Working outdoors introduces an element of openness that I value deeply in portrait photography.
Natural light is constantly changing, but it changes in a way that feels organic rather than mechanical. Instead of controlling every variable, I respond to what’s already there—the direction of light, the quality of shadows, the way a space holds quiet or movement.
Outdoor environments also tend to lower the pressure of a session. There’s less sense of being “on display” than in a studio, and that often helps people relax into a more grounded presence. Small movements feel less staged. Silence feels more acceptable.
This approach isn’t about rejecting technical control; it’s about choosing where to place it. I pay close attention to timing, positioning, and framing, but I let the environment participate in the image rather than fight against it.
Not every project belongs outdoors, but for the kind of portraits I’m drawn to—subtle, attentive, emotionally restrained—it remains the most honest setting I know.