We were working with the available light streaming through Kathi’s living room windows, which was abundant (though variable, due to clouds, and eventually fading as the sun moved), and added fill light from incandescent bulbs in several lamps with their shades removed. I’ve always been comfortable using improvised lighting; it’s far preferable to flash-burning people’s faces. And digital cameras get better results with it than film cameras ever did.

As our friend Gary worked to call forth all the personas Kathi might take on for a stage play or a movie or commercial, I learned a lot about collaborating with performers. Gary and Kathi had just finished taking an acting class together, and with trust, trickery and a few acting exercises that afternoon we produced more than a dozen usable photos that suggest Kathi’s range. She was set to look for work. It was about that time that she quit an office job in the suburbs to put her energy into pursuing a show business career. It’s all paid off.  

Flash forward two years, and Kathi’s been in one theater or film production after another in and around New York, and I’m now lighting my subjects with synced strobes that give consistent results frame after frame in my own well-equipped studio. And the trust and tricks still work their magic. Thanks Gary!

Last spring, Kathi hilariously played an android actress cast in TV soap operas and corny frontier family dramas in Alan Ayckbourn’s early-80s satiric comedy “Comic Potential.” (pictures way below).

Kathi has just been cast as Irina Arkadina in a new Americanized adaptation of Chekov’s “The Seagull” that will be performed in Manhattan by the Curan Repertory Company at The American Theater of Actors from Oct. 28 to Nov. 1. While Kathi often plays “mother” roles, Arkadina is not your run of the mill mom. I’m looking forward to seeing what she does as the big-ego stage actress reluctantly dealing with a neurotic son while trying to hold onto a fickle poet lover as well as her own fading stardom – a role of many nuances attempted by almost every great Russian, British and American actress of the past century.

Kathi Carlson is one of those performers who isn’t afraid of challenges, knowing how much they can stretch one’s talent and make the performing life exciting. Having gone skydiving for a recent birthday thrill, nothing will stop her from creating a memorable Arkadina this fall.

My greatest fear going in was that she might feel exploited; after all, who needs to hold still for a portrait when you don’t need one for school and you’re not looking to work as a professional model or actress anytime soon. Determined not to pressure Hannah to be anyone but herself, I was happy to meet her mother and learn she was of the same mind. Hannah would not be getting a Jon Benet Ramsey makeover for the shoot. Fancy sunglasses and bracelets, fine and fun. Makeup, not much. No costumes. Hannah wanted to be photographed wearing her grandmother’s pendant. Years from now when she perhaps has grandchildren of her own, Hannah will be able to show them how beautiful she was the spring when she was no longer a little girl but not quite yet a teenager.

Gregory Nye has appeared in several recent Hudson Theatre Ensemble productions, playing various princes and kings for the kiddies, the hero’s best friend in Larry Shue’s comedy-drama “The Foreigner” and, most recently, a robotic actor playing both a TV soap opera doctor and a farmer in Alan Ayckbourn’s “Comic Potential.”  Greg’s ready for paying work on stage and in television, movies and commercials — whoever hires him will be extremely pleased. He can do it all.  

Florence Pape, director of development for the Hudson Theatre Ensemble and one of its frequent leading players. You’ll see Florence frequently on these pages, as she embodies my philosophy of photographing actors who are working today:  Show Me Your Faces!