Interview: Rory Lewis
The portrait pro talks about bridging centuries of art with headshots that are full of depth
When did you decide that you wanted to be a photographer? Tell us about your photographic journey. I’m a self-taught photographer with 15 years behind the lens. Luckily I’ve been able to develop my own style of working, without interference. It all started while I was studying the history of cinema as part of my history degree at King’s College London, exploring German Expressionist cinema with films such as Nosferatu, The
Cabinet of Dr Caligari, and Metropolis. Metropolis features special effects and set designs that still impress modern audiences with their visual impact. The Maschinenmensch, the robot character played by Brigitte Helm, was iconic. I was amazed by the visual effects of cinematography and set design. I started to explore my interest in photography even further as the influences of German Expressionism were fresh in my mind. I had a hunger to become more creative.
I finished university with a good degree and returned home to continue developing my work. To my surprise, I began to receive commissions – at first individuals needing portraits, then models requiring model portfolios, and eventually businesses requiring advertising and campaign photography. In 2007 my success allowed me to start my own photography studio, working with clients both locally and nationally. When my work was first acquired by the
National Portrait Gallery, I knew that I was producing something amazing. What is it about portraiture that inspires you? Why did you make this genre your focus?
To me photography has been my excuse
Chiaroscuro has always been my aim – three-dimensionality and theatricality
to touch history, witness it first-hand. Portraiture has been my medium from the start. To capture the most interesting, compelling faces and to tell their story has been my motivation. Imagine photographing former prime minister David Cameron, reflecting on his career one year after Brexit. I did that and captured history.
DESCRIBE YOUR STYLE AND YOUR INFLUENCES IN FINE ART – HOW DO RENAISSANCE PAINTINGS INFLUENCE YOUR WORK?
It’s not unusual for photographers to be inspired by other types of art. As you may have noticed, there is a great deal of Renaissance influence in my portraiture, drawing inspiration from Old Master painters like Rembrandt, Caravaggio, Titian, and Ribera. I have attempted to masterfully recreate the light, atmosphere, and tones of classical portrait paintings. This is even more apparent in my project, Selah.
Selah has found its foundations in Counter-Reformation art. I have been lost in the work of Ribera. His depictions of saints and religious figures draw their inspiration directly from Caravaggio’s tenebrism.
HOW DO YOU CREATE THE LIGHTING STYLE FOUND IN MANY OF YOUR PORTRAITS? DID IT TAKE YOU LONG TO FIND THE CORRECT BALANCE TO FIT THE ITALIAN RENAISSANCE LOOK?
To me lighting is a simple premise – I use one or two lights to capture my portraiture, maintaining shadows and detail. Chiaroscuro has always been my aim – three-dimensionality and theatricality, along with direction, creating the energy.
WHAT STORIES DO YOU TRY TO TELL THROUGH YOUR THOUGHTFUL PORTRAIT IMAGES? WHAT EXPRESSIONS ARE YOU LOOKING FOR, AND HOW DO YOU DECIDE WHEN TO FIRE THE SHUTTER?
I’m capturing a performance. Imagine going to the theatre, sitting at the front of the stage and snapping the actors performing. That’s what I’m doing. I ask my sitters to move, reflect, and even perform, capturing the story and developing the theme with inventive direction. For instance, during my recent shoot with James Cromwell in New York (pictured p28) – in directing James I asked him to imagine he had taken a long pilgrimage and was now reaching the end of the journey. My impetus was to capture a man of faith who is almost pensive, taking the time to meditate and reflect.
FROM THE WORK YOU HAVE UNDERTAKEN, DO YOU HAVE A FAVOURITE SHOOT OR SUBJECT, AND WHY? ALTERNATIVELY, ARE THERE ANY SHOOTS THAT STAND OUT AS FUN, EXCITING OR IN SOME WAY UNUSUAL?
I always get asked this question, and I always give the same answer. The well
known English actor David Warner was the first celebrity to sit for me. The last time he’d had his photo taken professionally was actually in 1965 when he was just 24. Ever since then he’d determinedly avoided getting back into the photo studio. To coax him into sitting, I wrote several letters to David’s various representing agencies in both the UK and the US. Unfortunately, I never received a reply. However, I was determined not to give up. When browsing on social media one day, I discovered that David was attending a Hammer Horror convention in London. As a lastditch attempt, I wrote another letter to be delivered on the day of the event. Happily, he replied and agreed to sit for a session. I’ve been a fan of his for a number of years, so it was fantastic to get my chance to work together to create some striking portraiture.
HOW DO YOU WORK TO BUILD A RAPPORT WITH FAMOUS SUBJECTS?
My aim is to bring the subject into a space where they can lose themselves and completely disconnect from the moment. So much of the portraiture commissioned in the press and print industry is reluctant to take risks. I want to challenge that safety and introduce moments of spontaneity and awkwardness. Too often portraits of people who are famous or even notorious are aggrandising and sycophantic. I want to strip back the artifice and enforce strangeness and quietness in its place.
The people I work with – the most famous and most recognisable – are often guarded, very reluctant to reveal themselves. Part of the joy of portraiture is getting them to a point where they feel safe to let that guard drop. A conversation, cracking a joke, talking about a serious topic that means a great deal to them helps to relax the subject.
It’s an accidental moment that I look for – that moment of accident is really important.
It can be found during the shooting process or in the editing process. I find that it’s often something you didn’t expect to work that will yield the most evocative images, be it messing around digitally or physically editing the image. I was raised on digital, but more and more I value the presence of a tactile image, one that you can hold, bend and tear.
WHAT GEAR DO YOU CURRENTLY USE? WHAT’S IN YOUR KITBAG?
To me portability is key. I have recently moved back to Bowens, using the new XMT500 Flash Head, which is easy to use
and super-fast to capture the action. I’ve always favoured Canon as my camera of choice. My bag always has two EOS 5D IVs, and my portrait lens of choice is the 85mm f/1.2. In terms of modifiers, I prefer octaboxes and shoot-through umbrellas. Backdrops wise, I use Lastolite collapsible models. These are essential to my work – coming in various colours, they are easy to deploy and transport.
WHAT’S NEXT? ARE THERE ANY FUTURE PROJECTS THAT YOU’RE WORKING ON OR ARE EXCITED ABOUT?
My next project will take me back to military portraiture. I will be capturing a new project featuring the Canadian Army. I was due to leave in early April, but alas with COVID-19, I’ll be commencing in September or October instead now.
I’m looking forward to working with a diverse mixture of regiments, all with their own unique uniforms and traditions.