Two weeks ago, I was commissioned by The Free Press to photograph Usha Vance, Second Lady of the United States, at her residence in Washington, D.C. It was a quiet morning atop Observatory Hill—sunlight filtering through bare tree branches, the wind teasing the fabric of cream silk and wide-leg trousers—as we began a session that felt at once deeply intimate and nationally significant.
The resulting portraits, featured in The Free Press alongside Peter Savodnik’s revelatory piece, “Meet Usha Vance: MAGA’s Enigmatic Second Lady,” capture Usha in moments of both stillness and strength. Shot in natural light across the residence—on the veranda, in the curved-window library, and by the hearth—each setting offered a tableau that balanced elegance with approachability.
Styling was kept minimalist and true to her: an ivory silk blouse with a tie neck, sharp black trousers, classic pumps—timeless choices echoing the refined restraint of public service in its most thoughtful form. The composition of each portrait was guided by light, line, and authenticity, and my goal throughout was to ensure the imagery supported—not overshadowed—the nuance of her voice.
Throughout my career, I’ve been privileged to photograph figures across the political spectrum—from prime ministers to peerage, local councillors to cabinet secretaries. Each portrait is an opportunity not only to document but to reveal—to distill essence from persona. In photographing Usha Vance, that challenge was met with a subject who is both quietly commanding and, as Savodnik rightly observes, one of the most compelling Second Ladies since Abigail Adams.
This session marked another chapter in my ongoing exploration of political portraiture—where visual storytelling intersects with power, identity, and history. With the 2025 political season intensifying, these quiet portraits remind us of the quieter forces shaping the public stage.
