Personal one - Cara O'Dowd interview
For our first interview, we’re featuring Cara O’Dowd — a photographer whose work gracefully flows between fashion, commercial projects, portraiture, and deeply personal creations. Join me as we step into her world and discover the artistry behind her beautifully diverse portfolio.
Could you introduce yourself and tell us a little about your journey as a photographer? Sure, I’ve been taking pictures since I was 7 years old, and my grandfather let me shoot sports with him for the local paper. I grew up spending weekends shooting on a Nikon f4 and then printing images in a darkroom. I never wanted to be anything else. I left school and went to RMIT where I got a degree in commercial photography before assisting in London and New York. I ended up in Sydney about 15 years ago. I started off shooting solely fashion; my first fashion campaign was for Camilla and Marc, and I remember vomiting the night before the shoot because I was so nervous. Since my Covid portrait project “lockdown locals”, I have also become known for my portrait work. I find taking portraits so rewarding, whether it be a celebrity in their home, a stranger on the street or an indigenous artist on country, I always learn something.
“ “I’ve had people recently suggest I get onboard with Ai image creation, If the shooting part is removed, then I’m out!”
How would you describe your style or approach to photography? I’m a problem solver, and I love to learn. I approach every shoot in a fun, warm, inquisitive way. I plan ahead with lighting plans, researching the person or brand I am photographing and planning contingencies for any issues that may arise. I always arrive over-prepared so that I can focus on the person in front of the camera. I surround myself with a great team. I work hard and fast but always do my best to make sure everyone has a great time.
I absolutely love shooting on location. I’ve had the privilege of shooting in some pretty picturesque places in the world, but I have to say my favourite is usually on a farm. I shot an industry campaign on a ranch in Colorado, heavily pregnant years ago, in well below zero temperatures, and it was such a highlight for me. It was really hard work, but the challenges that come from wild locations are so much fun; there’s always a problem to solve, which gives me a buzz. On the flipside, shooting in a studio comes with a lovely sense of calm and control. I always have my lighting plans A and B ready to go and run a tight ship when it comes to a schedule. Being overprepared means there’s usually some room for a little magic at the end of the day, when plan B lighting gets to shine and we get the unscripted surprise shots that are usually my favourites.
When did you first hear about this exhibition? When I first arrived in Sydney as an assistant, I was invited to the exhibition and hoped one day I’d be invited to be part of it. I always loved seeing the random things photographers shoot when they don’t have a brief. I remember I bought Liz Ham’s image of roadkill for a friend.
Is this your first time participating, or have you been part of it before? I’ve been part of it before.
What’s your strongest memory of the exhibition? I always arrive a little too late and my favourite pics have already sold! Ill aim to be early this year
What does it mean to you personally to be part of this collective exhibition? As a photographer, I don’t spend a lot of time with other photographers, so I really love that this brings us all together.
“ “I work hard and fast but always do my best to make sure everyone has a great time”.
What do you hope audiences will take away from experiencing your work here? A smile. I shot my daughter for this exhibition. We have just received an ADHD diagnosis, and I wanted to play on the way her thoughts take her away. She is always so enthralled in whatever is going on in her head, her sentences often begin with “…and also” the whole first part of the conversation has taken place in her head. I love it. I think ADHD can be a superpower.
How do you see the photography scene today, especially with younger generations coming through?
Oooh I feel like this is bait for me to say “all these young guys….” I won’t get all negative I think the younger generations are doing fun creative things I just hope Ai doesn’t suck the soul from the industry.
What projects have you been working on recently (If you can tell)? I’m very slowly working on my personal project “Loud mouth” photographing loud women influencing Australian culture, but it turns out loud influential women are pretty busy, myself included, so it will be a long-running project
Is there a future project you’re particularly excited about and would like to share? I’m always thinking of ways to shoot on a farm, so I think there will be a farm project soon. Any excuse, chuck on the work boots and get on a motorbike.
Looking back, is there a past project you consider a milestone or turning point in your career? My lockdown locals project changed my life. I wouldn’t have thought it at the time, but the simple act of hanging a sheet outside my house during lockdown, gifting neighbours portraits of themselves, changed the trajectory of my career. Here is a link to some info.
How has your photography evolved from when you first started until today?
When I first started, my time was spent in a
darkroom, now I spend a lot of time in front of a computer. I’ve had people recently suggest I get onboard with Ai image creation, and my response is “I went from shooting and then hanging in a darkroom, now I shoot and stare at a computer. If the shooting part is removed, then I’m out! I’ll go do something else.
What inspires you right now—whether in photography or beyond?
I’ve recently made a sea change and am feeling really inspired by the new scenery and creative people around me
What equipment are you currently using, and why?
I use Canon Cameras and I’m loving using constant light over flash right now. My favourite piece of equipment is my China silk, which has aged like a fine wine. The assistants are scared to let it touch the ground because they know how much I love it.
How does your gear shape your process or the kind of results you aim for?
I don’t think the gear shapes my process. I buy or hire gear that helps me get the results I’m looking for. I’ve never been one to get too excited by gear.
Is there a photographer, work, or experience that has been especially influential in your path?
I assisted some wonderful photographers, both here in Australia and overseas, all of whom in one way or another would have influenced my path. Most of the people I assisted were lovely, helpful, inspiring and kind, but there were one or two who were really not very nice to be around. Those guys really influenced me to make sure that everyone on set is comfortable and having a nice time. Once, as an assistant, I flew to Tokyo before asking questions about the job. It turned out to be a kinky calendar that a billionaire was making for his friends for Christmas. It was a very surreal week! Let’s just say that job taught me to ask all the questions before agreeing to a job.
See below Cara's image for the exhibition. Personal ONE was designed to celebrate Australian Photographers and to bring together an industry which often works apart, the exhibition features over 90 artists and sells prints at an affordable price to raise money for the wonderful local Sydney charity OZ Harvest. If you want to purchase this print, click here. Thanks for being part of personal one.
