Jacqui McSweeney / Brighton, UK
/From Weddings to Headshots: The Journey of Jacqui McSweeney
© Jacqui McSweeney / Brighton, UK | Photo of the right by tom Trevatt
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
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.
