Interviews

Lucy Hewett

It sounds pretty obvious that a photographer has an eye for color, but Lucy Hewett really, really does—glance at her portfolio and you’ll see that she can make a tray of fast-food fries look as dreamy and surreal as her shot of an iceberg. Handling portraits, culture, and travel with the same elegant touch, Lucy has worked for major corporate clients along with National Geographic, the Field Museum, and the Wall Street Journal.

What’s your most-used tool or tools?

I immediately thought “my camera,” but it’s probably my MacBook Pro. Unfortunately I think I spend more time behind a computer culling, editing and working on admin and marketing. My camera would definitely be the next most used tool – a Canon 5d Mark iv. When traveling, working alone or on quick moving client projects, I often use two camera bodies so I easily switch between focal lengths. I always carry two, large, ruled moleskine notebooks: one for assignments and to dos and one for sketching, ideas and artwork. I’m also very into my new WANDRD backpack; it has so many bells and whistles that make accessing your gear on the road super easy.

You photograph a lot of real people, in their real lives. What’s the best way to set a portrait subject at ease when they aren’t used to being in front of a camera?

I don’t know if I have singular approach. I try to slowly ease into whatever situation I’m in and read the feelings in the room. I always read a little bit about the subject before I arrive and like to know as much as I can about the story I’m working on. After that I just respond to the subject and what they might need during the portrait. If they’re nervous I’ll talk to them about my process and what to expect and allow them to voice any concerns. They usually want to be reassured that I’ll provide direction. It can feel like you’re alone, on stage during a portrait. I often create several different set ups at our location and walk them through each one, making conversation and offering ideas when they need it. If they’re super confident I let them take the lead, following their energy and offering direction based on how they want to present themselves. It totally depends on the subject. Sometimes you have a situation, for whatever reason, where a subject is never going to be at ease during the shoot – and in those circumstances I make sure they know they have a voice in the process and I try to create the best image possible with the energy and environment presented.

“I was overwhelmed by the freelance lifestyle and didn’t have any mentors or models in my life that were in the photography world.”

How did you get into photography?

I went to school for journalism and graphic design at the University of Missouri. Mizzou has an incredible photojournalism program, but I shied away from it – I was overwhelmed by the freelance lifestyle and didn’t have any mentors or models in my life that were in the photography world. After working as a graphic designer at several startups in Chicago I felt a bit lost and needed somewhere to put my energy. I bought a camera in 2010 on a whim and used it to explore Chicago which was still new to me. In 2011 I was accepted to Phoot Camp – a creative retreat in Marfa Texas. It changed everything for me – all of a sudden I was surrounded by photographers, some who were established and some who were just getting started. With their support I kind of figured out the business side of things and kept shooting tons of personal work. I started a food blog as a side project with a coworker in 2012 and it took off. Between the blog and Phoot Camp I was suddenly connected to prospective clients and supportive community. In 2014 Liz Miller Gershfield, senior art buyer at BBDO Energy in Chicago, offered me three one week shoots for Ziploc. I quit my job and never looked back.

Your travel photography always makes us jealous. What are the best and worst parts about shooting far from home and out of the studio?

I would say I shoot 70% on location and 30% in the studio. I’m so used to it, I don’t even think about it any more. The best part is that I get to take advantage of the setting and environment on location and let a person’s environment tell part of the story. When I’m very far from home (I shot in Manaus, Brazil this summer) the worst part is paring down my equipment but also being prepared for anything and everything. This isn’t too horrible, I generally like keeping a small kit, but it can be nerve wracking to know you can’t get anything extra once you’re there.

Do you gravitate towards very different work on your personal projects?

I think I’m lucky to have been hired for my personal work thus far. I got started shooting concerts, musicians and shooting for a food blog project with a friend. Now, I am often commissioned for portraits of musicians, and stories around chefs and food.

Can you think of a time that you wish a client provided better direction or support?

This is tough because I often appreciate freedom in projects. Ie, “We need a portrait of this person, we need it at this location, we need horizontals/verticals, the story is about x, you take it from there.” I think amazing work can be made that way and I feel more inclined to push things creatively because I can have some creative influence and become inspired in the moment. I think what can be challenging is when large commercial projects have no shot list or a very rough one, but at the same time are very committed to a singular, specific outcome that isn’t fully verbalized. When the shot list isn’t thorough – we get to set and the shot list comes in verbally, in real-time. There can be no end to the number of image requests and often requests are made that aren’t possible because of access to a specific prop or location. Don’t get me wrong they are often reasonable and creative requests – but for all the pieces to be in place on the shoot day, the client needs to have a clear vision of the final product well-before the shoot and have a solid understanding of what our shoot will produce.

What are major red flags when someone gets in touch about a potential project?

When they approach me without any anticipated time frame for the shoot date, want to know my “half day rate,” and don’t introduce themselves 🙂

Anything else you want to share?

There are high and lows with any project and I’m so grateful to do what I do. I’m grateful for the diversity of each week and steady flow of new connections and artistic challenges. I always end a project on a high, even if we’re all exhausted from production, it’s so satisfying to work with a group of people on something for a short intense period of time, then step back and feel like you made something, accomplished a goal, or made new friends. Cheesy but true!

View Lucy Hewett’s portfolio.