With work spanning fashion weeks, editorials and pageantry across the globe, including working with the Miss England contestant for Miss World 2026, Goa-born photographer Russel Shawn Diniz takes NT BUZZ behind the scenes
CHRISTINE MACHADO NT BUZZ
Back in 2019, Russel Shawn Diniz from Dramapur moved to the U.K. to pursue a BSc (Hons) in Adult Nursing, while alongside pursuing his love for photography.
Having previously studied photography at Stenodac Institute of Professional Photography, Panaji, Diniz had already developed an interest in visual storytelling. “Photography first attracted me because of its storytelling power. I was fascinated by how a single image could capture emotion, confidence, beauty and personality without words,” he says.
After relocating, he was exposed to the fashion and creative industry at a larger scale. “I began attending and photographing fashion shows, pageants and creative events, which broadened my understanding of fashion imagery,” he says.
His experience backstage, on runways and working with models and designers made him realise that fashion photography went beyond documentation. He says, “It was about identity and emotion within a fast-moving industry.”
Over time, these experiences shaped his creative direction. “I realised this was where my creative vision and interest in people came together and that was when I decided to fully focus on it,” he says.
Since then, his work has included fashion editorials, runway photography and international pageantry and has been featured in fashion publications. He has collaborated with models and personalities associated with platforms such as Miss England, Miss World, Miss Universe and various fashion brands.
A defining moment in his career came when his work was selected for the front cover of the Miss England Calendar 2025. “When I first saw the calendar in person, it felt quite surreal,” he says. “As a photographer, you are often behind the scenes focused on creating the image rather than witnessing its final life in print. To see my work as the cover, especially for a project connected to Miss England 2024 Milla Magee and her ‘Beauty with a Purpose’ initiative #GoFarWithCPR, made the experience feel even more meaningful.”
He adds that the project changed the way he viewed his work. “It reminded me that photography is not only about capturing moments but also about contributing to something that carries meaning beyond the frame,” he says.
Among his notable assignments was a shoot with Melisa Raouf, the first Miss England contestant to compete barefaced. “It was not just a fashion shoot but a personal statement on confidence and redefining beauty standards, so it required a thoughtful approach,” he says. He kept the visuals minimal to let expression and presence come through strongly.
Another project he worked on was with Grace Richardson, Miss World England 2025, who will represent England at Miss World 2026. Diniz says she has a strong artistic background and discipline, shaped by musical theatre and performance. “Her ‘Beauty With A Purpose’ initiative, ‘Every Drop Counts’, which focuses on sustainability in fashion and water conservation, also added context to the shoot,” he says. “For me, it was not simply about capturing portraits but documenting a moment in her journey towards representing her country
on a world stage.”
Explaining his approach to couture photography, Diniz says the garment must stay the focus. “Couture is craftsmanship, structure and artistry. My role is to respect that and ensure the design remains the
focal point,” he says.
He adds that he prefers creating images that do not get tied to passing trends. “A strong couture image is one where the craftsmanship stands out first and the photograph still feels relevant years later,” he says.
This also influences his work at fashion shows, where he focuses not only on garments but also on atmosphere. “I look at movement, lighting, backstage interactions, designer vision and emotion. Those in-between moments often become as powerful as the runway itself,” he says.
On pageantry, he challenges the perception that it is purely superficial. He explains, “It is a structured environment involving discipline, performance and personal development. Contestants also work on advocacy, public speaking and
personal branding.”
Looking ahead, Diniz aims to expand his work across international fashion weeks while continuing editorial collaborations in couture and pageantry. He is also exploring longer-form, cinematic
visual projects.
He adds, “I am interested in documenting off-runway culture within fashion, as those moments often reveal a side of the industry people do not usually see.”
Diniz also hopes to work on campaigns that merge fashion with social or cultural themes.
