My Inspiration and Influences as a Portrait Photographer

When I first began to produce work as portrait photographer, one name that captured my attention was Diane Arbus. Her direct, unflinching, sometimes provocative, and deeply human work stood out as a striking departure from conventional portraiture. Studying her images during my early years as a photographer, I was drawn to the honesty and raw emotion she brought to her subjects. Arbus dared to photograph people on the fringes of society, illuminating their individuality with openness and empathy.

Diane Arbus’s Unique Approach

Arbus was renowned for her ability to connect with her subjects on a deeply personal level. Whether photographing circus performers, artists, or people on the streets, her work radiated an authenticity that invited viewers to reconsider their expectations of what can make an effective portrait. Arbus’s photographs often feature her subjects staring directly into the camera, their gazes meeting the viewer with startling immediacy. This approach fostered a sense of intimacy and mutual respect between the portrait photographer and her subjects.

Diane Arbus, A young man in curlers at home on West 20th Street, N.Y.C. (1966)

One of her most iconic images, Identical Twins, Roselle, New Jersey (1966), exemplifies her uncanny ability to blend the familiar with the unsettling. The photograph’s composition, with the twins posed symmetrically against a plain backdrop, evokes a sense of both harmony and unease. This duality became a hallmark of Arbus’s work and a constant source of fascination for me.

The portrait Identical Twins, Roselle, New Jersey (1966) by Diane Arbus

Diane Arbus, Identical Twins, Roselle, New Jersey (1966)

Lessons for Commercial Portrait Photography

Diane Arbus taught me to embrace the complexities of humanity in my own photographic practice. While Arbus’s work delved into unconventional subjects, her commitment to capturing authentic emotion is a principle that resonates in commercial portrait photography as well. Working as a commercial portrait photographer in London, I strive to bring a similar sense of honesty and connection to my portraits.

A portrait of the artist Cornelia Parker taken in London by the photographer Richard Boll.

A portrait of the artist Cornelia Parker by Richard Boll.

In my own work, such as my series of portraits of artists, I aim to reflect the unique character of each subject. For example, my portrait of London-based artist Cornelia Parker captures her character through a combination of effective composition and candid expression. Another portrait, featuring the artist Jake Wood-Evans, features the artist with a direct and unflinching look to the camera while revealing the thoughtful intensity of his creative process. This portrait was left on the floor of the studio of the painter in order to develop a “history” of marks.

A portrait of the painter Jake Wood-Evans in his studio, by the photographer Richard Boll.

A portrait of the artist Jake Wood-Evans by Richard Boll.

Who Was Diane Arbus?

A portrait of the photographer Diane Arbus by Arthur Lubow.

Born Diane Nemerov on March 14, 1923, in New York City, Arbus grew up in a privileged environment but was drawn to the complexities of life outside her immediate world. After working in commercial photography with her husband, Allan Arbus, she found her true calling in the 1950s when she began pursuing personal projects that focused on the human condition. Her career gained momentum in the 1960s, as her work was published in prominent magazines and exhibited in galleries. Arbus’s style was shaped by her preference for square-format cameras and predominantly natural lighting. She often worked in close proximity to her subjects, creating an atmosphere of trust that allowed her to capture their essence. Her images, while sometimes controversial, challenged conventional ideas of beauty in portraiture, paving the way for future generations of photographers to explore similar themes.

Legacy and Lessons from Arbus Diane Arbus’s contribution to the art of photography lies not only in her technical skill but also in her courage to confront uncomfortable truths. Her work reminds me that photography is not just about aesthetics; it is also about empathy, connection, and the willingness to see the world through another’s eyes. As a commercial photographer in London, I strive to incorporate these values into my practice by creating portraits that are not only visually striking but also emotionally engaging.

Arbus’s legacy is a testament to the power of vulnerability and authenticity in art. Her images continue to challenge and inspire, urging photographers like me to approach our subjects with honesty and respect. Whether through her stark portrayal of human fragility or her celebration of individuality, Diane Arbus redefined what it means to create meaningful portraiture. Tragically Arbus took her own life on the 26th of July, 1971. Her work continues to significantly influence the work of many photographers.

To explore more of Diane Arbus’s extraordinary work, visit collections of her work such as that at the Museum of Modern Art in New York or look out for exhibitions dedicated to her groundbreaking photography. For examples of how her principles translate into modern commercial photography, you can explore my portraiture portfolio at Richard Boll Photography, where I aim to blend technical precision with a genuine connection.

Get in touch to commission a portrait photography shoot.

Producing black and white prints in a darkroom at school fuelled my passion for photography. As corny as it sounds, seeing the images appear and develop in the tray of developer is a magical and spellbinding experience.

Differences between Film & Digital

What I think can be missing when working with digital is the tactile, hands-on element you get working with photographic film. The process allows you to consider every element very carefully, particularly focus, exposure and composition. Learning how to load the film into tanks in complete darkness, mixing all the chemistry correctly and to the right temperature to develop the film and produce negatives, is a meditative and thoughtful process. Most professional photographers find that the process isn’t practical however in the commercial world. Digital is the way forward as it’s far more efficient than processing film, but I do miss the creative and unique element that’s not always carried over into digital photography.

With film, you might wait days, or even weeks if you’re travelling, before you find out how the images turned out. With digital, you can check the images that you produce immediately. The ability to do this is very convenient but you lose that element of extra concentration applied to shooting film that I think can be beneficial to the end result.

a 5x4 large format camera on a tripod. From film to digital photography by Richard Boll

My journey to digital photography

When I was studying photography in the late 90s, I was taught purely on film and then I went on to teach people on film myself. Digital was starting to become more prevalent whilst I was teaching and I started to demonstrate digital cameras to my students. In those days, we didn’t have significant digital printers like photography departments would have now. I was largely self-taught when it came to digital. When I became a commercial photographer, I opted to go digital straightaway. I invested £6k in my first camera, plus more for the lenses and lighting equipment. I taught myself about the different file types, researching as much as I could and studying Photoshop textbooks to bring me up to speed.

I still use techniques today that I picked up then. Especially the shortcuts, such as cropping an image to the right size, setting up DPI (dots per inch) correctly for a printed image, manipulating images i.e. dodging (taking light away) and burning (applying additional light),
adjusting and converting colour and contrast, etc. There are certain elements that translate from film to digital. For example, a lot of the language that’s used for Photoshop tools references darkroom principles and processes.

Advantages of digital photography

One of the advantages of digital is an efficient workflow, such as bulk processing of images. You can apply the same adjustments to 500 images in one go, for example, rather than changing every single one as you go along. Even if you were a skilled darkroom technician, it’d be hard to make every print identical. Whereas, once you have the digital file you can make multiple identical prints.

Storage archiving is another significant benefit of working with digital. Back in the day, you would have had several filing cabinets full of negatives that you’d have to create a system for, and it’d be difficult to go back and find a negative that you shot 20 years ago. Nowadays, if a client asks for a particular image, you can easily search a large drive and find the image that you want in seconds, rather than hours.

Another significant difference between film and digital is the cost attached to film. You’re very aware when you’re shooting film that it’s costing you money. Each exposure has the cost of not just the film but also the processing costs.
I’m certainly not taking away the huge advantages of digital, which I very much appreciate day to day in my working life. But processing film will always hold a special place for me. There may be an element of nostalgia but whenever I get the rare opportunity to produce black and white prints, I still feel the same excitement today that I had at school all those years ago.

Read more about ‘How I started my career as a professional photographer’.

Richard Boll

Tag Archives: Diane Arbus

The portrait photographer Diane Arbus