๐ผ Corporate & Editorial Headshots
Ray Dalio (Rory Lewis Photographer 2026)
Los Angeles ยท San Francisco . New York ยท London
A corporate headshot is more than a photograph โ itโs your first impression, your credibility, your visual handshake.
Rory Lewis creates refined, editorial-style portraits for executives, entrepreneurs, and creative professionals who need to project confidence, authority, and approachability in equal measure. These are not generic business headshots, but carefully directed portraits designed to align with your professional goals, industry position, and personal brand.
Ideal for LinkedIn, company websites, press features, investor decks, and executive branding, each session is tailored to the individual โ from lighting and composition to expression and posture โ ensuring the final image feels authentic, assured, and contemporary.
Individual and group sessions are available, making this offering equally suited to leadership teams, company-wide rebrands, boards, partnerships, and editorial-style team portraits.
Sessions are available in-studio or on location across Los Angeles, San Francisco, New York, London, delivering polished, high-end portraits that communicate leadership, clarity, and presence across global markets.markets.
Recent Collaborations
Some sittings ask for one portrait. Jonathan Althaus asked, without quite saying so, for two.
Jonathan is a Deputy Public Defender with the Law Office of the Los Angeles County Public Defender. It is work that rarely receives the attention it deserves: standing beside people the state has accused, often at the most frightening moment of their lives, and making sure the system that judges them actually has to do its job.
For an attorney, a headshot is part of the case they make before they ever meet a client. It sits on the firm's website, on LinkedIn, in bar association listings, pitch documents and speaker programmes. It has to say capable and trustworthy, and it also has to say approachable, because people choose a lawyer they feel they can talk to. When Emily Fu came into my Downtown LA studio, that balance was the brief.
Corporate headshots do a lot of quiet work. They sit on company websites, LinkedIn profiles, press releases, investor decks and conference programmes. Often they're the first impression a senior executive makes. When Curt Behlmer came into my Downtown LA studio, the brief was simple: a set of corporate headshots that would work everywhere he needed them.
Bob Johnston sat for me in Los Angeles last month. He is the founder and chief executive of Exec.org, and his working life is built on introductions: putting a chief executive in front of the person who can move the thing along, a company in front of capital, a board in front of the director it did not know it needed. He also sits as an independent director and on audit committees, which is a different discipline again, and a quieter one.
Marvin Jones II came to the Main Street studio in downtown Los Angeles for a set of portraits to carry his personal platform, his family office and the ventures that sit beneath both. He is an entrepreneur, investor and philanthropist, and he arrived with a clear brief. The pictures had to work as a suite. Several registers, one man, and none of it looking like a corporate headshot.
There is a question every marketing director eventually asks me, usually in the third or fourth email, usually phrased carefully. It is some version of: can you handle our chairman?
What they mean is: he has forty minutes, he does not enjoy being photographed, he has approval over the final image, and the last three attempts were quietly shelved. They are not asking about my lighting. They are asking whether I will make the situation worse.
The honest answer is a list of names.
The people who taught me to work in twenty minutes
An annual report portrait has to survive being printed at size, sitting next to eleven others, and being looked at by people deciding whether to trust the company. An ordinary headshot has to survive being three centimetres wide on a website. They are different objects and the difference shows.
Open twenty corporate leadership pages and you will see the same photograph twenty times. Grey background or white. Even light, no shadow anywhere. A slight turn of the shoulders. An expression somewhere between welcome and apology. The subjects differ; the portraits do not.
Some sitters arrive having decided in advance what a photograph is for. Ray Dalio is one of them.
He is a man who has spent decades being listened to carefully, and who has written at length about how thinking should be done. That produces a particular problem for a portraitist, and it is not the one people assume. The difficulty is not reticence. It is fluency. A person accustomed to explaining themselves clearly will keep explaining, and a face that is mid-explanation is a face performing a function rather than occupying itself.
What I wanted was the pause before the sentence.
ูุณุฑู ุงูู
ุตููุฑ ุงูุจุฑูุทุงูู ุฑูุฑู ูููุณ ุฃู ููุฏูู
ุจูุฑุชุฑูู ุตุงุญุจ ุงูุฌูุงูุฉ ุงูู
ูู ุนุจุฏุงููู ุงูุซุงูู ุงุจู ุงูุญุณููุ ู
ูู ุงูู
ู
ููุฉ ุงูุฃุฑุฏููุฉ ุงููุงุดู
ูุฉุ ุงูุฐู ุงูุชููุท ูู ุชู
ูุฒ 2026. ูุธูุฑ ุฌูุงูุชู ุจุงูุดู
ุงุบ ูุงูุนูุงูุ ูุชุฌู
ุน ุงูุตูุฑุฉ ุจูู ููุงุฑ ุงูู
ูููุฉ ูุฃุตุงูุฉ ุงูุฅุฑุซ ุงููุงุดู
ู. ุฃู
ูุง ู
ุนุงูุฌุฉ ุงูุถูุก ูู
ุณุชูุญุงุฉ ู
ู ุชูุงููุฏ ูุจุงุฑ ุงูุฑุณูุงู
ูู ุงูููุงุณููููู.
Rory Lewis is now available in San Francisco and the Bay Area for corporate and executive commissions
Over twenty-three years I have photographed a reigning monarch, five British Prime Ministers, and some of the most closely watched figures in global finance, among them Ray Dalio.
On Thursday 12 November 2026, I am giving my Central London studio over entirely to thirty-minute update sessions.It is the only date I will offer them in London this year.
Each session is two looks and one image, fully retouched.
Recently, I had the pleasure of working with Sean Henney, a man who is as focused on the future of private markets technology as I am on the future of fine-art portraiture.
Lighting the "Data Obsessed" Professional
When Sean came to me, we talked about his missionโnavigating the "hardest problem" in his industry: data. My goal as a photographer isnโt just to get a clear shot of a face; itโs to use cinematic lighting to reveal the character of the person solving those problems.
Last month in my Central London studio, I had the pleasure of capturing a series of cinematic headshots and portraits of Jonathan Sacerdotiโa British broadcaster, journalist, producer, and prominent voice on issues of extremism, antisemitism, race relations, Middle Eastern affairs, and the British royal family. Known for his sharp analysis and measured commentary across networks including Fox News, i24news, Cheddar, E! Daily Pop, and Us Weekly, Jonathan brings a unique blend of intellect, lived experience, and clarity to contemporary public discourse.
In my London studio, I had the pleasure of photographing Ana Emdin, an accomplished film producer whose work spans both the UK and the international stage. From the moment she stepped in front of the camera, Ana brought a poised elegance and quiet confidence that lent itself beautifully to portraiture rooted in restraint, presence, and depth.
Through cinematic lighting and thoughtful direction, Rory created portraits that reflect Sextonโs commanding presence and human depth, embodying the drive and character that make him a force in and beyond the courtroom.
Iโll be back at the Farringdon studio from Monday 16 to Thursday 26 November 2026, with a limited number of sittings available for corporate headshots and executive portraits.
London is where much of my practice took shape. Over the past twenty-three years Iโve photographed five Prime Ministers, members of the Royal Family, senior military figures and the leaders of some of Britainโs most respected institutions. Seven of those portraits now sit in the permanent collection of the National Portrait Gallery, and sixteen in the Royal Collection. That work carries a particular responsibility: a portrait made for a boardroom, an annual report or a state occasion has to hold its authority for years, not just for the next press cycle.