How I Used One Light to Create a Dramatic Portrait of Nigel Farage
How I Used One Light to Create a Dramatic Portrait of Nigel Farage
By Paul Cooper – Portrait Photographer Manchester & London
As a professional portrait photographer in Manchester and London, I’ve always believed in the power of simplicity—especially when it comes to lighting. In this editorial portrait of Nigel Farage, commissioned for a major national newspaper, I used a single Profoto B1 with an Octa softbox and grid to create a bold, low-key image that captured intensity, mood, and depth.
Working regularly for clients including The Times, The Sunday Times, The Daily Telegraph, and Time Magazine, I’m often tasked with producing impactful editorial portraits in fast-paced environments. This particular image is a great example of how a minimal setup—used with intention—can result in a high-impact photograph suitable for top-tier editorial use.
The One-Light Setup: Profoto B1 + Octa Softbox with Grid
The lighting setup was simple but deliberate. I used a Profoto B1, modified with a 75cm Octa softbox and a fabric gridto control the spread of light. The light was placed 45 degrees to camera left and just above the subject’s eye line.
The grid helped to keep the light focused precisely on Farage’s face, allowing the background to fall off into darkness. This approach created the classic low-key portrait lighting look: dramatic shadows, strong contrast, and full control over where the viewer’s eye is drawn.
This setup is one I often rely on as a magazine portrait photographer, especially when working under pressure. It’s quick to build, highly portable, and allows me to control both the mood and message of the portrait with precision.
Why One Light? Less Gear, More Intention
Using one light helps me stay agile—particularly useful when shooting high-profile individuals or working in limited time slots. But beyond logistics, a single light forces intentionality. Every shadow, every highlight becomes a compositional choice.
In this case, the low-key aesthetic felt right for a political figure like Farage. His public persona is stark, direct, and at times divisive—qualities that translated well to a moody, one-light portrait. By using deep shadow to conceal part of the frame, the image hints at complexity and duality without being overt.
As a portrait photographer London editors return to regularly, I’ve learned that a single, well-placed light can carry more narrative weight than multiple sources ever could.
Editorial Needs, Editorial Control
For publications like The Times or Time Magazine, a portrait must work at a glance—online, in print, as a spread, or even as a cropped thumbnail. The lighting in this shot ensures Farage’s face is front and centre, with no background distractions and no competing elements.
As a magazine portrait photographer, this kind of simplicity is key. I can maintain artistic intent while delivering editorial flexibility. That’s why clients come back: because I combine controlled craftsmanship with a clear understanding of the editorial process.
Minimal Post-Processing, Maximum Impact
Post-production was minimal—just enough to enhance contrast and keep the shadows rich without crushing detail. Skin was lightly retouched to remove minor distractions, but texture and realism were preserved.
This editing philosophy is crucial when working with high-profile subjects, especially in editorial work. As a trusted portrait photographer for The Sunday Times and Daily Telegraph, my clients expect portraits that are visually striking but remain authentic and honest. Over-editing kills the credibility of an image, especially in journalism.
From Manchester to London: Consistent Vision Across Cities
Whether I'm shooting in my Manchester portrait studio or on location in central London, I bring the same approach to every assignment: one that’s focused, technical, and creatively restrained. Using tools like the Profoto B1 allows me to travel light and shoot with confidence—knowing that I can produce consistent results for demanding editorial briefs.
My experience as a portrait photographer in Manchester also brings a certain practicality to shoots. Often I’m working in unpredictable spaces—boardrooms, hotel lobbies, tight backstage areas—and gear like this helps ensure quality regardless of location.
Trusted by Leading Editorial Clients
Throughout my career, I’ve worked with some of the UK’s and the world’s most respected publications. They come to me not only for professional execution but for portraits that tell stories through light and composition.
Client List:
The Times
The Sunday Times
The Daily Telegraph
Time Magazine
These are fast-moving environments where there’s no room for error. A deep understanding of both lighting and editorial needs is what sets a magazine portrait photographer apart from general portraitists.
Final Thoughts
This portrait of Nigel Farage was created with just one light—but it tells a complex story. The Profoto B1, paired with an Octa softbox and grid, gave me the control and drama I needed, while keeping the setup lightweight and efficient. The resulting image is stark, moody, and undeniably engaging—exactly what editorial clients expect from a seasoned portrait photographer in London and Manchester.
Whether you’re a publication looking for an experienced editorial photographer, or a corporate client in need of portraits with real presence, I bring a refined, editorially driven style to every shoot.
🔗 See more of my work at www.paulcooperportraits.com