This intimate editorial, “Polina - After Dark,” offers a glimpse into the spontaneous artistry of Dax Pandhi, where passion and creativity collide in a beautifully improvised boudoir shoot. Set in the soft glow of afternoon desert light within a cozy hotel room, the session unfolded naturally, guided by the rhythm of the music that resonated with the model, Polina.

Dax Pandhi’s approach to boudoir photography is raw and authentic, capturing more than just the body—he delves into the elusive realm of emotions and vulnerability. In this exclusive piece, we not only showcase his stunning work but also dive deeper into his perspective through a special interview.

Dax's Interview:

We made an interview with Dax Pandhi to learn more about his journey, creative process, and insights into boudoir photography. Here’s what he had to say:

1. What does boudoir photography mean to you?

Boudoir is a great way to tap into a person's raw, intimate side - not just the body, but the more elusive emotions. I believe a truly great shoot is not just one with freedom of body but also full freedom of emotions and vulnerability.

2. Why did you choose to pursue a career as a boudoir / fine art photographer? What got you started in boudoir?

This is still just a hobby for me, but I take it very seriously. I was always interested to see if I had any aptitude for fine art nudes and a little over a year ago decided I should give it a try.

3. What kind of creative process is there behind boudoir photography?

Boudoir is one of those styles where I do almost no planning. It’s a very improvised process. The model and I talk about a few things we both like, then we feel our way through the shoot picture by picture. I like giving the model as much freedom as she wants, letting her lead with whatever vibe she’s feeling, and then putting my own spin on it. Coming from a film editing background, I will often change the entire feel of the picture in post. It doesn't mean retouching or "Photoshopping" heavily. Rather it is more about reprocessing the light and composition. I know some consider it a taboo, but I have no qualms using the out-of-camera shot as a starting point and changing the picture in the edit.

4. How do you communicate with a client or model you’ve just met to make them comfortable for boudoir / nude photography?

Often, I will do a normal shoot with them first - at least half an hour of non-nude shots. It helps us get to know each other first and become comfortable. Before any nude shots, I show moodboards or visual references to convey my ideas and get their input on which poses or styles they'd feel comfortable with. If something makes them uncomfortable, it is better to know up front for both us and remove it from the plan than to suddenly encounter mid-shoot and introduce an awkward moment that can kill the rhythm of the shoot.

5. How do you educate yourself to take better photos?

It's a two part thing: I collect pictures that I like - from Instagram or elsewhere - and create extensive moodboards and try to understand WHY I like something. It helps train my eye. The second part is practicing and trying new things. Sometimes things work out, sometimes they don't. But I get to learn from both of those. Being open to failure just helps a lot to speed things along, and increase what I learn.

6. How would you describe your photography style?

Probably a bit raw and eclectic. I don’t think I’ve nailed down a specific style yet. I explore different ideas but tend to keep things raw and honest. I’ve moved away from heavy retouching over time, and I prefer to preserve that rawness in boudoir work. I particularly love capturing a frame just before or just after a moment, instead of the moment itself. There is a kinetic energy in such shots that I adore!

7. What type of cameras do you shoot with, boudoir and/vs other?

I love my Canon R3 for almost everything. For boudoir, I stick mostly to my 16mm and 50mm lenses. Occasionally, I’ll take a shot with my Nothing 2 phone, or some BTS with my DJI Osmo.

8. What kind of other gear do you use for boudoir and/vs other?

I have a couple of small RGB LED panels the size of a mobile phone. I've used them for accent lighting, or sometimes even as primary lights. They’re great for intimate settings—discreet and versatile, sometimes even replacing traditional lighting completely.

9. Among your works, which one is your favorite? Why?

I'm a bit partial to my shoots with Polina S. Not just because she is a close friend, but also because she is someone who is so comfortable in her skin. She knows how to move without being pose-y. She is fantastic at improvising, and we tend to create a lot of great material whenever we shoot.

10. What is the most difficult part of being a boudoir photographer for you?

I think it is the same as with any other shoot. If the chemistry between the subject and photographer is not right, a great shoot can become an unending chore. Although I am a little spoiled because this is not my profession, so when I work I get to choose who I work with.

11. What is the most rewarding part of being a boudoir photographer for you?

Being privileged to not just see someone's intimate side but being allowed to photograph that.

12. Just for fun, if you could shoot in any location, what would it be?

I'd love to do something in the US Southwest among large sandstone formations.

13. Do you have any other profession or anything you are passionate about?

My main profession is in film and game visual effects. I've been working in that field for 20 years, although photography has been my constant companion. In fact, both types of work feed each other.