Kushagra Anand

Kushagra Anand didn’t set out to be a photographer – he was studying to design racecars when a camera changed everything. Now, he brings cinematic storytelling and photography together, building a career that spans India, the UK and his own production brand, Crave Studio. His debut photobook, Here, Not Here, captures a moment shaped by the isolation of lockdown and the challenge of finding belonging in a new culture. Along the way, he’s learned that persistence, curiosity and honest storytelling are key to carving out your own creative path – and here, he shares what that journey has looked like so far.

What I do

How would you describe what you do?
I’m an Indian lens-based artist, creating visuals that explore people’s experiences and stories through cinematic photographs. I’m currently finishing my debut photobook and building my commercial production brand, Crave Studio. I like exploring photographic styles and themes that give me freedom to elevate emotions around people and places, as well as make compelling and thoughtful narratives.

What are the main influences and inspirations behind your work?
I’m inspired by the early works of Richard Avedon – his frames went beyond advertising, capturing the lifestyle, mood, and stories of the time with a distinct sense of dynamism. Gregory Crewdson’s photographs bring that same energy, but with a cinematic, stylised intensity that draws one deeper into the narrative within the image.

Their work made me question what happened just before and just after the photograph was taken, an idea that continues to influence my own approach. Ultimately though, my greatest inspiration is the world itself in its strength and fragility - simply observing it unfold and capturing it has influenced me to be persistent about finding hidden stories.

What’s been your favourite project to work on from the past year, and why?
My favourite project from the past year has been my upcoming debut photobook, Here, Not Here. It’s been in development over the last few years, with photographs shot across India and the UK between 2020 and 2022.

The project serves as a time capsule of a fleeting curiosity that consumed me during the COVID-19 pandemic. It was a period when I realised I was no longer living fully in the moment, but merely observing myself live, like the protagonist of a never-ending movie. The trauma of forced isolation and the fear of physical contact weighed heavily on me. Now, as the project nears completion, it has come to symbolise something much bigger: a sense of renewal, a quiet inner satisfaction that I have outgrown a former version of myself. It remains very close to my heart because I don’t think I’ll ever be able to create another project with quite the same kind of curiosity and rawness.

What does a normal day-to-day usually look like for you?
My day usually starts early with meditation, a workout and a filling breakfast. It's a pattern I stick to, unless call times are before sunrise. Shoot schedules often vary depending on location, but I particularly enjoy working at BFI Southbank, where I can easily lose track of time while editing or catching up on admin work. No matter how busy the day gets, I always make sure to end it by reflecting on something I’m grateful for.

How I got here

What was your journey like when you were first starting out?
I actually thought I would become a race car designer and pursued this goal during my undergraduate studies. Photography was just a hobby back then, something I enjoyed but never imagined would turn into a profession or a form of self-expression. That changed when I decided to explore the medium more seriously. I was fortunate to train under Shantanu Sheorey, a veteran Indian advertising and fashion photographer, who helped transition my approach from hobbyist to professional very quickly.

While work started coming in, I realised there was still a deeper meaning to creating work that I hadn’t yet tapped into. It led me to move to the UK and study photography at London College of Communication, a step that not only refined my technical skills in photography but also made me question what stories I would like to present through this medium.

More fashion photography

How did you go about landing your first few jobs?
My first professional job came through a friend of a friend, who needed some photographs shot. I hopped on to offer my photography skills on small projects for acquaintances, gaining confidence for bigger projects, strategically building my professional network and showcasing my work online.

What has been your biggest challenge along the way?
One of my biggest challenges has been navigating the cultural shift after moving to the UK. The change forced me to rethink my artistic voice, and for a long time, I was thinking about making work that didn’t feel true to me, just attempts to fit in. It’s been a long and difficult process to unlearn that and to give myself permission to create work that reflects my own story, on my own terms. That journey, toward honesty and self-representation in my practice, has been both the hardest and the most rewarding part of becoming the artist I want to be.

How important are social media and self-promotion to your work?
Platforms like Instagram and LinkedIn have made it easier to connect with collaborators, clients, and fellow creatives from around the world. They allow me to share my work, build community and reach audiences and opportunities that might have been out of reach otherwise. However, I’m mindful not to let social media dictate my creative process or sense of self-worth.

What are three things that you’ve found useful to your work or career, and why?
First: Gauging the industry and the creative scene where I’m based. I pay close attention to the sentiment, narratives and trends around photography, but am not afraid to disrupt set patterns.

Second: Not getting caught up in trying to perfect everything. I learned this while working on my photobook. If I hadn't been so focused on whether it was ‘good enough,’ it would have been published sooner, and I would have already been making more personal work.

Third: Staying diligent and grounded in my creative practice. There are days when the exhaustion creeps in, and the idea of shifting to something more mainstream and less artistic seems tempting. But I come back to the core question: Would it be any fun?

Have there been any courses, programmes, initiatives, access schemes or job boards you’ve found helpful?
I attended a fully-sponsored bootcamp for creative professionals by Mastered last year, it helped me cultivate a more impactful online presence and brand building.

Additionally, as a member of The Kusp (a not-for-profit social enterprise improving access for under-represented talent in the creative media industries) I’ve found a network of fellow creatives who not only open doors but also provide honest feedback that is creatively invigorating.

What have been your greatest learnings with making money and supporting yourself as a creative?
Always have a contract in place, with clear briefs and expectations, even if the project is pro bono. It goes a long way in protecting you and avoiding disputes down the line. Before making a purchase, I always ask myself: Do I want this, or do I need it? That simple question has saved me money more than once.

And most importantly, finding my tribe and sticking with them, people who believe in me, my art, and my way of storytelling, and who offer honest, constructive feedback. They’re the ones who push and motivate me to grow and keep me grounded along the way.

Kushagra's website

My advice

What’s the best career-related advice you’ve ever received?
Being comfortable with and learning how to say ‘no’ to something that doesn’t feel right to me - be it in terms of time, energy, effort, or most importantly, money.

What advice would you give to someone looking to get into a similar role?
Be fearless, but also be practical. Gauge the sentiments of what’s out there and trending but don’t necessarily follow it, rather find ways to make new and relatable ones. Don’t resist change and advancements rather use them to your benefit. Also, if you strongly feel something about a project and/or your art, don’t let someone’s feedback let you modify it into something you won’t relate to yourself.