More Than a Face: How a Portrait can Reveal the Story

Rob Brydon: Visualising the Role

Rob arrived in great spirits in a fancy hotel in London’s West End. He was happy to follow my direction as we worked through various setups. As the shoot progressed and the atmosphere became more relaxed, I suggested a final idea I thought could visually represent the role he was about to play in a TV show.

At the time, Brydon was set to portray the infamous theatre critic Kenneth Tynan - a man known for being provocative and being the first person to say the word “fuck” on British television in the 1960s. To imply this in the portrait, I had brought along a roll of red tape, intending to place it over Rob’s mouth as an illustrative gesture - censorship, freedom of speech and controversy.

“You’re going to make me look like an idiot,” he said, “ can’t do that, can I?”

I explained that it was for a serious magazine and that my goal was to make him look interesting in the interview, to create something visually engaging that would stand out on the cover. “More interesting?” he replied. “Do I not look interesting enough to you?”.

I pushed the idea further, referencing how this technique had been used in freedom-of-speech campaigns I’d seen. This seemed to spark something in him. Eventually, he agreed, stuck the tape over his mouth, checked himself in the mirror, and gave a muted sound and nod, which I took as, get on with it then.

I had to be quick and fired a few frames, asked him to raise his eyebrows and I knew I had it. I showed him the back of the camera and another muted nod gave his approval. He then started to peel off the tape, so I kept shooting, capturing the transition - the moment of release. Which would end up being the inside spread image complementing the cover.

The magazine picture editor was delighted and the magazine was published. A few weeks later Brydon himself called me. “I wanted to congratulate you on the cover,” he said. It was the first time a celebrity I’d photographed had personally reached out to praise my work. He then asked if he could use the image on his website. I was honoured he wanted to use it and simply asked for a credit and gave him the image.

A few months later, I got an unexpected call;

“Hi, is this Neil?”,

“Yes,” I replied.

“Rob Brydon recommended you to us.”

It was a TV executive producer, they were making a new TV series in Wales and needed a photographer. “It’ll be about four or five days of work over a few weeks,” they explained and I agreed immediately. As we wrapped up the call, I asked what the name of the show.

“I think it’s called Gavin & Stacey.” they replied...

How the magazine used the images of Rob on the cover and inside.

Peter Capaldi: Capturing Intensity

This shoot required a portrait that looked beyond the surface - a photograph that told a story or part of it at least. His transformation between characters is remarkable, from the intensely terrifyingly sharp-witted Malcolm Tucker to the enigmatic, layered Doctor Who.

During our session, I witnessed first hand his ability to shift personas. I sat through the interview with the journalist and he was asked how he “switched off” Malcolm Tucker after a day of filming, Capaldi calmly explained his approach to acting - before suddenly launching into a full-blown, profanity-laden Malcolm-style tirade aimed at the journalist and me. It was a mesmerising shift, terrifying and hilarious - in that moment I knew exactly what kind of portrait I wanted to create - one that reflected the intensity he could summon at will.

Using an 85mm f/1.4 lens, I planned for a shallow depth of field to emphasise his piercing gaze. Even though I had taken a number of studio lights for the shoot, for the cover, I opted for natural window light on one side, diffused through soft net curtains, bouncing a reflector to fill the shadows on the other side. The goal was to keep the lighting simple yet striking - something that captured his presence and found a vulnerability also.

This is one of my favourite shots - his expression is a perfect balance of thoughtfulness and intensity, capturing the quiet depth and commanding presence that define him and the characters he plays. I asked him to remove his glasses, allowing me to focus entirely on his piercing eyes. Without the barrier of lenses, his gaze becomes even more powerful, drawing us in and adding an extra layer of connection to the portrait.

For the second cover option, I decided to play with reflections. Adding layers of depth to the image I positioned Peter in front of a vertical mirror, using the studio lights I captured both his direct reflection and his actual form. To add a creative twist, I made sure to keep his feet in the frame - a subtle way of creating the quirkiness of the actor. The result was a unique portrait and a reminder that even the smallest details can tell a bigger story.

As ever the shoot was more than just capturing a cover - it was about telling a story. A story of an actor who, whether playing a ruthless foul-mouthed spin doctor or a beloved Time Lord, remains true to himself: passionate, talented and utterly captivating.

The Power of Portraiture

These three shoots, while vastly different in subject, shared the same fundamental photographic challenge - how to encapsulate personality, career and story in a single cover image. A portrait isn’t just about documenting a face; it’s about distilling the essence of a person into a frame, capturing something that goes beyond their public persona.

Whether it was Brydon’s initial reluctance but ultimate willingness to embrace a bold concept, resulting in a striking and layered image, Hannah's quirky authenticity in the moment, or Capaldi’s quiet, yet powerful intensity which spoke volumes without a single word, my goal was always to push beyond the obvious. A great portrait doesn’t just present a likeness - it provokes curiosity, invites interpretation and lingers in the viewer’s mind.

The intense cover image as it was used and the second option of Capladi reflected in he mirror. Plus below Capaldi 'relaxing intensely' against the colourful wallpaper for the inside spread image.

Photographing Hannah Gadsby: A Study in Contrasts

Photographing comedians has always fascinated me. They are a study in contrasts - often introspective, sometimes anxious, yet often are constantly seeking to entertain. Many are introverts, observing the world with a sharp, analytical eye, translating life’s absurdities into humour. They are not just performers but thinkers, worriers and at times, reluctant entertainers.

Hannah Gadsby was one of these reluctant entertainers.

It was early in her career, long before the extraordinary Nanette, which redefined stand-up comedy. She was, as I expected, reserved and thoughtful, but what struck me most was her sharp wit - an effortless, bone-dry humour that caught you off guard. Unlike other comedians who perform even off-stage, Hannah’s humour seemed to exist naturally within her, an extension of her intellect rather than a persona which she switched on.

I had been commissioned to shoot her Melbourne International Comedy Festival poster image - an entirely different challenge from a magazine portrait. This wasn’t about revealing a hidden truth or capturing a candid moment. It was about crafting an image that represented her, something she could own and control. In a way, comedy posters are the performers branding; the image must intrigue, amuse and encapsulate the core of the comedians in a single frame, working with the title of the show.

We met for coffee the day before the shoot to discuss ideas. I asked the usual question:

"How do you want to be portrayed?"

Without missing a beat, she deadpanned, “I’d like to be behind the curtain, Neil.”

I laughed. "Maybe we could just have your hand peeking through the gap, holding a microphone?"

She considered it. “Yes. perfect.”

Of course, I had to convince her she should actually be in the shot. She was wearing red-rimmed glasses - bold, quirky, unmistakably her. Instantly, I knew I wanted to use them. Then, as we chatted, she mentioned she preferred to shoot this at her home.

We took a short walk to scout her house, just around the corner from the café. Stepping inside, my eyes landed on a red leather couch in the living room. Bingo! It was perfect.

The deep, rich red of the couch was a striking visual connection and perfectly echoed the colour of her glasses. It was a scene waiting for its subject.

The session itself was short and efficient. She chose a black suit and the red glasses to keep it as almost a monochrome image with just the striking red details. I asked her to lie on the couch so her head was nearer the red couch. Hannah sat down, something clicked. The interplay of the red couch against the red glasses created an accidental caricature - a perfect balance of understated and bold, introspective yet vibrant.

It was one of those shoots where everything just worked. The backdrop, the glasses, her dry wit that lingered in the air - all of it came together in an image that felt undeniably her.

Hannah laying on her perfectly red sofa and how it appeared on the poster and DVD cover for her show Kiss me Quick, I'm Full of Jubes.