Good portraits invite questions. Nadav Kander uses the camera not simply to record someone at a particular moment in time but to create more complex, intriguing instances. Subjects perform for a portrait, but Kander works this to his advantage, whether in Lily Allen’s simple turn of the head or the unexpected vulnerability in Eric Cantona’s hand. I know from my own experience these are the details you look for, the magic in the method.

Whilst they are portraits, the approach to taking them is unique, with a mish mash of techniques Kander is downright showing off. The text panels that accompany the exhibit explores his approach through an interview with the Director of the National Portrait Gallery, Sandy Nairne and provide a fascinating insight into his methodology. eg. Sandy Nairne: “Do you allow the sitter to get involved with the edit?” Nadav Kander: “I don’t like to let them down, I certainly like to know which shots they hate. It’s a filtering process collaboratively weeding out what hasn’t worked best.”

The gallery gives each portrait room to breathe - commercial work rarely gets this stage. The masterpeices draw you in with extreme depth and sharpness, namely a menacing shot of Christopher Lee. With strong shadowing and no background distractions, the Lee portrait exemplifies Kander’s sculptural approach, strong film noir stone features coupled with unforgiving classical detail.

At the other end of the scale Kander produces experimental portraiture of Michael Stipe, opting for riskier interaction on the spot with light trail eyes, coloured gels and slow exposure. The control was clear to see in the portraits of Take That, the execution repeated to perfection with each member.

I wasn’t allowed to photograph this inspirational work so I just rubbed my thighs instead.

nadavkander.com