Photographer Hugo Burnand shares how he captured the official coronation portraits of King Charles III.
the photographer who captured the official photos of the coronation of King Charles III and Queen Camilla last May, has also photographed their wedding in 2005, the king’s 60th birthday in 2008, and the wedding of Prince William and Catherine, Princess of Wales in 2011 and many other royal events.
“We tied it on to whoever was being the standard [test subject] so that we got a feel for the weight of the cloth and how it would position itself. It’s important because, in this picture, the robes make a part of the portrait. The robe is an incredibly important part of the structure of the picture, so we needed to have that visual reference while rehearsing.
“Of the official photographs, this [holds up the group photo] is probably the one that took the longest…because of the sheer number of people in it,” says Burnand. “But we were very well organized, and they were all in position quickly. “What I would like people to do when they look at a portrait that I’ve taken is I’d like them to feel that they are in some form of conversation with the person in the picture. I would like them to feel to be arrested by that photograph, and I think the only way you can do that is by being in good communication with them [the sitter] yourself.
“We tried, when possible, to be on 100 ISO, but those palaces have big rooms with a lot of silk on the walls that sucks up the light, and we were pumping out quite a lot of light. “I had to trust myself. I had to trust my team, and I didn’t want to waste any time that was so valuable to communicate with my subjects — just the pressure of time and the necessity to keep a 100% connection with them.The coronation photos were all shot with diffused flash and no available or continuous light.
“And so, when there are a lot of people in the picture, it’s a suitable place to photograph them, and also you get the gentle arc of the steps creating rather a nice line. Also, those steps gave a fantastic opportunity for the cloaks to be illustrated, but it also means you can get the architecture in, and it sits comfortably within the picture. Lighting again bespoke for each picture, and there was a story to be told with each picture, and the lighting was set up accordingly.
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