For a shoot for Eva Magazine, television presenter Lauren Verster recently stepped into The Livingroom. Photographer Elisabeth Ismail captured her in a series of portraits where calm, strength and vulnerability come together. A shoot where everything aligned: the light, the atmosphere, the collaboration – and the story behind the images.
Elisabeth is known for her ability to truly see people. That is precisely what draws her to portrait photography. “Every person is unique and has their own beauty and personality. That remains endlessly fascinating to observe and capture,” she says. Human connection plays a central role in her work: “I love warmth, connecting with people, and I really enjoy short, meaningful encounters.”
Elisabeth is known for her ability to truly see people. That is precisely what draws her to portrait photography. “Every person is unique and has their own beauty and personality. That remains endlessly fascinating to observe and capture,” she says. Human connection plays a central role in her work: “I love warmth, connecting with people, and I really enjoy short, meaningful encounters.”
Photographing people: from a good portrait to an exceptional one
According to Elisabeth, the difference between a good and an exceptional portrait is not technical skill alone “For me, a special portrait contains a certain vulnerability, a sense of depth. Something genuine from someone’s personality that becomes visible or tangible when you look at the image.” That requires attention, time and trust – and a real connection between photographer and subject.
This applies to everyone who steps in front of her camera, whether children, families, couples or well-known public figures. “Each group might need a slightly different approach in how I connect and give direction, but in the end they are all just people.” Her experience as a young mother certainly helps: “I have a lot of experience with children up to their teenage years – you can feel that during shoots.”
This applies to everyone who steps in front of her camera, whether children, families, couples or well-known public figures. “Each group might need a slightly different approach in how I connect and give direction, but in the end they are all just people.” Her experience as a young mother certainly helps: “I have a lot of experience with children up to their teenage years – you can feel that during shoots.”
Feeling at ease in front of the camera: trust, humour and direction
Not everyone feels comfortable being photographed, and Elisabeth takes that seriously. “I try to put people at ease even before the shoot begins, by genuinely connecting with them.” Her approach combines calmness with clarity. “If you are relaxed yourself and project that, half the work is already done. It also helps to acknowledge that it’s completely normal to feel the way someone does". During the shoot, she takes clear direction: concise guidance, a light atmosphere, humour and a good pace. “That combination almost always leads to a great result.”
Not everyone feels comfortable being photographed, and Elisabeth takes that seriously. “I try to put people at ease even before the shoot begins, by genuinely connecting with them.” Her approach combines calmness with clarity. “If you are relaxed yourself and project that, half the work is already done. It also helps to acknowledge that it’s completely normal to feel the way someone does". During the shoot, she takes clear direction: concise guidance, a light atmosphere, humour and a good pace. “That combination almost always leads to a great result.”
The Livingroom as a daylight studio: space, atmosphere and light
For the shoot with Lauren Verster, The Livingroom played an important role. “It’s a wonderful daylight studio,” Elisabeth explains. “There are so many different corners, backgrounds and pieces of furniture you can work with.” The large windows, the one-sided light and the curtains make it possible to work entirely with natural light – something that fits perfectly with her way of photographing.
The space supported the story she wanted to tell. “In terms of colour and materials, there was so much I could use. And the fan was great for adding some movement and flow to the hair.” Also, sunlight played its part: “I used the curtains to shape and control the light.”
The space supported the story she wanted to tell. “In terms of colour and materials, there was so much I could use. And the fan was great for adding some movement and flow to the hair.” Also, sunlight played its part: “I used the curtains to shape and control the light.”
The brief for the shoot was clear from the start: “To capture Lauren in her own way, aligned with the mood board and the interview.” Elisabeth often receives the interview or briefing in advance, so she understands the story that needs to be told. In this case, she knew the images would likely be used full-page, in portrait format – which influenced the choice to work in multiple settings.
Collaboration is key in that process. “I love creating something beautiful together as a team ". Hair and make-up were done by Corinne van der Heijden of Made up by Corinne. “It was very professional, efficient, and also really relaxed and fun.” Lauren and Corinne already knew each other, which helped create an easy atmosphere. “People come out of the chair genuinely relaxed – and you can see that in the images.”
Styling was guided by Elisabeth herself for this shoot. Lauren brought a suitcase full of clothes, and together they selected the outfits. “She has a great personal style and is incredibly photogenic, so the process felt natural and relaxed.”
Collaboration is key in that process. “I love creating something beautiful together as a team ". Hair and make-up were done by Corinne van der Heijden of Made up by Corinne. “It was very professional, efficient, and also really relaxed and fun.” Lauren and Corinne already knew each other, which helped create an easy atmosphere. “People come out of the chair genuinely relaxed – and you can see that in the images.”
Styling was guided by Elisabeth herself for this shoot. Lauren brought a suitcase full of clothes, and together they selected the outfits. “She has a great personal style and is incredibly photogenic, so the process felt natural and relaxed.”
When a photo series becomes an encounter
As a photographer, Elisabeth continues to dream and look for deeper layers in her work. She hopes to combine travel and photography more, work abroad and shoot for new magazines. She is also drawn to reportage-style work with strong narratives.
She speaks about a series she once started about an almost 90-year-old woman living alone in the countryside. “Everything about her is photogenic,” Elisabeth says. But when the woman later decided she did not want to be recognisable in the images, Elisabeth chose to stop the project. “It’s important to respect that.”
What remained was something else entirely: a friendship. “We drink tea together, talk a lot, and sometimes I help her with groceries. I always feel completely at ease in her beautiful little house.”
What continues to surprise Elisabeth is how much energy her work gives her. “When everything comes together and you realise: I’m creating something meaningful – that’s incredibly energising.” She observes people intensely, something she has done since childhood. “I can almost disappear into observing someone.” What once might have seemed unusual is now her greatest strength.
And that is exactly what was tangible during the shoot with Lauren Verster in The Livingroom: attention, calm, and a sharp eye for who is truly standing in front of the camera.
And that is exactly what was tangible during the shoot with Lauren Verster in The Livingroom: attention, calm, and a sharp eye for who is truly standing in front of the camera.
Discover more of Elisabeth's work via Elisabeth Ismail Photography.