![\"A](\"/pf-media/mewiththesmienacamera.jpg\")
I’m a Cork based photographer with over 15 years of experience capturing stories that live somewhere between art and real life. Through Sound of Photography, I’ve built a practice around documenting the energy of live performance and the quiet power of human connection.
My work spans portrait photography, documentary projects, and creative editorial shoots — always with an eye for emotional storytelling and technical precision. Over the years, I’ve collaborated with a wide range of clients across the cultural sector: theatre, film and dance companies, NGOs, startups, and corporate teams. No matter the setting, my goal is to create images that not only look striking but also serve a purpose — for press, promotion, or archival use.
While I enjoy translating commercial briefs into strong, engaging visuals, my biggest passion is photographing the everyday poetry of relationships and performance. My personal projects look at family life and the small, unspoken moments that define us. Professionally, I try to keep things personal and easy-going — a no-stress experience that respects both the subject and the story.
I believe that in a fast-paced world, the right image doesn’t just tell a story — it defines a moment. That’s why I work closely with each client to make sure their ideas come to life as images that connect with audiences, funders, and future collaborators alike.
Few personal highlights:
2023: Self Published Photo Zine Issue 02
2022: Slow Camera Exchange funded by Creative Ireland
2021: Blarney Street Revolutionaries - permanent exhibition - Cork City and County Archives, commissioned and funded by Creative Ireland
2020: Flowers - solo exhibitions in Cork,
2019: Self Published Photo Zine Issue 01,
2019: Der Greif - Guest-Room,
2019: Internationale Photoszene Festival Köln, Germany - joint exhibition,
2018: Individual artist bursary from Cork City Arts Council,
2018: Eastreet - joint exhibition, House of Lucie, Bangkok,
2018: 212 Photography Festival, Istanbul,
2017: Eastreet - Centre for the Meeting of Cultures in Lublin, Poland
2017: Maze, stills - solo exhibition - Cork Concert Hall, Ireland
2016: Poles, like - solo exhibition - Cork City Hall,
2015: I want to ride my bike - solo exhibition - Cork, Ireland
2015: Warp & Weft - collaborative exhibition with artist Orla O’Byrne - Cork Photo Festival, Ireland
2014: Night Contact - joint exhibition - Brighton Photo Biennial - UK
2014: Individual artist bursary from Cork City Arts council, Ireland
2014: Invitation to Magnum Photos print room in London for weekend of reviews, UK
2013: Re. Actor. - solo exhibition - Clonakilty, Ireland
2013: Proof of existence - joint exhibition - Camden Palace Hotel, Cork, Ireland
2012: The best of Nikon in-frame - joint exhibition - Getty Images Gallery, London, UK
2012: Christchurch impressions - solo exhibition - Triskel Arts Centre, Cork, Ireland
Nice things people say about me:
“I have worked with Marcin on a number of projects. Marcin’s work as a photographer is exceptional. He has a wonderful eye for capturing light, dynamics and character. He is quick to deliver work and our interactions are always straightforward. In short, it’s always a pleasure to work with Marcin.”
Julie Kelleher Artistic Director THE EVERYMAN
\"What glorious photographs! They give a wonderful sense of the workshop and I love the range of your image-making. Thank you.\"
Jools Gilson, Head of School of Film, Music & Theatre, UCC
“Marcin Lewandowski has worked for us in a professional capacity as both a superb photographer and as an artist. Marcin in fact was central to the reinvention of the Triskel Website, and worked with us for over a year on this and other projects, and we valued his contribution highly. “
Tony Sheehan, Artistic Director, Triskel Christchurch.
For a friendly no-commitment chat about your project send me an email at marcin@soundofphotography.com
or call me on 0863471761
I look forward to working with you
Marcin Lewandowski
\tYes, thats me on the picture above, many years ago, on a still taken from an 8mm film made by father. I started my photography journey as s a hobbyist in quite a young age. I was surrounded by cameras in my home, this included 35mm and super8mm gear which helped me to developed a natural affinity for capturing moments and appreciation for creating images.\n\n\tMy first own camera was the Smena 35mm, a plastic Russian rangefinder equipped with a simple light meter (this is the one on the 8mm still above). I used it to chronicle my summer escapades during visits to grandparents' countryside home. This experience, combined with the art books and painting albums that my grandmother introduced me to, cemented my passion for photography and visual art in general. I found myself particularly drawn to portraits and the almost magical ability of light to transform the look and feel of any given moment. Although most of my very early photographs are lost to me now, a few still exist somewhere, nestled within the albums of those to whom I gave them.
\n\n\tIn my college days, stimulated by a youthful thirst for knowledge, I pursued studies in journalism. It was during this period that I recognised the power of photography to create compelling images and weave narratives. After years of shooting on film, I transitioned briefly to digital point-and-shoot cameras and later in 2005, I fully embraced the digital revolution, thats when I acquired my first DSLR camera. It was my entry ticket to a new realm of creative possibilities.\n\n\tDuring the early years of my digital photography, and as a self-confessed 'weekend warrior', I experimented with a number of different genres. Whether I was photographing 'on the side' for car magazines, capturing a wedding, dabbling in street photography, or shooting purely for personal satisfaction, people is what always drew my unwavering attention.
\n\n![](\"/pf-media/cahirmeecarcows.jpg\")
\n ![](\"/pf-media/untitled-3936.jpg\")
\n\tIn 2011, I transitioned to full-time professional photography, delving deeply into the craft. Through international masterclasses with accomplished photographers such as Alex Webb, Jessica Dimmock, Phillip Toledo, Martin Parr, or Ed Kashi among others, I considerably improved my skills in composition, lighting, and visual storytelling. In addition, I gained valuable insights into working with clients across various scenarios. I also had the honour of being invited to discuss my portfolio at the Magnum Photos Printroom in London, which significantly enhanced my understanding of commercial approach and client needs. These experiences further refined my ability in capturing the essence of my subjects, also pushing my photography skills to a new level.
\n\n\tMy photography services have been favoured by a diverse array of clients. Over the years, I've crafted a comprehensive portfolio encompassing numerous in-depth commissions. This includes two-week-long and multi-day photo sessions on film sets, as well as multi and single-day assignments for international magazines, full-day conferences, and brief business panels but I take pride in every assignment, no matter the scale - whether it's a half-day project, a two-hour session, or an even shorter engagement.
\n\n\tI've cultivated a diverse portfolio over the years, demonstrating my capacity to cover a variety of work. I photographed many national and local festivals spanning the arts, music, and film, many of these festivals seek out my experienced services on a yearly basis. Additionally, I collaborate with local brands, artists and art organisations, corporate bodies, sports clubs, NGOs, charities and individuals, offering them the benefit of my professional expertise.
\n\n![](\"/pf-media/ASafePassagebyIreneKelleher_DSCF5249.jpg\")
\n ![](\"/pf-media/PhotofolioUpdateApril20236of31.jpg\")
\n![](\"/pf-media/PhotofolioDocuAddon11202315of41.jpg\")
\n ![](\"/pf-media/PhotofolioDocuAddon11202321of41.jpg\")
\n![](\"/pf-media/DSCF1355.jpg\")
\n ![](\"/pf-media/Film_Stills-09.jpg\")
\n\tStriking the balance between creativity and commercial needs, I've successfully executed a comprehensive series of portraits for universities and art companies, along with professional corporate and business headshots. Be it on location amidst the hustle and bustle of a large office or in the controlled environment of a studio, my skills are adaptable. I can swiftly gauge the potential benefits of any location and skilfully tailor them to suit the needs and requirements of my clients or take things into the controlled environment of a photography studio and build a suitable conditions there. Regardless of the setting or context, I can confidently capture and deliver a moment worth a thousand words.
\n\n\tBeyond the craft of photography, my expertise extends into the realm of editing and post-production, particularly with Adobe Photoshop Lightroom. Having utilised this powerful software since its early beta release in 2006, I've acquired a comprehensive skill set. The speed and precision with which I can edit images, focussed on providing quick turnaround times for my clients, showcases my technical acumen. This proficiency was further recognised when I was commissioned to author a thorough workshop book delving into the intricacies of Lightroom, spanning over 400 pages. This book, which was published in year 2022, is available through reputable platforms like Amazon and certifies the depth of my knowledge, lending credibility to my expertise in the field.
\n\n![\"Fine](\"/pf-media/BlarneyStreetRevolutionariesPhotofolio-02.jpg\")
\tThroughout my experience as a photographer, I've tackled a number of challenging yet rewarding projects, considerably honing my skills. A prime example of a complex project that I expertly managed is the 'Blarney Street Revolutionaries' commission from Culture Ireland. This detailed endeavour truly showcases my thorough approach to planning and executing intricate photography series. The process involved comprehensive preparation, from envisaging the final look of the photographs to actual creation of planned images. The tasks of budgeting, casting actors and extras, scouting locations, and seizing period-specific costumes and props were particularly challenging as it had to be contextual and accurate. It comprised difficult-to-find items like a Cork built, Ford model T or period-specific hurls, which simply do not exist and they required commissioning. Towards the conclusion of the project, I successfully navigated tasks such as retouching, printing, framing, and exhibiting the final images. I'm proud to say that the results of this meticulous process are currently on permanent display at the Cork City and County Archives.
\n\n\tWhile I have honed my skills in communicating commercial visions , my passion revolves around creative documentary and portrait photography. I consistently work on personal projects that revolve mainly around the ebb and flow of family dynamics - this work has garnered some critical acclaim. However, due to time constraints, I've been unable to exhibit it in a way I would like to, at least until the right day comes :) Some of this work populates my personal galleries along with other projects I was truly enthusiastic about, such as wildflowers or Cahirmee. I have further personal projects in the pipeline, but they currently remain on the so-called back-burner due to, well, life :)
\n\tMy work has been exhibited in various locations around Cork but also in UK, Germany, Poland and even in the far east. One of my pieces was displayed at the Getty Images Gallery in London, several series were shown at photography festivals, a few pieces were published in a book and some in photography magazines. However, exhibitions became a secondary consideration once I committed to working for clients.
You can see a list of highlights in my ABOUT section.
\n\n![](\"/pf-media/Family_IV_Final-01.jpg\")
\n ![](\"/pf-media/Family_IV_Final-03.jpg\")
\n![](\"/pf-media/Cahirmee_Final_Gallery-02.jpg\")
\n ![](\"/pf-media/Cahirmee_Final_Gallery-03.jpg\")
\n![](\"/pf-media/AOTGM-01.jpg\")
\n ![](\"/pf-media/Family_Prelude_Final-04.jpg\")
\n\tMy extensive experience spans collaborations with an array of diverse clients, including local businesses, art organisations, corporate entities, and individual patrons. This breadth of work has not only honed my skills, but also enabled me to significantly contribute in shaping the narrative in each client's respective field. My commitment is to provide a personalised, zero-stress professional experience.\n\n\tI would like to invite you to browse through my portfolio, which includes a selection of my personal favourites from the kaleidoscope of work I've completed. Also, I encourage you to dive into my personal projects to gain an understanding of my artistic approach.\n\n\tI appreciate your consideration of my experience and professional abilities. I look forward to potential future collaborations and the prospect of creating compelling visual narratives for you.
\n\n\tIf you would like to get in touch, please use the contact form, email or simply call me.\n\tmarcin@soundofphotography.com\n\t+353 (0) 86 3471 761\n
\n\n\tThese details and more are also available on my CONTACT page
\n\n\tI also encourage you to subscribe to my irregular, visual newsletter:
\tLink to newsletter subscription.
\n\n\n\n\tThank you\n\tYours sincerely\n\tMarcin Lewandowski | soundofphotography.com\n
\n\n![](\"/pf-media/untitled-.jpg\")
\n ![](\"/pf-media/untitled--3.jpg\")
\n![\"Square](\"/pf-media/logo1black350.png\")
\n \n\tWhen you step \"behind the curtain\" into the world of stage productions, you need more than just photography skills. The stage has its own lively rhythm and it requires a distinct approach to capture its pulse. As a production photographer, your techniques must readily adapt to the theatre's dynamic.
\tA profound understanding of the gear you use is really the best friend when you're out on location, especially when things get a bit wild with unpredictable lighting and scenes that change faster than the weather or even when the weather decides to be uncooperative. Being totally at ease with your equipment - we are talking cameras, lenses, settings - it all comes with being confident about what your gear can do. But here's the thing, this isn't about having the latest equipment there is. It's more about having dependable gear that you know inside-out thereby enabling proactive planning.
\n\n![\"Cork](\"/pf-media/2wetBlog2Theatre-18970.jpg\")
\n ![\"A](\"/pf-media/3wetBlog2Theatre-00847.jpg\")
\n\tConsider an experience I had last year while photographing an event staged on a floating platform on a lake. The weather forecast had warned of impending heavy showers. My prior decision to invest in the Fujifilm system, still my current hardware of choice, put me in a good position. Every single one of my three camera bodies, along with each lens, are designed to be weather-resistant. As a result, even when the heavens opened and the rain poured down, I just kept shooting without thinking twice about my gears safety.
\n\n\tEven when not weather sealed, lenses are a critical part of your photography toolkit, acting as the eyes through which the camera records the events. Fast glass, with a base aperture no slower than f2.8 (a majority of the lenses I use are f2.0 or faster and mostly primes), are essential for capturing fleeting moments on stage. Fast lenses provide more light to the sensor, which is advantageous in low-light situations, allowing higher shutter speeds, lower ISO settings, and giving you more creative liberties. A pro tip: always have spare batteries and keep them on you while photographing - features like camera and lens stabilisation, electronic viewfinder, and electronic shutter are notoriously energy hungry. Also: get into the habit of closing your camera bag as it is easy to accidentally pick it up, forgetting that it was left open, someone else might pick it up to move it too, trust me, this comes from personal experience.
\tTheatre demands a special level of respect for its silence. The intrusive 'clicking' of a camera shutter can sound like a crash amid this world of quiet moments. Thankfully, most modern mirrorless cameras support silent shooting, and being familiar with quickly switching to this function is crucial. I think I don’t need to mention that a production photographer need to turn of any sounds coming from the camera as well as any focus lights etc.
![\"Cork](\"/pf-media/10lcdBlog2Theatre-1426.jpg\")
\n ![\"Cork's](\"/pf-media/11lcdBlog2Theatre-8312.jpg\")
\n\tHowever, electronic shutters are still not without their issues. The principal one being banding induced by combination of fast shutter speeds and some LED frequencies or projector refresh rates. It's critical to be aware of this problem and be able to make quick adjustments on the fly to find the best possible compromise which usually means slowing the shutter down to as low as 1/30s to beat the refresh rates. I recently experienced a tricky situation where the background consisted of two large screens showing clips displayed by projectors with different refresh rates combined with various LED lights while the dancers moved on stage. Slow shutter speeds were not ideal and I had to continually check the results and tweak settings depending on which direction I was shooting and where the lights were focused on the performers.
\n\n![\"An](\"/pf-media/goldmomentBlog2TheatreII-.jpg\")
\n ![\"A](\"/pf-media/goldmomentBlog2TheatreII--2.jpg\")
\n\tBefore the curtains are raised, ensure you are prepared. Explore the location to plan the best angles; also consider features that might cause noise or obstruct your movement when the audience arrives. The technical manager can usually assist you with this. Speak with a member of the production team, or, if possible, obtain a script in advance to understand what you're about to photograph. Visual and graphic moments are priceless — knowing them in advance can enormously help in creating a captivating set of images.
\tBe mindful of your surroundings since the areas off-stage will darken significantly, especially when your eyes shift from the brightly lit stage to the auditorium's darkness. Several years ago, I was photographing a dress rehearsal and, while being able to move freely on stage, I accidentally stepped into the abyss, resulting in two cracked ribs. It was a painful lesson, but it made me mindful of never blindly stepping into dark areas again.
\tBear in mind the golden rule for thriving as a successful theatre photographer: foster adaptability, flexibility, and innovation. Despite extensive rehearsals, live performances invariably carry an element of surprise, primarily if you haven't previewed the play. In such instances, a comprehensive understanding of the theatre’s workings, coupled with a proficient knowledge of a performance photographer's gear capabilities, becomes your invaluable ally.
![\"A](\"/pf-media/1untitled-3553.jpg\")
\n ![\"Cork](\"/pf-media/1untitled-0861.jpg\")
\n\tKeep in mind that photography guidelines can vary even within a single theatre from one production to another. Sometimes, regardless of your intimate knowledge about the venue, you may be for example asked to remain static and photograph from a single spot. And rest assured - this will happen. The important thing is to have a selection of gear that is versatile in such scenarios but most of all a mindset which shifts instantly into a different mode. I worked as a stage photographer, documenting a play at the Galway Arts Festival lats year. I knew I will will have the dress rehearsal with two world class actors “all to myself” and I dreamed of all the angles and all of the freedom movement. Upon my arrival, I was informed by the producers that I had to select my location before the event and remain stationary throughout the play. No worries, I chose a central spot at the eye level with the actors and focussed on capturing key moments.
\tDress rehearsals present the ideal time for production photography as they provide a bit more freedom to the photographer. The absence of an audience allows for documentation from additional perspectives, which could otherwise disturb viewers. This opportunity is particularly advantageous, even more when paired with lower pressure compared to a premiere night. Occasionally, especially with smaller productions, a theatre photographer might even have an opportunity to request a replay of a scene or two after observing the play. Knowledge of key moments and quick recall could get you closer to capturing an exceptional image.
![\"Cork's](\"/pf-media/8specialBlog2Theatre-2.jpg\")
\n ![\"Cork's](\"/pf-media/9colorfulBlog2Theatre-4148.jpg\")
\n\tAfter the rehearsals wrap up, be prepared to act fast. The immediate aftermath might require you to sort through the captured images with the producer or a marketing person - a fast laptop and mastery over editing software like Adobe Photoshop Lightroom, are essential tools for this task. As with many photographic processes, this one too relies on creating level of intuitive insight. Immediately after the shoot, you should have a mental note of where your best shots from the last few hours are lined up.
\tOnce you've imported all your photos, look for these frames first, then check if they meet your expectations and proceed from there. Visually strong moments you remember are a cue to sniff around for gold. Irrespective of the size of your final edit, always aim for quality over quantity. Consider that only one or two images will become the face of the play, with a handful more being their company on the play’s website and social media. Strive for unforced variety and create a diverse portfolio of images that includes close-ups showcasing emotions and wide shots highlighting the set design and everything in the middle. My most basic mental checklist is taken directly from documentary photography in general: a person at work, a relationship image, an establishing shot, an environmental portrait and an “X” picture. Treat this loosely and interpret in your own way, enriching with ambiance, mood, landscapes and sideshow images. Be flexible and perceptive.
\n\n![\"This](\"/pf-media/13closeupBlog2Theatre-5494.jpg\")
\n ![\"A](\"/pf-media/14postmanopeninig2Theatre-1812.jpg\")
\n![\"A](\"/pf-media/16momentBlog2Theatre--3.jpg\")
\n ![\"An](\"/pf-media/17untitled-3126.jpg\")
\n\tArriving early, getting acquainted with the producers, cast, crew, staff and maintaining a friendly rapport can be a genuine advantage. However, let it not overshadow the fact that you're hired to do a job and don't force it if you see that everyone is busy. Networking won't yield any result if your photographs fail to deliver on promise.
\tDo make time for some “behind-the-scenes” photography if possible. These images often add to the magic and will do rounds amongst the crew. Seek to incorporate shots of the public and surroundings in your final edit if possible. Not all these images may promote the play, but the venue or production company might still find them useful.
\tEquipped with these insights, venture into the exhilarating world of theatre photography. Transform the elusive energy of the stage into tangible, vibrant images, and let your lens narrate compelling stories from the heart of the performance.
\tIf you would like to get in touch, please use the contact form, email or simply call me.\n\tmarcin@soundofphotography.com\n\t+353 (0) 86 3471 761\n
\n\n\tI would like to invite you to browse through my portfolio, which includes a selection of images from the kaleidoscope of work around the THEATRE AND DANCE I've completed to gain another perspective on my approach.
\n\n\tThese details and more are also available on my CONTACT page
\n\n\tI also encourage you to subscribe to my irregular, visual newsletter:
\tLink to newsletter subscription.
\n\n\n\n\tThank you\n\tYours sincerely\n\tMarcin Lewandowski | soundofphotography.com\n
\n\n![\"Cork](\"/pf-media/19btsBlog2Theatre-1346.jpg\")
\n ![\"In](\"/pf-media/20closeupaineknifeBlog2Theatre-8330.jpg\")
\n![\"Cork](\"/pf-media/btsBlog2TheatreII-1011.jpg\")
\n ![\"A](\"/pf-media/btsBlog2TheatreII-1445.jpg\")
\n![\"Cork's](\"/pf-media/15stage2TheatreII-9191.jpg\")
\n ![\"A](\"/pf-media/wetBlog2Theatre-1236.jpg\")
\n\n \n![\"Portrait](\"/pf-media/BLOG3Gateway-01519.jpg\")
\n ![\"Portrait](\"/pf-media/BLOG3Gateway-00666.jpg\")
\n\tI've been a horror movie enthusiast ever since I watched the \"IT\" miniseries, based on Stephen King's novel. I was a bit too young, it was way too late and I was all alone at my grandparent's shadowy living room, with the eerie sounds of tall trees tapping against the windows of their 2nd floor apartment. When Niall Owens, the writer and director of Gateway, approached me to create stills from his upcoming feature film, I was absolutely thrilled.
\n\n![\"Fiona](\"/pf-media/BLOG3Gateway-5170339.jpg\")
\n ![\"A](\"/pf-media/BLOG3Gateway-5150089.jpg\")
\nLooking back on these photos, taken a few years ago, I find it fascinating how they have evolved with time. They have gained additional depth, allowing me to view them from a fresh perspective and so I created a small edit with some of my personal favourites which you can view here. I still avoiding any spoilers but additional shots might come up in years to come.
\n\n![\"A](\"/pf-media/BLOG3Gateway-01458.jpg\")
\n ![\"IN](\"/pf-media/BLOG3Gateway-5160142.jpg\")
\n\tCapturing portraits on a bustling film set is no easy task with all the constant movement and everyone intensely focused on their roles, but it’s definitely worth the effort. Each portrait dives into the traits of the characters. It’s like getting a behind-the-scenes peek at the story.\nWhat’s even more interesting is looking back at these images after you've seen the film. You start to wonder: is that the character or a candid shot of the actor behind the role? Even I find myself guessing sometimes. These portraits not only enhance the experience; they add depth and a more personal connection to the story we see on screen.
\n\n![\"A](\"/pf-media/BLOG3Gateway-5160359.jpg\")
\n ![\"In](\"/pf-media/untitled-5844-2.jpg\")
\n\tAs you look through this small gallery of stills from Gateway, I highly recommend film's soundtrack created by Tony Langlois. It adds another layer of depth to the visuals and enhances them even further. Here is a link to a short snippet:
Gateway soundtrack excerpt on Soundcloud\n\n![\"A](\"/pf-media/BLOG3Gateway-5896.jpg\")
\n ![\"A](\"/pf-media/BLOG3Gateway-6076.jpg\")
\nBefore I wrap up, I wanted to let you all know that the online premiere of Gateway took place on horror streaming platform
Shudder.comI am totally stoked I can see this film once more and this time I'll sink into its the chilling atmosphere from the comfort of my living room.
\n\n![\"Intense](\"/pf-media/BLOG3Gateway-5160221.jpg\")
\n ![\"This](\"/pf-media/BLOG3Gateway-04504.jpg\")
\n\tNow, here's a little secret for those who are into details and are willing to do a bit of detective work; I have a small cameo role in one of the scenes of Gateway! So, as you watch it, keep an eye out for me. If you spot me, I want to hear from you. Send me an email describing the scene, and the first person to do so will receive a special surprise - a very limited (1of1), signed print from Gateway, Ill try to get Gateway's director Niall Owens to sign it as well!
![\"This](\"/pf-media/untitled-04498.jpg\")
\n ![\"In](\"/pf-media/BLOG3Gateway--3.jpg\")
\n![\"In](\"/pf-media/BLOG3Gateway--2.jpg\")
\n ![\"A](\"/pf-media/untitled-5160153.jpg\")
\n![\"A](\"/pf-media/untitled-01310.jpg\")
\n\n\n \n![\"The](\"/pf-media/Namiot-Crua-na-wietrze-mini-720px.gif\")
\n\tThe latest issue of my photography newsletter is out!\n\tWithin its contents you will find a giveaway where you can win one of two books featuring my photos on the cover, Im also showcasing photographs and a videos from recently completed projects.\n\nVIEW NEWSLETTER ONLINE \nSUBSCRIBE TO MY NEWSLETTER\n\t\n\n
\tTo get in touch, please use email, the contact form or call me.\n\tmarcin@soundofphotography.com\n\t+353 (0) 86 3471 761
\n\nThese details and more are also available on my CONTACT page
\n\n\n\n\n\tMany thanks,\n\tSee you soon,\n\tMarcin Lewandowski | soundofphotography.com\n
\n\n\n \n![\"Three](\"/pf-media/PastXPolaroidsXFuturethreeimagesforweb.jpg\")
\n\tPolaroid instant photos are more than just snapshots; they're fragments of moments we decided to keep as tangible reminders. But just like those fleeting experiences, these pictures inevitably fade. \n\nOver the years, I've witnessed my own Polaroids, taken in the same spot in similar, late evening light filing through the window, gradually lose their punch. Each frame was captured with my trusty SX-70 a few years apart and displayed on our bathroom mirror, where humidity and light conspired to speed up their decline.\n\nThe latest Polaroid films boast higher contrast, but only time will tell if they will last longer. I will update you in due course with my findings.\n\nStay tuned, and keep immortalising those fleeting moments.\n\n
\tTo get in touch, please use email, the contact form or call me.\n\tmarcin@soundofphotography.com\n\t+353 (0) 86 3471 761
\n\nThese details and more are also available on my CONTACT page
\n\n\n\n\n\tMany thanks,\n\tSee you soon,\n\tMarcin Lewandowski | soundofphotography.com\n
\n\n![\"Three](\"/pf-media/Past-X-Polaroids-X-Future-3images-GIF-new.gif\")
\n\n \n![\"Black](\"/pf-media/BehindTheBrokenBridge-6.jpg\")
\n![\"Striking](\"/pf-media/BehindTheBrokenBridge-2.jpg\")
\n ![\"Intense](\"/pf-media/BehindTheBrokenBridge-3.jpg\")
\n![\"Detailed](\"/pf-media/BehindTheBrokenBridge-4.jpg\")
\n ![\"Dynamic](\"/pf-media/BehindTheBrokenBridge-5.jpg\")
\n![\"Intriguing](\"/pf-media/BehindTheBrokenBridge-1.jpg\")
\n![\"Captivating](\"/pf-media/BehindTheBrokenBridge-7.jpg\")
\n ![\"Black-and-white](\"/pf-media/BehindTheBrokenBridge-8.jpg\")
\n\tThese images capture a weekend walk in the forest, showcasing some fun not just during the walk but also with black-and-white processing in Adobe Photoshop Lightroom. The initial processing uses the BW 12 profile, part of the LUT profiles provided by Adobe. \n\n\tThe images feature aggressive HDR-style processing: highlights are strongly reduced, shadows raised to nearly maximum. Whites and blacks are also strengthened for dramatic effect. Additionally, texture, clarity, and dehaze settings are increased for even further intensity. Sharpening is set at 100 with a radius of 2, detail at 59, and a slight noise reduction, due to the use of highish ISO. All images were also treated with \"dodging and burning\" to strengthen contrast back.\n\n\tFurther post-processing includes tonal adjustments using the tone curve, clipping both highlights and shadows on either side. To control the luminosity of orange, green, and aqua hues are adjusted to bring details back into areas affected by highlight reduction\n\nAll photographs were captured with the FujiFilm X-T4 camera and a 33mm F1.4 R LM WR lens.
\n\n\tTo get in touch, please use email, the contact form or call me.\n\tmarcin@soundofphotography.com\n\t+353 (0) 86 3471 761
\n\nThese details and more are also available on my CONTACT page
\n\n\n\n\n\tMany thanks,\n\tSee you soon,\n\tMarcin Lewandowski | soundofphotography.com\n
\n\n\n \n\tThis week I had the pleasure of working on a film set, shooting stills again. While I can't share any of the shots until the movie's release, the experience reminded me of how time seems to slow down on set. The repetition of takes allows for a deep exploration of the scene, and each take refines the performance, bringing the story to life through adding layers and layers of detail in the actors' performances. One becomes immersed in the conversation, and hours pass while filming what seems like the same moment. Perhaps it was the nature of this film, with its dialogue-heavy script, but it's a fascinating phenomenon to observe.\n\nThe photograph below comes from the film set of Gateway, which is available on streaming services.
\n\n![\"Film](\"/pf-media/untitled-01589.jpg\")
\n\tTo get in touch, please use email, the contact form or call me.\n\tmarcin@soundofphotography.com\n\t+353 (0) 86 3471 761
\n\nThese details and more are also available on my CONTACT page
\n\n\n\n\n\tMany thanks,\n\tSee you soon,\n\tMarcin Lewandowski | soundofphotography.com\n
\n\n\n \nSHORT ANSWER: I specialise in creative, documentary, and portrait photography for theatre, dance, film, and live events. I also cover corporate, academic and artistic functions (public and private) with a clean, artistic approach.
\n\nLONGER ANSWER: I specialise in CREATIVE, DOCUMENTARY, and PORTRAIT photography across THEATRE, DANCE, EVENTS, and FILM. My work ranges from capturing live productions and promotional material to creating evocative portraits that align with your artistic or organisational identity. In addition to working within the performing arts, I photograph CORPORATE, ACADEMIC, and COMMERCIAL EVENTS - bringing a creative, clean, and thoughtful visual approach that adds value to your communication efforts. Whether you're hosting a conference, launch, gala, or private gathering, I deliver engaging images on tight timelines, without disrupting the flow of your event.
\nPortrait sessions can be arranged either as standalone projects or integrated into wider promotional or documentary coverage. I also create professional \"look books\" and portfolio portraits tailored to individual artists.
\nMy background includes photographing film stills on active sets, so I know how to move quietly and unobtrusively in environments where silence and presence matter. I’m fully comfortable working under non-disclosure agreements and in sensitive or public-facing locations.
\nOn a side note, I am the author of a book on Adobe Photoshop Lightroom, which shares insights into the software and its creative possibilities. I’ve also written about photography for various platforms, offering valuable tips and insights into the creative process. In addition, I have been awarded Creative Ireland and other artistic funding in the past, exhibited my work in both solo and group shows, and attended masterclasses with world-renowned photographers. These experiences reflect both my dedication to photography and my deep understanding of the medium.
\n\n\nSHORT ANSWER: Clear communication, efficient planning, and fast turnaround. I support your creative process from concept to delivery - without adding stress.
\n\nLONGER ANSWER:
\n1. Initial Contact
\nStart by getting in touch with a quick availability check and a short outline of your needs. Are you planning a promotional shoot for your production or looking to document a performance during the rehearsals, stage key moments for the camera, maybe document the premiere or a combination of these? We can also arrange portraits of cast (in or out of character) and crew. If it’s a promo, let me know if you have a concept and location, or if you’d prefer to develop one together. If it’s production, let me know time and location.
You can get in touch with me in a number of different ways: Contact Form, +353 (0) 863471761 (also on WhatsApp), marcin@soundofphotography.com
\n2. Quotation & Booking
\nOnce the scope is clear and we agree on the details, I’ll provide a straightforward quote. No hidden costs—everything is outlined upfront.
3. Pre-Production Consultation
\nIf we’re planning a promo shoot, we’ll schedule a creative consultation to discuss visual direction, location, tone, and any specific outcomes you’re aiming for. This helps ensure the results align with your marketing or press needs.
4. The Photoshoot
\nOn the day, I aim to work efficiently and blend seamlessly into your schedule—whether it’s a late, last-minute rehearsal or a stylised promo setup. I’ll stay responsive and flexible, making sure we capture exactly what’s needed.
For production photography - be it a tech run, dress rehearsal, or opening night - I draw on years of experience working with major theatre companies across Ireland and abroad. I understand the rhythm of performance, the challenges of time, and how to navigate them without disrupting your process.
\nI always arrive early to familiarise myself with the venue - checking sightlines, light levels, possible movement paths, and if necessary, identifying the best fixed shooting position. It’s always helpful to speak with the producer, director or someone who’s seen the staging to pinpoint unmissable moments or any specific shots you need.
\nWhen possible, I’ll also check in briefly with the lighting designer or technician on location. With the widespread use of LED lighting - often running at different refresh rates - some lights can cause flicker or colour inconsistencies. A quick chat about the setup helps me adjust settings accordingly and ensures the best possible results.
\n5. Image Review & Selection
\nAfter the shoot, you’ll receive a wide selection of images to review and the review can happen:
If we review images on-site, I can prep a small selection of images for immediate release - ideal for press or social media. Once you’ve selected your favourites, I’ll move ahead with final retouching.
\n6. Final Delivery
\nYou’ll receive high-resolution versions of the chosen images, and a social-media-ready package - cropped, optimised, and optionally watermarked and tagged with your preferred keywords.
7. Wrap-Up & Invoice
\nOnce the final files are delivered, I’ll issue the invoice based on the amount agreed at the start. No surprises - just a smooth, professional process from first contact to final image.
SHORT ANSWER: We either build on your existing concept or develop one together. I help shape bold, visually striking ideas into practical, achievable shoots, tailored to your production’s tone and goals.
\n\nLONGER ANSWER:
\nCreating strong promotional images starts well before the shoot itself. If you already have a concept, visual reference, mood board or sample images that reflect the tone you’re aiming for - feel free to send them over. These are always helpful in getting a clear sense of your vision. If possible, I’d also love to read the script. It helps me understand the atmosphere and themes you want to communicate, and gives me space to think about how best to translate that into bold, striking visuals.
From there, I’ll put together few visual ideas that stand out to me - moments, moods, or dynamics that can be shaped into compelling images. I’ll send over a short list of concepts and keywords that feel worth exploring further. From there, we can talk about which ideas resonate most with you and start narrowing things down.
\nOnce we’ve agreed on the core ideas, we’ll move on to practicalities: where and when the shoot can take place, what time of day works best, and whether we’re working on location or building something specific. We’ll use this to match our visual ideas with real-world conditions. Once that’s in place, I’ll put together a shot list so that we stay focused and efficient on the day.
\nBefore we shoot, we’ll also need to confirm who’s involved - which actors or characters will be featured, and who’s securing location access, costumes, props, and any additional elements like make-up or hair. I’ll then take care of organising all the the required photography side of things, including equipment and lighting, so everything’s ready to go.
\n\n\nSHORT ANSWER: Discreet, professional coverage with attention to detail. I work with your schedule and provide fast delivery. Portraits and group shots can be arranged if needed.
\n\nLONGER ANSWER:
\nTo get started with your booking, I’ll need a few key details: the date, start time, duration, and location of your event. It’s also helpful to know what kind of event it is - whether it’s a formal gala, awards ceremony, conference, or a more casual internal gathering. (This is especially important if formal dress or specific conduct is expected).
Once we’ve confirmed the booking, a bit of additional information is always helpful. For example, if there’s a running order, list of speeches, or any side events, please share that - it will allow me to be in the right place at the right time and ensures that none of the key moments are missed. An estimate of the number of attendees is also useful, so I can plan how best to move through the space without disrupting the flow of the event.
\nLet me know the type of coverage you’re looking for: is it purely social documentary photography, or would you also like portraits of key guests or speakers, posed group shots, or perhaps a combination of these? I’m happy to tailor the approach to suit your needs.
\nIf portraits are required - whether of individuals or groups - it’s very helpful to have a list of who should be included, and ideally someone on site who can assist in gathering them. This allows us to manage time efficiently, and if needed, we can identify a suitable area within the venue for these shots. Portraits can be captured spontaneously (with people pulled aside during the event, with your help or at my discretion), or we can set up a dedicated space in an adjoining room or quieter part of the venue with controlled lighting for a more polished result.
\nI fully understand the importance of professionalism and discretion. If needed, I’m happy to work under a non-disclosure agreement to protect any sensitive information or internal communications.
\nIf your organisation has a specific brand tone or visual style - whether it’s clean and formal, bold and energetic, or something more understated - please do share that. It helps ensure the final images are perfectly aligned with your communications or PR goals.
\n\n\nSHORT ANSWER: Production edits are fast and natural; promo images are carefully retouched and stylised. You get to pick your favourites from a curated shortlist.
\n\nLONGER ANSWER:
\nProduction/Rehearsal Documentation:
\nI can usually pinpoint a few strong images immediately after the session for quick delivery following some light adjustments - and we can make those first quick picks together on the spot if you’d like. The full edit of the remaining images can be done on the same day, the following day, or within an agreed timeframe. During this process, I select the strongest shots and fine-tune each one for colour, contrast, lighting, and cropping. The goal is to keep the look natural yet polished, ensuring the production is represented at its best.
Promotional Photoshoots:
\nThese require a more detailed and stylized approach. After the shoot, I’ll send you a curated shortlist of the best frames for you to choose your favourites. From there, I’ll fully retouch a sample image to an agreed level of detail - this includes all general edits as well as natural-looking retouching like blemish removal, skin tone balancing, and other enhancements. Whether it’s a solo portrait or a large ensemble, I’ll deliver that sample in a few style variations (e.g. colour, B&W, different tones) to match your vision. Once you confirm your preferred look, I’ll apply that style across the remaining selected images and deliver them in high resolution, ready for use.
SHORT ANSWER: Only the strongest, cleanest, and most expressive images make it through—about 10% of what’s shot. For promos, the selection is more deliberate, focused on visual impact and clarity of concept.
\n\nLONGER ANSWER:
\nThe goal is to give you a strong set of images that are clean, expressive, and tell the right story. It starts with technical quality - anything out of focus or with motion blur gets left out, so you're only seeing sharp, usable shots. During a 2-hour production session, I might shoot well over 1,000 images to make sure all key moments are covered - without motion blur, awkward and unflattering expressions, near duplicates or closed eyes. From there, it’s about picking the best expressions, natural timing, and the shots that really capture the energy and feel of the performance. The final shortlist is usually around 10% of the total - tight, thoughtful, and full of strong options.
From the 50–100 edited images delivered, it's usually just a handful - often no more than ten - that actually get used across social media, programmes, or press. So the aim is to make sure every final image truly earns its place.
\nWhile the selection process from the promotional photoshoot is similar to production work, it’s far more detailed and deliberate. Promotional images are usually the ones that represent the play publicly - often on posters, in press kits, or online - often before rehearsals begin. Because of that, we will approach the shoot with a sharper focus on composition, lighting, expression, and overall impact. I will still shoot a broad range to capture subtle differences in posture, timing, and emotion, but the selection will be much more considered. Only the strongest, most visually striking images that clearly communicate the concept and tone of the production will make it into the shortlist. It’s all about precision, because these are the shots that will be seen the most.
\n\n\nSHORT ANSWER: Yes - if I’m not already booked or deep into another last minute edit, I’ll jump in and deliver on time without cutting corners.
\nLONGER ANSWER:
\nI strive to be flexible and responsive, especially when working with tight timelines. If I’m not already committed to another shoot or in the middle of postproduction for another tight deadline project, I can often accommodate last-minute bookings. If I am available, I’ll give your shoot my full attention, ensuring that you get the images you need without compromising quality or deadlines. My goal is to make the process as smooth and efficient as possible, even when time is of the essence.
SHORT ANSWER: Most projects are based on core packages (like half-day or full-day), with final quotes tailored to reflect location, complexity, and turnaround. Everything is confirmed up front—no hidden fees.
\n\nLONGER ANSWER:
\nWhile most projects follow a similar framework – such as full-day, half-day, or shorter sessions – every commission is a little different. These core packages are designed to cover most documentary and local commissions, providing a solid starting point for pricing. From there, the final quote is tailored to suit the specific needs and context of your shoot.
We believe in flexible pricing so you only pay for what you actually need. Factors that can influence the quote include:
\nThis approach ensures pricing is fair, transparent, and adapted to your actual requirements. Whether you’re a marketing manager, artistic director, or performer, you’ll receive clear communication and a breakdown of what’s included.
\n\nOnce I’ve sent you a formal quotation and you’ve agreed to the scope and details, that price is final. No surprise costs, no last-minute changes – just dependable service and results, exactly as agreed.
\n\n\n\n![](\"/pf-media/1.Reunionpromoimage.jpg\")
In Ireland’s performing arts scene, a great photo can sell a show before the first line is even spoken. Whether you’re a theatre marketing manager of The Gaiety or part of a visionary dance company like Luke Murphy’s Attic Projects, compelling imagery is one of your best tools to boost ticket sales, press coverage, and social engagement.
Let’s break down how strong theatre and dance photography does exactly that.
Audiences often meet a show through an image on a poster, online ad, or press release. If that image is emotionally powerful, well-lit, and professionally shot, it creates trust and curiosity. Suddenly, your show isn’t just a listing - it feels like an event worth seeing.
Take Landmark Productions, for example. Their promotional images consistently grab attention because they highlight dramatic moments without giving too much away. When we worked with them to create a new promotional image for the “Reunion” (below left), the quick turnaround image helped their team hit the ground running with bold visuals for print and digital campaigns, taking full-page ad in the Galway Arts Festivals programme just days after we created it. In a slightly different scenario, image we created for Luke Murphy's \"Scorched Earth\" (Attic Project) waited over a year to finally be included in programmes and on posters (below right).
![](\"/pf-media/reunionposterfixed.jpg\")
![](\"/pf-media/scorchedearthposter.jpg\")
Want to see the difference? Check out the Theatre and Dance sections of my portfolio.
Press editors are busy. If you include sharp, emotive stills in your press release, you raise the chances your show gets picked up and featured. Publications want images that tell a story at a glance.
We saw this in action with images I recently made for The Everyman’s production of Brian Friel’s “Making History.” The production images got shared across Irish newspapers, arts blogs, and preview features. The same goes for work with Irene Kelleher: a few well-placed shots help to drive media buzz around her latest one woman play for Cork Midsummer Festival: \"Stiched\".
![](\"/pf-media/makinghistory.jpg\")
![](\"/pf-media/stiched2.jpg\")
![](\"/pf-media/stiched.jpg\")
Tip: Include high-quality images with your press release. Make the editor’s job easy.
Not every image needs to be a posed moment. Audiences love seeing what happens backstage. A tech rehearsal. A costume fitting. A quiet moment in the wings. These images feel honest and human - and they perform well on social media.
Candid snaps help build anticipation for an upcoming show. Shared on Instagram, they often rack up comments and shares before a single ticket is sold, driving interest in the production. These documentary-style images are also a part of what I do.
![](\"/pf-media/bts1.jpg\")
![](\"/pf-media/bts2.jpg\")
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If you want to learn more about how I work with theatres and dance companies? Here’s my FAQ for Theatre Clients.
They’re part of your marketing toolkit. They help you:
If you’re looking for a theatre and dance photographer in Cork or across Ireland who can deliver polished promos, quick turnaround production shots and real behind-the-scenes storytelling, get in touch.
![](\"/pf-media/oppositeofqueerdrama.jpg\")
Let’s make your next show shine on stage and beyond.
![](\"/pf-media/scorchedearthphotoandposter.jpg\")
To get in touch, please use email, the contact form or call me. marcin@soundofphotography.com +353 (0) 86 3471 761
These details and more are also available on my CONTACT page
Many thanks, See you soon, Marcin Lewandowski | soundofphotography.com
![\"A](\"/pf-media/soundofphotography.comBLOG9-003-DSCF0889.jpg\")
Back in the early 2024, I had a warm and focused conversation with Irene Kelleher — the writer and performer of Stitched. We’d loosely spoken about the idea before, but this was the point where things really took shape. Irene had written the piece for herself and was up against a tight deadline for an arts grant submission. After a video call, we quickly moved into a whirl of WhatsApp messages - exchanging visual references, ideas, and inspiration. These informal, fast-moving chats helped shape a clear visual direction that reflected Irene’s personal and creative goals for the production.
With a strong concept already in place and not much time until the shoot, I started playing around with a few test shots on my own. One idea we were both initially excited about involved casting a shadow of a cat into the frame — something subtle but atmospheric. I experimented with silhouettes and light to explore how that might feel visually. I sent a few images to Irene to help refine the tone and direction, and to make sure we were creatively in sync.
![\"A](\"/pf-media/soundofphotography.com-001-stitchshadowvariations.jpg\")
Test images before promotional photoshoot for Stitch. Cork. 2024. Marcin Lewandowski | soundofphotography.com ©
While Irene was getting her makeup done by Maeve Readman on the day of the shoot, I was setting up the lighting and sorting out logistics with the Everyman team. We wanted to use a smoke machine, which meant coordinating with the theatre to temporarily disable smoke detectors in one section of the building. That subtle haze really helped build the mood we were after.
The shoot itself was short and focused - we were going for that one image, plus a few thoughtful variations around it. We had about two hours and two setups, which I both prepared ahead of time. It was intense but smooth, and by the end, we had a strong selection of images to work with.
![\"A](\"/pf-media/soundofphotography.comBLOG9-002-DSCF9468-Enhanced-NR.jpg\")
Irene Kelleher. Promotional photograph for Stitch. Cork. 2024. Marcin Lewandowski | soundofphotography.com ©
After the shoot, I ran basic colour correction and some light postproduction, then sent Irene a shortlist of proofs with a few different editing styles. We reviewed them together and quickly settled on a single image that captured the essence of the piece. The turnaround for retouching was super fast - I believe the final version was delivered within a couple of days of the shoot.
![\"A](\"/pf-media/stitchvariations.jpg\")
![\"A](\"/pf-media/soundofphotography.comBLOG9-004-DSCF9476-Enhanced-NR.jpg\")
Irene Kelleher. Promotional photograph for Stitch in various processing options and final, retouched image. Cork. 2024. Marcin Lewandowski | soundofphotography.com ©
Over a full year passed before the images went public. During that time, Irene continued developing the play, which eventually found its home in the Cork Midsummer Festival. The chosen photo appeared on posters, in the festival programme, and across social media. Because we had captured several variations during the shoot, those extras became valuable marketing tools — offering more visual material to keep the conversation going online. I shared the images on my own channels too, helping to keep the buzz alive. Around that time, I was invited to photograph the final dress rehearsal.
![\"A](\"/pf-media/stitchposter.jpg\")
Irene Kelleher. Promotional poster for Stitch. Cork. 2025. Marcin Lewandowski | soundofphotography.com ©
The play is intimate and site-specific, staged in a small and atmospheric location beautifully designed by Jenny Whyte. The final dress rehearsal wasn’t open to the public - it was performed solely for the camera, with only the core creative crew present to observe and look out for any final tweaks. I had the freedom to move throughout the space, working closely with Irene to find dynamic, emotionally rich images. The lighting designed by Cormac O’ Connor was sparse and moody, echoing the dark tone of the story. I relied on fast prime lenses and a bit of intuition - always trying to stay a step ahead of the action, ready to capture those charged, fleeting moments that invite curiosity.
![\"A](\"/pf-media/soundofphotography.comstitchprod-002-DSCF7079-2-Enhanced-NR.jpg\")
![\"A](\"/pf-media/soundofphotography.comstitchprod-001-DSCF7047-2-Enhanced-NR.jpg\")
![\"A](\"/pf-media/soundofphotography.comstitchprod-004-DSCF7426-Enhanced-NR.jpg\")
![\"A](\"/pf-media/soundofphotography.comstitchprod-003-DSCF7389-Enhanced-NR.jpg\")
Production photographs from Stitch. Cork Midsummer Festival. Cork. 2025. Marcin Lewandowski | soundofphotography.com ©
The rehearsal images were quickly picked up in press coverage and shared widely on social media by the production team, the festival, and audiences. The response was warm and enthusiastic - which is always deeply satisfying, especially when you’ve seen a project grow from a quiet idea into a fully realised piece of theatre, and had the chance to support it visually along the way.
BTW, at the time of writing this post, the show is completely SOLD OUT :)
This project is a good example of how theatre photography often unfolds: starting with an idea, simple message thread, quickly moving into action, then waiting patiently until the work resurfaces when it’s ready. Even though it’s not always linear, when there’s a strong relationship with the artist - and a shared passion for creating something lasting - the process finds its own rhythm.
If you’re planning a production and think I might be a good fit to help shape the visual side of it, I’d love to hear from you.
Let’s start a conversation and see where it leads.
Marcin Lewandowski | soundofphotography.com
![\"A](\"/pf-media/soundofphotography.comstitchprod-002-DSCF7519.jpg\")
BTS photograph from production of Stitch. Cork Midsummer Festival. Cork. 2025. Marcin Lewandowski | soundofphotography.com ©
![](\"/pf-media/BLOG10-2.jpg\")
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Each October, IndieCork shows why independent cinema feels at home in Cork. Rebellious, creative, and powered by people who truly love film, it’s hard to believe this year marks its final edition after fourteen incredible years.
“Each October, IndieCork shows why independent cinema feels at home in Cork.”
Opening night set the tone with Ange by Tony Gatlif — a beautiful start to a week of stories, laughter, and conversation.
The Made in Cork programmes — both fan favourites — packed The Arc Cinema to the last seat. From first-time directors to seasoned storytellers, they showcased local filmmaking at its most vibrant.
![](\"/pf-media/BLOG10-8.jpg\")
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“The Made in Cork programmes — both fan favourites — packed The Arc Cinema to the last seat.”
Panels, masterclasses, and informal chats added another layer to the festival. Simon Ellis, Ronan O’Leary, and others shared insights that sparked ideas and connections, reminding everyone how collaboration fuels independent art.
![](\"/pf-media/BLOG10-10.jpg\")
The week was full of memorable moments. Owen Warren’s Low demonstrated what years of passion and dedication can create. Liam O’Mochain’s Abode quietly captured hearts with its intertwined stories.
“A particularly moving highlight was the tribute to Tony Langlois, IndieCork’s musical soul.”
![](\"/pf-media/BLOG10-14.jpg\")
![](\"/pf-media/BLOG10-15.jpg\")
Having photographed IndieCork since its very first edition fourteen years ago, and countless other festivals and events since, I’ve learned to read its rhythm — arrivals, guests, reunions, quick portraits before screenings.
This year I worked with two Fujifilm X-T4 bodies: one with a 33mm f/1.4, the other with a 50mm f/1.0, carried in my trusty Filson Magnum Messenger Bag. It was a setup built for speed and flexibility — ideal for capturing filmmakers, guests, and behind-the-scenes moments.
![](\"/pf-media/BLOG10-13.jpg\")
“Fujifilm cameras are a setup built for speed and flexibility — ideal for capturing filmmakers, guests, and behind-the-scenes moments.”
![](\"/pf-media/BLOG10-11.jpg\")
Festivals like IndieCork deserve to be remembered — not just for the films, but for the people who make them happen. Documenting them ensures the spirit of the festival lives on long after the last screening fades to black.
![](\"/pf-media/BLOG10-12.jpg\")
Caption: “On the left: Donncha Crowley, lead actor in one of the five episodes. On the right: Liam O’Mochain, director of Abode, captured moments before premiere.”
Over the coming months, I’ll be sharing a more in-depth look at the photographs from the last fourteen years, including the story of how my images became posters, programme covers, and t-shirts for the festival. It’s been an incredible journey, and I can’t wait to revisit it all.
![](\"/pf-media/BLOG10-1.jpg\")
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Caption: “Image created for IndieCork 2025 and the same image in the window of The ARC Cinema”
“Festivals like IndieCork deserve to be remembered — not just for the films, but for the people who make them happen.”
![](\"/pf-media/BLOG10-5.jpg\")
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If you’re planning a festival and think I might be a good fit to help shape the visual side of it, I’d love to hear from you.
Let’s start a conversation and see where it leads.
Marcin Lewandowski | soundofphotography.com
![](\"/pf-media/LOGOPNGBLACK.png\")
![](\"/pf-media/soundofphotography.commacnasblog-004-DSCF8810.jpg\")
Caption: “Parade crossing the Ball's Bridge next to Róisín Dubh. 2025\".
While the Cork Jazz Festival was in full swing over the weekend, we headed up to Galway to check out the Macnas Halloween parade. I’ve been following Macnas since I first saw their street play at the Cork Midsummer Festival back in 2011, and this year’s parade, inspired by Bram Stoker’s lesser-known story \"The Summoning of the Lost\", had all their signature ingredients: giant figures, storytelling, movement, plus smoke and light.
“Giant figures, storytelling, movement, smoke and light — Macnas never fails to impress.”
![](\"/pf-media/soundofphotography.com-001-3.EditMasterDocumentaryv114of70.jpg\")
Caption: “Macnas in front of Cork Opera House. Cork Midsummer Festival 2011\".
The parade was short but packed with energy. Despite the chill, the streets were buzzing, and my son even did 200 jumping jacks in a row while we waited — determined to beat his own record, which he did. Watching the crowd, it’s always striking to see how live street performance brings people together and how hungry everyone is for experiences like this.
“It’s amazing to see how live street performance brings people together.”
![](\"/pf-media/soundofphotography.commacnasblog-001-DSCF8740.jpg\")
![](\"/pf-media/soundofphotography.commacnasblog-002-DSCF8718.jpg\")
Caption: “Parade marching through the Shop Street and crowds gathered to experience the spectacle, 2025\".
I took a few snap snaps with my Fuji and 33mm f/1.4 lens to keep the memories alive. I like this lens because it gives a classic, elegant 50mm field of view, which works beautifully for capturing both people and the overall atmosphere.
“The 33mm lens gives a classic, elegant 50mm field of view — perfect for people and atmosphere alike.”
Now I’m already looking forward to the Cork parade — come on Dragon of Shandon! Here are a few additional pics from the evening with Galway in action.
If you’re planning an event, and think I might be a good fit to help shape the visual side of it, I’d love to hear from you.
Let’s start a conversation and see where it leads.
Marcin Lewandowski | soundofphotography.com
![](\"/pf-media/soundofphotography.commacnasblog-003-DSCF8784.jpg\")
![](\"/pf-media/soundofphotography.commacnasblog-005-DSCF8816.jpg\")
Caption: “Macnas in full swing. 2025\".
![](\"/pf-media/soundofphotography.com-001-DSCF8705.jpg\")
Caption: “Demon Dog of Shop Street aka Shera. 2025\".
Creating promotional image for the Gaiety Theatre, Dublin featuring Niamh McCormack
![](\"/pf-media/blog11crucible1.jpg\")
Caption: Niamh McCormack as Abigail in \"The Crucible\". phot. Marcin Lewandowski | soundofphotography.com for Gaiety Theatre
The Gaiety Theatre approached me to create a promotional image for The Crucible, and the initial spark came from one of the photographs on my website, setting the tone and mood for what the team envisioned. To make sure we were all aligned, they shared a placeholder poster design and a collection of additional visual references before the shoot.
I loved the brief as there is something endlessly magnetic about Abigail and the story of Salem. Witches always linger in our imaginations. Half real, half myth. Like echoes that never quite fade.
“The spark of inspiration came from one of my own photographs.”
The Gaiety team had scouted a forest setting that perfectly matched the atmosphere of the play. I knew the area from previous hikes, and I arrived early to explore and find the exact spot that would help define the final photograph. I identified four or five potential locations offering different moods and look variations, and once Niamh McCormack with the team arrived, we quickly narrowed locations down together.
“I arrived early to find the spot that would define the final photograph.”
We had just one hour to complete the shoot. Time constraints can sharpen focus, and this session was no exception. Niamh’s ability to take directions and intuitively channel the character made the session flow naturally — that shared creative language helped us to be smooth.
Gear-wise, I used 500-watt Elinchrom head fitted with a reflector and the Fujinon 90mm f/2.0 lens. This setup gave me the depth and separation I was looking for — a quiet, cinematic distance with lots of character.
“Finding a common creative rhythm is everything.”
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Caption: Final image from \"The Crucible\" photoshoot. phot. Marcin Lewandowski | soundofphotography.com
The shot came to life when the storytelling, composition, light, choice of lens and distance all aligned. We previewed the image and I felt completely satisfied. It captured Niamh as both hunting and haunted, exactly as we’d envisioned.
From a longlist of images, the Gaiety team selected three key looks and from that shortlist, everyone agreed on the same frame — the one that became the final image for The Crucible’s promotional campaign.
“It captured Niamh as both hunting and haunted, exactly as planned.”
Every photoshoot is a collaboration in its own way, especially when everyone is tuned to the same wavelength.
\"The Crucible\" opens at the Gaiety Theatre on 9 February 2026.
If you’re planning a production and think I might be a good fit to help shape the visual side of it, I’d love to hear from you.
Let’s start a conversation and see where it leads.
Marcin Lewandowski | soundofphotography.com
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Caption: Few location images from \"The Crucible\" photoshoot. phot. Marcin Lewandowski | soundofphotography.com
January is already drawing to a close, and 2026 is quietly finding its rhythm.
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On some evenings, I like to get into the car and take a slow spin around Cork. No agenda, no brief, just watching the city breathe. Photography started for me exactly there, in paying attention. I genuinely enjoy the state of being present and try to stay connected to it. It grounds everything I do with the camera, the work, the deadlines, the outcomes, and reminds me why the craft matters. As the year gathers momentum, with theatre productions, promotional work and documentary projects ahead, I’m looking forward to everything that’s coming. Each project is different, each one its own small world.
This image is a quiet pause along the way. For the love of photography.
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If you’re planning a production and think I might be a good fit to help shape the visual side of it, I’d love to hear from you.
Let’s start a conversation and see where it leads.
Marcin Lewandowski | soundofphotography.com