Lahore
P
assing through the treasure
islands of Mumbai the
pavements at Kings Circle
and Hutatma Chowk, where book
vendors keep loads of books and
magazines for sale, one really doesnt
know which interesting or rare book
one may come across. Tis is what
exactly happened as I was taking an
evening stroll through Kings Circle.
A beautiful face on the cover page of
what seemed to be a glossy magazine
or a catalogue caught my eye. Te
model was well styled and draped.
At a frst glance it seemed to be an
Indian face. Instinctively I picked
it and started browsing through
the pages. It was full of fashion
features one afer the other, shot in
an excellent manner, at diferent
locations around the globe. It was a
treat to my eyes. Technically perfect
and aesthetically on par or I can say
even a step above many international
magazines. Every shoot seemed well
planned, well coordinated, perfectly
styled and the pains taken behind
every shot could be seen through
the detailing in the work. Tis
publication from Pakistan introduced
me to the fashion, modeling and
photography industry existing there.
roped them as the marketing
consultants for their brand.
Proud of the Pakistani native art they
are clear in their thought process that
the fashion and media there should
not necessarily be infuenced by the
West. Tey have won two Lux Style
Awards for Best Photographers along
with 9 consecutive nominations and
2 times nomination for best Stylist.
Tey are also into producing and
directing ad flms.
Besides being photographers they are
good stylists and ofer these services
too. Having established their own
style of photography, they opened
a new testament of the fashion
industry there; today they dare to
dream and do have plans of starting
their own modeling agencies, to
join the flm industry and conduct
photography workshops for the next
gen.
Tere is a lot to learn from the duo.
Let us have a word with them and
analyze their work in detail.
Dilip: Tell us something about
yourselves. What made you take this
line as your profession? Did you have
any art background or was it simply a
new feld the road not taken?
Shani: Guddu and I have done our
Bachelors and then the Masters in
Fine Arts with Communication
Design as major from the Institute of
Art and Design, Punjab University.
Photography has been a major
throughout the studies. Like many
other youngsters, we too had lot of
passion and ideas to do something
for our country. We found a huge
gap in global image quality and one
Having crossed over 20 active years in commercial photography,
Dilip Yande says his forte is Fashion and Portrait photography. He
believes variety is the spice of life, and to keep himself motivated
he does a lot of tabletop as well. For Dilip, names like Rembrandt,
Renoir, Gauguin, Picasso, Turner, Monet are household names
because of his childhood that was spent in a lineage of fine arts. This
fine art reflects in his work because he feels that there is always
a little bit of you in everything one does. Having shot for many
advertising agencies, juried a few competitions, mentored many
workshops, and guided many photographers in their formative years,
for Dilip, photography is just another way to romance his first love
art. He may be contacted at dilipyande@gmail.com.
in our country and so we picked up
that point as start-up line way back
in 2005.
Dilip: Did other forms of art like
painting, sculpture, poetry, classical
music or anything else infuenced
you in your work? Or was it the work
of some photographer which you
admired the most that lef a dent on
your mind?
Shani: Well, for us inspiration
comes from all directions. Yes all
forms of visual art has always been
source of ideas but primarily our
main inspiration were old classic art
movements. We love to change our
style every year, just to give a break to
ourselves and keep on enjoying our
work. So we adapt one art movement
every year into photographic visuals.
Like we have done Surrealism,
Cubism, Renaissance, Baroque,
Arabesque, Digital Art, Pop Art,
Romanticism and lot of others as
well. Along with the art movement,
nature has been a great inspiration,
as we believe that there is no other
core source of inspiration than
nature. Talking about photographers,
the style of Paolo Roversi was quite
inspiring in the beginning years.
Dilip: How would you like to defne
fashion or fashion photography
in general and the scene there in
Lahore?
Shani: Fashion in Pakistan is very
fne and has its own class especially
when one talks about eastern
fashion. People are really open to
new silhouettes and textures. At
this moment we have our own
fashion forecasts and defnitions.
Every year this is always as per
international standards, maintaining
its own native incorporation. Te
way fashion itself has its own
style within its spectrum, fashion
photography also carries a similar
feature. Fashion photographers in
Pakistan try a lot to play with our
native wear Shalwar Kameez and
since there is very less skin showing
it becomes a difcult product to
shoot in terms of making it visually
attractive. It leaves less room for
contours of the body to be exhibited
which attract a
normal viewer.
But despite of
this challenge
we try our best
to produce new
creative ideas,
sticking to the
native style, so
as to keep our
industry in a
contemporary
mode and
compete with
western imaging.
Dilip: I have
seen a lot of local
magazines form
your country
on the Net
amazing work!
How does the
industry function
there? Do you
think it is easy
for any new
talents to get an
entry? Out here,
the magazines
have editors, art directors, creative
directors, fashion stylists, fashion
coordinators, photo editors in their
team and sometimes it is like too
many cooks. What is the scene out
there?
Shani: Tere are always few conficts
when you work in bigger teams
but here in Pakistan everyone has
particularly learnt to respect the
space of every artist as a collaborative
creation. Seniors are very open to
give space to new talents and even
collaborate with them. Everyone
takes it as a mission to structure the
industry on solid grounds and keep
building it further. On the other side,
this business requires new ideas so
collaborating with new talent gives
freshness to every brand.
Generally photographers are sort of
jack-of-all. I mean, out here most
of them are stylists, art directors,
fashion coordinators by themselves.
Somehow that gives them a total
control on the visual but less margin
for more experimentation or going
wilder. At Guddu and Shani we
love to work with bigger teams
and productions. With specialists,
contributing in their scopes.
Ultimately that improvises the quality
of work.
Dilip: When you shoot for any
designer or a boutique or a brand, are
the advertising agencies necessarily
involved in the shoots?
Shani: Most of the time no, but some
time we work with other agencies
as well. Due to our Masters degree
in communication design and
advertising we have been running
our own advertising agency named
Guddu Shani Adverto. Te agency
has been taking care of some big
brands like Sana Safnaz, Nishat
Linen, Crossroads etc. Guddu
Shani Adverto is the only special
services advertising agency in this
country that is specialized in fashion
marketing and advertising.
Dilip: How much liberty is given to
the photographers out there? Are
they supposed to give the creatives
too or just execute a given concept?
Dilip Yande
What was noticeable was the liberty
given to the photographers.
It was here in a way, that I came
across these young turks of fashion
photography Shahnawaz (Shani)
and Shumaila (Guddu) more
famous as Guddu and Shani (pic a)
from Lahore, Pakistan. A husband
and wife team, who both have done
their Bachelors and then Masters
in Fine Arts with Communication
Design as major, from Institute of
Art and Design, Punjab University-
Lahore. In my opinion, they are true
defnitions of what designers should
be! Tey were the pioneers of digital
textile printing in Pakistan and have
designed their own collections. Tey
were the ones who introduced the
concept of wearable art in which one
fnds miniature paintings on dresses
designed by them. Infuenced by the
artist and designer Gustav Klimt,
they have designed dresses and
features that display this infuence
in their formative years. A multi-
talented duo, they have their own
advertising agency and have handled
many brands of the fashion industry,
specially the most quality conscious
brand like Sana Safnaaz who have
Pic a
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Shani: It works both ways. In
advertorial or editorial photography,
photographers are totally free to do
their stuf but of course as per a pre-
decided mood, while in commercial
or advertising photography most
of the time photographers have to
follow the mood boards and points
decided in pre-production meetings.
Dilip: I read that Sana Safnaaz,
a major brand of apparels have
appointed you as a consultant in their
frm. If so, how do you feel being
patted in this way and your relations
with such clients and the pains you
took in understanding the brand?
Shani: As mentioned above Guddu
Shani Adverto takes care of all
advertising work for Sana Safnaz. We
have been taking care of the brand
since 2005. So its sort of our baby
brand that developed with passage of
time and followed our development
strategies and vision of Sana Safnaz.
We do complete image consultancy
and I service the brand as executive
brand manager and plan everything
related to marketing and advertising
from strategic development to
execution.
Dilip: Does the advertising industry
or the fashion industry have any
passing fads as far as the equipment
are concerned? Like in India, about
20 years back they wanted every
photographer to shoot on a 4X5
large format or a medium format,
even if the pic was to be printed
2 inches in size, then it was the
Hose-master lighting, followed by
cross- processing and now it is the 22
mega pixels and the Para? Or is the
photographer the captain of the ship?
Shani: Te photographer is the
captain of the ship and is generally
well aware of what to use for
required results. I have never heard
of any client dictating about the
lighting equipment. But during pre-
production meetings with advertising
agencys art directors, there are
discussions about the equipment to
make sure that result are technically
as per media requirement.
Dilip: I have seen your indoor and
outdoor works. Both are of high
standards. I have observed clever
use of wide-angles while shooting
fashion, specially the low angles.
Which lens do you use for this? Or
generally which are your favorite
lenses for fashion?
Shani: Tanks a lot for your
appreciation. For wide-angles
sometimes I use a Canon 16-35mm
and sometime a Canon 24-70mm. I
dont believe in using any particular
lenses as a style. Every lens is used for
a diferent meaning when we have to
use them for transformation of our
ideas into visual language. So lenses
are always selected as per the theme
and subject.
Dilip: I have noticed strong
compositions, excellent
understanding of colour, and use of
graphic elements in the background.
Can you say something about this?
How do you visualize it?
Shani: We have a standard workfow.
We try pre-visualizing every shoot
and making a complete mood
board. Tat helps a lot specifcally
to defne the whole harmony of
shoot. I normally sketch my ideas on
my Galaxy Note. For compositions
and colour balance we follow
fundamental concepts that we learnt
from the very frst year of our art
education, like principles of design,
elements of art, colour theory etc.
While we follow the very basic rules,
with experience, we get the power to
break them with more confdence.
Dilip: Do any clients there still point
at the West as the fnal authorities
of fashion statements, like Milan or
Paris or have accepted the facts that
Asians could be no less?
Shani: We cannot deny the fact that
Milan and Paris strongly infuence
fashion all over the world but
our native garment is so diferent
than in the West that you cannot
really follow them. But any sort of
inspiration creates amazing fusion of
both sides and makes our garment
look more contemporary.
Dilip: Photography as an art is also
mostly associated with western
artists. We think that you have
developed a very own style for
eastern side of fashion photography
business. What do you think?
Shani: I think you have judged it very
well as this has been a major mission
throughout our photography career.
Many people have complimented
us with this statement. We cant
deny the fact that our inspirations
are also from the West but it was a
huge struggle of day and night to
come up with our very own style
of photography to best ft with our
sort of garments while not making
any compromises on creativity and
distinctive ideas.
Dilip: Looking at your work if I
make a statement that fashion is not
the art of revealing a body but the art
of covering a body, would you agree?
(hahaha)
Shani: Hahaha I always say
that its so easy to make a visual
attractive, creative and visually
powerful when there are no or less
clothes! As showing skin makes it
naturally more attractive and then
technically, the fall of light creates
nicer tonal range, and amazingly
good looking contours on skin. But
its very difcult to make your visuals
when you have fully covered body.
Again its been a sort of mission to
prove the world that creativity isnt
dependent on revealing human
body; we can still do creative
lighting, fun concepts and create
amazingly attractive visuals with
fully covered bodies.
Dilip: What would be your advice to
the next breed of photographers in
India and your country?
Shani: First advice is to always work
hard with consistency. Second most
important thing is to develop your
own style and techniques to show
the world that this region also has its
own creative power and art is not a
monopoly of the West. Come up with
fne artistic ideas and fuse them with
commercial approach in advertising
so that creativity reaches more to the
masses.
Critical Analysis and Art
Appreciation-
Readers, let me analyze their works for
you, as to what makes them an edge
above the others and this would also
teach you how to read art.
Pics b1, 2, 3- I have chosen 3 pics
from this feature. One may observe the
yellow plank of wood common in the
3 pics. Tis has acted as the common
thread for the feature. In Pic b1, if one
observes in detail, the lines of force are
converging at the centre of the picture,
the horizon lines, the fall/pattern of
the cloth, the design on the cloth all
indirectly point to the centre, where this
fat yellow square has been positioned.
A glow-through lighting has once again
caused a vignette on the yellow plank,
graduating from the centre towards its
periphery. Te model has been cleverly
posed that even her hands act as
indirect pointers once again converging
towards the centre. Te picture is an
excellent design in itself. Pic b2 is shot
on the same location as b1, but in this
case the attention of the viewer gets
locked on the face of the model and
the accessories. Te visible single eye
of the model, strongly staring at the
viewer becomes a further locking point
which again is more at the centre of the
image. Te negative space that has been
lef by keeping the yellow plank totally
blank at one side has worked wonders.
Te upper half of the pic has shades of
grey (clouds) while the lower half has
shades of green grass. Te model is
wearing solid masses of bright colors
with balanced complementary colour
schemes. Te cobalt blue frill around
the neck, once again makes it a centre-
weighted picture. In Pic b3, the sides of
the lines of the wooden plank, makes
your eye travel again to the centre of
the picture. Te wet mud that has been
transformed from her shoes on to the
plank, give the feeling of brush strokes
on a canvas, at the same time makes you
feel that the model has possibly been
dragged from lef to right, once again
this suggestive movement is heading
toward s the centre of the image.
Pic c- One can see that two pieces
of land have been divided by a canal
of water. Te opposite bank is full of
greenery and suggestively a very fertile
land. Te other one seems to be arid in
Pic b1
Pic b2
Pic b3
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nature, one can see the dry
branches of a fallen tree and
there are no leaves on it at all.
Te model has been posed
very naturally and the design
on the dress can be seen and
understood. On her dress
one may observe a pattern
of brown dry leaves. Te
colour scheme is very earthy.
One should study how the
photographer has taken
the call about what dresses
of which pattern to shoot
against which backgrounds.
Nothing has been lef to
chance.
Pic d1, 2- In this series of
pictures they have made use
of a vintage car as a prop in
a very unique way. One may
fnd heavily painted trucks in
the north of India as well as
in Pakistan this subject of truck art
is a topic in itself. But in this case the
photographer and the stylist seem to
have decided to take the inspiration
from this truck art and use it over the
vintage car. If one observes closely,
the design on the car is very close to
the marble inlay work that one may
fnd in ancient Mogul monuments
and what is classifed as Islamic
art. Pic d1 is largely dominated by
the greens, the painted car and the
yellowish dots resembling bulbs at
the back side. Te models attire gives
the suggestion of a wedding. Te hair
has been handled in a very excellent
and unusual manner. Te pose of
the model , the needed visibility of
the dress and the detailing done in
deciding the hairstyle shows the
meticulous planning that is required
in such shoots. In pic d2 the lighting
has been done in a slightly dramatic
manner and the photographer has
even handled the background well by
creating those spots through lighting.
Te colour of the umbrella is very
similar to the border of the dress.
Pic e 1, 2, 3- In this feature the model
was draped with the same cloth and
which has acted as the background
and foreground of the shot. One
can say that she has been drenched
in this splash of turquoise blue.
Te photographer has kept the blue
cast on her face and this has added
to the beauty of the shots, making
it more natural, giving a feel of an
outdoor shot. Pic e1 is again a centre-
dominated shot. Te slightly parted
pink lips is symbolizing as if she is
waiting for someone. Te messy hair
and the slight blurry motion in the
foreground suggest a strong wind
as if she is standing near a sea shore.
Te earrings have been well selected
and stand out against her hair. If one
observes the pattern on the cloth, it is
similar to that of sea waves. Pic e2 is
once again a well-composed shot, in
which the woman seems to be staring
at the infnite. In pic e3 the model
has been shot through the fabric; she
can be seen holding the cloth in her
hand. Te picture is giving the feel of
a shot that was taken from a camera
placed under the water. In the right
hand side corner below, one may
see the faint image of a traditional
boat being rowed by oarsmen. Tus
establishing a subtle relation as to
what she was looking at initially. Tis
detailing I feel is the master-stroke
of the photographer. Te picture is a
very impressionistic one.
Pic f1- Tis is a very stylized and
sophisticated shot. Te walking stick,
the heels of the stilettos, the plates on
Pic d1 Pic d2
Pic c1 Pic e1
Pic e2
Pic e3
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her dress act as strong lines of force
in the picture. Te body language of
the model is amazing and has been so
well posed that it defnes all that was
needed. Te old European feel has
been rightly represented through her
hair. Te background used and the
lighting gives the picture the feel of a
painting of the Renaissance period.
Pic g1- Tis time the model has not
been accessorized at all. Tus making
the dress, a centre of attraction. Tis
indirectly shows the command the
photographer and the stylist have over
the subject. A delicate model, wearing
a delicate pattern with a delicate print
of paisley has been posed well against
a very rough worn-out brick wall. As I
have always pointed out earlier in my
articles that contrast works. Further
the photographer has chosen such
a spot that it has a hint of a wooden
window shutter on the lef. Tis stops
your eyesight from leaving
the area of the picture and
pulls your attention back
to the dress and the model.
Te shades of the lace are
complementing the shade
of the wall.
Pic h1- A clever use of a
wide-angle lens can be
seen in this picture. Once
again the lines of force
meeting at a common
point and being used
as a graphic element
of the background has
complemented the
show in all ways. Te
orange dress of the model
against the blue sky is a
complementary colour
scheme and hence has
worked well. Tere is
action and motion in her
dress, while the
background
is very solid
and still. Tis
makes the
picture further
appealing.
Pic i 1, 2- Tis
series was a
game of bright
psychedelic
colours. Te
focus is more on
styling. As can
be seen in pic i
1, the clever use
of safety pins
as an accessory
shows the ofeat
thinking of the
photographer
and the stylist.
Pic i 2 has been
dominated by
squares and
rectangles. Te
model has been
posed in a very
diferent way and
positioned in
such a manner
that a diferently
coloured tile in
the foreground
cleverly
complements
with the
squares in the
background. Tis
geometric repetition has added value
to the picture. A small addition of
yellow frame sunglasses has given the
fnishing touch to the picture.
Pic j 1- Te photographer has chosen
a slanted angle for his camera,
usually termed as dutch angle in
cinematography. Te wide-angle lens
shows the expanse of the paddy feld.
Te blue sky peeping through the
clouds has balanced the picture well.
In this picture, you may see that no
foot-wear has been used, the model
hence seems to be enjoying the
nature at her fullest and not posing
for a shot, but the dress can be well
made out. Te fowers in her hand
has added value to the picture.
Pic k Tis is a good example of
digital imaging done by them in
2007. Te pre-production, the on-set
lighting, and the post-production has
been handled very well.
Pic l 1, 2, 3- The model has posed
with a live elephant. One has to
remember that an elephant is all
about strength and royal feel. The
dress thus chosen for the shoot
is a very expensive and upmarket
attire. The heavy work of gold in
this dress defines its royal look.
The model has been thoughtfully
accessorized only in the neck and
with a golden mask. Especially if
you observe this golden mask in
the close-ups, one may find it to be
similar to the golden head-gears
Pic f1 Pic g1
Pic h1 Pic i2
Pic i1 Pic j1
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mounted on elephants in festivals
of Kerala or found through the old
pictures of Maharajas riding their
elephants.
Pic m 1, 2- Tese are examples
of dramatic lighting and a very
bohemian styling. Tese fashion
shots are all about clever
and heavy layering of
accessories on the models
body. Here again the
photographer has played
well with complementary
colour schemes.
Pic n 1, 2 - Tese are conceptual
masterpieces shot by the
photographer. In pic n 1, the model
is wearing a very loose safron outft.
She is shown like a stylized fakir
in penance, standing on a worn-out
wooden stool, balancing on just
one foot. Tere is no agony seen on
the face of the model while posing
for such a difcult stance. Wooden
beads resembling rudraksha beads
can be seen around her neck. Te
background is typically a deserted
one and is as messy as it should be.
Te hairdo is very interesting and
signifes the holy ash being smeared
above her forehead. Te model is
shown holding a wavy wooden
magical wand in her hand and this
is the master stroke in the picture. In
pic n 2 the continuity of the hair-
do has been carried ahead, except
that the shade of the hair has been
changed to match the border of the
dress. Te photographer has opted
for a solid patch of white colour at
the back of the models face. Tis
has changed the look of the picture
totally. Such sense of composition
and detailing is very rare and needs
to be acquired. One hand of the
model is hidden, while the other has
been painted in white and shade of
vermillion which is the same shade
on the border of the dress. Such
artistic philosophy is what sets this
picture and their work apart from
the rest.
What has been showcased here is
just a tip of an iceberg. I have tried
to bring a spectrum of their work to
you. Tis would tell you as to how
much detailing goes in planning a
good shot. I would frmly say that
Guddu Shani are not just creative
geniuses, and excellent stylists or ace
photographers, but Guddu Shani is a
cult in itself.
Pic k
Pic l2 Pic l3
Pic l1
Pic m1
Pic n1
Pic m2
Pic n2