“When you start to find the answers you then realise that’s when the work actually begins – which is a little daunting and if I’m honest possibly not something I would have done had I not taken this path,” tells us photographer Jacqueline Giltrow in our exclusive interview. In it, we delve into the life of a woman who has embraced change and uncertainty, transforming them into inspiring experiences and artistic accomplishments.
Jacqueline’s story is not just about photography; it’s a discourse of breaking free from the conventional, of finding one’s true calling in the most unexpected places, and the continuous quest for personal and professional growth. Her journey from a structured corporate world to the fluid realms of creative freedom in Italy, and then beyond, is a glaring example of resilience, and the relentless pursuit of passion. In our talk she also shares insights about the transformative power of taking risks, the art of weaving stories through collaborations, and the impact of photography on societal change.
Jacqueline, you’ve described the freedom afforded by your creative life as ‘beyond words.’ Can you share a moment or project where this freedom led you to a surprising or unexpected artistic decision?
In all honesty every project delivers a surprise, a very big reason I love how I’ve chosen to spend my time. My approach to projects, whilst we have a story to tell I like to keep the details fluid and stay open to those unexpected opportunities on location.
Producing projects in Lamu Kenya last year was a pivot from my usual European campaigns, I had come across an image online of an amazing villa surrounded by shell walls and from that one image ended up travelling to Africa and producing several projects.
Looking back on your decision to leave your corporate job and move to Italy, how do you think this risk has shaped your personal and professional growth?
Making the move to a new country but also navigating an entirely new career path I had to (and continue to) ask myself some very real questions about fears, limiting beliefs and where they stem from. I wasn’t turning a page, I was writing a whole new story so to speak. When you are running your own business and literally responsible for your outcomes creatively and financially you need to get real about what motivates you, how you spend your time and how you are going to respect yourself in showing up. When you start to find the answers you then realise that’s when the work actually begins- which is a little daunting and if I’m honest possibly not something I would have done had I not taken this path. The personal work you do is more of a full time job than the creative- but I believe you can’t have one without the other.
From a creative perspective Italy made sense- it was where I found myself the most inspired initially and that translated to my work. Once I had gained that creative confidence it definitely served as a springboard to then push myself in new directions in terms of style, location and medium.
“When left with no responsibilities, no one to answer to but myself, the one call that came through loud and clear every day was to create.”
You rediscovered your passion for photography in Italy. Can you tell us more about it?
I was a bit of a late bloomer when it came to European travel compared to most of my friends and family. My first trip to Europe was in my early thirties and I was completely blown away by how inspired it left me. Australia is an amazing country but it’s relatively young in the grand scheme of things. The history, the depth, the stories and the architecture in Italy resonated with me. It was this strange mix of familiarity and wonder.
Positano in particular- the light I am still enamoured by everyday and I knew I had to return, it was the people though that made me want to stay.
I was leading a happy life in the corporate world, but as time went on throughout my career I started to feel like there was something missing. As it turns out there were two-freedom and passion. I’d studied photography at university but upon finishing I really wasn’t driven to pursue it. Looking back I think that was a fear based decision, I took the well worn road of a stable job offer instead of pushing through limiting beliefs.
That realisation as well as many others came on a 3 month sabbatical in Positano. There was a lot of spritz drinking, sea swimming and pasta eating for sure- It wasn’t all soul searching. When left with no responsibilities, no one to answer to but myself, the one call that came through loud and clear everyday was to create.
How has your background in the corporate world influenced your approach to photography and creative projects?
My corporate role was very much centred around team environments, coaching and development- ultimately listening and understanding people. That focus has definitely transferred to how I approach projects. Both in the preliminary planning/concept phases and also on location. Being aware of the energy I’m bringing, how I can support the team and creating a space where everyone feels safe to give input.
“In all honesty, every project delivers a surprise, a very big reason I love how I’ve chosen to spend my time.”
What are some of the most unexpected challenges you’ve faced while establishing yourself as a freelance photographer?
Initially community and transparency. When I first started in the industry 5 years ago I really struggled to find creatives to connect with-even for a coffee. Coming from a corporate background, networking was relatively easy so this was quite unexpected to navigate.
I also found those initial contacts weren’t overly transparent in terms of projects they were pitching, ideas, hurdles they faced etc .
It felt very top line conversation and no one wanted to be overly vulnerable. Which I understand- vulnerability isn’t easy but initially the community felt more competitive than collaborative.
I’ve since found in the last 12 months communities like the Modern Photography Association have really broken down those barriers.
How do you choose the brands and projects you work with, and what do you look for in a collaboration?
I need to feel a sense of a story. And by that I mean when looking at the brand aesthetic, model, magazine- whatever it may be there’s a feeling, a thought, an instinctual “yes” where your mind immediately starts to put pieces together. There’s a level of intrigue and you expand from there.
In an interview you mentioned the emotional impact of imagery. Can you share a particular photo or project that you feel especially connected to and why?
I was afforded the privilege to spend time with a family in Bali that was facing losing their home due to landslides. The imagery from the project was able to bring awareness and assistance to create a new home and ultimately life for them. Up until that point my work had been very centred around fashion and travel imagery, to be able to directly impact someone’s quality of life and future was very raw and humbling.
“Initially the community felt more competitive than collaborative.”
Given your global travels and diverse shooting locations, how do you manage and minimize your environmental footprint?
Minimizing environmental footprints was one of the biggest drivers in creating the Locational app with my business partner Úlfur Kristjánsson. I wanted a platform that enabled creatives to connect locally and for brands to be able to engage teams on the ground globally as opposed to having to fly whole teams in for shoots.
There is such a wealth of talent worldwide but no way to easily connect with each other. Not just to expand on your own network and obviously save a lot of time in shoot production planning but most importantly to consciously use local resources and minimise environmental impacts associated with creative production.
How do you think photography, as a medium, can contribute to societal change or awareness?
I think showing people the impact instead of telling them will always translate to a better awareness. Compelling imagery has the ability to inspire dialogue, change perceptions and mobilise action. For better or worse social media has conditioned society to prioritize video and imagery over the written word and as such photography has the capability to be a global change language.
www.jacquelinegiltrow.com
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all images provided by Jacqueline Giltrow
