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