If you’ve been lucky enough to spot beauty, fashion and portrait photographer Paul Scala’s work before, you’ll already be familiar with his distinctive style and considerate use of lighting in his intimate and striking images.
Aware of his love for light, we tasked Scala to reinterpret De Beers’ iconic Shadows campaigns, where the contrast of dark silhouettes allowed their stunning natural diamond pieces to radiate light and sparkle.
We also caught up with him to discuss the original idea as well as his creative process and how diamonds play into it…
Let’s start with your story. What first drew you to photography and how did your journey begin?
Cameras and photographs were a constant when I was growing up. Family albums were a big thing back then and I remember my mother and grandfather having cameras around all the time. While studying for a design degree in visual communication, I initially planned to major in illustration. But after some encouragement from my lecturers, I chose photo media instead and never looked back.
In many ways, I feel like photography found me. I never set out to become a photographer, but it ended up being exactly where I was meant to be. What I love most about photography is where it takes me, not just physically, but creatively. I get to meet people from all walks of life, hear their stories and dive into worlds I might never have discovered otherwise.
What sparks inspiration for you?
Inspiration can come from anywhere. Everyday moments, daydreams, cinema, books or exhibitions. In recent years, my personal work has taken an exciting turn as I’ve carved out more time and space to create purely as an artist. It’s allowed me to explore ideas and approaches that go beyond the boundaries of commercial work, pushing into territory that feels more experimental and personal.
When shooting something as intricate as a diamond, how do you balance technical precision with artistry?
As a photographer, capturing something as intricate as a diamond is all about finding that balance between technical precision and artistic vision. You need to control light meticulously to showcase their brilliance and clarity. Having a strong, supportive team and a client that trusts in the creative process makes all the difference on shoots like this. It gives me the freedom to experiment and explore different approaches – something that’s essential to creating great imagery.
Is there a creative moment that has stayed with you? Something unplanned, or unexpectedly beautiful?
The unplanned and unexpected is part of the magic of what we do. It’s great when all the elements of a story come together as planned but it’s also great when you stumble across the unexpected. The moments that have stayed with me are ones when I’ve connected personally with the subject in front of the camera.
If you had to describe the way light passes through a diamond in one word, what would it be and why?
Three-dimensional. The facets in the diamond make it a unique material. The colors not visible to the eye are brought out by the way light travels through the facets and bounces internally.
What do you consider the “diamond” of your portfolio? Say, the work you’re most proud of, or a piece with a special origin story?
I’m currently working on a personal project that I’m incredibly excited about. A creative study of the male form that’s pushing me to explore new visual languages, narratives and aesthetics. Personal work is where I refine my creative direction and experiment with ideas that often find their way into my commercial projects. It keeps my perspective fresh.
What’s your personal connection to diamonds? Is there a piece you particularly remember, or hold dear?
Besides being booked to shoot jewelry campaigns, when I think of my first memory of diamonds, I’m instantly taken back to the women in my life growing up. My grandmother and mother each had treasured pieces of jewelry that only appeared on special occasions. Old films were always on when I would stay with my grandparents and I can’t forget the scene with Marilyn [Monroe] in Gentlemen Prefer Blondes.
You’re known for the way you capture light. How did that fascination begin?
When I think about what fascinates me about light, I’m taken back to my childhood, growing up in Australia and spending summers in Italy, where my Dad is from. I remember the vibrant colours, the shifting landscapes and the light flickering through the trees, swaying in the summer breeze.
One of the references for this shoot was the original De Beers Shadows campaign. How do you feel about interpreting existing work?
When I was shown the Shadows campaign, it immediately made sense why I’d been asked to be part of the project. I love shadows, the play of dark and light and how one can create a story and environment with simple elements. There’s something special about reimagining a piece of a brand’s history and bringing it to life in a new way.
Is there a subject on your bucket list you’re longing to capture?
So many! I love shooting interesting creative people – actors in particular. I’ve always wanted to shoot Cate Blanchett, Lupita Nyong’o, Javier Bardem, Harrison Dickson, Emma D’arcy and Zoë Kravitz to name a few!
