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