Illuminating the Soul: My Journey to Mastering Portrait Lighting in Just 90 Days

In comparison to landscape or street photography, capturing studio portraits might appear to be a significant technical hurdle – but as Japanese antiques specialist David Thatcher demonstrates, with the right educators and mindset, you can quickly master lighting techniques.

If you’re deterred from pursuing studio portrait photography due to concerns about the expense and intricacy of lighting or working with models, take inspiration from the journey of David Thatcher.

David, who resides in Towcester, UK, is recognized as a skilled restorer of Japanese samurai armor and is also a proficient martial artist. He operates a thriving business selling genuine samurai art and artifacts, with interest in his work increasing following the success of the TV drama, Shogun.

Out of necessity, David transitioned from a novice in photography to mastering the crucial skills required not only for capturing professional-grade images of the armor he sells but also for creating breathtaking portraits of individuals wearing it. Indeed, he is now generating demand for his samurai portraits.

Your photographs are remarkable, but why didn’t you simply hire a professional photographer?

I opted to photograph the ancient samurai armor that I am selling, rather than hiring a professional photographer, for a multitude of reasons.

Since childhood, I’ve had a passion for drawing and possess a background in graphic design. However, from a logistical perspective, it is far more challenging to illustrate all the images for one of my books, so it makes more sense to photograph them. I chose to take the photographs myself because if I were to hire a pro, I would have to navigate their technical or artistic process. Repeating that process would infringe on their intellectual property rights. I aimed to retain full control over my projects moving forward.

I also wished to pay homage to the pioneering photographer Felice Beato, who captured a multitude of images of 19th century Japan during the twilight of the samurai era.

So you were essentially a novice in ‘serious’ photography?

I have always owned a digital SLR, yet I only utilized it on Auto mode. Approximately three years ago, I encountered a professional who was working for a prominent auction house, using a PhaseOne camera. I was unfamiliar with what a ‘PhaseOne’ was, but I was astounded by the quality of the images, motivating me to purchase one myself! I began to grasp the fundamentals of photography, although I had never explored portraiture until about three months ago.

How did you approach learning portrait and lighting techniques?

Upon acquiring the PhaseOne camera, it was accompanied by a ProFoto lighting kit, including octoboxes. I only truly learned how to manage lighting according to my preferences after attending the ClickLive show in the UK earlier this year. I owe a great deal to the event, especially to US fashion and beauty photographer Lindsay Adler, who was present conducting workshops and classes. I am indebted to this show…

I learned about feathering, light placement, and everything else, and then began experimenting with my octoboxes, reflectors, and various modifiers—snoots, the whole spectrum.

During this period, I also purchased a Hasselblad X2D100C along with a 55V lens. I was enthralled by the Hasselblad, and it was remarkably user-friendly. I have never looked back, particularly once I became adept at using a tripod. Naturally, I still commit minor technical errors, but I learn from them.

Alright, so that covers the camera and lighting, but how did you locate the models?

Locating and collaborating with models was my greatest apprehension. I was absolutely terrified! I reached out to a Japanese woman named Erika Satomi at my martial arts dojo, and she instilled confidence in me to direct her. Being able to converse with her and clarify our expectations significantly aided the process.

I asked her to envision herself on a battlefield during the samurai period, as capturing the atmosphere of that era was crucial to me. I then found some martial artist friends to pose. Their ‘warrior mindset’ allowed us to connect easily as fellow martial artists.

However, it proved quite challenging to find Japanese individuals willing to model, as many hold superstitious beliefs, feeling that ancient armor retains the ‘kami’ or spirits of its former samurai owners. They were also reluctant to appear as if they were ‘showing off’ by donning it.

Another obstacle was simultaneously lighting the model and the armor effectively. Remember, all the armor depicted in the portraits is for sale, so it was essential to present it in the best light.

Japanese armor finished in black lacquer behaves like a black mirror, making it particularly difficult to photograph accurately. Fortunately, I had attended a talk at ClickLive by another portrait photographer, Martina Wärenfeld, where I learned about post-production techniques with Photoshop – allowing me to utilize frequency separation methods to address this issue.

So a considerable amount of editing was necessary?

Indeed, I have a background in digital art, so I felt quite comfortable using Photoshop. I was also inspired by classical masters like Caravaggio, employing dodge and burn techniques, overlays, and textures to achieve a more painterly effect. For instance, I altered the background in some portraits by incorporating a hanging scroll depicting a dragon, which complemented Erika’s armor (see below).

After completing basic edits in Lightroom, I would transition to Photoshop to refine specific areas, employing non-destructive editing techniques through layers.

It’s intriguing that you feature women in armor; we typically only see male samurai in films…

As I mentioned, I am currently engaged in several book projects alongside capturing promotional images to sell armor. I am in the process of compiling a book focused on female armor, as there were indeed female samurai warriors. They have not historically been represented in samurai films, largely due to cultural factors favoring male portrayals, but they certainly existed.

I also considered it vital to present Japanese women in a robust and empowered manner. No ‘samurai enthusiast’ is going to challenge me on this, as I am that enthusiast!

Do you also print and sell these portraits?

I am discovering that people are interested in purchasing prints of the portraits in addition to my samurai artifacts, so I am eager to continue advancing my photography, especially with other martial artists.

The portraits are printed on Canson paper (I encountered them at The Photography Show) by Martin Sturgess. My experience had primarily been in preparing images for screens, so my understanding of printing was quite limited… this has been yet another learning experience.

I acquired a Canon imagePROGRAF PRO-1100 A2 photo printer and now possess enough knowledge to proof my images before they are sent for printing. My work is exhibited at The Association of Art and Antiques Dealers’ fair in London, and I find that interest in samurai culture has surged following the airing of Shogun. Customers can take home a print for £150, while purchasing a complete set of samurai armor for £80,000 represents a vastly greater commitment.

What advice would you offer to amateurs who aspire to try studio portraiture in 2025 but feel somewhat daunted?

I believe my journey illustrates that there’s no reason to fear learning how to utilize lighting and enhance your portrait photography skills. You just need to find the appropriate mentors and be willing to persist and learn from your errors. Everything is achievable if you genuinely desire it.

To discover more about David, visit his website and Instagram page.