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The making of 'Margarida' by Ana Iglesias

by Editor Michel Romaggi in collaboration with the author Ana Iglesias 
Edited and Published by Yvette Depaepe, the 8th of February 2022


Ana Iglesias excels in portraits embedded in small scenarios exciting our imagination. 
Thank you , Ana, for answering my questions about your nice work.




Can you explain the different stages to create 'Margarida', Ana?

The idea for this photography was the series 'Peaky Blinders'. We had the right wardrobe and also a vintage car. I am a street photographer and I always work with natural light (I rarely use artificial lighting. In this type of photography, everything goes very fast and there is just a little time  to take pictures.
In this case, I took advantage of a light source that was located in front of the car, illuminating the model. The suggested pose was that she should look absent, waiting for someone, but at the same time, she had to be absorbed in her thoughts.
I used a Nikon D7500 and a Tamron AF 16-300mm lens. 35mm Iso 640 f4.4 1/500 focal length. The car was attached to a stone wall and one could see it through the window, so I already knew I would have to change that.
In my files, I used a photo of a street with lighting matching perfectly well.  I used it in PS to replace the scenery seen through the window of the car.  After that I started the post-production.
I darkened the colour of the car, which was a deep red and I created the mood of the car interior by enhancing the lights and shadows with curves.  On the other hand, I gave a painterly look to the street to blur it.

Finally, I did all the colour adjustments, levels and corrections in PS.  My main idea was to create that special atmosphere inside the car.


Can you tell us a little more about the particular atmosphere we feel in each of your photos?

The mood I create in my images is almost always dark and very intimate.  That's what I like the most. I try to isolate the protagonist in my portraits, with lights and shadows. Then I try to focus on the expression, the attitude and the clothes in such a way that one can imagine a scene or situation unfolding just through visual impact.


'Eva Luna'


How do you conceive the scenes you photograph?

First and usually, the subject to be photographed is pinned.  Based on that subject, suitable settings are sought, as well as costumes, make-up, and models. They are never professional models, we just meet to take photos.
In most of my projects, I photograph on the street (especially theatre and circus shows). Then I create a setting and an appropriate atmosphere for these portraits or shots. In post-production. I really like to use textures. 



To end this tutorial, please tell us briefly what your 'relationship' with photography means?

My relationship with photography... I think it has always been part of my life.
From a very young age, I remember my grandmother, stuck in the darkroom developing photographs, with that red light, which indicated that one could not enter. I was hoping she would let me into that magical world of liquids, developers, fixers, and hanging photos, and that was something that really impressed me. Since then photography is part of my DNA. I have been taking photos all my life. I can't conceive  not having a camera with me. I am not a professional photographer, it is my passion. I have always done street photography. My speciality is portraits.
I love editing and giving those photos the right mood and atmosphere which I already had in mind.


'la ventana'


Great work! Thank you for sharing!
Very original and beautiful gallery. I love "Margarida" and the story around it. Keep up the good work, Ana!
Lovely collection and interesting to understand your process, I particularly like "Diana", the soft colors draped over massive tree roots. Congrats!