My Favourite Portrait of the Year (and the Story Behind It)
Thoughts on intention, patience, and chance in portrait photography
Last month, after years of anticipation, I finally made it to the Dussehra Thiruvizha festival at Kulasai Beach, near the southern tip of India. It was hard not to carry expectations. I’ve seen so many photographs from this event over the years that going in with a clean creative slate would’ve been about as likely as my four-year-old taking anything I say seriously.
My goal was simple: to walk away with **one** frame I could be proud of. One frame that made the entire trip worth it. One frame that did justice to the community that makes this pilgrimage every year.
Turns out, I walked away with more than one.
This week, I’ll be sharing my favourite portrait from the festival, the story behind it, and a breakdown of what made it so meaningful to me.
The Details
The image was made with my Leica M11 paired with the modern Summilux 50mm F1.4 ASPH. From what I remember, I had the aperture stopped down to around F4.0, the shutter locked at 1/250, and the ISO landed at 160. A classic setup for sunsets and one that gave me just enough depth to keep the background alive without losing the intimacy of the subject.
The Context
One of the most common questions I get is how I approach strangers for portraits. I’ve shared some best practices before, but those usually revolved around approaching people who were already dressed to impress. The truth is, every situation is different. So this week, I’ll use a portrait of a young girl I photographed during the festival to add a little more colour to that topic.
As my workshop students and I made our way toward Kulasai Beach, we were scanning the crowd for faces and characters that stood out. I mostly kept my camera behind me, observing the space and helping my students where I could. Then I saw her. This young girl with eyes as big as the moon and byzantine paint across her face. Instincts kicked in. I needed that story.
When I see someone I want to photograph, I bring my “why” to the surface. Sometimes I’ll make the frame first and talk later. But this time was different. The girl was sitting with her family in the back of a lorry, surrounded by relatives. For many, that kind of crowd can feel intimidating. Still, she looked so striking that I knew I had to try. So I asked.
I crouched down to meet her eye level and said in Tamil, “Wow, you look incredible. Can I take your photo?” She smiled shyly. Then I looked to her father and asked again. He beamed with pride and nodded. Boom! Now my brain is in studio mode.
This all happens in seconds, but let’s slow it down for a moment. I’ve got two cameras on me. My portrait setup is a 50mm pre-focused to about three feet. I step within arm’s length, lining up my shot. The first few frames are throwaways—slightly out of focus, her smile too posed—but they help build trust while I fine-tune my composition.
By the fifth frame, I know exactly what I want. A portrait that feels majestic, with the warmth of the setting sun wrapping around her. I ask her to hold a neutral expression, pull focus to the closest point my lens allows (1.5 ft) and lower my angle to bring her eyes to life. I slide the lens hood back, hoping for a little magic with the light. Bang!
The sixth frame is the one. I rock slightly forward for a couple more shots in case focus slips, but I can tell she’s growing a little eager to see the results. I lower the camera, give her a high five, thank her, and start chatting with her family about their journey to the festival.
From the first hello to the final frame, the whole thing takes less than a minute. I don’t say that to show off. I say it to show what practice really looks like. Years of approaching strangers, reading energy, and handling the camera have made it second nature.
Doing this hundreds of times, across dozens of countries, even when I know the frame might never make the portfolio, that’s the practice it takes. Because when everything finally lines up, you want to be ready. And in this case, all that preparation led to a frame I just can’t stop looking at.
There’s a lot happening in this photograph for me. First, the intimacy of the framing. The subject fills most of the frame, which is something I love. So much of my work is about placing people and culture front and centre, to be seen and acknowledged. It’s intentionally close, almost uncomfortably so. The goal is to stop the viewer in their tracks and build a little tension. Pretty pictures are everywhere, and they’re easy to scroll past. With my portraits, I want to make images that are harder to ignore. This one fits that description perfectly.
Then there are the eyes. Deep pools of black with a reflective sheen that act like magnets within the frame. This is where your gaze lands, and rightfully so. Her calm expression lets the eyes do the talking, giving her presence this quiet, regal strength.
Next, the circles. They appear everywhere: the eyes, the bindi, the jewelry, even in the soft shapes of the makeup. These repeating forms create a sense of rhythm and subtle symmetry that ties everything together. It’s the kind of visual echo that helps an image stand above the archive.
Then there’s the stillness of her posture contrasted with the motion in her hair. That tension between calm and chaos adds a touch of life. It’s like this quiet pulse that keeps the frame from feeling static.
And finally, the light. It wraps around her like a soft halo, breathing colour into the frame. Her hair becomes a canvas for the sun to dance on. And if you look toward the top left corner, you’ll see the magic I was hoping for, that faint rainbow flare. It wasn’t something I could’ve planned for, but I did pull the lens hood back to invite a little risk. That’s what this process is all about: intention, patience, and chance.
You never really know when you’ll stumble onto one of your favourite images. But if you approach each moment with respect, stay present, and give every subject the attention they deserve, you’ll be ready when that rare interaction turns into a lasting frame. Be intentional.
Upcoming Events & Workshops
Toronto Studio Photography Workshop
This November, I’m hosting a studio photography workshop designed to elevate your skills. Whether you’re a beginner looking to build a solid foundation or an experienced photographer looking to refine your craft, this workshop will educate you in the essential techniques of studio work. Full details can be found here.
Arctic 2026 Photography Adventure
In 2024, I traveled to Svalbard with Quark Expeditions and it was unforgettable. I’m planning a return trip in 2026 with a group of photographers. This is not a workshop. It’s an excuse for like-minded storytellers to visit one of the most remote places on earth. If that sounds like you, fill out this form to learn more.
Next year, I’m heading to India again for our second street photography adventure across the North and South. Seats have just been made available for those looking for a deep, immersive photography experience. Learn more here.
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