SHOOT LIKE A PRO
Kim Bunermann meets Jake Kehar Gill to discuss the art of self-portraiture and the challenges of being both the subject and the photographer at the same time
As self-presentation has become an integral part of the online digital world, self-portraiture is a topic which seems more relevant than ever. However, the ‘selfies’ we see usually have a different quality to those visible in previous eras.
Creating images of oneself pre-dates the invention of photography and can be traced back much further into art history, where esteemed artists, such as Rembrandt or Frida Kahlo, created their self-portraits on canvas. Additionally, we might remember how the world of photography was fascinated by the reclusive Vivian Maier’s self-portraits, which were only discovered after her death.
Self-portraiture is not only a way to get to know yourself better and learn how to express yourself, it’s also a brilliant genre to hone and learn new photographic skills. That’s why many photography courses these days include elements where the students are given self-portrait tasks and coursework. It was and still is a way of expression and creativity.
Today, I’m visiting Jake Kehar Gill in his London studio to find out more about his selfportraiture work. Jake is no stranger to the pages of Digital Photographer, most recently having written an in-depth tutorial on how to shoot cinematic portraits with a timeless style back in Issue 269. I’m curious to find out what it’s like to leave the comfort of being behind the camera and work exclusively with yourself. When I meet Jake in his studio, he has already prepared everything for today’s shoot.
As expected, it is quiet, only Jake is waiting patiently and the faint echo of music playing quietly around the building can be heard. “Music is essential. Having some vibration while shooting enhances my productivity and engages the space I am working with,” he says.
We sit down and talk about the advantages and disadvantages of self-portrait photography over a glass or two of orange juice.
I would imagine that working with yourself as the subject has some advantages – you are always available when a shoot is planned, for instance, and of course, there’s no risk of the model being difficult to work with
