In an era where expensive cameras, formal degrees and industry connections are often seen as prerequisites for success, Khumais Idrees has quietly rewritten the rulebook. Armed with nothing more than a smartphone gifted by his parents, the self-taught photographer from a small village in Punjab transformed a simple hobby into an internationally recognised career, proving that vision matters far more than the equipment behind the lens.

Today, Khumais is one of Pakistan's most celebrated landscape and travel photographers. His breathtaking images – defined by cinematic compositions, dramatic natural light, minimalist aesthetics and solitary human figures set against vast landscapes – have earned recognition from National Geographic, Adobe Lightroom, and in exhibitions in Pakistan, New York and Berlin. His collaborations with global brands such as Xiaomi, Peak Design, Coca-Cola and Filmora further reflect how a passion project evolved into a thriving creative profession. Yet behind every perfectly-timed sunrise and awe-inspiring mountain vista lies a philosophy rooted in patience, persistence and purpose. Rather than chasing fleeting social media trends, Khumais has built a loyal audience by telling authentic stories about Pakistan's extraordinary landscapes and inspiring aspiring photographers to begin with whatever tools they have.

In this candid conversation with MAG, Khumais reflects on his remarkable journey from smartphone photography to global recognition, the lessons he learned while teaching himself the craft, and why he believes creativity can never be replaced by technology. He also shares his thoughts on artificial intelligence, social media, commercial collaborations, and the biggest misconception young photographers have about succeeding in the creative industry. For Khumais Idrees, photography isn't simply about taking beautiful pictures – it's about seeing the world differently and encouraging others to do the same. Excerpts: 

SK: Your journey began with a smartphone gifted by your parents. Looking back, did you ever imagine that a simple gift would eventually lead to international recognition?
KI: Not at all. At the time, it was just a phone that happened to have a camera. I started taking photos because I genuinely enjoyed it, not because I thought it would become a career. Looking back, it’s crazy to think that one simple gift eventually led me to travel across Pakistan, work with international brands, exhibit my work overseas, and be recognised by platforms I used to admire. It reminds me that you never really know where a small passion can take you if you stay consistent.

SK: You are completely self-taught. What were the biggest challenges of learning photography without formal education, and do you think being self-taught gave you a creative advantage?
KI: The biggest challenge was not knowing what I didn’t know. There wasn’t anyone to guide me, so I spent years making mistakes, watching tutorials, experimenting, and figuring things out through trial and error. It definitely took longer, but I also think being self-taught became an advantage. Since I never learned photography through strict rules, I developed my own way of seeing

landscapes and telling stories instead of trying to copy what everyone else was doing. Looking back, that experience is also why I enjoy teaching today. I know how frustrating it is to learn everything alone, so it's rewarding to help others avoid the mistakes that took me years to figure out.

SK: Your photographs often feature vast landscapes with a lone human figure. What draws you to this style, and what story are you trying to tell through those compositions?
KI: I’ve always loved showing the relationship between people and nature. A single person in a massive landscape immediately gives you a sense of scale, but beyond that, it tells a story. It reminds us how small we and our problems are compared to the world around us. I want people to feel like they’re standing there themselves, experiencing the silence, the adventure, and the beauty of that place.

SK: You have photographed some of Pakistan’s most breathtaking locations. Which destination has left the deepest impact on you – not just as a photographer, but as a person?
KI: That’s a difficult one because every place has taught me something different. But if I had to choose, the Karakoram region has had the biggest impact on me. Being surrounded by some of the highest mountains on Earth really changes your perspective. You realise how small you are and how powerful nature can be. Every trip there leaves me feeling inspired and humbled in a way no other place can ever do.

SK: Social media played a significant role in building your career. Do you think photographers today spend too much time chasing algorithms instead of developing their artistic voice?
KI: I think it’s important to understand the algorithm because it helps your work reach more people. But if you only create for the algorithm, you’ll eventually lose your own identity. Trends come and go, but a unique style lasts much longer. Social media should be a tool to share your work, not the thing that defines it.

SK: Recognition from platforms like National Geographic and Adobe Lightroom is a dream for many photographers. Which achievement felt like the true turning point in your career?
KI: Being recognised by National Geographic and featured by platforms like SonyAlpha and Lightroom is definitely one of those surreal moments because it is something every photographer dreams of. But if I had to choose one turning point, it would probably be when I realised people weren’t just following me for individual photos, they were following me because they connected with my stories and the way I saw Pakistan. That’s when photography stopped being just a hobby and became a real career.

SK: As someone who has collaborated with international brands, how do you balance commercial work with maintaining your own artistic identity?
KI: I only work with brands that genuinely fit my style and the kind of content I already create. I never want an advertisement to feel completely different from my normal work. If my audience can’t tell where my photography ends and the collaboration begins, then I’ve done my job well. Authenticity is always more valuable than saying ‘yes’ to every opportunity.

SK: Artificial intelligence is rapidly changing photography, from editing tools to AI-generated images. Do you see AI as a creative partner, a threat to photographers, or simply another tool?
KI: I see it as a tool. AI can speed up and make certain tasks easier. But photography has always been about seeing something unique and being there to capture it. No matter how advanced AI becomes, it can’t replace the experience of standing in front of a mountain at sunrise after hiking for hours, waiting for that one perfect moment. That’s what makes photography meaningful to me.

SK: Many young creatives in Pakistan believe success is impossible without expensive gear or industry connections. Your story challenges that belief. What misconceptions about becoming a photographer do you wish people would stop believing?
KI: The biggest misconception is that expensive gear creates great photographers. It doesn’t. I started with a smartphone and learned composition, light, and storytelling long before I owned a professional camera. Good gear definitely helps, but it’s not what gets people to connect with your work. Your vision matters far more than the camera in your hands.

SK: If you could photograph one place you’ve never visited – or one historical moment in time – what would it be, and why?
KI: For a place, I'd choose Iceland. The combination of glaciers, volcanoes, waterfalls, and dramatic light makes it feel like another planet, and I'd love to tell stories through those landscapes. If I could photograph a historical moment, it would be the first successful summit of K2 in 1954. Capturing the determination, the scale of the Karakoram, and such a monumental achievement in mountaineering history would be incredible, especially because K2 has always fascinated me as, both a photographer and an adventurer.

SK: Youth and their parents often feel discouraged about pursuing a creative field as a career because the income is unstable and success is never guaranteed. What would you say to those dreaming about becoming a photographer?
KI: I understand those concerns because they're real. Creative careers can be unpredictable, especially in the beginning. But I also believe that if you're willing to treat photography like a profession instead of just a hobby, there are more opportunities today than ever before. Learn the business side, build your skills, stay consistent, and be patient. Success rarely happens overnight, but it can absolutely happen. That's actually one of the reasons I started The Khumaix Photo Academy. When I was learning, I had to figure everything out through years of trial and error. I wanted to create the kind of resource I wish I'd had when I was starting out – one that teaches not just editing and photography, but also how to build a sustainable career around your work. I started in a small village with nothing more than a smartphone, so I know where persistence can lead.