Within Chapter 4 of Greg Urbano’s Top 100 Journey—dedicated to portrait work spanning studio environments, outdoor sessions, and workshop collaborations—this striking interpretation of Jessica Rabbit through cosplayer Gnatty Sparkles represents a convergence of pop culture iconography and classical portraiture techniques. The photograph demonstrates the photographer’s evolving command of controlled lighting environments and his willingness to embrace theatrical subject matter without sacrificing compositional rigor.
Shot at Old Town Yoga in downtown Fort Collins, the image immediately establishes its vocabulary through the absolute darkness of its background. This void serves not merely as negative space but as a deliberate framing device that forces the viewer’s attention onto the subject with an intensity reminiscent of Baroque portraiture. The photographer employs a Sony A7ii paired with an 85mm f/1.8 lens—a combination favored for its ability to render flattering compression and subtle depth separation in portrait work. The addition of a Godox V1s flash modified through a shoot-through umbrella provides the soft, directional illumination that sculpts the figure from the darkness.
The technical execution reveals a photographer comfortable working within the constraints of artificial lighting. The catch lights in the subject’s eyes confirm the umbrella placement, while the gradual falloff from highlight to shadow demonstrates careful attention to light-to-subject distance. This is not flash photography that announces itself harshly; rather, it mimics the quality of continuous studio lighting while maintaining the power and flexibility of strobe work.
What distinguishes this image within the chapter’s broader context is its negotiation between documentary portraiture and fantasy realization. The subject’s embodiment of Jessica Rabbit—the animated femme fatale from “Who Framed Roger Rabbit”—demands a heightened reality that traditional portrait work might resist. The photographer accommodates this through his lighting choices, creating drama without veering into caricature. The sequined red dress catches and fractures the light into countless micro-reflections, a technical challenge that could easily overwhelm the sensor or create distracting hot spots. Here, the exposure maintains detail within these specular highlights while preserving the richness of the red tones.
The purple opera gloves introduce a complementary color relationship that prevents the image from becoming monotonous in its red-black palette. This attention to color theory—whether conscious or intuitive—suggests a developing sophistication in the photographer’s approach to more theatrical subject matter. The pose itself, with the microphone held close and the subject’s gaze directed past the camera, creates narrative ambiguity. Is this a performance captured mid-song, or a constructed tableau referencing performance?
Post-processing in Luminar 4 indicates a workflow focused on refinement rather than transformation. The skin tones retain a natural quality despite the artificial lighting environment, and the overall tonality suggests selective adjustments rather than heavy-handed filtering. This restraint allows the photograph’s essential qualities—the lighting, the costume, the subject’s expression—to register without distraction.
Within the trajectory of Chapter 4, this image represents the photographer’s engagement with workshop and collaborative environments where subjects arrive with specific creative visions. The success of such work depends on the photographer’s ability to serve that vision while maintaining their own technical and aesthetic standards—a balance this photograph achieves with confident precision.
Greg Urbano 