Soft Focus, Sharp Vision with the Tamron 35mm F1.4

Soft Focus, Sharp Vision

Ash Coniglio creates timeless fine-art portraits with her Tamron 35mm F1.4 prime lens.

Author: Jenn Gidman 
Images: Ash Coniglio

Ash Coniglio creates timeless fine-art portraits with her Tamron 35mm F1.4 prime lens.

Ash Coniglio began taking pictures the way most moms do—photographing her own kids. “One day I shared some photos I took of my daughter on Facebook, and the response was overwhelming,” she recalls. “Soon I was getting messages: ‘Can you do senior photos?’ ‘Can you do family photos?’ That motivated me to upgrade my gear and file for an LLC here in Pennsylvania.”

Ash has since settled comfortably into fine-art portraiture. “That’s where my heart is,” she says. “Taking the time to work with my clients one on one, in a controlled environment, with a theme, wardrobe, and everything planned, eases my anxiety and lets the creative part of my brain shine.”

To assist her in her fine-art portrait efforts, Ash relies on her Tamron 35mm F/1.4 Di USD prime lens. “The 35mm has been my go-to for portraits whenever I want to incorporate the environment, as well as in the studio where space is tight,” she says. “It’s never let me down—my photos are always clear, even at F1.4.”

That maximum F1.4 aperture is what sold Ash on the Tamron 35mm lens. “I love a soft background, and I even like when parts of the portrait itself are soft or out of focus,” she says. “If an image is too crisp, it lacks depth or emotion. Some may say a 35mm lens isn’t the best choice for portraits, but rules are meant to be broken.”

Whether she’s setting up her models inside Pittsburgh’s swankiest museums or braving the elements on chilly East Coast beaches, Ash strives for portraits that are powerful yet soft, a bit whimsical, and, in many cases, intimate. “When I’m taking outdoor portraits, I love embracing the elements: windblown hair, dirt, water,” she says. “It makes my portraits more dynamic.”

In the studio, meanwhile, Ash will often cover a client in nothing but a sheet or piece of fabric, posing them without any designer labels or trendy pieces. “I’ve had folks describe my style as moody, filmy, nostalgic, and emotive,” she says. “My aim is to provide timeless portraits that the client and their family will enjoy for generations. I don’t want the images to get packed away because they look outdated.”

Read on for Ash’s insights on capturing classic fine-art portraits that stand the test of time.

ASH’S QUICK TIPS

Keep lighting natural.
When I’m shooting outdoors, it’s just me, the camera, and the ambient light. I like the photo to represent the conditions we’re in, whether it’s overcast and moody, or sunny and filled with light. I usually aim for golden hour, unless I’m looking for something specific that requires bright sun. I shoot a lot in nature—in the woods, along creeks—where it gets dark faster, so for those sessions, I’ll schedule them when the sun is higher.

In the studio, I have large windows for natural light, balanced with my SmallRig monolight/Godox Octa softbox combo. I also love my V-flat foam to either block out the windows or bounce light from the opposing side.

Sync your backgrounds with the mood.

I talk a lot with clients to plan out our session. We discuss what we want the photos to convey—is there a story to tell, or maybe a milestone to capture? The background I select depends on those answers. I have my go-to spots that offer different looks—from tall grass, open fields, and beaches to dark, moody waterfalls and misty forests. Living in Pennsylvania, nature provides.

Consider your clients.

My photographic process is “unconventional” in that I talk to clients more like we’re friends—no auto responses here. Having photos taken can be anxiety-inducing. I’m also neurodivergent-friendly in my sessions, which partly comes from being neurodivergent myself. I offer what’s called a “practice session” for all of my clients. That offers the opportunity to meet up at the photo shoot location about a week beforehand, break the ice, walk around, and discuss potential poses. When the actual session arrives, my clients aren’t anxious, because they feel prepared.

Speaking of poses….

I start by focusing on the mood I want to convey. Every subject has a story, and I think about how to reflect that—whether it’s strength or vulnerability, stillness or action. I give a lot of “look off to the sky/look off to the window/eyes closed” directives, as I find that holding too much eye contact tires everyone out. Plus, I appreciate a good side profile.

I’ll often direct my clients like a Jedi, using my hands to motion how I want their head to turn, rather than using words like “left” or “right.” I’ll also mirror my clients—if I want them to place their right hand on their hip, I’ll place my left hand on mine, so they can mimic me. I also love movement in my shots, so I’ll direct a lot of walking, dress twirls, hair tosses, even spinning in circles or running. Moving around helps regulate the nervous system and creates life in the photos.

Think big.

I try to be as creative as possible. When I photographed Eden on the beach in Presque Isle State Park, I had a wedding dress I’d bought secondhand, so we headed out into the windy, chilly evening to capture some fun photos with that. Madalyn, meanwhile, took my breath away at Pittsburgh’s Carnegie Museum of Art. This room had an open glass ceiling, just begging for me to photograph in. I slowed my shutter speed down to capture the movement in her dress as she twirled.

I’m not against using props when I need to, either. I decked Hannah out in this white poofy dress and wings, transforming her into a weeping angel staring out at her reflection. It was dark near the creek, but all that white fabric lit her up so nicely. With those nearly 6-foot-tall wings, we certainly gave the other hikers something to talk about.

To see more of Ash Coniglio’s work, check out her website and Instagram.