PROCESS

Robert works with families, institutions and individuals who are looking for something that stands apart. Something that moves beyond the conventions of classic and contemporary. And what they find when they get there, isn't just some passing likeness. It is a record of an entire lifetime, told through the eyes of the person living it.

An image that will stop you each time you pass it, and make you look again.

It is a meticulous journey of creation, and one that demands time. To that end, Robert only takes on a maximum of four commissions a month, ensuring that each portrait has his fullest attention throughout the process, from the very first conversation to delivery of the finished piece.

After an initial consultation, Robert will develop the concept, styling and mood of the portrait, along with any tonal references cited from his existing work. He will also devise a lighting plan tailored to the subject, and discuss the most appropriate clothing.

Every decision must be considered, every detail intentional.

Upon receipt of the Commission Fee, which covers all aspects of the creative process, the sitting will take place. It is a calm, unhurried experience, drawing to a close only when Robert is satisfied he has what he needs. In the days that follow, he will assess the work and select the strongest five images from which the client will make their preferred choice.

Using this as the basis for the portrait, Robert begins the work of refinement; a process done entirely by hand, and one that can last a week or more. Every subject is unique - from the pitch of their skin to the colour of their hair, and all else in between - and all of these features react differently to the subtle adjustments in tone, contrast and texture that Robert applies. In short, he lets the characteristics of the individual guide the creation of depth and detail, not the other way round.

This is what makes each portrait Robert creates as distinct as the subjects that sit for him.

Once complete, he will share the finished work with the client and discuss size and framing options; a conversation that will be guided by where the portrait will ultimately hang. And so begins the final few steps of the portrait's journey to its place on the wall, where, with any luck, it will sit for generations to come.

Robert oversees every aspect of the production process, and he advises a lead time of 8 weeks from completion of the shoot to receiving the fully certified portrait, in frame. If, for any reason, it is likely to be longer, he will advise on the revised time frame at the earliest opportunity.

The Completion Fee is due before delivery, which reflects the style and scale of the portrait (anywhere between 16 and 36 inches tall) as well as frame choices and shipping costs, though where possible Robert prefers to deliver the work in person.. And as with all of his original work, it comes appropriately certified using a uniquely serialised hologram and corresponding Certificate of Authenticity. Subsequent prints are available upon request, on a limited edition basis.

THE SITTING

Robert adopts a naturalistic approach in place of formal direction. In his experience, actively steering the subject creates conspicuously staged results. Instead, the sitting will feel more like an idle conversation during which he will tweak a light here and there and occasionally ask the subject to angle their body or head in a certain way. But little beyond that.

The reality is, few people enjoy having their portrait taken, It's an exposing, unnerving experience. But you have to trust in the process for it to work. And you must appreciate that the finished portrait is never for the sitter, always the beholder. As the subject, it is important to see it as a means to the more meaningful and lasting end that it is. Posterity and remembrance; pride or love; perhaps even to commemorate some specific achievement. Whatever purpose the portrait is intended to serve, the stronger the level of trust that exists between Robert and the subject, the better the results will be.

MATERIALS & FRAMING

Robert collaborates only with the most accomplished craftspeople, both for his printing and framing.

For printing, he favours archival printers and inks that offer the greatest black density for unrivalled graduation. He pairs them with what he believes to be the finest paper in the Hahnemühle stable – the 308 gsm PhotoRag. With its lightly defined acid-free felt structure, it lends each artwork a dimensional depth that can't be found elsewhere.

For framing, Robert has curated a small number of profiles that run the gamut from simple and elegant to the more ornate, as well as both contemporary and traditional options. The frames are handmade and hand-painted, guaranteeing the utmost versatility both in terms of colour and finish. He uses UltraVue glass, optically treated to give it a near-invisible finish while also offering UV protection, making it the only choice for the world's top galleries.