Turning my flash-gun away from the subject and towards a white wall allows the diffused light to give an almost studio lighting effect to the image. Having a high ISO and wide aperture allows the light to really lift the image without picking up any ambient light; however I had a to make sure I was close enough to the subject so they remained in focus. It’s beneficial to remember a very shallow depth of field can work well and make a portrait pop – so long as the eyes are sharp so the viewer can connect to the image.  

This exercise made me realize how simple lighting can be, at times, the most effective. Irving Penn’s collection New York Small Trades was created by using the natural light emitted through his studio window and a 7 x 3 ft white board that acted as a softbox. When commissioned by I.d magazine to produce 100 black and white portraits Nick Knight used one light in the studio – again the final images were stunningly dramatic. By the two photographers including a definite black and pure white, their images have the full spectrum giving a rich texture to each image’s tonality. 

These two photographers have inspired me to transform my garage into a studio – here is a trial of using the natural light available. Analyzing and gaining an appreciation of their work has reminded me simplicity is key to effective portraiture: I am going to invest in no more than two lights, some tarpaulin to use as a background, and a white kingspan insulation board to act as a softbox.

Last week I was lucky enough to photograph two very different types of performance: a short fashion film shot in the studio and a rehearsal for live theatre. Before attending these two assignments I assumed more differences than similarities in how each performer operated; from experience I thought the studio would be a far more controlled event, and the theatre have more opportunities for improvisation.

Although there was a degree of careful planning to the studio shoot, the model was incredibly innovative in her presentation of each outfit. Perhaps as the footage would be heavily edited in postproduction, the director welcomed mistakes which seemed to physically free the model: when she became caught up in the scenery she gave reign to her creative spontaneity by plucking at the ribbons as if playing the harp. Her performance took an unexpected angle and her decision to include the scenery in her performance was extremely effective.

The final rehearsal of the theatre production was at a less organic stage: by working with a script this performance was focused on honing each actor’s routine and ensuring the troupe were unified. The director was open to ideas and collaboration, I suppose as dynamic theatre is always an evolving process, even on the opening night, but guided each of them and used his judgement to what would be suited to this particular performance.