I met Ellen a couple of years ago while working on promotional videos for Bravura Philharmonic Orchestra, where she often spoke on its behalf. My impression of her was clear: elegant, eloquent, knowledgeable, and deeply passionate about the classical music she loves.
When I photographed her portrait, I began to think about how to reveal a different side of her—something beyond that familiar impression, and in a way that felt natural and comfortable. After starting with a few traditional portraits, I gradually introduced a sense of playfulness. By shifting her usual relationship with her beloved flute—placing it in slightly unexpected positions—I began to see new expressions emerge. When the “rules” were gently broken, something more personal appeared.
More Than a Likeness.
It reminded me of the famous portrait of Winston Churchill, taken when the photographer removed the cigar from his hand. In that moment, Churchill revealed a flash of irritation—and that became the iconic image.
We all carry different perspectives of ourselves. How we appear changes with context, with people, and with emotion. A portrait is not only about how someone looks—it is about how they are felt. We often have an idea of how we want others to see us, but that can differ from how we are actually perceived. I remember a time when my wife used AI to generate a portrait from everyday photos. The result was flawless, almost too perfect. But when she showed it to friends and family, they all said the same thing: it didn’t feel like her. As human beings, we are remembered not for perfection, but for warmth—for our reactions, our presence, and the way we connect with others. And that, to me, is what a portrait is truly for.
