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You decide what your headshot tells the world the moment you choose your photographer.

Robert de Wit is a professional photographer in Ottawa specializing in portraits and headshots for actors, models and business leaders.

04/06/2026

Film removes the negotiation. You step in front of the lens, the shutter fires, and whatever was there is there. No softening it afterward, no second takes. Just what refused to leave.
Here’s Elle, photographed on the Mamiya C220 at f22.
I’m not chasing expression. I’m waiting for whatever a person can’t quite put away before the strobe fires.
Some of you already know if you’re in this work. Some of you are about to find out.
SPAO College Diploma Exhibition No. 21
Opening 5pm April 17
SPAO Photographic Arts Centre, Ottawa
Come find yourself.

04/02/2026

SPAO College Diploma Exhibition No. 21 opens 5pm April 17.
Over the past year, I’ve been building a body of work that treats the face as both record and question. This exhibition is where it all steps into public view. One print on the wall, the rest waiting in the portfolio.
Some of you will see familiar faces. Some of you will see yourselves.
Here’s Olivia, photographed using a 60-year old Mamiya C220 at f22.
Photography captures life being lived. Film makes it undeniable.
Opening night: 5pm April 17 SPAO Photographic Arts Centre, Ottawa
Come find yourself.

04/01/2026

The work is leaving the darkroom and stepping into the light. Starting April 17th I’ll be part of the SPAO College Diploma Exhibition No. 21 and exhibiting alongside my classmates and presenting a portfolio built over the past year.
Some of you might recognize yourselves. That’s not an accident.
Here’s Eze, photographed on 4x5 HP5 pushed to 1600 at f45. There’s a particular kind of honesty with film. Just the moment and what it’s willing to give up.
Opening night: April 17 SPAO Photographic Arts Centre, Ottawa
Come find yourself.

03/31/2026

I’ve been spending the past few months pointing a film camera at people as part of my first year studies at SPAO and will be showing the results at the SPAO College Diploma Exhibition No. 21, opening 17 April and running to 17 May.
Some of you will see familiar faces. Some of you will see yourselves.
Here’s Zak, photographed on 4x5 HP5 pushed to 1600 at f45. If you know this face, you’re already part of the story. If you don’t, come see it in person.
SPAO Photographic Arts Centre, Opening 17 April. Follow for details.

03/17/2026

Sharing my last set ahead of my critique at SPAO tomorrow.
Same approach as before. The negative is the raw material, the print is the performance. The only thing that is different is the subject.
Here are two performances of Sarah.
On the left a tight colour portrait in the spirit of Platon. On the right a 24-frame frontal grid inspired by Maggs. Both using the same light and camera position. The grid contains 24 separate frames exposed on film in a single sitting.
The close portrait presents Sarah directly. The grid slows things down. At first it can look repetitive, but spend a little time with it and small differences start to appear.
In that same sense this post repeats the last two posts. Same principle, different level.
Enjoy the performance. Let me know what you notice.

03/16/2026

Sharing another set ahead of my critique at SPAO later this week.
Same approach as the last post. The negative is the raw material, the print is the performance. The only thing that is different is the subject.
Here are two performances of Tim.
On the left a tight colour portrait in the spirit of Platon. On the right a 24-frame frontal grid inspired by Maggs. Both using the same light and camera position. The grid contains 24 separate frames exposed on film in a single sitting.
The close portrait gives you Tim immediately. The grid slows things down. At first it can look repetitive, but spend a little time with it and small differences start to appear.
In that same sense this post repeats the last one. Same principle, different level.
Enjoy the performance. Let me know what you notice. One more set to come in case you miss it.

03/15/2026

Sharing some recent work ahead of my critique at SPAO later this week.
As I dive deeper into the photographic arts, one of the key learnings for me is to view the negative (or digital file) as the raw material. Think of it like sheet music. Hand the same score to five musicians and you will hear five different performances. Photography works the same way. The negative is the sheet music, the print is the performance. Photography is the capture, photographic art is the print.
Here are two performances of Bill.
On the left is a close portrait in the spirit of Platon. On the right is a 24-frame frontal grid inspired by Maggs. They are meant to be viewed together. The close portrait looks directly back at you. The grid invites you to do the looking.
At first glance the grid can seem repetitive, almost mechanical. It isn’t. These are 24 separate frames exposed on film in a single sitting. Small shifts appear as you spend time with them, and while you are studying the grid, Bill is studying you.
Enjoy the performance. Let me know what you notice.

02/05/2026

Sharing the last of five sets ahead of my SPAO documentary critique tomorrow.
Here’s Petra shown two ways: Platon on the left, Arnaud Maggs grid on the right. The close-up stares straight at you while you’re busy decoding the grid.
Try swiping back and forth a few times and then just sit with both for a minute. Things shift when you linger. Curious what you notice. Drop a comment if something clicks.
All shot on film, partly because feeds are drowning in AI slop and partly because photography is proof someone was here. Film insists on that.

02/04/2026

Some more recent work for my SPAO documentary critique later this week.
Here’s Ken shown two ways: Platon on the left, Arnaud Maggs grid on the right. The close-up stares straight at you while you’re busy decoding the grid.
Try swiping back and forth a few times and then just sit with both for a minute. Things shift when you linger. Curious what you notice. Drop a comment if something clicks.
All shot on film, partly because feeds are drowning in AI slop and partly because photography is proof someone was here. Film insists on that.

02/01/2026

Sharing some recent work ahead of my SPAO documentary critique next week.
Here’s Monette shown two ways: Platon on the left, Arnaud Maggs on the right. The close-up stares straight at you while you’re busy decoding the grid.
Try swiping back and forth a few times and then just sit with both for a minute. Things shift when you linger. Curious what you notice. Drop a comment if something clicks.
I’ve got two of these coming over the next few days, worth seeing as a set.
All shot on film, partly because feeds are drowning in AI slop and partly because photography is proof someone was here. Film insists on that.

01/31/2026

Sharing some recent work ahead of my SPAO documentary critique next week.
Here’s Mark, a frequent face on my feed, shown two ways: Platon on the left, Arnaud Maggs grid on the right. The close-up stares straight at you while you’re busy decoding the grid.
Try swiping back and forth a few times and then just sit with both for a minute. Things shift when you linger. Curious what you notice. Drop a comment if something clicks.
I’ve got three more of these coming over the next few days, worth seeing as a set.
All shot on film, partly because feeds are drowning in AI slop and partly because photography is proof someone was here. Film insists on that.

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