Lives Behind The Lenses
Artist Spotlight: Malini Chandrasekar
01.06.2026
Will talks to Malini about her journey from graphic designer to photographer, the peaks and troughs of travelling solo and her first gallery collection.
Photographing polar bears in Svalbard in 2024
You recently took the jump to turn photography in to your full time job - a courageous move - what prompted you to do this? Was there a eureka moment or a slow shift?
With a background in advertising and graphic design, creative ownership and the responsibility that comes with it has always mattered to me. I’d say that has been the biggest driving force, alongside life experience, maturity, and a growing sense of perspective.
Photography has been part of my life since I was 12, so the move from hobby to full-time has been a long time coming. So no, there wasn’t a single turning point. If I’m reading my life right, all roads lead here. It just took a few decades to get there.
Is there anything you wish you’d known before making the jump?
How isolating it can be. But that’s also where the growth happens. That was probably the toughest part especially after spending most of my life as an extroverted team player.
Icebreaker, £575
How do you prepare for a shoot in say, Tanzania? Do you visualise shots, research other photographers? What’s the process?
Interestingly, my process has evolved quite recently.
Up to now, the photographic process has been largely intuitive and with a lean towards all the visual inspiration I am constantly absorbing through books, socials, art, design and the city around me. But I’m starting to shift towards being more intentional.
Preparation, for me, isn’t about building a shot list. It’s about mindset; slowing down, noticing properly, and being present, rather than solely relying on intuition and thus hoping I have a shot.
The focus now is to be more selective and take bigger risks, at the cost of coming home empty-handed.
But I know, that’s where the better images happen.
Obsidian, from £175
You’ve chosen 5 limited edition prints for your latest We Are Wild collection, how long does it take to create a finished image? From the moment you witness the moment to actually finishing the edit?
I spend far more time selecting a shot than I do editing it.
A lot of my thinking happens out in the field, so I tend to shoot with the edit in mind. That makes the editing process simpler, but getting to that point took a long time. Years, in fact. It’s a skill I’ve worked on consistently, and it’s become a real asset.
In practical terms, an edit might take anything from under an hour to a day or two, depending on the image. My background in graphic design and art direction definitely helps. Those instincts and techniques carry over.
If I’m editing for print, it’s a different process altogether. Much more meticulous. That can take several days, and even then I’ll keep coming back to it, making small adjustments over weeks, sometimes longer.
I don’t think I’m ever truly finished with an image. Even once it’s printed and framed, there’s always something I’d refine. I think that’s just part of being an artist. It’s never completely done.
Monolith, from £175
You’ve shot in some amazing places, what’s currently top of your bucket list?
Ellesmere. To share an experience with a species (Arctic Wolves) that's barely interacted with people, is exhilarating to me.
The Arctic holds a special place in my heart, it's where I felt I really blossomed as a wildlife photographer ... on your Svalbard trip actually. There was a clear shift in my mind, because being surrounded by the kind of talent and love for life that people had on that trip, truly inspired me.
What matters more to a good image - the species or the location?
Tough one. If I had to choose, I’d probably say location, but honestly, I find both slightly irrelevant.
For me, a good image comes down to the emotional connection it creates. Whether it’s a portrait of a lion or a gannet, or a wide scene of the Arctic tundra or the African plains, it’s not really about the subject or the place.
If the image makes me feel something — through the composition, the light, the atmosphere, the narrative — then it works. That’s what matters to me, not whether it’s defined by location or species.
Svalbard, £575
If you could give one animal a Marvel super power, what would it be and why?
My spaniel, Oscar. To talk! Not sure which Marvel super power that is, but I'd love to know what he's thinking and been thinking for the past 11 years.
WF: I'm not sure you do want to know actually, Mal!
Where do you find your photography inspiration? Social media? Books? Exhibits?
I find inspiration, in everything, everywhere. Paul Smith made a book titled 'You can find inspiration in everything" and I am a firm believer of it.
People, Life, Travel, Food, Design, Music, Books, Exhibitions, Cinema, Art, Social Media.You name it, and I'll find something in it that inspires.
White Bear, £575
What’s one (luxury) essential you ALWAYS take with you on safari?
Noise-cancelling headphones.
And of course…Crocs. Because if Will Fortescue can survive the Serengeti in them, so can my sense of dignity.
Which is your favourite of Will's Dad jokes?
Q: Why don’t elephants use computers?
A: Because they’re afraid of the mouse.
WF: Not bad, 6/10
