With a deep fascination for culture, light and human connection, the photographer captures India through a lens that is both respectful and revealing. His work reflects a thoughtful approach to portraiture and street photography, where tradition, color and character merge in visually striking compositions. In this interview, Kristian shares the inspiration behind his images, his process on the streets of India and why he believes photography is about much more than just taking pictures – it is about connecting with the soul of a place.

Kristian Bertel | Interview

Photography is a captivating art form that draws people from all walks of life, each with their own unique journey into the world behind the lens. While some find their way through formal education or workshops, others embark on their photographic journey through self-discovery and hands-on experience. In this interview, we sit down with Kristian Bertel, a self-taught photographer whose passion for capturing the vibrant culture and diverse landscapes of India has shaped his distinctive style.

In his latest explorations, Kristian highlights the layered beauty of Jodhpur – Rajasthan's striking 'Blue City' – where the vivid blue houses of the old town tell stories that blend caste, history and aesthetic tradition. His portrait work, such as a recent shot from Old Delhi, continues to embrace natural light – honoring the rawness and honesty it brings to street scenes. Though natural light may pose challenges compared to artificial setups, Kristian skillfully uses tools like reflectors to balance contrast and bring out subtle facial expressions. This commitment to authenticity, combined with a nuanced understanding of place and people, defines his photographic voice. The photographer's journey illustrates that there is no singular path to becoming a photographer. With a DSLR camera in hand and an unyielding desire to document the stories unfolding around him, he transformed his love for photography into a powerful means of expression. In this photographer interview we explore his experiences, challenges and the lessons learned along the way in this fascinating exploration of self-learning and artistry in photography.

Kristian, your photography has a unique focus on the vibrant culture and diverse landscapes of India. What initially drew you to India as a subject for your work?

"- India has always fascinated me because of its incredible diversity – culturally, geographically and socially. From the moment I first set foot in the country, I sensed there was something truly unique about it. I remember the first time I visited – I was overwhelmed by the sheer explosion of colors, the chaotic energy in the air and the powerful contrasts between old traditions and rapid modernization. Every street corner seemed alive with movement and emotion, every face telling a story of resilience, hope and history. There's a raw authenticity here that I feel is hard to find anywhere else in the world, a kind of honesty about life's beauty and struggles that India never tries to mask.

Whether wandering through the Bustling streets of Delhi, where the scent of spices mixes with the sounds of honking horns and street vendors calling out or finding quiet moments in remote rural villages where life moves at a gentler pace, India constantly offers a wide spectrum of human experiences. These contrasts fuel my passion for photography – the endless opportunities to capture both grand scenes and intimate, fleeting moments. With every visit, I discover new layers of this vibrant country and with each photograph I take, I feel like I'm documenting a small part of its immense and ever-evolving story. India is not just a destination for me – it is an ongoing source of inspiration that continues to shape how I see the world through my lens."

Natural light has long been the primary source for street portraits in India, well before the advent of artificial lighting. While natural light – such as in this portrait from Old Delhi – can present limitations compared to studio lighting, it also offers a unique and authentic atmosphere. Using a white reflector to bounce light onto the shadowed side of the subject's face can help balance the contrast and enhance the overall image.

You've captured everything from urban landscapes to intimate portraits of people. How do you approach photographing people, especially when traveling?

"- For me, photography is about connection – real, Human connection that goes beyond simply taking a picture. When I photograph people, I make it a priority to spend time with them first, even if it's only for a few minutes. A brief conversation, a shared laugh or even just a silent moment of mutual acknowledgement can create the trust needed to capture something genuine. Over time, I have learned that making people feel respected, seen and comfortable is absolutely essential if I want to portray their true spirit in a photograph. Without that foundation, images can feel hollow or staged, missing the emotional depth that draws viewers in.

In India, this approach has become even more important. There is such a richness in human interaction here – a depth of communication that often transcends words. Simple gestures, eye contact, body language and subtle expressions speak volumes. One thing that particularly fascinates me is the famous Indian head wobble, a gesture that can simultaneously mean 'Yes', 'No'', 'Maybe' or simply convey understanding and openness. It's amazing how a small movement of the head can carry so much meaning depending on the context, the tone and the relationship between the people involved. These cultural nuances are deeply woven into daily life and I try to be as attentive and respectful as possible when I observe and engage with them.

When I photograph, I aim to capture these subtle layers of communication – the small, unspoken moments that reveal as much about a person as their words would. I want my portraits to reflect not only a face but also a feeling, a connection and a glimpse into the subject's world. It's these nuances, these fleeting details of human emotion and interaction, that I find most rewarding to preserve through my lens."

Jodhpur, the second-largest city in Rajasthan, is one of the most beautiful cities in India – and there are several reasons why it's known as the 'Blue City'. Many of the houses in the old part of Jodhpur are painted blue and some believe this color is linked to the Brahmins, suggesting that these blue homes once belonged to members of that caste. However, this is just one of several explanations.

You've done a lot of street photography, especially in India. What challenges do you face with this type of photography?

"- Street photography is inherently unpredictable and that's exactly what makes it both a challenge and a constant source of excitement for me. You never know what will happen next – a sudden glance, a spontaneous gesture, an unexpected interaction – and you have only a split second to react and capture it before it vanishes forever. This sense of unpredictability keeps me sharp and completely present in the moment, heightening my awareness of everything around me. Every street, every corner, every passing second holds the potential for a story waiting to unfold.

In India, this unpredictability is taken to an entirely different level. The sheer density of life – the crowded streets, the constant flow of people, the buzz of activity at every hour of the day – means that moments happen all around you, all the time. There's a certain rhythm to it, an organized chaos that can feel overwhelming at first but also deeply inspiring once you tune into it. At times, it can be incredibly challenging to anticipate where to position yourself or how to compose a frame amidst the movement and noise, but it's precisely this intensity that offers an endless richness of subjects and stories.

One of the biggest challenges I face is finding a way to get close enough to people to capture authentic moments without intruding on their personal space or making them feel uncomfortable. Street photography, at its best, is about observing life without disrupting it, about blending in enough to witness the natural flow of interactions without altering them. In India, where curiosity from locals is often high and people are generally welcoming, building trust quickly becomes crucial. Sometimes it's a smile, a small gesture of respect or simply a patient, non-invasive presence that opens the door to a genuine moment. Learning to navigate that fine line between presence and distance has been one of the most valuable lessons in my photographic journey."

You mentioned that your work has a humanitarian focus, often showcasing societal issues. Can you tell us more about that aspect of your photography?

"- I truly believe that photography has the power to shed light on important social issues and to offer a voice to those who are often unheard or unseen. A single image can evoke emotions, spark conversations and inspire action in ways that words alone sometimes can't. During my time photographing in India, I've been particularly moved by the lives of people who are often overlooked – individuals living in poverty, beggars on the streets and marginalized communities facing daily struggles that many pass by without noticing. Their resilience, their hardships and their humanity have left a profound impression on me.

When I turn my lens toward these subjects, it's never about sensationalizing their struggles or exploiting their circumstances for dramatic effect. I approach every encounter with as much sensitivity, respect and humility as possible. It is important to me that the people I photograph are portrayed with dignity and authenticity, showing them as more than their hardships – as individuals with stories, emotions, hopes and dreams of their own. My goal is not to reduce their existence to mere symbols of poverty, but to present them in a way that honors their full humanity.

Through my work, I hope to create a space for awareness and empathy. I believe that by sharing these stories visually, I can help foster a greater understanding among those who might never otherwise encounter these realities firsthand. Photography can bridge the distance between different worlds and experiences, allowing viewers to connect emotionally with the lives of others. If my images can spark even a moment of reflection, compassion or a deeper curiosity about the broader social issues at play, then I feel I'm contributing in some small way to a more empathetic and conscious world. For me, photography is not just about capturing beauty – it’s about shining a light on the beauty, resilience and dignity that exist even in the most challenging circumstances."

Your portfolio includes a blend of both portrait and landscape photography. How do you balance these two very different styles?

"- I believe both styles – portraits and landscapes – complement each other in a way that allows for a fuller, richer narrative. Portraits give me the opportunity to focus intensely on individual stories, capturing the expressions, emotions and subtle nuances that reveal something deeply personal about each subject. In a single face, you can often glimpse an entire world of experiences, dreams and memories. Through portraiture, I can create a connection between the viewer and the person photographed, offering a window into lives that might otherwise remain distant and abstract.

At the same time, landscapes provide the broader context in which those individual stories unfold. When I photograph the landscapes of India, whether it's the stunning architectural beauty of a city like Jodhpur, with its vibrant blue houses and winding alleyways, or the quiet serenity of the rural countryside where golden fields stretch under endless skies, I try to convey not just the visual elements but the atmosphere, the texture and the soul of a place. It's important to me that viewers can almost feel the heat rising from the streets, hear the sounds in the markets or sense the peaceful stillness of a remote village at sunrise. Capturing the environment adds another layer of understanding to the human portraits, giving viewers insight into the settings that shape people's lives.

Together, portraits and landscapes work hand in hand to tell a more complete and honest story of India and its people. The portraits highlight the individuality and humanity of those I meet, while the landscapes ground these stories in a tangible reality, showing the beauty, complexity and diversity of the country itself. One without the other would feel incomplete to me. By weaving these elements together, I hope to create a visual journey that not only documents what India looks like, but also what it feels like – the pulse, the spirit and the interconnectedness of its people and their surroundings."

Can you share your thoughts on the technical side of your photography? What gear do you use and how does it influence your work?

"- I'm deeply passionate about Nikon cameras and they have been my trusted companions throughout my journey in street photography. Over the years, I've found that Nikon equipment consistently offers the reliability, durability and image quality that are essential when working in fast-paced, unpredictable environments like the streets of India. I particularly enjoy using wide-angle lenses, as they allow me to capture not just isolated subjects but the full energy, movement and atmosphere of the scenes unfolding around me. With a wide-angle perspective, I can place individuals within their broader environment, telling a story that includes both the person and the context they inhabit.

When I step into a busy market, a narrow alleyway or a crowded festival, I want to feel immersed in the scene and I want my photographs to convey that feeling to the viewer. A wide-angle lens lets me get physically close to my subjects without cutting out the vibrant life happening around them – the flowing 'Saris', the colorful fruit stalls, the weathered walls covered in old posters. It brings a dynamic quality to the images that a tighter, more isolating lens simply can't offer in the same way.

Of course, the technical side of photography – understanding light, composition, aperture and shutter speed – is important and I enjoy the craft of continually improving my technical skills. I appreciate how Nikon cameras give me the tools I need to adapt quickly to changing conditions, whether it's harsh midday sun or the soft, fading light of evening. However, for me, the equipment is always secondary to the story. A great photograph isn't defined by how expensive the camera is or how technically perfect the shot might be. It's defined by the emotions it captures, the questions it raises and the connections it creates. The story comes first, always. My camera and lenses are simply the instruments that help me translate those fleeting, powerful moments into something lasting and meaningful."

With a focus on storytelling, your work also touches on sociology and history. How do you incorporate these themes into your photography?

"- I think a lot about the context of the places and people I photograph and for me, understanding that context is absolutely essential to creating images that are truly meaningful. It's not enough to simply capture something that looks visually striking – I want my photographs to carry a deeper sense of connection to the place, the history and the people who live there. When I'm photographing in a country as rich and complex as India, this approach becomes even more important. India has such deep historical roots and every corner, every street, every community carries layers of stories that stretch back through time.

Before I even raise my camera, I often spend considerable time researching the areas I plan to visit. I read about the historical background of a city, the cultural traditions that are unique to a region and the social dynamics that influence daily life. I try to understand the religious, political and economic factors that have shaped the community over generations. This research helps me approach my photography with greater sensitivity and awareness. It allows me to recognize when a small, seemingly ordinary detail – a mural, a type of clothing, a festival – actually holds much larger significance.

By grounding myself in the broader historical and cultural context, I'm able to create images that, I hope, do more than just capture a surface impression. They can hint at the deeper narratives woven into everyday life. For instance, when photographing the blue houses of Jodhpur, it's not just about the visual beauty – it's also about acknowledging the caste histories and traditional meanings associated with that blue color. Similarly, when documenting people in rural villages, I'm mindful of the agricultural cycles, the impact of modernization and the enduring traditions that continue to shape rural life.

Ultimately, my goal is to create photographs that are visually compelling but also layered with meaning. I want viewers not only to appreciate the image aesthetically but also to feel invited into a broader story, one that honors the complexity and richness of the places and people I have had the privilege to encounter."

You've been documenting India for a long time now. What keeps you coming back?

"- India never ceases to surprise me. No matter how many times I visit, I always encounter something unexpected – a new tradition, a different perspective or an experience that challenges my previous understanding. It's one of the few places where I feel I can never fully "know" it and that's exactly what keeps drawing me back. Each return visit peels back another layer, revealing more depth and complexity than I anticipated. What I thought I understood on one trip often takes on new meaning the next time I'm there. India has a way of teaching you – humbling you – if you’re open to listening.

The country is in a constant state of evolution. You'll find ancient temples casting shadows over new apartment buildings and rural villages where smartphones and satellite dishes now coexist with centuries-old traditions. This dynamic interplay between the old and the new fascinates me and it has a profound impact on my photography. My approach changes and matures each time I visit. I find myself slowing down more, looking for subtler stories and focusing less on the exotic and more on the everyday. These small, quiet moments often say just as much – if not more – than the grand, dramatic scenes.

There's a certain vibrancy and rawness to life in India that I find incredibly compelling. It's in the streets, in the gestures, in the way people live with intensity and emotion. Life is lived so publicly there and as a photographer, that openness offers an incredible range of stories and expressions to document. I'm constantly drawn to the contrasts – the beauty and the hardship, the sacred and the mundane, the timeless and the rapidly changing. These contrasts don't cancel each other out – they coexist in a way that is uniquely Indian. And for me, trying to capture that coexistence through my lens is both a creative and deeply human challenge.

India, in many ways, holds up a mirror to the photographer. It pushes you to reflect on your own assumptions, your way of seeing and your role in telling other people's stories. That ongoing relationship between the country and my camera is something I treasure deeply and I know it will continue to evolve as I do."

Kristian, you've mentioned that you're a self-taught photographer, especially when it comes to using a DSLR. Can you tell us more about how you learned to take photos, particularly during your time in India?

"- When I first started using a DSLR camera, I didn't have any formal training or technical background. Everything I learned came through trial and error, countless hours of practice and an unwavering passion to capture the world around me. In many ways, this self-taught approach allowed me to develop a very personal relationship with photography. I wasn't constrained by rules or expectations – instead, I was guided by instinct, curiosity and a deep desire to tell visual stories that felt authentic and true.

India quickly became the perfect place for me to hone my skills. The country's sheer vibrancy is unmatched – the intense colors of saris and spices, the incredible diversity of landscapes from desert cities to lush countryside and the richness of cultural traditions that seem to breathe through every street and village. I realized early on that India is a place where no two moments are ever the same. Even standing in the same spot for just a few minutes can present entirely different scenes, depending on the people passing by, the light shifting across a market stall or a festival procession suddenly appearing around the corner.

Everywhere I turned, there were unique stories waiting to be photographed. The lively energy of a bustling market in Delhi, the quiet dignity of an elderly man sitting outside his home in Rajasthan or the playful chaos of children running barefoot through dusty alleyways – all of these moments offered opportunities to not only practice my technical skills but also deepen my sensitivity to human emotion, culture and environment. Over time, India helped me understand that photography is not just about taking pictures – it’s about observation, patience and respect.

Without formal lessons, I had to teach myself how to notice the small details – the way light plays across a face at golden hour, how to compose a shot that includes both subject and setting and how to anticipate the split-second when a gesture or glance tells an entire story. Looking back, I'm grateful for that learning process. It made every improvement feel earned and it taught me to trust my own creative instincts – lessons that continue to guide my work to this day."

Learning a DSLR can be quite technical. How did you go about mastering the camera settings?

"- Becoming a photographer and learning how to use a DSLR camera was definitely a challenge in the beginning. At first, all the technical terms felt overwhelming – aperture, shutter speed, 'ISO' – they were just numbers and settings I didn't fully understand. I remember feeling frustrated when my photos didn't turn out the way I imagined them. But I also remember how exciting it was to slowly start unlocking the potential of the camera. That learning curve, while steep at times, became a motivating force. Every mistake was a lesson and every small success felt like a breakthrough.

I spent hours reading manuals, watching tutorials online and most importantly, practicing. I would take my camera everywhere, experimenting in all kinds of lighting and environments. I'd test different settings during the early morning, midday and golden hour to understand how natural light affected the image. I photographed movement, stillness, shadows and reflections – all the while tweaking my shutter speed, adjusting my aperture to control depth of field and learning how 'ISO' impacted image quality. Slowly but surely, I began to see improvement, not just in the technical sharpness of the images, but also in my creative vision. My confidence grew with every click of the shutter.

India was instrumental in this learning process. The country is full of spontaneous and unpredictable moments, which made it the perfect environment to practice on the go. One moment you're photographing a camel cart silhouetted against the desert sun and the next you're trying to capture the motion and emotion of a crowded train station. These ever-changing conditions forced me to react quickly and adapt my camera settings in real-time, which helped me develop an instinctive feel for the technical side of photography. It wasn't just theory anymore – it was practical, immersive learning.

What I love about photography is that there's always more to learn. Even now, after years of shooting, I'm still refining my technique and discovering new ways to tell stories through my images. But those early experiences – the trial and error, the struggle to master the basics – laid the foundation for everything I do today. They taught me not only how to use a camera, but how to observe the world more carefully and appreciate the beauty in small, fleeting moments."

How did self-learning influence your approach to photography, especially in a place like India?

"Self-learning as a photographer in India taught me far more than just how to handle the technical aspects of a camera. Of course, I gradually became more comfortable adjusting aperture, shutter speed and 'ISO', but beyond the buttons and dials, photography became a discipline in patience, deep observation and the ability to be fully present in the moment. In a place as dynamic and layered as India, I quickly realized that rushing or approaching a scene with preconceived ideas rarely worked. I had to slow down, observe carefully and let the stories unfold naturally around me.

India taught me that each photograph is more than just a visual capture – it's a moment of connection between the photographer, the subject and the surrounding environment. Whether I was framing the tranquil curves of a river at sunrise or trying to catch the fleeting expression of a vendor in a crowded market, I learned to wait, to anticipate and to respect the pace of life around me. Sometimes that meant standing in the same spot for half an hour, simply observing how the light changed or how people moved through a scene. Other times, it meant approaching a person and engaging in conversation before even thinking about lifting my camera.

Every photo I took became its own lesson. Composition wasn't just about lining things up correctly – it was about feeling the balance between people and place, about knowing when to leave space and when to get close. Timing became essential too. In street photography especially, one second too early or too late and the magic of the moment could disappear. But most importantly, I began to understand how vital it is to connect with the subject, even if just silently and intuitively. A meaningful portrait isn't made through a lens alone, but through a mutual presence and a sense of trust, even if that connection lasts only a few seconds.

Photographing in India over the years has taught me to be more than just a technical photographer. It has made me more aware, more empathetic and more mindful. I've come to see the camera not just as a tool for capturing images, but as a bridge between people, between cultures and between moments that might otherwise go unnoticed. In this way, self-learning became not just about photography, but also about growing as a human being."

While driving between locations in the Maharashtra state, he photographed this holy man standing near the roadside, dressed in saffron-colored clothing. For him, becoming a photographer has also meant becoming an observer of culture and one of the aspects that continues to fascinate him in Maharashtra – and across much of India – is how deeply religion is embedded in everyday life. In Hinduism, a 'Sadhu' is a religious ascetic or holy person devoted entirely to achieving 'Moksha', the liberation and release attained through meditation and contemplation of Brahman.

What did you gain from this experience of teaching yourself photography and becoming a photographer?

"- Through continuous exploration and experimentation, I gradually developed not only my technical photography skills, but also a much deeper appreciation for the stories that images can tell. Each time I ventured out with my camera – whether into the heart of a chaotic Indian city or the stillness of a rural landscape – I discovered something new, not just about photography, but about the human experience. The act of composing an image became a way to understand people and places more intimately. It wasn't just about creating beautiful visuals – it was about listening, observing and translating emotions, environments and cultural nuances into something visual and lasting.

India truly became my classroom – an unpredictable, vibrant and emotionally rich space where no two days were alike. I learned through doing, through failing and through the countless surprises that unfolded in front of my lens. The DSLR camera, which at first felt like a complicated piece of technology, slowly transformed into a trusted companion – a tool I could rely on to help me document both subtle and dramatic moments. Whether it was the expressive eyes of a 'Chai seller' or the grand architecture of a historic fort, my camera enabled me to capture the multi-layered reality of the country. I learned how to see in new ways – how to look for detail, light and emotion – and how to use those elements to tell honest and powerful stories.

Looking back now, I can say with confidence that self-learning was one of the most rewarding aspects of my journey as a photographer. It forced me to be self-reliant, to trust my instincts and to keep pushing forward despite setbacks. There was no structured curriculum, no fixed path – only curiosity and a desire to improve. And because I was learning on my own terms, I had the freedom to develop a personal style and approach to visual storytelling that felt true to me. I wasn't imitating others – I was discovering what mattered to me and how I wanted to express it.

Ultimately, this process taught me that photography is as much about personal growth as it is about capturing the external world. It sharpened my eye, yes, but it also deepened my empathy and expanded my perspective. India challenged and inspired me in ways I never could have planned for and I will always be grateful for the way it shaped both my craft and my understanding of storytelling through the lens."

Where can people find more of your work?

"- My photography is available to view on my website Kristian Bertel | Photography as well as on my dedicated Facebook page. These platforms have become important spaces for me to showcase my work and connect with people who are interested in photography, travel and visual storytelling. I update them regularly with new projects, series and individual images – often accompanied by short reflections or stories that provide deeper context to the photographs. For me, it's not just about sharing images, but about inviting people into the moments and experiences behind them.

The website functions as a curated portfolio, where visitors can explore different themes and locations that I've photographed over the years, with a strong focus on India. Each section is designed to offer a window into specific aspects of life, whether it's street scenes, portraits, landscapes or more socially focused photography. On the Facebook page, I take a more interactive and casual approach, where I often post behind-the-scenes thoughts, travel impressions or highlight specific subjects I've met during my journeys. It's a space where I can be more personal and responsive and I truly value the conversations and feedback I receive there.

What I love most about maintaining these platforms is the sense of community that can form around photography. It's incredibly rewarding to see how people react to certain images, especially when they share their own thoughts, experiences or cultural perspectives in return. Photography, after all, is a universal language – and when people engage with the stories I share, it reminds me of why I do this in the first place. It fuels my motivation to keep documenting the world around me, especially places and people that deserve to be seen and remembered.

So if you're curious about my work or if you simply enjoy travel photography that highlights both beauty and complexity, I invite you to follow along. Whether it's through a website visit or a comment on Facebook, I truly appreciate every connection and every moment of shared curiosity."

This blog post is made on Blogger, a free blogging platform that allows users to create and publish their own blogs easily. With Blogger, individuals can share their thoughts, stories, photos and more, either as a personal journal or a professional blog. The blog post covers Indian culture, travel experiences, customs and other societal topics. For several years, I've been portraying India through both writing and photography.