Georgie Greene / Darling Point / Sydney, Australia

@ Georgie Greene Photography

“Everyone is unique, and every subject brings something different, keeping me constantly challenged and learning. I love meeting new people, hearing their stories, and gaining fresh perspectives—it's a reminder of how diverse and interesting life is.”

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Dwayne Brown
Hi Georgie, thanks for taking some time to share some insights into your photography and your creative life. Please tell us a little bit about your journey and what led up to your full-time career as a commercial photographer.

Georgie Greene
Photography has been part of my life for as long as I can remember. My grandparents and father were keen photographers, and my Dad always carried a camera, capturing portraits of us from the time we were babies. When I was about eight, he gave me a cheap Russian' point and press' camera, and I was hooked. He even converted an old air raid shelter into a darkroom, where I spent hours watching him develop black-and-white photos. I used to just take photos without knowing anything about camera settings.

Despite my early love for photography, I pursued a busy career in television production as a production manager. While the industry was exciting, I felt creatively stifled, spending my days buried in spreadsheets and logistics rather than behind the camera. When I was made redundant at 55, I finally had the opportunity to take photography seriously. I had noticed friends using my iPhone photos for their LinkedIn and Facebook profiles and often heard I had a "good eye"—whatever that meant at the time.

With both time and financial freedom on my side, I invested in a high-end 'posh' camera and lens, enrolled in an online course, and immersed myself in learning. I didn't know anything about camera settings, it was all new for me. I knew I just needed to learn this new tool, and my artistic background would kick in. I studied relentlessly, attended workshops, and practiced every day. Before long, I started creating a portfolio of worthy portraits. I also taught myself web design, built my own website, and tackled SEO —slowly but surely, the path revealed itself, where I eventually started getting paid clients.

Even now, I feel like a student of photography, always learning and improving. But what I do know is that I'm passionate about photography and love capturing images that make a real difference to people. Running my own photography business has been an incredible journey. I've just reached my 60th birthday, and rather than slowing down, I feel like I'm just getting started. The future excites me, and I can't wait to see where this path leads next.

DB
You describe yourself on your website as an 'artist at heart.' Please tell us more about your other creative mediums and pursuits.

GG
I've always had a strong artistic side—it runs in my family. As kids, we were always creating, drawing, and painting. Studying art and art history at university was an incredible experience; we'd study famous artists and then practice their styles, which was both educational and inspiring.

Wherever I live or travel, I always carry an art pad and paints. I started with watercolors before moving on to large oil paintings and even managed to sell quite a few. But I knew it wouldn't be a sustainable career. Then I discovered Procreate on the iPad and began creating bold, colorful digital wildlife paintings.

Art can be a solitary pursuit, requiring patience and time. That's one of the reasons I love photography—it gets me out into the world, meeting people, and the results are almost instant. Since I came to professional photography later in life, my art background has helped me advance quickly, giving me more of an edge in composition and lighting.

DB
As a headshot photographer, how do you balance your artistic drive with the sensitivity and empathy needed to make your subjects feel comfortable and confident in front of the camera?

GG
My subjects join me on an artistic journey—I involve them every step of the way, explaining what I'm doing and why. I let them know that my lighting setup is designed to flatter, helping them look their best. Most people don't know what to expect during a photoshoot, which can leave them feeling anxious and vulnerable. But when I keep them in the loop and show them their headshots in real-time, I can see the relief on their faces. That's the turning point—when they relax, trust the process, and the real magic begins.

DB
How would you describe the role of mindset in preparing for a photo shoot, and are there specific methods or routines you rely on to enter the right headspace before you begin a session?

GG
I like to start building rapport with my clients even before the shoot by having a chat on the phone. It helps me understand their vision, why they need a headshot, and what they want to convey. I might be meeting the subject and seeing the location for the first time. I like to research both the subject and location online beforehand.

I'm an organised person, always making sure my gear is ready— but I have OCD when it comes to checking that my batteries are fully charged. On the drive to the job, I can be quite anxious (which is actually the right feeling to have - you shouldn't get too relaxed), and I take a moment to set the right mindset, taking a few deep breaths and asking the Universe for everything to go smoothly. It's a small ritual, but it helps me walk into each session with the right energy and focus.

DB
How important is shooting personal work for the development of your portrait photography, and how often do you find yourself shooting outside of client work?

GG
I don't do enough personal work these days, but sometimes, it's refreshing to simply walk through a park, capturing whatever nature and wildlife present themselves. It's a great discipline—unplanned, fast-paced, and requiring you to react in the moment. It's also incredibly creative and naturally leads to mindfulness, as you're constantly scanning your environment for the next shot. Photography like this is great for mental well-being. Plus, there's no marketing manager hovering over you, dictating the shots they need—it's just you, your camera, and the freedom to create.

Let me share a little secret—when photographing children, I switch to my wildlife settings. They're unpredictable, always on the move, and you have to follow their lead, just like in wildlife photography.

DB
We love your website and how beautifully organized your social media is! How important is social media to your business, and which platform(s) do you find most beneficial?

GG
I see social media as my shopfront—a place where people window shop, pass by, and then, one day, realize they need what I offer and know exactly where to find me. I'm not chasing massive follower counts; that's nearly impossible these days. What matters is showing that I'm open for business and regularly updating my "window display." If the algorithms had their way, we'd spend all our time posting instead of actually doing what we love—taking photos.

Let's be honest, most of us can't afford a dedicated social media manager, and even if we could, they often don't capture the right vision. So, I simply show up, stay visible, and focus on what truly drives my business, which is SEO and not social media. I want to be found by people actively searching for a headshot photographer, those on a purposeful shopping trip, ready to book. That's where the real value is.

DB
How do you balance capturing the authenticity of your clients with the technical attention to detail that defines your work? And how do you ensure their energy and presence remain engaged throughout the process?

GG
Throughout the session, I keep an open dialogue with my clients, constantly showing them their photos and getting their input on how they see themselves. It's a collaborative process where we make minor tweaks if needed. Many are surprised at how good they look with the right lighting, which helps them relax and enjoy the experience. Giving them control over the process is key—it builds confidence, and as they loosen up, the shots keep improving. At the end of the day, I can create a technically perfect image, but if the expression isn't right, it won't serve its purpose. A great headshot is 80% communication and 20% technical skill.

DB
What is it about headshots that continues to inspire and motivate you as a photographer?

GG
Everyone is unique, and every subject brings something different, keeping me constantly challenged and learning. I love meeting new people, hearing their stories, and gaining fresh perspectives—it's a reminder of how diverse and interesting life is. There's truly never a dull moment!

DB
Do you prefer shooting portraits in the studio or on location, and what aspects of your chosen setting do you love the most? How does it shape your approach?

GG
Ironically, this is a StudioTalk, but I don't have a studio—instead, I bring my portable studio setup directly to my clients. It can be challenging sometimes, but I consistently produce studio-quality headshots, regardless of location. If people only knew where some of these shots were actually taken—on a balcony, in a children's playroom, yoga studio, and office reception or in a tiny office—they'd be amazed at what's possible with the right lighting. You don't need a lot of space to take a great headshot.

DB
On your website, you mention, 'It Is Time To Give Back.' Would you elaborate on what that means to you and how it shapes your work in your community?

GG
I've enjoyed a long and successful corporate career and now find more joy in giving back. So many people supported me along the way, and it's my turn to do the same. With my talent and skill in headshot photography, I help people make a powerful first impression—giving them the visibility they need to advance their careers and improve their lives.

DB
Lastly, in your opinion, why do headshots matter?

GG
In today's competitive business world, visibility is crucial. A headshot is key to opening the doors of success.

DB
Thanks so much, Georgie! It’s an honour to get a glimpse into your journey leading up to professional photography and to see your passion for both commercial and personal work.

To see more of Georgie’s work, please take a look at her website: georgiegreenephotography.com and you can follow her on Instagram and LinkedIn.

© Georgie Greene Photography

Alastair Batchelor / London, UK

© Alastair Batchelor

“As for grain and texture, I personally really like it when an image looks as though it’s ‘built’ from something other than pixels. It reminds me of when you inspect an oil painting up close in a gallery and see the individual brush strokes.”

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Dwayne Brown
Hi Alastair, your journey in photography has been unique—from capturing London’s hidden cityscapes to cinematic portraits and headshots. What inspired you to move from urban scenes to photographing people?

Alastair Batchelor
I decided to take up photography at 19 while looking through an issue of Time Out London. There was an article by a couple of ‘urban explorers,’ photographers who would sneak into abandoned buildings to capture strangely haunting and stunning images of forgotten places. As with any thrill-seeking, we soon wanted to push the boundaries further and ended up planning a series of trips into London’s abandoned tube stations. These stations are connected to the live underground system and required more extreme methods of access, like abseiling down ventilation shafts and running along live tracks. Eventually, our adventures caught up with us, and we ended up in court facing charges! Luckily, the case was hugely exaggerated, and our lawyers got it dropped before trial. This felt like a sign to move into a new genre of photography. After seeing the work of photographers like Alessio Albi and Kolja Eckert, I was immediately drawn to the filmic, dramatic style of capturing people.

DB
Your images carry a cinematic quality, almost as if an ambient soundtrack is running in the background. How does music influence your approach to shooting and shape the mood of your sessions?

AB
I’m glad that comes across in the images! Funnily enough, I’m also a music producer and spend a lot of time working on music for various sync projects and albums, often spanning cinematic genres. Music influences me heavily, as many of the films that inspire my stills work also have soundtracks I love. An obvious example is Blade Runner, but more recent films like Bones and All and Longlegs have inspired me from both a cinematography and sound perspective.

DB
You’ve shared that ambient lighting and available light are central to your style. What makes ambient light so appealing to you? Now that you’re working more in the studio, do you still gravitate toward this ‘filmic’ approach?

AB
When on location, I love how much available ambient light (natural or artificial) can vary from place to place, creating unique incidental lighting setups by chance. I capture this feel in the studio by using some of the same techniques I use on location. I use wide-open vintage lenses, usually with a filter, and apply the same filmic grading and texture. I’m not a strobe guy, so I work with a couple of LED constant lights and often use hard light adaptors, like a beauty dish, bare bulb, or snoot. I also enjoy creating an atmosphere with fabric backdrops, drapes, tables, and stools that help give a studio setup more of a ‘location’ feel.

DB
You’re known for capturing portraits in diverse locations—from intimate bars to high rooftops. How do these unique settings influence the mood of your portraits, and what guides you in choosing the right environment for each subject?

AB
For on-location portraits, if I find a place with interesting interior features that frame or surround a subject without being too busy, that’s usually a winner! Generally, I’m drawn to locations with a strong sense of identity or places where I can imagine a film scene taking place. I’m less inclined to shoot in ultra-sleek, modern spaces, but I love spots with lots of ambient lighting, especially if it’s low and away from the ceiling.

DB
Colour grading plays a significant role in your post-production process. Could you briefly describe how you use this process to achieve your film-inspired aesthetic?

AB
I personally love colour palettes that look both retro but also ‘expensive’. I’ve always been a fan of warmer tones in photography, and the selective colour tool in Photoshop is great for fine-tuning specific hues, especially for skin tones. I would say my colour grading process is often a combination of multiple layers doing subtle things that collectively add up. Also, with Luminosity Mask toning, treating your highlights differently to the mids and shadows can create a staggering difference in the perceived depth of an image! Using these techniques can certainly help get colours closer to how they’re rendered on 35mm and Medium Format.

DB
In an era of ultra-high-definition digital photography, you add a touch of ‘analog imperfection’ to your images. Why are texture and grain so essential to your style?

AB
There is no doubt that the digital photography revolution has been incredible in terms of practicality, efficiency and reliability. Beyond that, of course, it all comes down to personal opinion. In the era of ultra-high-definition camera technology, it can be pretty easy for emotion to be lost in the art of photography. I think high-resolution digital images offer a fantastic starting point, but I think there’s a lot to be said about adding elements of analogue into the digital medium. This can come from several places, but for me, the combination of my 1983 Minolta 50mm lens with my Sony digital camera is the perfect balance of the two worlds. The fact that those lenses don’t ‘perform well’ when compared to modern digital lenses is exactly why I love them! As for grain and texture, I personally really like it when an image looks as though it’s ‘built’ from something other than pixels. It reminds me of when you inspect an oil painting up close in a gallery and see the individual brush strokes. As I mentioned with the highlight toning aspect of colour grading, I think playing with texture is another way of creating depth. I also believe that the right amount of grain can pleasantly take away from the ‘too perfect’ sharp digital look. 

DB
Your style is both cinematic and emotionally intense. How do you capture your subject’s true personality while creating a sense of narrative in your portraits?

AB
Direction is an area I’d like to improve on, but I try to make my subjects comfortable by being conversational—mainly because I naturally tend to talk a lot! I think there are a few factors at play when it comes to capturing emotional intensity. Direction is certainly one of them, but sometimes it’s just about letting people do their own thing. I’m glad my photos convey emotional intensity, even if it’s not something I always think about consciously!

DB
Finally, Alastair, what does being part of Headshots Matter mean to you, and how does it shape your work as a portrait photographer in London?

AB
As someone without many photographer friends, I find it great to be part of a community of photographers who shoot the same subject in a wonderful variety of styles across different countries. Photography can be competitive, so it’s awesome to be part of a collective built on appreciation and support. It’s fantastic to stay in tune with what others are doing in the same creative space around the world.

DB
Thanks so much Alastair! We’re very grateful for your time and that you’re such a creative member of HSM.

To see more of Alastairs’s work, please take a look at his website: www.alastairbatchelor.com

© Alastair Batchelor

Discover the Future of Photo Editing with Evoto

A Conversation with Jay Peterson on AI-Driven Workflows

When I first heard about Evoto, it was just a name being tossed around in our Headshots Matter WhatsApp group. Curiosity got the better of me, so I decided to give it a try.

I was immediately intrigued. As someone who has spent countless hours using Lightroom and Photoshop, finding a tool to streamline my workflow like Evoto was terrific. (It feels like magic in many respects.)

Last week, I was fortunate enough to speak with Jay Peterson, Evoto AI's North American rep, about and demoing the tool with our members.

During our chat, Jay didn't just talk about Evoto—he showed us exactly how it works and why it's transforming the way photographers approach editing. I mean there is some mindblowing stuff under the hood of Evoto AI. Want to remove stray hairs or ? It does it in seconds. Adjust makeup? Done! It’s even easy to change a background from studio to location! It's an impressive and flexible tool at a photographers fingertips. What really struck me was how flexible it is. Remove a client's eyeglass glare? Easy as pie. Whether you want a subtle touch-up or a more dramatic edit, the power is in your hands.

Watching Jay navigate Evoto's features, I couldn't help but think about how much time I've spent on tasks that this tool handles in seconds. Jay also shared some behind-the-scenes insights about how Evoto's development is driven by photographers' needs. They're constantly evolving, adding new features based on user feedback. It's clear that this tool was built by people who understand the challenges we face in our post-production workflow.

I'm excited for you to see the full conversation, including the live demo where Jay shows Evoto in action. If you're looking to speed up your editing process without compromising quality, this is something you won't want to miss.

Watch the full video to see how Evoto can make a difference with your photo editing workflow.

Here's the front end of our discussion:

(Transcript was edited for clarity and time)

Dwayne Brown

We're here with Jay Peterson who is Evoto's representative in North America. He is currently based in Texas. And good morning, Jay.

Jay Peterson

Good morning, Dwayne. How are you, Good.

D

Terrific. I just wanted to thank you before we get going on this and give you a little bit of a tiny bit of a story. That's sort of my typical thing is we heard Evoto started to kind of rumble around on our WhatsApp group. Gosh, it must be one or two months ago. I admit I hadn't heard of it yet and I poked around. I did the free trial. I was immediately intrigued and blown away to be honest. And then I bought my credits and I started using it as a tool that kind of is, use sort of in between Lightroom and Photoshop. And now I'm probably maybe putting it even a little bit more in front of my post-production workflow. And so I'm really...you know, enjoying it myself and the more that we hear about it talked about on our WhatsApp group, everyone else's too. So for that, we're very, very excited that you can jump in and maybe sort of shed a little more light on some of the nuances of the application and, you know, maybe answer a few questions as we get going this morning. So yeah, it's awesome and we're very grateful.

J

Cool, very happy to be here and good morning and good afternoon to most of the folks that are joining us. Those overseas good day to you wherever you are in the world That yeah, thanks to it. It's it's cool. Yeah. I'm happy to be here with you guys I'm happy to have this conversation and hopefully introduce evoto to some new folks that maybe it's not on the radar yet That's that's a big part of my function with with the evoto team But yeah, it's exciting. It's I think where you mentioned evoto being sort of inserting itself into your workflow and kind of working its way into your workflow That's very exciting. Very very cool

D

Now, Jay, you had mentioned to us when we started our discussions to see if we can sort of have this webinar that you have a background in photography yourself, right? Yeah.

J

That's right, I do. Yeah, I was a working pro for a long time. I got my start in architectural and real estate photography, kinda pivoted into headshots and portraits. And then at the point that I stopped working in a full-time capacity, that was my focus, yeah, headshots and portraits. Yeah.

D

So yeah, You then You very much understand, you know, some of the things that working photographer has to keep in mind. you know, cost, the ease of a tool and also just to sort of how it can, I guess, scale or help us scale. One of the things that, you know, that I was thinking about is that I wanted to mention that I like about the application is that, you know, Right now we're all being asked to do more for less and quicker. And also, you know, in my studio, we're being asked to do more groups, I guess. So it's not just, you know, the senior management being photographed. It might be all 10 or all 20 or all 50. But the higher we go, the price point, we need to keep it really affordable.  Evoto seems to be a good approach to being able to do a higher volume and still keep it quick and keep the price point low.

J

Yeah, 100%. And that's really one of the core competencies of this particular editing platform. As a standalone all -in -one, The whole goal with this system is to enable us as photographers to stay lean, move fast...This allows us to maintain quality control, but also maintain sort of continuity of our edits. meaning that, you know, we don't necessarily need to send things out anymore, at least with this system. You know, I've talked to Evoto users all day long, every day, and many of them still do use a retoucher in certain instances, which is fair game. I think there's always going to be instances where you've got that, you've got a relationship with the retoucher that is great for certain things. Totally fair game. And we talked to users that have given Evoto to their retouchers. Honestly, that, does happen as well. but yeah, this, this system is, is really, really unique in, that it allows for us to edit hundreds or thousands of photos in, a matter of minutes. it's really a decision-making tool. So the learn, the learning curve, the learning of a system and the manipulation of the images is less of, less of a process now with this system, which is what's very, very interesting and very compelling about this tool.

D

Something that I like about it is, especially with our community, our membership is we have a lot of very talented photographers, but our other commonality is everyone's very empathetic. They care about the person that they're photographing. So the idea about being able to retouch or enhance a photograph with a slider you've got that full control. so let's say you photograph somebody who does need a little extra love, you can give it to them or you don't have to give it to them. And it's up to you as a photographer. Now, when you send out, you have to get a relationship with a retoucher and that happens. But I really liked the idea that the slider is there. So, you know, in some cases, let's say the reflection in the eyeglasses. You may want to go all the way, but in something that you're removing blemishes, you may not or double chin or wrinkles and nicks. So, you know, we have a lot of that sort of empathetic control. It's cool.

J

Of course. Yeah, and I think that's that's that's another real valuable piece of the system in the way that I the way that I describe it to folks that have never seen the system before in our you know, just trying to understand it conceptually is Evoto allows you to be as conservative or as aggressive with your edit as you'd like, right? So if you wanted to go full-blown facetune and make it look a little bit over processed You've got that opportunity you have that tool in your toolkit with this system and on the inverse you could be as conservative as you like. So if we only need to use certain features like the eyeglass glare removal and some very, very light retouching for blemishes, or maybe just perhaps it's just eyeglass glare and straight hair removal for school photos or something of the sort or senior portraits. Yeah, it's entirely up to you. Again, it's a decision -making tool more than, I need to learn how to install Photoshop actions or create my own presets or, you know, I have to take all these masterclass trainings on how to keep up with an ever-evolving system, but don't necessarily; that's not the case anymore. We've lowered the barrier of complexity when it comes to at least retouching right now.

D

I think any good photographer likes to use their eye in that process. You're doing what you're doing in real time, and you're making a call on it. That's enough, or that's too much. So I personally quite like that.
Jay

Yep, I completely agree with you.

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Join Headshots Matter today. Discover the benefits of our community.

Jacqui McSweeney / Brighton, UK

From Weddings to Headshots: The Journey of Jacqui McSweeney

© Jacqui McSweeney / Brighton, UK | Photo of the right by tom Trevatt

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Hi everyone,

It’s always important to hear from our members, and we’re grateful to Jacqui for taking the time for this StudioTalk session. Thanks to Barry for conducting this interview. Please enjoy the interview. If you’re pressed for time, we’ve put some great “quick hits” from Jacqui’s interview in the YouTube video at the bottom of the interview or by using this Link.

Cheers, Dwayne Brown

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Barry Keegan:
Jacqui, congratulations on the new studio, and thanks again for being part of Headshots Matter. We’re really grateful to have members like you. So, thanks for doing this interview as well.

Jacqui McSweeney:
Thank you, Barry.

BK
We’ve talked off-air about your years working as a photographer, and I’ve seen lots of your work. You’ve focused on weddings and have a tremendous amount of photography experience. Why don’t you start by telling us a little about that?

JM
Yeah, well, I started my photography career with weddings. Initially, I did press photography and then ended up doing weddings, which many photographers find themselves doing for extra income. I got pretty good at it, built a strong client base, and it took over my business. That can happen as it takes a lot of time and effort. So, that’s how I started—shooting weddings for income, which eventually became the whole business.

BK
Yeah, it just caught fire.

JM
It really did. I blinked, and suddenly many years had gone by. You age and then find yourself the same age as the parents at the weddings, which changes the dynamics. It’s nice, though. I still do some weddings, but not a lot.

BK
Now, tell us about transitioning to headshots and branding photography. What’s that been like, and how is it going with the new studio?

JM
The transition to headshots and branding photography came during lockdown. Like many photographers, I couldn’t work. I found myself opening photography books, always portrait photography books. I realized this is what I fell in love with 30 years ago. I started doing remote portraits during lockdown, photographing 52 people worldwide in honour of a friend who died of COVID-19. This reignited my love for portrait photography.

A friend of mine, Jim, offered me his studio, and it snowballed from there.

BK
That’s a fascinating project, especially doing it remotely during the pandemic. How it struck a chord with you is remarkable.

JM
It really did. Using an app called Shutter, I would access people’s phones for the shoot, guiding them to find the right light. I photographed people from Tokyo, New York State, and Australia—many places. Seeing their experiences and connecting with them during such a strange time was amazing.

BK
It’s incredible how you managed to see into people’s homes and give them a unique experience during lockdown.

JM
Yes, some people were doing okay, while others were struggling. It was humbling to speak with them and offer a small window of communication. It was a special project, and I plan to return to it someday and maybe publish it.

BK
It sounds like this experience was beneficial for you in dealing with your own traumas related to COVID-19 and for those you reached out to. What a journey.

JM
Portrait photography is about connection and conversation, both literally and metaphorically. Everyone who has a session says they got something out of it. This experience, being remote during a strange time, intensified that connection.

BK
You certainly capture your clients’ individuality. Share your approach to your sessions, especially now that we’re back in person. How do you tailor each session?

JM
Capturing personalities comes naturally to me. As an Irish person, we can talk to anyone about anything. From the first day I picked up a camera, I knew I needed to speak with people, not just point a machine at them. I treat every person I photograph as a friend. This approach makes the session comfortable and ensures their personality shines through in the photos.

BK
I love it. Whether it’s someone off the high street or a royal, you treat them the same way. Tell us about photographing His Majesty King Charles, at the time Prince Charles, at the Irish embassy.

JM
It was a last-minute call to photograph an event with His Majesty King Charles, at the time Prince Charles, and other dignitaries. Seeing how he worked the room was impressive. Although I’m from a republic, I was very impressed with him. The photo ended up on the front page of the Irish Independent the next day.

BK
That’s amazing. So, what inspires you as a photographer?

JM
Faces and stories inspire me. Everyone has a story, and light fascinates me. I see patterns of light everywhere. Old movies, with their play of light and shadow, also inspire me. My mum and I used to watch old movies together, which is a nice memory.

BK
On the topic of light, explain your setup techniques and any advice you have.

JM
I started as a natural light photographer, trying to mimic window light in studios with no natural light. Now, I use one large softbox, sometimes adding a fill light. My setup is simple, not flashy. I prefer simplicity as it’s less intimidating for the client.

BK
Do you find you need a different setup for location shoots versus studio sessions?

JM
Yes, location shoots require more portable equipment. I use Godox gear, which is very portable. I wish I could bring everything, but it’s not practical, especially on public transport.

BK
One of a photographer’s greatest challenges is nervous subjects. How do you help clients calm their nerves?

JM:
I chatted with them as soon as they arrived, giving them a cup of tea and asking about their day. Making them laugh breaks the ice. Showing them a great shot early on boosts their confidence.

BK
Thanks Jacqui for taking this time to share some of your story!

To see more of Jacqui’s work, please take a peek at her website: www.jacquimcsweeney.com
You can also follow her on Instagram and LinkedIn.

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“Portrait photography is about connection and conversation.” - Jacqui McSweeney

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Vancouver Headshots Inc. / Vancouver, BC

© Vancouver Headshots Inc.

“Be kind and grateful. Work hard to be able to continue to do what you love. Support the industry that puts food on your table and a roof over your head.” - Ian

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Dwayne Brown:
Hi Ian, we've admired your work with actors for quite some time, and we're very grateful you're a member of Headshots Matter! Please tell us about your journey as a photographer. How did you get started, and what inspired you to specialize in headshot photography?

Ian:
Thanks, Dwayne. My journey as a photographer started with a photography program I took over 20 years ago, followed by two apprenticeship jobs with photographers. One was with a portrait photographer, and then one with one of Vancouver's top headshot photographers at the time. I learned so much from her and am very grateful as she showed me the type of photographer I wanted to be. I then began to launch my own business as an acting headshot photographer 22 years ago, which blossomed into Vancouver Headshots Inc. I have a falcon tattoo on my leg with a camera around its neck and the words Drive and Passion. I'm inspired and driven by the love of my job, meeting new people every day and providing them with images that help them succeed.

DB
As the owner of Vancouver Headshots Inc., what motivated you to establish a studio focused on actors' headshots, and what sets your approach apart from other photographers in your field?

IR
The motivation behind specializing in Acting Headshots was how busy this industry is in Vancouver, Hollywood North. And the community surrounding it, the talent agents, the acting schools and, of course, the actors. It's a wonderful industry to be a part of, and I love seeing my clients make it to the big screen on TV shows and in the movies.

DB
You've been specializing in actors' headshots for quite some time. How has the industry evolved since you started, and what changes and challenges have you observed regarding client needs and industry trends?

IR
Yes, I have been doing actor headshots in Vancouver, Hollywood North, for over 20 years now, and the industry here keeps growing and growing. Many amazing TV series have been filmed here, and new ones like The Last of Us and Percy Jackson keep coming. A lot has stayed the same in regard to the needs of actor headshots, but there have been changes to them. They no longer need headshot prints, as most auditions are now done via self-taping. So it's primarily digital headshots now since Covid.

DB
How do you kindle your creativity, and where do you find inspiration for your photography?

IR
My creativity comes from my studio; it could be the natural light coming into the studio that day, some new background colours we are working with, or perhaps we are on location shooting. But primarily, my inspiration comes from my clients. And the beauty, character and personality they bring to me in front of the camera.

DB
Could you share insights into your creative process when working with experienced actors vs younger aspiring actors? How do you bring out their unique qualities and desired looks during a photoshoot?

IR
To be honest, I don't find a difference between the inexperienced and the experienced actors behind the camera. Many factors go into bringing out their qualities and looks, such as the wardrobe they have prepared with for their session, which is extremely important for their session and character looks. And I take great pride in constantly directing the client regarding posing and expressions needed to capture that look. A photographer must know how to communicate and direct their clients well. It creates an amazing relationship with the client, resulting in a wonderful experience that makes them feel comfortable in front of the camera.

DB
Your extensive network within the Vancouver acting, TV, film, and casting industry is impressive. How do the strong connections you've built with talent agencies, casting directors, and acting schools shape your approach to creating standout headshots in this competitive industry?

IR
Honestly, it doesn't have an effect on my approach. The bottom line is it's about relationships and trust with them, as they (talent agents/acting schools) know that by sending their clients to us, we will help them by providing amazing headshots that will get them noticed by casting directors and, in the door for auditions and callbacks.

DB
I'd love to know more about your philosophy of 'Community Karma.' Can you elaborate on what this means and how it reflects in your work and community engagement?

IR
Community Karma is my passion and work ethic to earn the trust of acting instructors and talent agencies so they trust our work and product for their clients. They help us, and we help them. Treat everyone well, work hard to produce a product that will benefit them, and be thankful and grateful for the people who keep you doing what you love. Be kind and grateful. Work hard to be able to continue to do what you love. Support the industry that puts food on your table and a roof over your head.

DB
Collaboration is an essential part of your creative process. Could you elaborate on the significance of coaching and guidance to your clients in aspects like wardrobe, hair, makeup, posing, and expressions? How does this collaborative process play a crucial role in achieving success during a headshot session?

IR
I call it more preparation than collaboration. In order for our clients to get the best results, they need to be prepared and looking their best. That is a combination of 3 things, wardrobe, hair and makeup, and being able to not overthink during the session. Be calm, be yourself and have fun.

DB
Lastly, Ian, in your opinion, why do Headshots Matter?

IR
Well, for my industry, actors have to have a good headshot; it is their key to getting an audition to show their talent to a casting director. Headshots matter because an actor needs to have recent images that represent their current look, character and personality, and they need to be done professionally, showcasing their best.

DB
Thanks so much Ian!
We’re very grateful for your time and that you’re such a committed member of Headshots Matter. I think your 'Community Karma’ philosophy is something that others will be just as inspired by as your photography!

To see more of Ian’s work with Vancouver Headshots Inc., please take a look at his website: www.vancouverheadshotphotographer.ca

Mike Euclide Jean-Baptiste / Montreal, Quebec Canada

© Mike Euclide Jean-Baptiste / Headshots matter

“A facial expression is a human language that no dictionary can convey. You cannot write enough books to explain who you really are. Headshots do just that: help to see reality more clearly.” - Mike Jean-Baptiste

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Dwayne Brown
:
Bonjour Mike! We’re very grateful to have you as a part of Headshots Matter. Your optimistic attitude and natural empathy are a great addition to our HSM community.

Can you share a little about your journey to becoming a headshot photographer in Montreal and what attracted you to this portrait specialty?

Mike Jean-Baptiste:
Bonjour Dwayne, let me start by saying that after a year at HSM, I am profoundly grateful for your influence on my photography career.

As for my story, I was drawing faces since I was probably 5 years old. My teachers used to think I was taking notes in class, but in reality, I was sketching portraits in my books, lol.

After High School, I tried to get an art degree and had a 35 mm analog camera, but I didn’t complete it (silly young me, haha). I turned to nursing because I saw how it could feed me. But around 2018, my wife told me: ¨You always talk about framing and colours when we are watching movies; why don’t you get yourself a camera and see what it does for you?¨

So I tried. Without really anticipating it, I naturally gravitated to portraits! I guess my 5-year-old self wanted me to become just that; haha.

db


Montreal has a vibrant and diverse culture. How has the city’s cultural and business diversity impacted your photography and headshot business?

mjb


Montreal has many cultural backgrounds, so you learn about many kinds of immigrant stories, making you want to listen to more of them. People don’t usually scream out loud that they have businesses here, but it’s changing and permits me to know more entrepreneurs who now realize they need to be seen with a portrait!

db
Can you recall a particularly memorable or challenging headshot session that impacted you as a photographer?

mjb

Yes! One client liked quite a few of his pictures and ended up taking five. But there were two that he didn’t choose that I preferred. I told him that they were the best. He said: “No, it looks too much like me. I don’t like that.” I still sent them, and guess which one he is using in his LinkedIn profile?

db
What defines your unique style in headshot photography, and how do you ensure each client’s personality shines through in your work?

mjb
My philosophy is this: show the TRUTH. The other: CONNECT.
My lighting is based on Sean Lewthwaite’s philosophy: There is only one sun in the sky. It may be vague, but that’s what I strive for, haha.

db
In your experience, what are some common challenges in headshot photography, and how do you approach overcoming them?

mjb
Headshots could easily not be about art, but to me, they should, so I study paintings daily, read books, draw, sketch, and test light positions to keep it as artistic as it should be and keep developing my eye.

db
Who or what inspires your work, and how have your experiences and influences shaped your approach to headshot photography?

mjb
My wife, for the encouragement. Also, my cousin, who is a photographer himself (mostly architectural work), as he was my first mentor.

The photographers, I look up to:
Steve McCurry: Afghanistan’s book
Scott Schuman: India’s book
The HSM photographers

As for painters:
Vermeer
Picasso

db
For individuals aspiring to enter the field of headshot photography, what advice would you offer them based on your own experiences and success?

mjb
A camera is a tool that you should play with as much as possible, so play a lot. But also, show your work to mentors so they can teach you how to use your camera as a communicator. Join a group of helpful, seasoned pros like HSM!

db
Lastly, in your opinion, why do Headshots Matter?

mjb
A facial expression is a human language that no dictionary can convey. You cannot write enough books to explain who you really are. Headshots do just that: help to see reality more clearly.

db
Thanks so much Mike! We love that you and your five year old self are BOTH a part of Headshots Matter! To learn more about Mike Euclide Jean-Baptiste and his headshot work in Montreal, please take a peek at his website: montrealheadshot.com

If you're as inspired as we are, don't miss out on more interviews like this—subscribe to our newsletter now!

Seshu Badrinath / Avon, Connecticut

© Seshu Badrinath

“I've long maintained that headshot portraits are like bridges, for their ability to connect people to people.“ —Seshu Badrinath

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Dwayne Brown:
Hi Seshu, We’re very grateful to have you as a part of Headshots Matter! Thanks for taking some time to answer a few questions to shed some light on your headshot work and your kind business philosophy.

Your headshot studio is based in Avon, Connecticut. Have you always lived and ran your photography business there? Also, can you share some of the journey that has led you to focus your photography on corporate headshots?

Seshu:
Dwayne, thank you for inviting me to be a part of this interview series. I'm both humbled and honored to be listed among such great headshot portrait photographers.

Yes, Avon, Connecticut, is where I call home, and my headshot portraits are most often created in my home studio. While I do sometimes go on location, for some of my corporate clients, most choose to come to me. It makes for a much better experience, as my clients appreciate the privacy and the greater amount of time afforded to them for their session.

I began my headshot portrait business in 2009 on a total whim. I didn't know much about off-camera lighting and had just returned from a workshop called One Light Workshop (thank you, Zack Arias). I needed to practice my new skills on people, and I put the word out that I was open to offering complimentary headshots for the first 20 people to respond to my Twitter post. Thankfully, 18 people I had never met before responded, and I was soon curious to see if this could be made into a business. When I registered my domain name ConnecticutHeadshots.com I had no idea how important it would be to have two very important keywords working for me. Google apparently liked what I was doing and has sent me a lot of traffic because of the website and the content within it.

db
You’re quite active on LinkedIn. Is it your favourite social media platform, and how is it helpful for your photography business? 

sb
I use LinkedIn quite a bit—I could definitely finesse my profile to be a lot more inviting and engaging. It's all a work in progress. I also post to Facebook and Instagram. I feel LinkedIn has helped me to a certain extent. When you share a recent session and a testimonial and tag your clients (with their permission, of course), all of their friends see it and are open to engaging with you. So, I would definitely suggest looking into optimizing your account and be consistent when you post to any of the social media platforms.

db
We talked recently about the value of kindness in business and headshot photography. Can you share why kindness is so important to you as a headshot photographer?

sb
I had to think a lot about how I should answer this question. Brené Brown speaks of the courage required to be vulnerable. And Maya Angelou said it quite succinctly: "It takes courage to be kind." We have multiple factors at play during a portrait session. Clients typically have never experienced a session like the one they are about to get into. As a photographer, I've never photographed them before (again, the exception is if they are repeat clients). We both need to meet in the middle and quickly, but I always feel it is my job to put them at ease and not the other way around. I lead with clear and concise directions on the entire process before we begin, giving them an opportunity to ask questions or raise any concerns. The email I send them well in advance of their session usually covers all bases, but there is nothing like actually being on set and seeing all the lights and camera gear and getting even more nervous. But I walk them through the whole experience, giving them enough space to find a moment to drop their guard down and relax. When that happens, the work really begins. And when I start to see kindness in their expressions and can associate that with their humanness, I know we have arrived. More importantly, they start to see that this doesn't need to be a painful or frustrating experience.

db
Your work has a delicate attention to detail. How do you balance that focus to detail while keeping your clients still looking energized and in the moment?

sb
When a client walks through the door, I typically don't rush to start working with them. I break the ice, chatting with them about everything other than their session. I'm a very curious person, and my background in journalism helps me as I ask them a lot of questions. I dive into the kind of information that, simply makes my clients relax because they feel heard. And as they are speaking, I'm looking for hints of their normal habits. For example, as they are talking, do they tend to lean to one side or another or do they reflexively put their hands in their pockets? Those cues will come in handy when we start working, but it’s those details that define who they are. Before we get started, though, I check that their hair is where and how they want it, their clothes are free of lint or other debris, and their face is as clean as possible. This is done quickly and without a whole lot of fuss. I make it seem like it is something we should do (and we should) before we get going. The other thing I would say helps is getting my clients involved in their sessions. I usually start by creating a set of 10-15 portraits and then have my client come around to my laptop to see their images. As I click through each one, they are looking at their images, but I'm looking for those elements in the frame that could easily distract. When I find them, I usually invite my client to see if they can fix it, and if they struggle to, I jump in (with their permission) to help them out. They appreciate "the fuss" because that level of meticulousness tells them that the final results will be amazing.

db
What advice would you give your younger self creatively or in business?

sb
On the creative side, I would suggest to my younger self to pursue every genre of photography that appeals to me but begin eliminating or distilling it to what stirs my heart the most. I would ask that young fella be more cognizant of how the work he creates impacts people's lives and has the potential to bring meaning to them. I would say to him, be more mindful of why you are approaching the work–is it mostly for just the money, or is it something else? On the business side, I would say get a bookkeeper you can trust will help you save for the future and make you understand where you are spending way too much with little to no return.

db
You’re very grateful and kind with your words on social media. How has gratitude helped your photography business?

sb
Social media is a bit of a beast, isn't it? You can feed it "outrage," or "jokes," or "memes," and you are likely to receive all that back to you. I remember a time when I wasn't so careful with my words, and I suspect I have hurt a few people along the way. But all that negativity takes a clean toll on oneself. It's a form of energy that is rather toxic, isn't it? And really, when you are trying to run a creative business, that type of energy can be draining. So, I made a choice, really, to NOT post anything negative or even snarky. Trust me there have been lots of opportunities where I could have slipped. I have actually started to write something–a knee jerk response to someone–and I have stopped myself and deleted it because that kind of banter really doesn't serve anyone at all. I prefer now to focus on the positive stories I come across. That may not get a whole lot of engagement, but I am ok with it.

You've heard it said that one's "Attitude determines one's altitude". So much of the "attitude" is about one's confidence, or level of happiness. Well, I think gratitude is a part of that attitude, too. Too often, we think we individually managed to pull something off. And my parents taught me a long time ago that's simply not true. We are connected beings in one way or another. I define gratitude as one's ability to be truly thankful to those who have played a part in one's creative or business success or existence. Sure, I run my business, but I have a lot of people to thank for making it all possible. To conduct oneself otherwise would be arrogant.

db
How do you kindle your creativity, and where do you find inspiration for your photography?

sb
I watch at least one movie or a series every week. I watch for the story and characters, but as a photographer, I am breaking down scenes and lighting scenarios. If I vocalized all that was running through my brain, I am sure my kids would switch the TV off! But inspiration also comes from books, podcasts, photo conferences, museums, blog posts, speaking and collaborating with friends.

db
How critical is the mindset when preparing for a photo shoot, and is there anything you do specifically to prepare yourself? 

sb
I do have a "pre-flight" check on my gear and computer connections. If one of my sons is home, they stand in so that I know my lights are all behaving. I then make sure the walkway towards my front door and the bathroom inside are clean. I have my client's bookings on my screen so that I know their name and even know the kind of music they prefer.

But before all that, I center myself. It's not a long meditation, but a couple of minutes of quiet as I play out and visualize the positive experience I'm about to offer my client. There is still a small but useful form of nervousness (or is it excitement?) that I am going to be helping someone new (if it isn't a repeat client) to make an impact in their audience's life.


db
Lastly, in your opinion, why do headshots matter?

sb
I've long maintained that headshot portraits are like bridges for their ability to connect people to people. They matter a great deal, especially in a fast-paced world where we are all experiencing a great number of images–still & video. Headshots, when done right, have a way of distilling a person's likeness to the very best version of themselves. If, in a split second, a portrait can invite a connection – a phone call, an email, or even a text message, then, yes, headshots matter a great deal. When those connections blossom into working relationships that impact many more lives, shouldn't that alone be what matters the most?

db
Thanks so much, Seshu. Your words and insights are so inspiring. Your clients are very fortunate to have such a kind and talented photographer!

To learn more about Seshu Badrinath and his studio in Avon, please take a peek at his website: www.connecticutheadshots.com

If you're as inspired as we are, don't miss out on more interviews like this—subscribe to our newsletter now!

© Seshu Badrinath

Our First Round Table Chat (many more to come!)

I'm very grateful to have had the opportunity to chat with a handful of Headshots Matter photographers today on Zoom.

Big thanks to Sean Lewthwaite (Stockholm, Sweden), Tom Trevatt (London, England), Mod Schwalbe (Brooklyn, USA) and Mike Jean-Baptiste (Montreal, Canada). It was fun to chat about business, creative independence, social media and SEO, and some of the more challenging aspects of being a headshot photographer.

Thanks guys for your time, your humility and your passion for photography!

Cheers, Dwayne

(please use this link to view the conversation on YouTube)

Mod / Mike / Sean / Tom

Linda Mackie / Victoria, Canada

© LINDA MACKIE

“I actually like the term portrait versus headshot because a portrait to me is more about who the person is. And a headshot is more about what the person looks like.”

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Hi Linda! We’re so pleased that you are part of Headshots Matter and that you’ve taken some time to answer a few of our questions about your photography and your creative studio business.

Can you tell us a little bit about Linda Mackie Creative and how long you've been a photographer?

It still blows my mind but I’ve been a professional photographer for about 20 years now! I began my creative career in the early 90s in Vancouver and my family and I moved to Victoria in 2016. I worked in advertising agencies as an account coordinator and producer, and then pursued my artistic passion as a freelance makeup artist for advertising, magazine editorials, weddings and portraits, along with some fun TV and film projects sprinkled in.

I took everything I learned from working in these industries and began looking through my camera with a keener eye. I knew what was what and what I liked and innately started taking personality and fashion-inspired photoshoots with friends, models and actors that really resonated with people. So that's what I've been doing ever since.

I love all types of photography but my main focus and passion is personal branding photography, which to me is a blend of where fashion meets lifestyle meets business. I love working with entrepreneurs and who I call ‘everyday changemakers’ - people making a difference either in or outside of their business and I love highlighting them in my podcast called ‘The Eloquent Entrepreneur’: Conversations with Everyday Changemakers.

Together with my creative team, we also offer makeup and hairstyling and more recently have begun offering video production and brand and website design, as I find that a lot of my clients want and need these services in addition to photography. It’s a lot of fun!

The people in your photographs all seem to be so comfortable and connected with you. How do you calm and disarm someone who is really nervous in front of your camera?

I’ve always had a naturally welcoming, calm, compassionate and empathetic personality, and people have always told me they feel at ease around me.

It became apparent early on that the more we get to know each other and prepare in advance for their photoshoot, the more comfortable they're going to feel and therefore more of their personality and true essence will come through in their images. Over the years I developed a unique creative process that helps my clients feel more at ease throughout the process so when it comes time for their photo shoot, they already know and trust me and know what they can expect from start to finish.

You seem to be wearing a few creative hats with your photography studio, your Eloquent Entrepreneur podcast series and collaborating with other creatives. Can you tell us a little bit about your passion for championing other creative people and changemakers?

I've been busy over the last few years! In 2019, I decided to expand my business with the podcast. At first I just really wanted to inspire people to get out there and make a difference in the world. Whether you’re an individual, small business owner or big company, I believe that each and every one of us can make an impact, no matter the scale.

I see this time and time again with my clients and I feel like it’s something people want to do. People want to leave a legacy. They want to contribute to the betterment of the planet, and I’m just genuinely interested in my clients and what they do, and how they’re making a difference. And in turn, it enhances my life and inspires me to do my best and, you know, make a difference in the lives of my clients and the things that I really feel passionate about. 

It's still a work in progress, as I'm a single entrepreneur doing everything myself. So it's been on the back-burner for the last few months, but I'm working to reignite it and I have lots of people to interview!

Who would you love to photograph and/or interview someday and why?

David Bowie would have been my top choice but unfortunately he's passed away. But if I were to choose someone now I think it would have to be Paul Nicklen and Cristina Mittermeier. They are incredible nature and wildlife photographers at National Geographic and the founders of the environmental conservation organization SeaLegacy, and they live not far from me on Vancouver Island! Their work is amazing and what they are striving to do is raise awareness and inspire people to care about the planet and do everything they can to protect it. Their photographs show the true beauty in nature and animals and how diverse our planet is, and I think it would be really cool to interview and photograph them. I think the work they do is really important yet very challenging because although they get to travel around the world, they often have to work in some pretty precarious and dangerous conditions. You can tell they love it compassionately though, as it shows in everything they share, which what I find so inspiring!

We're seeing a lot of social media posts lately about authentic headshots. How do you balance capturing a sense of authentic, ensuring your portraits have a finessed attention to detail?

The authenticity part comes from the energy exchange I have with my clients. I'm already very calm and inviting and very welcoming, and that helps people feel comfortable with me. So that’s kind of the first step because I think when you're feeling really comfortable in your own body, and comfortable with someone who's taking your photo, that automatically creates a good scenario for genuine connection and authenticity. 

But there's also another factor that I talk a lot about in my business now. Over the years, I've noticed, especially for women, that there's this level of unacceptability. We don't accept ourselves the way we are. This really plays into how we feel about ourselves when we see our photos, and sometimes it can be negative. 

I've had people say they didn't like their photos, even though I knew there was nothing wrong with them. They looked amazing - they just didn't like themselves in the photos. And so I really try to help people with that as part of my job as their photographer. I coach them into being more compassionate towards themselves so that they can more fully express and be more accepting of themselves. This is something that comes up a lot in the pre-work I do with my clients. 

I also offer a retreat, which I didn't mention earlier. I've only had one so far, but it was a great success. The purpose of the ‘Stepping Into Your Essence’ retreat is to help people eliminate, or at least reduce, self-limiting beliefs and get to a place of more self-compassion so they can feel more sure of and accepting of themselves in their life and business and dreams!

They start to see themselves in a more loving way, express themselves more fully and really get to a point where they're happy with who they are and what they look like and understand that, you know, photos don't lie. We have it within ourselves to bring forth our best self, but that comes from inside. No photographer in the world can take a photo of someone and have them like it unless the person likes themselves, unless they accept themselves. They are always going to criticize whatever they see whether it's in a photo or in the mirror. 

So the retreat is going happen again, most likely in the new year. But the idea is that they do the one day retreat and then when we do their photoshoot, they have actually transformed and feel differently inside. 

How do you control your creativity and where do you find inspiration?

As a creative artist, it definitely ebbs and flows. But when it comes to creativity I love looking to other artists, other photographers, even actors and models and changemakers and influencers. I also look to nature for colour schemes and ideas for composition and flow. 

It’s not all visual - I'm also a huge music lover so that’s a huge inspiration to me and something that I've been wanting to incorporate more in my art. You will see in the next while what that will look like but having grown up in the 70s and 80s and having access to such amazing music I'm really inspired by not only the music, but the by the lyrics and the styles and the fashion and by how music makes us feel.

How critical is mindset when preparing for a photoshoot or interview and is there anything you specifically do to prepare yourself?

For my personal branding, or any photoshoot for that matter, I make sure I'm really prepared and that I've gone through the process with my clients and really know what we’re doing for their shoot. 

It’s a very collaborative process - I create a shooting plan so we all know what the timeframe is, what we're going to be doing, what clothes the client’s gonna be wearing. I basically make sure all the details are planned out ahead of time, but I also make sure we have room for spontaneity as well because sometimes you just find yourself like, ‘oh, this is looking great! - let’s continue with this and see what happens.” 

As far as interviews go, I typically interview clients I've worked with so I know a lot about them already. I have a set of questions I ask everyone, but I make sure the questions I'm asking relate to them specifically. 

In your opinion, why do headshots matter?

I actually like the term portrait versus headshot because a portrait to me is more about who the person is. And a headshot is more about what the person looks like. I guess in general terms, they are interchangeable but that's my own personal thought on it. 

If you're in business, you really need to have an image of yourself that can speak for you when you can't be there in person. I say this a lot because it really is true with so much of business and interactions with others taking place virtually.

I have the process that I have because I want to see my clients fully express themselves in front of the camera and just be themselves. And then when people see their photos, they can say ‘yeah, I know that person’ or ‘I can see or feel who that person is’. I want their personality to shine through. We all look for visuals to determine if we're going to work with somebody or not so these photos are extremely important. 

I believe there’s a lot of crossover, especially with personal branding photography because these are often absolutely stunning portraits of people that can become family heirlooms. They can be gifts for husbands and wives and children and friends. And these are our legacy. If you had to leave your house because it was on fire, everybody says they would run to save their photos because we don’t want to lose our memories of the people we love and that is what is so very precious to us at the end of the day. 

Photos really take us back to a time and a place in our lives that has passed. That evokes emotion. Makes us feel loved or important or that we made a difference somehow. People need photography in their lives because we need it to connect to the meaning of our lives, how we spend it, what we do, how we contribute, where we’ve been and how we’ve changed or grown.

I often tell my clients to look at photos of themselves from, say, ten years before, and a lot of times they say how much they wish they had appreciated who they were and what they looked like back then. And I know they're gonna say the same thing ten years from now, so why not appreciate yourself now and have your portraits done because this is how we can really connect to ourselves and others, and to the world around us.

Thanks so much Linda, we love your work and your kind and creative approach to your business!

To learn more about Linda Mackie and her creative studio, please take a peak at her website: www.lindamackie.ca

© LINDA MACKIE

Mike Wojcik / Liverpool, England

© Mike Wojcik Photography

“The most beautiful thing I can photograph is confidence: silently flowing from the depths of the soul, looking straight into the eyes and showing the inner strength of character. My main goal is to catch the moment where someone's confidence is most apparent.”

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Thanks so much for taking some time Mike to share some of your story. We’re very grateful that you’re a part of Headshots Matter!

You’re originally from Poland, when did you move to the UK and how long have you been a portrait photographer?

I moved to the United Kingdom in 2011. I had no photography experience before then, but I bought my first professional camera in 2014.

Before I visited the UK, I visited a camera shop to buy a basic point-and-shoot camera. However, I decided that these did not interest me, so I bought a DSLR camera. Looking back, this was probably not the best idea as I had no idea how to use it. I took all the photographs in manual mode (without me knowing), and each photograph had different settings.

When I looked at the images, they were all out of focus and overexposed. I was slightly disappointed with the outcome of the images, and the camera sat on my shelf for a year. It was then that I decided I needed to learn how to use all the settings on the camera. I watched tutorials online, bought camera magazines and did a lot of research. After this, my photographs started to improve, and my confidence in taking pictures increased.

I always enjoyed taking pictures of people as it's nice to see their reactions when you capture them perfectly. However, I did lack confidence at first and practised by taking pictures of landscapes for a few years. During this time, people kept asking me to take some portrait photos of them or for their events, and after that, I decided that I would set up my studio.

Often actors are looking for headshots that are very ‘authentic’. How do you creatively navigate the fine balance of an authentic headshot and one that is also really well lit and shot with great attention to detail?

Authentic headshots are challenging, but this is why I enjoy taking them. The tip is to get the lighting just right so there is no crisp light, highlights or shadows that are too strong. Every headshot will need adjusting based on the individual as people's age, personality and skin tone will affect the picture I am trying to capture.

What is it about actors that you enjoy shooting the most?

The most beautiful thing I can photograph is confidence: silently flowing from the depths of the soul, looking straight into the eyes and showing the inner strength of character. My main goal is to catch the moment where someone's confidence is most apparent.

As a portrait photographer, how do you calm and disarm someone who’s very nervous in front of your camera?

It's important to make people feel comfortable in their surroundings and not to rush them. I don’t put any time limits on the session as this would only add to the pressure. I need them to take their time and become fully relaxed. They also need to see that I am relaxed as my mood would affect theirs. That's why I always like to come across as calm and reassuring. Talking to them is also a big help. I will try and find a topic we both know, to get them talking, which helps form a bond between us. After this, they usually become more relaxed and less nervous.

Who would you love to photograph someday and why?

There are a lot of people I would love to portray. Usually, they are leaders, artists, athletes etc. Any person with a high level of charisma. If I had to choose one person, it would be the extraordinary British actor Daniel Day-Lewis.

Do you ever photograph your headshot clients on location, or do you prefer the control you have when shooting in your studio?

Having full control of the surroundings will always produce a better photograph, so I prefer to work in a studio. I have taken portrait images on location plenty of times with the assistance of studio lighting. These are usually harder and will require the help of an assistant.

You’re very grateful and kind with your words on social media? How has gratitude played a role in your photography business?

Networking and connecting with people are something I enjoy. Social Media has been a massive help as it allows you to build relationships with people from all over the world that you otherwise would never get the chance to interact with. If my words can help someone, then it gives me great satisfaction. Social media has been an amazing tool to help me with photography and meeting new people.

How do you kindle your creativity and where do you find inspiration for your photography?

My main source of inspiration is painting, especially the Swedish impressionist Anders Zorn's paintings. His way of mastering light using the four colours is unsurpassed. I also devote a lot of attention to the painting of the 17th-century Dutch painter Jan Vermeer. His realism and play of lights are perfect. Also, an important source of inspiration for me is cinematographer Robby Muller.

How critical is mindset when preparing for a photoshoot and is there anything you do specifically to prepare yourself?

Mindset is something that’s really important to me. Before each session I like to spend some time alone and listen to classical music as I find this really helps me relax. This helps me mentally prepare for the shoot and ensures I am fully relaxed, but also full of energy. If I find that I do need an energy boost then I find Paraguayan Yerba Mate Tea does the trick.

Lastly, in your opinion, why do headshots matter?

Headshots reflect who you are, your business, and what it means. It is crucial to build trust. It allows you to distinguish yourself from the competition and, apart from the logo, its a key and an important part of building a professional brand. Significantly, in today's world dominated by the Internet and social media, a headshot is what makes our first impression, which is a real game changer for us.

Thanks so much Mike, we love your work and it’s been really nice to learn more about how you approach it!

To learn more about Mike Wojcik and his portrait work, please take a peak at his website: www.mikewojcik.co.uk

© Mike Wojcik Photography

Jon Busby / Birmingham, England

© Jon Busby / The Portrait Kitchen

“I want to get behind the façade and discover the real person, so that they are seen as approachable. It is not hard to create an image of what someone looks like. The skill is photographing who they really are.”

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We’re big fans of your couture millinery photography and we’re so glad you’ve been a part of Headshots Matter! 

Can you tell us what initially drew you towards photographing designer hats and how that has led you towards capturing headshots. 

Thank you for inviting me to talk about my photography. 

My millinery work is one of those happy accidents. My wife Anjee knew the owner of a hat factory and my original plan was to document their hats. Curiosity led me to explore what was available to milliners in terms of high-end photography. There was little or nothing,  so I decided to see what I could develop in terms of hat photography. I also noticed that most hats were photographed on stands. It felt like they were missing something. Placing a hat on a model brings drama, a narrative, and a connection with the milliner’s audience. I was, effectively, doing portraiture only the models were all wearing hats. I now shoot hats for milliners from all over the world. 

 I have recently expanded into fine art portraiture and headshots because I typically work in a very tight composition space. I rarely, if ever, shoot full length and I use the small composition space to create intimacy between the sitter and the viewer.  

You’ve mentioned before that ‘connection’ is critical in a headshot. Can you share with us why that’s important to you and how you do that with your photography? 

For a fine art portrait there is a lot of conversation at the start of a shoot. Many sitters may be nervous, so I am trying to calm them. The goal is to get them to a point where they are less aware of the camera.  

When shooting a team of, say 30 professionals over six hours, which I have done, time is very limited and I may only get a couple of minutes for them to settle. Therefore empathy matters and I need to be able to understand their concerns quickly. Part of my job is to relax people so that they show their true character. 

I tend to sit my camera on a tripod and use a cable release with a tethered laptop next to me. By using the cable release I don’t have to look through the viewfinder when I take the shot. I started to do this as I’ve found that sitters would often tense when I looked through the viewfinder and that can show in the final picture. 

On your website you mention that you are self-taught. Photography is a lot about trial and error - has there ever been a mistake or a ‘happy accident’ that has led you towards discovering a helpful photo technique?  

Self-taught yes, with my friend YouTube. I rarely use ambient light and tend to sculpt or control the light provided by one flash. I would close the aperture to say f/11, drop the ISO to around 100 and set my shutter speed to 1/125 or maybe 1/160. That will eliminate all the ambient light. Then I can direct the light how I want with flash. My happy accident is probably using a tripod. I’d had one for years but rarely used it, then one day I did. It gave me a consistent composition style, as I would be using the same axis. As a bonus, it also took pressure off my back from leaning to take a shot. 

I am not sure if these are accidents but I stopped using zoom lenses and only use a 50mm or 85mm prime. I find them much sharper, and I like the fact that I have to move rather than zoom in or out. 

I also take my time now. Three years ago I would shoot four or five hundred photos of a sitter. Now it is usually a hundred. I feel that this has led to better portraits. 

Who would you love to photograph someday and why? And/or perhaps is there a favourite hat designer you’d love to work with? 

They say you should never meet your heroes or idols. I’ve always wanted to photograph Willem Defoe, Christoph Waltz or Uma Thurman. But faces are faces and every one of them is unique and interesting, so I am happy to photograph anyone. 

Most of the top hat designers have their own photographers so I don’t waste time pursuing them. My market is the level below them which is also a bigger market. I get to shoot some incredibly original designs. A lot of my millinery clients approach me because they have perhaps used a smartphone but that limits them. With me, they can move to the next level, so their work is more suited for editorial. 

Where is your favourite location to shoot headshots and why? 

I shoot either in the corner of our kitchen, or at a local studio depending on the assignment. The kitchen studio takes about an hour to set up. When people see a photo, fortunately they don’t get to see the chaos behind the camera. The space is restrictive, but I can pull off anything from waist up. If I need more space,  I have access to a formal studio. I like using this for more than two people and all I have to do is turn up with my camera and laptop, then leave. 

I also travel to client locations so that there is minimal downtime and disruption.

Your millinery photography is very stylized, but your portraits are much more ‘authentic’ in nature. Do you think we’re moving towards a more natural and authentic style for headshots? 

I have quite controversial views on headshots. In the US there is a tendency to do the standard “corporate headshot”; the sort that has been used for the past 10-20 years. Many, to me, can lack authenticity and make the sitter look a bit wooden. The retouching can make things even worse. I have a particular dislike for ring catchlights in the eyes and excessive dodge and burn. In the UK and Europe I think that is changing. The buyer is also changing. Headshots are for anyone, not just corporate 'suits.'

A lot of typical headshot formats look like the sitter has been made to pose a certain way. Surely as photographers we should be bringing new ideas to the table. My belief is that we should be catching the real person because a headshot exists to help at least two people connect. I want to get behind the façade and discover the real person, so that they are seen as approachable. It is not hard to create an image of what someone looks like. The skill is photographing who they really are. 

How do you kindle your creativity and where do you find inspiration? 

I take a lot of inspiration from classic portraiture and music and film influence me a lot. My creativity comes and goes. Sometimes it is intense and sometimes it is dormant. I occasionally look at other portrait photographers, but I do that less these days as I have found my own composition style. If another photographer’s work is strong and inspiring, I take the view that it will find me. 

How critical is mindset when preparing for a photoshoot and is there anything you do specifically to prepare yourself?  

Hugely. Before a shoot I am planning everything. My set up is deliberately minimal; camera, lens, one light, one reflector. I only want to think about what is necessary. I am a little nervy before the shoot starts but once I have the exposure set and the client relaxed, I am in my happy space. It is then less a photo shoot and more me chatting with a sitter and pressing a cable release every now and then. I do think nerves are important as they keep me on my toes and help makes me focus on the task.

Lastly, in your opinion, why do headshots matter? 

Because our headshot tells our audience about us instantly. Put another way, all of us, given a choice, are visual readers first, text second. I am not saying that a portrait on its own will win clients, deals or castings, but it does give you the opportunity to present yourself in the way you want to be presented rather than how a headshot photographer thinks you should be presented. Humans are curious by nature; we like to see who we are dealing with and in many cases a client may check you out before they even approach you. You wouldn’t want a client to land on a badly- designed website, or be given a business card in comic sans font so why tolerate a badly executed portrait or headshot? 

Thanks so much Jon, for spending some time with us - sharing your story and your views about headshot portraiture!

To learn more about Jon Busby and The Portrait Kitchen, please take a peak at his website: portraitkitchen.co.uk

© Jon Busby / the portrait kitchen

Robyn Davie / Johannesburg, South Africa

© Robyn Davie Creative Studio

“One of the things that I teach my team, is to diminish the amount of ‘un-controllables’ on a shoot - know your camera so well that nothing can throw you off…..”

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We’re very grateful to have you and your studio as a part of Headshots Matter. We really enjoy viewing your social posts about your creative studio in Johannesburg. 

Can you tell us a little bit about Robyn Davie Creative Studio and what have you’ve done in the past that has led you towards photography and creative entrepreneurship?

Thanks Dwayne - it's such a pleasure being part of the headshotsMatter family!

I've always lurked in the creative and entrepreneurial worlds - starting out working in the film industry as an art director and wardrobe stylist - and along the way reselling vintage clothing and my own jewellery line. I love being able to create things and then generate opportunity and growth using that process. About ten years ago, while living in Los Angeles, a friend of mine asked me to take his head shot - and it was the first time I shot anything professionally. These first photos were awful, to be completely honest, but I was hooked - I loved the inventive process involved within photography, and was lucky enough to have a big target audience within LA. It was a time of great discovery, testing out different shooting styles, learning as much as I could, and having a lot of fun with friends on out-of-the-box innovative shoots! Ten years later, and a return to my hometown of Johannesburg, and I now have a fifteen-member, all-female team, covering a variety of shoots, and a big natural light studio in Parktown North.

How do you cultivate an ongoing feeling of inspiration amongst your team?

This isn't easy, I'm not gonna lie. Life has certainly become heavier over the past few years, and there's a tricky balancing act between supporting team members through their own trials, while still maintaining overall team morale, and keeping one's own spirits boosted. It's one of the reasons why I have an all-female team - as we cultivate a supportive, understanding nature through the tough times, and a celebratory nature in the good times. Knowing we have each other's backs is a great feeling.

Besides weekly stand-up meetings, we also make sure to have team events at least every couple of months - ideally with a bit of yoga and meditation, and then the chance to just chat and bond over a glass of wine!

Your studio brand seems to be creatively interwoven into your own personal/professional brand. Can you tell us how being in front of the camera yourself, has given you perspective to the experience your clients have when they’re being photographed?

I think as a photographer it's incredibly important to be comfortable in front of a camera. When I was starting out, I spent countless hours with my camera on a tripod and a timer - shooting self-portraits - testing every possible setting on my camera - and testing out an endless array of poses and compositions. That time gave me a really good understanding of how pressured one can feel in front of a camera, and how to make clients feel comfortable and direct them into flattering poses. I truly believe that empathy is one of our best teachers.

Who would you love to photograph someday and why?

I officially retired from shooting for my own brand in 2019 - I have a whole team of associate photographers who cover all our shoots now. On the rare occasion, I'll pull out my camera to snap pics of friends or family - and I find a lot of joy and happiness right there - capturing my favourite loved ones.

We love the openness and the natural light of your studio. How do you decide when it’s best to photograph your clients in the studio vs a location environment?

Thank you! It's one of my absolute favourite places! We do prefer shooting at our own studio - Fynn Studio, as it has magical natural light all day long - perfectly diffused by big plexiglass doors. This gives us soft, gentle, flattering light to work with - which makes for fantastic photos. One of the things that I teach my team, is to diminish the amount of "un-controllables" on a shoot - know your camera so well that nothing can throw you off; limit your gear to only the most essential items so you're not endlessly scratching through your camera bag for an extra gadget; and familiarise yourself with how the light works and your shoot location so you know exactly the best spots to shoot in. Then it's easier to remain calm and focused on a shoot day, and easily handle whatever other hiccups may come up along the way. All of our team members absolutely love shooting at the studio - and know it so well - that we can guarantee excellent images within this space.

We'll shoot on a location if it's a specific business or look we're going for - a chef in a kitchen for example. These sessions are great as well - we love creating within a new space - especially one that is integral to telling the story of that client.

How critical is mindset when preparing for a photoshoot or a day leading your team - and is there anything you do specifically to prepare yourself? 

I think mindset is everything. There is SO much going on in the world right now - and it's important as a leader and business owner not to get pulled down by all the negativity. A good night's sleep is step one - and then a quick yoga and meditation session each morning - even if it's only ten minutes of each - allows me the chance to ground myself and start the day on the right foot. I strive to be a fair and kind leader throughout the work day - and feel that starts with a grounded mindset.

Lastly, in your opinion, why do headshots matter?

Head shots are your way of showing up in the world - of saying, "hey, I exist". They're a chance to put your best foot forward, and show the person behind the business or brand. They can instantly bring a humanness to a big corporate website, capture the eye of a potential client, and remind users/followers that there's a heartbeat behind their computer.

We are so aware of how overcrowded and noisy today’s online space is - and aim to create fresh, bold, bright and eye-catching head shots, in order to stand out from the crowd.

Thanks so much Robyn, for the candid insight into your world. It sounds like a beautiful dance between entrepreneurship and creativity!

To learn more about Robyn Davie Creative Studio, please take a peak at their website: www.robyndavie.com

© Robyn Davie Creative Studio

Brock Murray / Co-Founder at seoplus+

Brock Murray, COO and Co-Founder of seoplus+

“Practicing gratitude has been a game changer. The more appreciative you are, the more you can shift your mindset and help to create a positive attitude.”

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Brock, we know you run a successful digital marketing agency in Ottawa, Canada. How long has your company, seoplus+, been in operation and have you always been entrepreneurially minded?

Thanks for having me Dwayne! This year we are celebrating our 10th year in business. What a ride it has been. I come from a family of entrepreneurs, my grandfather worked in international trade, my uncle in security and parking control, and my aunt in a variety of businesses from alternative health to training and education. I had the opportunity to help them with their businesses when I was growing up, and that positive influence gave me the confidence to start my own business at 24 years old.

What is it about SEO that you love the most?

The thing I love about SEO is how quickly things change. The industry is very collaborative and everyone works together to achieve success as Google makes changes to their algorithm. I also love the blend of creative and technical that SEO commands.

You have a pretty large team at seoplus+. Can you share with us some of the main differences between managing people as opposed to leading them?

This is something that I have always focused on - being a leader versus a manager. I've always felt it's important to lead by example, and work together with the team to tackle challenges while helping them improve. Rather than boss people around and micromanage, I have always focused on trying to train, empower, and build the next generation of leaders. It's so important as people want to feel what they do matters, and that as an employer you care.

What advice would you give your younger self as an entrepreneur starting out? 

The advice I would give to my younger self as an entrepreneur would be to start networking sooner. My personality style tends to lean towards introvert so networking takes a ton of energy. I started networking for the first time when launching seoplus+ and while it took time to develop fruitful relationships it has paid dividends over the years. If I could go back to my younger years I would start networking and getting out there much sooner.

Are there any advantages in building a simple and organic SEO strategy for a small independent business (like a photography studio) vs paid digital marketing like Google Adwords or Facebook ads?

There are pros and cons to each strategy. I think any successful digital marketing strategy should have a combination of both organic and paid. For businesses that are looking to generate new customers and leads right away, paid is a good direction. For businesses that have some runway and are looking at long term growth, organic is a solid strategy. There are many things a business can do from an SEO perspective themselves - such as choosing a good web host, building in-depth service/product pages and blog content, creating meta title and headers, and publishing high quality photography and video.

What qualities do you look for when hiring new team members or outside freelancers? 

When hiring new team members we prioritize our core values - play, accountability, collaboration and transparency (PACT). We can train for technical skills, and experience will come with time, however if a prospective employee doesn't exemplify your core values or if they don't resonate, it likely won't work out long term.

How do you kindle your inspiration to be a better leader? Do you listen to podcasts or subscribe to any informative blogs or online magazines?

Being a leader is hard. There is pressure to lead by example, to stay even-keeled, and to provide for your team. To continue developing my leadership skills I consume many types of content, from LinkedIn posts, TikTok videos, blogs, and books. I also have many entrepreneurs in my network who I lean on and share challenges and opportunities with. All of this has certainly helped me develop my leadership skills. We also work with a business coach, Rob Dale, from Rhapsody Strategies, who has helped me and my team immensely over the years.

How critical is mindset in your day to day as a creative business leader?

Mindset is so important day-in and day-out. It's not uncommon for people to lean towards a negative mindset versus positive. Focusing on problems rather than the good things. I try to celebrate the wins in business, no matter how small. Practicing gratitude has been a game changer. The more appreciative you are, the more you can shift your mindset and help to create a positive attitude

Lastly, in your opinion, why do headshots matter?

Headshots matter because it's a way to communicate yourself (and your team) to the outside world. As the saying goes, "You never get a second chance to make a first impression." With the rise of social media in our day-to-day lives it's extremely important to elevate your personal and/or corporate brand to stand out. Headshots give you an opportunity to do just that.

Thanks so much Brock, for sharing some awesome insights into leadership, mindset and entrepreneurship (and of course the importance of great SEO)!

To learn more about seoplus+, please take a peak at their website: www.seoplus.com

seoplus+

Clare Brennan / Creative Director / Ottawa, Canada

Clare Brennan, Creative Director and Co-Owner of FIFTY Strategy + Creative, as well the founder of Creativity in Common.

“Creativity is a muscle, one that you strengthen with use, like all muscles. Flex it, stretch it and push it. It’s what we all need to do if we want our creativity to grow.”

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Thanks so much Clare, for taking some time to share some insights and to answer a few questions about creativity and your career in advertising!

How long have you been a creative director and did you always feel drawn to a creative career when you were young?

I have been a Creative Director for over 20 years now, yikes. I was always drawing and looking at architecture and sculpture. It just kinda led me to a job where I could be creative and make ends meet.

As an advertising agency owner and a creative director, how do you blend creativity and entrepreneurship?

Well, what I sell is creativity. So as an entrepreneur, if the product isn’t creative it’s not selling and that’s bad for business. So I guess that’s at least how I see the two connecting.

What motivated you to start your ‘Creativity in Common’ project.

I’ve been teaching creativity as a first year course to advertising student for the last 12 years or so. After putting together all this information on methods to ignite creativity I thought I could find a way to pass it to people outside of my classes. To get more people taking the creative risks they have always wanted to.

Is everyone creative or capable of creativity?

Absolutely. A lot of people feel creativity is something you are born with, kind of an accident of birth. Or a bolt of inspiration that strikes if you are lucky. But creativity is available to us all. The first step is believing you have the capability to create and then go do it, and repeat. Creativity is a muscle, one that you strengthen with use, like all muscles. Flex it, stretch it and push it. It’s what we all need to do if we want our creativity to grow.

How helpful is collaboration to creativity or is it more of an independent process?

It’s both, but with the help of others, our creativity just has so many additional options for growth. Other people push us to reach higher and consider new possibilities. They can also be the support we need to take a creative risk or augment our skills to make things we couldn’t do on our own. My best work has always been aided with the support and creative strengths of others.

What are the similarities when marketing a person with a headshot vs marketing a company?

With either one, the audiences should feel the message is real. Whether a person or a large company, people want to believe in what they see and read. People are smart, they can tell when it doesn’t ring true. Person or company, I got to trust the image being projected.

What advice would you give to your younger self as a creative professional?

Creativity flourishes in a team. This isn’t about your ego or how good you are, it’s about how good your team is. A great team will always lift the members to produce better work. That’s what I tell my students because that’s what I wish someone had told me.

What are the qualities you look for when hiring a photographer?

Openness, creativity, a great ability to make the subject feel comfortable and at ease. Someone who sees my client to be as important as I do. And someone I want to spend a day with, so you better have some good stories.

How does empathy play in the process when mapping out the creative direction for a new campaign or marketing initiative?

You need to understand your audience and what motivates them, and your client is part of that audience. Both are people with a need to be respected and be understood. Empathy lets us do both and build a campaign that talks to someone other than yourself.

How do you kindle your inspiration and curiosity to be more creative?

As I said earlier, creativity is a muscle and you do have to work it to make it stronger and stop it from getting all flabby. So, I fill my life with creative stuff both industry related and personal. From listening to smart, seasoned creatives to working with a classes of young creative folks. Or from collage work to found object sculpture. It’s a contrast process to add creativity into my life.

How critical is mindset in your day to day as a creative director? Do you do anything specifically when starting your day to be more open to new ideas?

Carol Dweck did all this great research into having a growth mindset. She has all these great stuff about looking at creativity as something to constantly gain mastery of as opposed to becoming an expert at. I do my best to start every project thinking I can always learn more and if that is how I start my creative day it leaves me open to new thoughts and ideas and opportunities.

Lastly, in your opinion, why do headshots matter?

We are attacked by so many images every day and the ones that stand out for me are the ones that show authenticity and reality. A great headshot should just do that, so I can begin to trust the subject. Trust is what we are looking for, that’s what I hope to see in a good headshot.

Thanks so much Clare, for giving us a glimpse into your world of ads, brands and fun creativity!

Please take a moment to learn more about Clare’s work at: FIFTY Strategy + Creative

Beth Madison / Stamford, Connecticut USA

© Beth Madison Headshots

“My work as a headshot photographer is all about authentic, engaging or compelling expressions, and the only way to achieve that is by making a connection with my client.”

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Hi Beth

Thanks so much for being a part of Headshots Matter. We really love the warmth and depth of your portraits and the empathy conveyed in your headshots.

How long have you been a photographer and what else have you done in the past that has led you towards photography?

Oh, the origin story! I’ve got a good one.

I loved art as a child, and I started taking after-school art lessons with a local teacher/artist. She taught me how to see. She planted the seed of the artist’s eye in me, and showed me how to help it grow.

I had also loved photography since I was 7 or so. I took a photography class in high school. The teacher gave me his old darkroom equipment at the end of the year when I was 16.  

I set up a darkroom in the bathroom of my parents’ house, in the basement.  I started my first photography business then, doing informal children’s photography. I biked to my clients, and developed and printed my black-and-white shots myself.  

After college, I moved to NYC and became an advertising copywriter, then a marketing writer. Just like with photography, it’s always about telling stories.

I went back to photography after my daughter was born. I learned digital photography, then later, Photoshop.

When my daughter was 16, in 2008, I launched my current business.

My old art teacher, Marthe Clamage, was key in my journey. You can’t learn to see the light until you’ve learned to see. I bring my artist’s eye to all my photography work. And key, too, was my father – he taught me how to connect with people.

What is it about headshots that keeps you inspired and motivated as a photographer?

My work as a headshot photographer is all about authentic, engaging or compelling expressions, and the only way to achieve that is by making a connection with my client.

What keeps me motivated is to figure out quickly how to make that connection and bring out that authentic spark with the stranger who’s just walked into my studio. The interpersonal part, and the coaching, is the most interesting and challenging.

How would you describe the differences in your creative process when creating studio portraits vs capturing corporate work on location?

It’s not really that much different. Mostly, it’s the amount of time I have. Often at on-site work, there is a desire for efficiency – they have to get back to work. I scout out on-site locations ahead of time, and I arrive well early to have everything set up and ready to go.

For studio portrait work, we may have more time to shoot only one person, and we can and do get creative with lighting and with post-processing techniques like color-grading.  

Usually, corporate on-site portraits are less creative in those areas. Instead, we use the strength of environmental portraiture to tell a story about the subjects, and pay attention to background, shooting angles, and posing.

In both cases, it’s important that I’m helping my client express who they are, and to tell the story that they want to tell.

As a portrait photographer, how do you calm and disarm someone who’s very nervous in front of the camera?

That’s what it’s all about, isn’t it? I’m curious and interested in each person who walks into my studio. I try to notice everything about them, and tailor how I respond to them based on what I observe. As soon as they come in, I treat them like a friend.  I chat, and as we go through wardrobe and some of my prep and coaching, I get a sense of who they are. I try to connect with them as a person, through either common interests, humor, or anything.

I have to connect with them, and get them to trust me. That’s the key.

Who would you like to photograph someday and why?

I’m going to answer this question sort of sideways. The most important person I photographed, or rather, the most important headshot I’ve ever taken, was of my dad. It was taken six months before he passed away at 91.

I look at that photo every day, and I can see his kind eyes looking back at me.

I never really thought about photographing anyone famous. But I would give anything to have photographed my mom, who passed away long before I started doing headshots, the way I did my dad.

Don’t forget to photograph your parents, and all of those who are dear to you.

What methods do you use when bringing out a client’s ‘brand story’ while capturing their headshot?

When doing business branding portrait sessions, it’s important to both listen, and collaborate.  

I make time to talk with the client ahead of time, to discuss ideas, and the story we want to tell. Occasionally I’ll use a storyboard.  I’ll be sure to listen to what my client says, and I pay attention to what she wants. Then I’ll add in my own thoughts and suggestions. Finally, I’ll create a shoot list to guide me.

At the session, I’m always ready to improvise, to try something new, as well as covering the shoot list. In fact, it’s often the spontaneous shots that are the best.  But that’s because we’ve prepared for the moment.

Is it easier to photograph someone you know personally or is it easier to photograph a stranger?

I think it’s easier to photograph a stranger. Family members are hardest: they’ve heard all your clever lines before, and frankly they’re not that impressed.

How do you kindle your creativity and where do you find inspiration for your photography?

I am lucky enough to be part of a fantastic coaching group of headshot and portrait photographer, Peter Hurley’s Headshot Crew. This crew has been one of the most important things in my professional photography journey. It’s a place where we improve our photography skills, learn about running a business,  and form bonds of friendship and support. The community is unparalleled.

I am always seeing amazing work from brilliant photographers from all over the world at the Headshot Crew, and it is always inspiring.

That, and Instagram.

How critical is your mindset when preparing for a photoshoot and is there anything you do specifically to prepare yourself?

Mindset is important. Mood is not. We all have to shoot sometimes when we’re not in the mood, but our focused mindset takes over.

I like to use an almost ritualized routine to prepare for a session. I have a checklist that I print out, and I check each item off before each session. As I am getting through the checklist, I gradually enter the headshot mode. I like to be ready early for my client. When they get here, it’s showtime.

Lastly, in your opinion, why do headshots matter?

Headshots are so important!

We are always on some digital device, and our image comes up whenever anyone looks for us. People make a subconscious, instantaneous impression of us in that split second.

If it’s a great image, it helps you. If it’s not, it’s getting in your way.

But, it’s even more than that. Here’s what I believe: When someone comes to me for a headshot, it’s my chance to introduce them to the world, to show the world their spark. Everyone has something that makes them light up, or switch into laser focus, or showcases their quiet and confident power. I capture those captivating, authentic expressions, beautifully lit, and create an image that shows that person at their very best.

I’ve had clients tell me that I changed the way they thought about themselves for the better, and that working together let them break out of negative patterns of self-criticism and look at themselves with fresh eyes. Their headshot session has made a real difference. I believe it’s important, what we do.

So, yes, I really believe that headshots matter!

Thanks so much Beth, for sharing your insightful and candid answers. We’re very grateful to have you a part of headshotsMatter!

Please take a moment to learn more about Beth’s work at: www.bethmadisonheadshots.com

© Beth Madison Headshots

Tom Trevatt / London, England UK

© Tom Trevatt Photography

“The best work I have ever made has incorporated the aleatory, the accidental - precisely because it is in these moments that the romantic occurs and portraiture is nothing if not a romance - or perhaps a dance. “

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Hey Tom, we’re really pleased to have you a part of the Headshots Matter creative collective. We love the passionate and intentional way you approach your work!

How long have you been a photographer in London and what else have you done in the past that has led you towards photography?

I started shooting on Black and White film back in 1999 - Ilford HP5 Plus 400 - we had a dark room in my college where I learned how to process and print my own work. After failing to get into any drama schools (thank god), I applied and was successful getting into an Art Foundation course in Exeter where my tutors Pat and Pete were instrumental in my education - they really opened my eyes to not just photographic techniques and theories but philosophy. After this influential year, I went to Brighton Uni to study photography - but changed courses quickly to do an art and theory BA. I sort of forgot about photography at that point, and despite buying a digital camera, I shifted my focus to curating and then academia. After twenty years of making exhibitions, writing, teaching, running galleries and completing my PhD in art theory I finally returned to photography in 2020.

In March 2020 I finished my PhD and had been DJing as a side hustle for over six years. With the onset of Covid 19 I had to radically rethink my life, so I picked up the camera again. This time, a Sony A7iii. Over the national lockdowns, the camera really saved my sanity - our daily exercise allowance for me was focused on photography. I built up a small portfolio of street and protest photography (the BLM and XR movements were in full swing during this period). Then I discovered Peter Hurley’s Headshot Crew - an online community of almost 20k headshot photographers centred on New York photographer Hurley - and here my learning really sky rocketed. I have spent the last two years really getting immersed in Photography again - learning, practicing and perfecting. It’s an ongoing process, and I love education, so this has been a really wonderful ride so far.

I still teach (this year I have been running the MA in Art and Politics at Goldsmiths), but anyone who knows about academia will be aware of how underpaid and precarious this profession is - so Photography has been a godsend.

What are the main differences, when shooting actors and creatives, as opposed to corporate professionals?

Nothing - or rather almost nothing. I approach them as people with needs and desires, there may be certain standards and conventions that each person needs for their photography, but I am trying to tell a story with these images and both professionals and creatives need stories to be told. The one thing I would say is there’s as small shift in focus - for a corporate professional, their needs may be slightly different - but I don’t prejudge a client before sitting down with them.

How do you blend your creative passion with your sensitivity and empathy needed to capture headshots?

I’m just a human spending time with another human, there just happens to be a camera there. I think the best interactions happen when you forget about trying to act in a certain learned way. I have spent years working with students, and the most productive times have always been during the informal conversations around the lectures. - I think this is probably true of any creative pursuit. The best work I have ever made has incorporated the aleatory, the accidental - precisely because it is in these moments that the romantic occurs and portraiture is nothing if not a romance - or perhaps a dance.

Do you have any other creative or educational pursuits that compliment your work as a photographer?

Photography is about everything that isn’t a camera. As such, everything I do feeds into my work as a photographer. 

Your images on the headshotsMatter Instagram account have received so much positive attention! (I think we had over 500 likes on at least one of your portraits) How important is social media to your business and which platform is most helpful. 

Social media, especially instagram, is so focused on promoting a certain narcissistic worldview. It wasn’t always this way, but now we’re being forced to chase an algorithm that wants us to perform for it - you can see the rise in short form to-camera videos, where people who might have previously thought of themselves as artists or business people etc are being made to act like influencers. I refuse to participate in that charade, even though I am aware of the power of the “like”. I just care about the portfolio - making great work, if people like it, then awesome. I am grateful for headshotsMatter for promoting my work - the attention is nice but it isn’t really my aim, nor does it always convert into clients. However, instagram is the best place to find a community - I have found friends and influences on this platform and it is very much the easiest place to promote my work.

How important is shooting personal work to the inspirational development of your portrait photography? That said, how often do you shoot? 

Very, I try and do at least two TFP (trade for print) shoots per month where I test ideas out and develop my skills - I tend to prefer building my portfolio in this way.

Who would you love to photograph someday and why? 

My mum, she’s beautiful.

How critical is mindset when preparing for a photoshoot and is there anything you do specifically to prepare yourself? 

Eat, I’m awful otherwise.

Lastly, in your opinion, why do headshots matter?

Because you matter.

Thanks so much Tom, for spending some time shedding light on your creative process and your path here. We’re very grateful to have you a part of headshotsMatter!

Please take a moment to learn more about Tom’s work at: www.tomtrevatt.com

© Tom Trevatt Photography

Sean Lewthwaite / Stockholm, Sweden

© Sean Lewthwaite Photography

“I feed off the passion for those I shoot, they drive the passion I already have, to create something both together, making that all important connection with the camera.”

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Sean, we’re very grateful to have you as a part of Headshots Matter. Thanks for letting us ask a few questions about yourself and your work! 

Let’s jump in! You’re originally from Scotland, when and why did you move to Stockholm, and how long have you been a photographer? 

I moved to Stockholm in November, 2008. Most people who move here, move for one of two reasons, love or work… I moved for love. I started photography as early as 1996 at school and then college in Scotland. I picked it back up around 2006, shooting street photography in London. I think it was 2011 when I got to shoot my first corporate headshots.

We love your lighting! How would you define your overall style of portraiture and how do you blend it with the specific style of the creative people you’re photographing? 

My style of lighting has evolved over the last few years, starting with strobes. Then I felt I wanted to explore constant light - for me that was a single LED lamp, a budget lamp, as I wasn’t too sure I was going to like the effect it gave. As I shoot mostly actors, the transition for me was quite easy, shoot my headshots in horizontal format, to replicate a screen grab of sorts, makes it easier for casting directors to say right away if someone should be called for a casting… so far, it’s been successful for a lot of actors I have shot.

Can you share any ‘happy mistakes’ you’ve made while shooting and have you been able to turn any of those ‘mistakes’ into new photo approaches?

Mistakes I have made have made me learn and fine tune what was not meant to be into something I and those I have shot, have liked. One was shooting wide open on a Nikon f/1.4, lucky the ISO was low enough, not to over expose my first of several test shots, shooting wide open, allowed me to put all the focus on the eyes, as that’s generally what people most look at first and base their decision on to get in for castings or not. Rather than having the whole face being tack sharp.

As a portrait photographer, how do you calm and disarm someone who's nervous about being in front of the camera? 

Lucky for me, I’m a people person, it does help a lot, but has something that I have built on, being able to connect to those who aren’t so comfortable in front of the camera. When people come to me as a first timer or returning, I always talk for a while before shooting, gives me a chance to get to know them better. During the session I talk a lot and get a feel for how they are doing, I never put pressure on those I shoot, that would only get unusable headshots/portraits. I also shoot from my home studio, so it’s a homey feel now with 3 beagles for those who like dogs. Having background music helps.

On your website you mention that you’re a photorealist. How does that impact your creative process?

Calling myself a photorealist doesn’t effect my creativeness at all, as I’m shooting what is meant to be seen as real as possible, and a true representation of the actor, all I have to do is find what light is best for the feel they are going for. Using only one light, be that strobe or LED allows me to sculpt the face using light and shadow to make sure the face has more dimension and interaction, to those looking at my headshots.

Who has been one of your favourite portrait subjects and why? Given the chance, who else would you love to shoot, either again or for the first time?

I’m very fortunate in having a high client returning rate, so I’m able to follow people’s progression in every session I have with them, but one that stands out just a bit more than others is a Swedish actress, Annica Liljeblad, super easy to work with, very little direction to get some absolutely amazing headshots/portraits and she has made such a name for herself. An actor I would love to shoot, would be Tilda Swinton, an amazing actor with great on-screen presence.

How do you kindle your creativity and where do you find inspiration for your photography?

I feed off the passion for those I shoot, they drive the passion I already have, to create something both together, making that all important connection with the camera. Making them desirable for castings in a series or Hollywood movies.

What advice would you give to your younger creative self?

I think I would tell myself to have started in photography earlier as a profession, my previous profession was as a graphic designer, I would have preferred to have done photography in some shape or form.

Lastly, in your opinion, why do headshots matter?

Simply as this, it’s the first thing people in the industry I work in, see. A picture says a thousand words!

Thanks so much Sean, for taking the time to answer some questions. We’re so happy to have you on board!

Please take a moment to learn more about Sean’s headshot and portrait work at: www.lewthwaitephotography.se

© Sean Lewthwaite Photography

Lindi Gordon / Harlem, New York City

Lindi Gordon in her Harlem studio., accompanied by her ‘best friend’ Cooper.

“We are visual. The first impression is with our eyes. It’s etched in our minds and once it’s there, it’s very hard to alter it!”

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Hi Lindi

Thanks so much for being a part of Headshots Matter! We really love your work, so it’s been fun putting some questions together to learn more about you and your creative process.  (and yes, you’re the first in our series!)

How long have you been a photographer and have you always lived in New York City?

I went to college to study film/photography but got side-tracked for 20 years. I’ve only recently gotten back into the game 4 years ago when I picked up the camera to photograph music venues. That led to portraits which has led to headshots. I have been working professionally now since October 2021.

I grew up in Pennsylvania and Florida. I moved to NYC three times over the course of 7 years. The last one took. I’ve been living here now for 18 years.

We were initially drawn to your BW work, capturing musicians and artists. It has a similar feel to the authentic imagery in Rollingstone Magazine from the 70’s. Have you ever shot film or has it always been digital for you?

Digital was in its beginnings when I went to college. I studied black and white photography, film development, studio lighting (using tungsten lights) and what-not for one year in college.

While I miss the smell of the chemicals and the organic feel to film and its gentle shift of tonal ranges. I don’t miss the mess, time and work it took to reveal one image. That said, I love the immediacy of digital.

Do you prefer photographing your portraits in the studio or do you enjoy shooting on location?

I love the controlled environment of a studio but I much prefer the creative uncertainty and the environmental elements that location offers. You go in not having any idea what’s in store or what’s going to happen. There’s much less or little control over an image. You're forced to work with what’s available and try to be creative doing it. I also find people are more relaxed when they are in their own space.

As a portrait photographer, how do you calm and disarm someone who’s a nervous photo subject?

I start shooting immediately. I tell them that I’m just checking for exposure, while I click away. I try to get them talking, while I look ‘busy’ checking lights and equipment. Click, click, click. Sometimes music helps if they are quiet. But really, the uncomfortable subjects often have the most interesting shots. The awkwardness reveals something I can’t plan.

We love both your BW and color work. How do you decide which portraits are captured in one or the other? 

It’s digital! I don’t have to! If I’m shooting for myself, I have a mood shot idea in mind. So I start with a rough idea and usually know whether I’m planning for b/w or color. Often an image starts as color but works better in black and white and vice versa.

How has your career working with children impacted your ‘creative eye’ as a photographer?

Working with children teaches you to let go of control more and just go with the flow. I set up the elements that I have somewhat control over, the lights, software, setting and camera. I start with some basic poses, but children are fidgety and have their own ideas in mind. Mostly running around! But when you're shooting real people and you’re looking for them to express themselves to get that genuine shot, well, you just gotta let the kids be kids and hope for the best.

How do you kindle your creativity and where do you find inspiration for your photography?

I feed my eye by bombarding it with imagery from books, magazines, ads, museums and past photographers. It could be something as simple as the way light falls on an object ,while I’m sitting having coffee or an exhibit of an artist with an unusual color palette. If you keep your eyes open, inspiration is everywhere.

How critical is mindset when preparing for a photoshoot and is there anything you do specifically to prepare yourself?

When I started shooting my musicians series, I'd stand outside their apartments, smoking a cigarette while my hands would shake, my earbuds in, listening to Amy Winehouse’s, “I’m No Good” in an attempt to quiet my nerves. There really was no way to prepare for shooting without lights, in unknown apartments, with someone I had only met via social media.

Because most of what I shoot now is headshots and portraits in the studio, it’s a different mindset. I wake early, get the lights ready, make sure the studio is ready for the client and everything is clean. I spend the time waiting for their arrival trying not to worry whether the software and technical aspects that I’m working with, will not glitch.

Lastly, in your opinion, why do headshots matter?

Presentation is everything! 70% is how you look, 20% how you sound, and 10% is what you say. (I heard Eddie Izzard say this and damn it’s true.)

We are visual. The first impression is with our eyes. It’s etched in our minds and once it’s there, it’s very hard to alter it!

Thanks so much Lindi, for braving our questions! Again, we’re so very grateful to have you a part of our headshotsMatter family!

Please take a moment to learn more about Lindi’s headshot work at: www.lindigordonphoto.com

© Lindi Gordon Photography