THE SITTING

Robert prefers a naturalistic approach and avoids, as much as possible, giving too much direction. In his experience this 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 you to angle your body or head in a certain way. But little beyond that. The most important thing is making a connection between the subject and the camera, and that only happens when they are sufficiently relaxed that they no longer even notice the camera is there.

For children, who don't have the capacity to sit still for more than a few minutes, the photography does not take long. With adults the experience is much more collaborative. The reality is, nobody likes having their picture taken. It's an exposing experience and that can be unnerving. But you have to trust in the process for it to work. You have to be able to see it as the 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 the photographer and the subject, the better the results will be.

WHAT TO WEAR

There is no right or wrong answer when it comes to wardrobe and people often overthink it more than is necessary. The golden rule that trumps all others is that the subject should wear what makes them feel most comfortable. Within that, there are guidelines worth thinking about.

The portraits are intended to have a timeless quality to them, so more classical choices of clothing will aid in that process, whereas anything contemporary might detract from it. For black and white portraits on a white background, pastel colours work best. On the whole, anything with patterns or logos distracts and is best avoided. And structure around the neck (be it a traditional collar or a nehru style shirt), without too much going on across the shoulders, is also recommended. This is especially true for Robert's Signature Portraits. It is important to maintain the natural shape of the head and shoulders because of the way in which they are edited. So a dress with an elaborate shoulder accent or a wide and frilly collar design will make it much more complicated to achieve the final result.

Ultimately though, the first rule should prevail if ever in doubt. If the subject only ever wears t-shirts and never collard shirts, then a t-shirt is what they should bring. And if any doubts still remain, Robert is always happy to chat through the various options to see what might be most appropriate.

EDIT & LEAD TIME

Once Robert has what he needs, he will take the images home and select the five images he deems to be the best, from which he will ask you to make your preferred choice. They can be very similar, sometimes - a small inflection or subtle change of expression in one that just speaks of the subject better than the others. The kind of thing that will only be noticed by those who know the subject intimately. And when the final image has been chosen, Robert will begin the process of editing.

There is no prescriptive formula you can follow when it comes to editing. Each person is unique - from the pitch of their skin to the colour of their hair, and all else in between - and each of these features react differently to the subtle adjustments in tone, contrast and texture that Robert applies. So instead of trying to force his work through a slew of preordained filters and Photoshop “actions”, Robert lets the characteristics of the subject guide the editing, not the other way round. It ensures that each portrait Robert does is as individual as the subjects themselves.

Time is the only common thread, and it does take a lot of it. Robert likes to do it in waves, tightening the screws as he revisits the work with fresh eyes until he is happy. He suggests a lead of three weeks, though this can vary depending on current workload. If it is likely to be longer, he will let you know.

MATERIALS & FRAMING

Robert uses only the very best quality 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 hand-picked three profiles that run the gambit from the simple and elegant to the more modern, and indeed the more traditional depending on where the work will be hung. 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. If you would rather frame the work yourself, Robert is happy to advise on any aspect of the process should you want him to.

AUTHENTIFICATION

All of Robert’s original work comes signed with a uniquely serialised hologram and corresponding Certificate of Authenticity, while subsequent prints will be appropriately marked on a Limited Edition basis.