How to Take Portraits That Capture the Soul | Photography Tutorial

When I first picked up a camera, I thought the hardest part would be the technical side. It wasn’t. The real challenge was learning how to see people, not just photograph them.  

This guide shares my approach to photographing people authentically, building trust, creating a safe space, and capturing genuine moments.
These thoughts come from my experience photographing a wide range of people, models, actors, celebrities, and just "normal" people alike.  

I’ve also included a selection of photographs taken yesterday with Oliva Linz (below) from Ukraine. It was her first day in the UK, and we were complete strangers, with only a handful of hours to get to know each other and be creative. Although we had chatted briefly before the shoot and agreed on the studio location, none of the images we made together were planned. Everything was created in the moment. The aim is to share my approach in context, alongside some recent images.

I’m assuming here that you’re photographing someone who not only consents to being photographed but wants to be, a vital starting point for capturing them authentically. I’m also assuming this might be your first time meeting them on the day of the shoot.

Finally, I should say: there are countless photographers who have built their careers around the art of capturing people. If this guide sparks something for you, I encourage you to explore their work too and see how they approach connecting with people as there are many ways to truly see someone through a lens.

1. What is the context of the shoot: commercial, portfolio, or fun?

In simple terms, being asked to photograph someone, or you asking to photograph them sets the precedence for the time you will spend together. The elephant in the room is saying money can influence where the energy is in the image, but as the photographer it is your responsibility to make that energy come alive, regardless of being paid or not. By the very virtue of you holding a camera you are 100% accountable for making those moments.

If it is a commercial shoot you are likely being paid as the brand, publication or subject likes your style. They have seen your work and want you to emulate it for them. Conversely, if you want to boost your portfolio and are paying a model for their time, perhaps because it is someone you have really wanted to work with, then you may feel you need to work extra hard to get the most out of your shoot. It’s easy to forget that the context of the shoot can shape one's motivation.

I know many high end models and photographers who choose to work together on a Time for Prints (TFP) basis just so they can work with people who they admire or have more experience. It’s actually very liberating to remove the expectations that come with a paid shoot and just allow the creativity to come to you. A recent and good example of how a TFP shoot can be liberating was shooting with the actress Tara Clark (left). She was a stranger on the day, but our shoot was quickly collaborative and yielded many images we both love.

In all cases, the room looks to you, the photographer because you quite literally have your finger on the button. So it is incumbent on you to generate the right energy in the room that allows those moments to be unlocked.

To quote a master, Peter Lindbergh said "The responsibility of a photographer is not to manipulate reality, but to reveal it." from his book On Fashion which sits on a shelf above my desk.

2. Forget the gear. See the person.

A classic photographer mistake (myself included) is to look at a photo you admire and think “I wonder what lens they used?”. By all means go out and buy that f1.2 lens if it will make you happy, but ensure that happiness translates into confidence when taking pictures. Don’t think the lens alone will upgrade your photography.

I spent a lot of my early years assisting some truly talented photographers. I started in advertising during the 90’s when everything had to be done right in camera and the technical skills had to be muscle memory. You could just see an exposure. So I was hard wired into thinking that those technical skills were equally required in fashion and editorial. On the one hand, they absolutely are but as I moved from one shoot to another, I realised that the images that stood out for me were taken by photographers who would put aside perfect focus and correct exposure if it meant that they caught a moment that was more valuable.

Remember the viewer of the image doesn’t have the same fascination about the equipment it was taken with, they are drawn to something much more powerful, a glimpse into someone's soul.

One example that stood out for me was assisting Mario Testino on a shoot he did for Vanity Fair with Princess Diana (image credits for the photo on the right). The editorial would showcase her dresses that would be auctioned for charity, so on paper you want a clinical, photographic perfection to maximise the quality of the fabric. But the images that were published were of a charismatic woman that happened to be wearing some beautiful dresses.

That charisma was the reason the viewer would stop and appreciate the images, not the dresses. In truth, if you look at the photographs, they are often out of focus, or blurry as the light in the daylight studio dropped and the rolls of 120 in the Pentax 6x7s tried to keep up with the interaction between photographer and subject. But the images were incredibly emotive. In short, they had fun taking the images, Mario created a bond with his subject and that was what came across in print. This and other similar shoots was my inflection point, a moment to let go of the science and focus on the person.

“I used to go to those shoots freaking out, because I wasn't as successful as those subjects. I was intimidated. Then, through the years, when I began taking portraits of personalities such as Diana and Madonna, I learned to stand by what I believe. In photographing celebrities, your mind is made to travel—through their films, their roles, their music, their worlds.” Mario Testino in an interview with Vanity Fair in 2008.

3. Prepare Together (But Stay Flexible)

If you were to Google how to plan for a shoot I’m sure at the top of the to-do list would be ‘create a mood board’. I’m a fan of such things and often make one, but remember the word ‘mood’. It’s there as a yardstick, not as an instruction manual. And in truth, the best shoots are the ones where the mood board goes out the window as you are inspired in the moment by something else. Real creativity comes from the heart, not precision planning.

Let’s assume that you are photographing a model one on one. Before you meet your subject, have a clear idea of what you want to achieve and ideally discuss this with them. Share example images from your work or from people you admire. Discuss the styling and what outfits will be needed. This is also a chance to connect with your future subject, ask them what sort of images inspire them. This helps you see what motivates them and will also start building trust between the two of you.

Use this time to discuss looks, wardrobe and any red lines the model may have. You don’t want to walk into a shoot and assume they want to achieve the same images you have in mind, especially if there is any nudity involved. These early exchanges are vital at building trust so be honest.

To put it another way, it’s pointless to book a shoot when the person you are photographing doesn’t want to be there, getting it right early is key to a successful shoot later.

This image of Olivia was inspired by the coat she arrived in, a last minute purchase having just arrived from Venice where it was raining. (Look at how different she appears to the portrait below).

An example of this I like was when Albert Watson was asked to photograph Steve Jobs. Watson was told he only had an hour with Jobs who was a busy man. The connection came when Watson said, “I have some good news for you, I think I can get this done in half an hour”. Every subject has a weak spot and time was his, Jobs beamed and an iconic image was created.

"The reality of the portrait is that it’s a partnership between the photographer and the subject."
Albert Watson, Royal Photographic Society Interview, 2014

“Top pre-shoot tip: Ask your subject what food they like and bring snacks and drinks to suit. This is both a good ice breaker and a way to restore that much needed energy in the person you are working with.”

4. Build Trust and Create a Safe Space

The images that make me happiest are often simple portraits, but importantly an image where you can crop it right down to the eyes and still feel the same connection as when you saw the full size version. They say that eyes are the windows to the soul and this statement has rung true as artists have captured portraits of people over centuries and across many mediums.

The eyes reveal so much about a person they are a visual lie detector when it comes to taking an honest portrait. The viewer can quickly discern when an image portrays a genuine connection between photographer and muse, something that is founded upon trust.

Trust is something that has to be earned and you often have a small amount of time to gain it. But you have something special to leverage, we are all human. No matter who you are, how important they may be, or what their social status is, everyone is made of the same carbon and not much beats starting the day with a simple smile.

That moment they walk into the studio and you greet them for the first time and shake their hand, that is when the deal is struck. Be honest, be genuine and most of all be human and everything else will fall into place after that.

This is another photo of Olivia. I may have taken it, but she let me.

 "When I trust a photographer, that’s when I give the best of myself."
Naomi Campbell, Elle Interview, 2013

5. Collaboration vs Direction

It’s easy to assume that as a photographer it is your responsibility to direct the subject in order to capture them properly. Afterall, you are the artist, they are the muse. This can be very true, as only you can see through the lens, you can see the frame and sometimes the pose may need adjusting in order to fit the image correctly.

But it is important to appreciate the moment and as appropriate allow the energy of your subject to be the direction. Just as you wouldn’t tell a singer or ballet dancer to stop part way through a set to move slightly to the left, it's your job to capture them for who they are. That same logic can apply to a portrait shoot when you meet someone who has a vitality that is better than any minor adjustments you can make. This is that time to not break the moment and recognise that you need to be quiet and allow the images to come to you.

Both of these are right, you just need to know when to pick the moment. I have a preference to be collaborative in my shoots. In a studio I tend to shoot tethered to allow the subject to see the images we have taken together. This allows them to review on set and invites those “oh, what if we did this, moments”. The same is true when shooting on location. Some of my favourite photos are of models looking at the back of my camera and smiling as they see the photos we have captured (like this shot of Sirena in Death Valley).

These last three steps can help you create an environment where your subject feels safe in your company and can begin to let go. That is when the best images are taken.

 "I like to capture the moment when the person forgets the camera is there."
Patrick Demarchelier, New York Times, 2008

6. Communication and Respect

I have a number of friends who are freelance models, people I have worked with and shared a creative spark which later became a friendship. I enjoy hearing about their adventures working with other people in the industry, people they want to shoot with, and people they choose not to shoot with. Their stories are unique, but they always share a common theme. The people they choose to avoid have poor communication or don’t convey respect in their actions.

How can you tell who is going to be a good photographer I ask “It’s easy, you can tell from their work, but also from their messages, and it’s the messages that are the main tell” Someone can be on a bit of a journey to improve their skills as a photographer, but have a respectful tone in their messages will pass the litmus test beyond someone with an impressive portfolio, but sounds like an arse in their messages.

Assuming you have passed this point and are now in the studio with your subject, that respectful tone in your communication is needed more than ever. As you shoot it’s important to keep that connection alive by talking positively about the images you are both capturing. If you make mistakes, shoot through them and stay positive. Whether you are shooting with a professional or someone new to being on that side of the lens, it’s important to make them feel comfortable. For example, I like to shoot with prime lenses, meaning I have to walk forward if I want to ‘zoom in’. So I always explain that “I’m coming in” when I want to reframe and take a close portrait. This is their space, not yours. Essential when taking images like this of Meg.

This simple act will help create those special moments, an invitation from your subject to capture them for who they are.

"The best shoots happen when there’s trust. You can tell when someone’s energy is off. Respect is everything." Helena Christensen, Interview with Vogue Scandinavia, 2021

7. Nudity, and Modern Perceptions

I grew up in a house with large nude prints by Helmut Newton and Herb Ritts on the wall. Henriette Allais — an image that later became the cover of Newton's book Sumo — stood wearing nothing but heels in our hallway (image on the left). Naomi Campbell by Ritts was bare-chested in our ground floor bathroom. For me, nudity had been normalised at an early age.

I worked in the industry during the 90s, a time when attitudes were different. The main point was that, whilst these images contained nudity, there was no assumption that they were sexualised in any way. I was taught to look upon images like this much as one would look upon Botticelli’s Birth of Venus. The genre may have been different, but you appreciated the art without any additional preconceptions.

Today, the dynamics are different. We’ve evolved into a place where we recognise that it’s inappropriate to have women in a bikini standing next to an F1 car holding up its number. The explosion of social media embraced photography and turned anyone with a phone into a photographer. As these platforms consumed the content its users made, the lines of what art really was began to blur. Perhaps worse, as the platforms started to monetise user content, that same content had to be moderated and censored to protect advertisers, regardless of what they were promoting. Artists in all mediums were being taught to approach their work differently.

The term male gaze was first coined by film theorist Laura Mulvey in 1975 to describe how women are often portrayed through a heterosexual male perspective,  focusing more on their appearance than their individuality. For much of art and photography history, this was rarely questioned.

A recent example of how these dynamics have evolved comes from Hollywood: while filming an intimate scene for the 2025 film Marty Supreme, actress Gwyneth Paltrow, who began her career before the #MeToo movement,  expressed surprise at the presence of an intimacy coordinator on set. Although such oversight felt "stifling" to her, it reflects a significant cultural shift towards prioritising consent, boundaries, and respect during vulnerable moments of performance.

It’s not that nudity is bad, but it does need to be justified. Your work is judged through more than one lens today, and it’s important to recognise that. Above all, consent and respect are needed more than ever in the studio.

"A great photograph should never feel exposed, even if you are."
Carla Bruni, (commentary about shooting with Helmut Newton, 1990s)

If your shoot plan includes nudity, make sure that this is clearly understood before you meet your subject. Don’t rush into taking nude photographs; use the steps above to create a safe and respectful space first. By now you should have built a connection with your subject, where they trust you not only to take a decent photograph, but also to know that they can relax in your presence.

But this is not an invitation to invade their personal space, picture an invisible box around them and absolutely do not touch them, even if it’s just to tap a foot or adjust a pose. Your images will only be as good as the way the model feels, and you can kill that mood so quickly if you forget to be respectful.

Follow these simple rules and I promise you will capture images that portray not just the beauty of the human form, but, importantly, an authenticity — the very DNA of an image that tells the viewer there is a true connection between artist and muse.

Olivia using her phone to take photos of the images she liked from this set.

8.  A Print Is the Full Stop at the End of Your Story

I’ve always maintained that you should take photos that are print-worthy.
This idea was founded for me when you shot on film and had to print your images to see them. You quickly learned how important it was to get it right in-camera.

Today, when shooting digitally — and with the added urgency to share work on social media — it’s easy to forget that the true medium for appreciating a photograph is in printed form. I’d go as far as to say that a JPG on Instagram can cheapen your work when compared to the same image printed and held in your hands.

Go into a shoot knowing that your goal is to take images that are truly print-worthy, and you’ll see your subject and frame differently. It slows you down — in a good way.

That moment when you identify those great images, and then hold them in your hands, that is the epiphany moment — the true end to your role as a storyteller.

"The negative is the equivalent of the composer’s score, and the print the performance." Ansel Adams

In summary…

…. when you make people feel seen, you don't just capture a photograph, you capture a piece of them and it’s that personal connection that makes the image, not the camera you took it with.

There are a lot of words on this page, I hope some of them have been useful. But so you know, the most important advice I can give is to ensure you and those on set with you have fun.

Go grab your camera and make someone feel awesome.