Sir Patrick Stewart — Portrait Sitting
May 6, 2014 · New York City
Rory Lewis on Assignment with Sir Patrick Stewart (Rory Lewis Photographer 2014) New York Portrait Photographer.
For much of my early career, photographing Sir Patrick Stewart felt like an impossible alignment of luck, timing, and destiny. For 24 years, the idea remained a distant ambition—until a moment of unlikely clarity, prompted by something as absurd as a bright pink Hummer, altered the trajectory of my life and career entirely.
That sitting would mark the transition from a provincial photographer to an international portraitist working between London and Los Angeles.
The Long Road to a Yes
Rory Lewis on Assignment with Sir Patrick Stewart (Rory Lewis Photographer 2014) New York Portrait Photographer.
Arranging a sitting with a cultural icon is rarely straightforward. I began, as many do, by writing to Sir Patrick’s London agency. Unsurprisingly, my request disappeared into the ether—no doubt buried beneath mountains of correspondence.
Some time later, I learned that Sir Patrick was starring in Waiting for Godot at the Cort Theatre on Broadway. I wrote again, this time to New York. Weeks passed. Eventually, a reply arrived—not an acceptance, but a polite decline written by Sir Patrick himself.
Most would have stopped there. Instead, I wrote once more—carefully, respectfully, and with conviction—asking him to reconsider. A few weeks later, an unexpected email appeared in my inbox. Sir Patrick had agreed to the sitting, with one condition: it would take place in New York.
There was no patron, no funding, no safety net. If I wanted this portrait, I would have to finance the journey myself.
The Moment of Decision
The decision to go was made in Liverpool, while photographing a wedding. Sitting in a hotel room, waiting for the bridal party to arrive, doubt crept in. Was I ready to leave my comfort zone? Was I capable of doing justice to one of Britain’s greatest living actors? Or was I destined to remain safely within familiar confines?
Then the bride arrived—in a vivid pink Hummer.
In that moment, with thoughts of Bailey and Beaton echoing in my mind, I asked myself a hard question: Is this what I want to be doing for the next 50 years? The answer was clear.
As soon as the wedding concluded, I booked my flight.
Rory Lewis on Assignment with Sir Patrick Stewart (Rory Lewis Photographer 2014) New York Portrait Photographer.
The Travelling Portraitist
The sitting was scheduled for May 5, 2014. I arrived in New York barely a day beforehand, exhausted from travel and wired with anticipation. Sleep was impossible—but preparation was not optional. I arrived with a plan.
My inspiration has always come less from photographers and more from painters. For Sir Patrick’s portrait, the foundation was Hans Holbein the Younger’s 1527 portrait of Sir Thomas More. Holbein’s use of shallow space, restrained colour, and psychological intensity provided the blueprint.
Rather than theatrical symbolism, I opted for austerity: a black backdrop, uncompromising light, and an emphasis on presence.
Research, Restraint, and Revelation
Photographing prominent figures demands rigorous preparation. Time is limited, expectations are high, and clarity is essential. I studied previous portraits—most notably Nadav Kander’s—then immersed myself in Sir Patrick’s work: Star Trek: The Next Generation, stage performances, interviews, and archival footage.
What struck me was how often Sir Patrick had been photographed as a character. My aim was different. I wanted to photograph the thespian—not Picard, not a role—but the man himself.
The Sitting
The session took place at Neo Studios in Manhattan. Slightly jet-lagged but fully prepared, I introduced myself and outlined my approach. Any lingering nerves vanished instantly. Sir Patrick’s professionalism, focus, and responsiveness made the session flow effortlessly.
My work is rooted in restraint. The portrait lives in the eyes. I directed Sir Patrick’s gaze just off lens, allowing tension and thought to build naturally. Within ten minutes, the images were already working.
With time remaining, we explored something less familiar—moving away from heroic archetypes and toward something darker. I asked Sir Patrick to inhabit the controlled intensity of a calculating antagonist. What emerged was electric: fierce, intelligent, and alive with energy.
Aftermath
The sitting lasted just twenty minutes, yet it remains one of the most rewarding experiences of my career. It affirmed my direction, sharpened my methodology, and opened doors that had previously felt unreachable.
Most importantly, it allowed me to work with a true British icon—not as a character, but as himself.
“By perseverance, the snail reached the ark.”
— Charles Spurgeon