Every portrait starts with the same question: what's the right location for this particular shoot, and what does that place already offer in terms of light. Sometimes that's a client's office, sometimes a garden, a woodland path, or a specific corner of a building that catches the light in a way nowhere else quite does. I find that location first and build the setup around it, rather than asking every subject to come to the same fixed spot.
Whether I've got a studio or not doesn't really come into it, and honestly, most photographers doing this kind of work don't rely on one. What matters is having the right lights for that particular setup, whatever it turns out to be: a touch of fill in a dim room, something harder and more directional outdoors, or a softer wraparound light for a close, considered portrait. The location decides the lighting, not the other way round.
Editorial portraits, couples and the occasional pet all get treated the same way. I look at the person or the animal in front of me before I look at anything else, and I let the setup adapt to them rather than expecting them to adapt to a fixed way of working. Someone confident in front of a camera gets a different approach to someone who isn't, and a portrait of a performer mid-motion needs a completely different setup to a still, considered headshot. There's no single house style I apply regardless of the brief, because the person in front of the lens changes what the portrait needs to be.
Weddings sit slightly apart from the rest of my portrait work. It isn't a core service, but I take on a handful each year for couples who want something more considered than a standard package, usually because they've seen portrait work elsewhere on the site and want that same treatment applied to their own day.
If you're picturing a formal studio session when you think about booking a portrait, it's worth knowing that isn't the only option, and often not the best one. What actually matters is finding the right location and building the right light around it, so the person in front of the camera feels comfortable enough to stop performing for it and just be photographed.
Sessions usually run longer than people expect, not because the photography itself takes hours, but because the first part of any shoot is spent settling in. I'd rather spend twenty minutes letting someone get comfortable in front of the camera than rush straight to the shots I already had in mind, because the portraits that end up working are almost always the ones taken once someone has stopped noticing the camera is there.
If you're considering portrait photography in Kent, it's worth thinking about location as much as the photographer. The right spot, lit properly, does more for a portrait than four studio walls ever will.