Class One
We begin with portraiture. Not because it is simple, but because it is direct. The subject is familiar. The challenge is learning to really see them.
What We Are Doing
Introduction — Bronislaw Kozka
An introduction to BK’s practice: tableau photography, character-driven image making, the Garden Series, landscape and AI work. Understanding where this teaching comes from.
Portrait Masters — Learning to Look
We study some of the most powerful portraits ever made. For each image we ask: what is the light doing? Where did the photographer stand? What does this frame tell us about who this person is?
Group Planning — Choose Your Images
In groups, choose two portraits from the reference list below. You will recreate them in your next session. Plan your location, consider the time of day and available light. Think carefully about what you are trying to understand compositionally.
Group Presentations — Your Plan
Each group presents their plan. Be clear, be fast, be specific. What images? Where? When? What is the key compositional decision you are studying? Speed and agility in planning — but not at the expense of depth.
One Question Before You Press the Button
“What is in this frame — and why?”
The recreation exercise is not about copying. It is about understanding why a great photographer made the choices they made. What did they include? What did they leave out? Where is the subject in relation to the edges?
Most beginners think photography is about what you point at. It is actually about what you decide to frame.
Portraits to Study
Study each of these carefully before your next session. Search for each image online, look at it for a long time before you start planning. Choose two that your group will recreate on campus using natural light.
How to Analyse Your Reference Image
Before your group starts planning, sit with your chosen image and work through these elements together.
| Element | What to look for | How to adapt on campus |
|---|---|---|
| Pose & gesture | Head angle, arm position, body direction, tension or ease | Mirror the key lines — use simple direction with your subject |
| Gaze | Looking at us? Away? Up? What does the eye direction create? | Replicate the eye line and the emotional intent |
| Framing & crop | Tight or wide? Headroom? Where are the frame edges? | Adjust distance and crop in camera — don’t zoom, move |
| Background | Clean or busy? Dark or light? Does it contrast or complement? | Find walls, foliage, open sky — avoid cluttered backgrounds |
| Light direction | Where is the main light? Side, front, above? Hard or soft? | Use open shade or diffused sunlight — avoid harsh midday sun |
| Subject position | Centre, left, right? How much negative space around them? | This is your main compositional decision — take your time with it |
The Recreation Exercise
Your Task
Your group will recreate two portraits on campus using natural light and available space. This is not about perfect copying — it is about understanding why an image works by putting that understanding into practice.
- Choose two reference images as a group today
- Identify a location on campus that suits the original setting
- Think about the time of day — where will the light be?
- Decide who photographs and who is the subject
- Bring your reference image with you when you shoot
- Take multiple versions — shift the crop, try different distances
- Upload your best two images to WeChat before the review session
The goal is not a perfect copy. The goal is to understand one compositional decision deeply enough to recreate it. What is in the frame — and why?
Preparation Checklist
- Chosen your two reference portraits as a group
- Decided on your location and time of day
- Identified who is photographing and who is the subject
- Downloaded or printed your reference images to refer to while shooting
- Discussed what the key compositional element is that you want to understand