“We Learn As Much From Each Other As From Our Lecturers and Tutors” by Liza Danstig

Lizzie Downes: on her photographic approach, research processes and Zurich Portrait Prize 2021

by Elizaveta Danstig

Hello, Lizzie! Please tell our readers about your photography, where it begins?

I’ve always been interested in photography. In my early twenties I bought myself an SLR camera and taught myself how to use it. I was actually working in education for over 20 years, in a non-governmental development organisation for many years, and then in third level as well. All the time I was interested in the practice and theory of photography, even when I couldn’t seriously pursue it, because I was raising my children and I couldn’t just go back to college.

For instance, while working in third level education, I did some research around the representation of vulnerable people, particularly from the Global South. I suppose it was my way of bringing photography into my work. And I did some training around what is called “participatory photography’’ or “photovoice” and used that with my students as well. Photography was always there as an interest, but also a kind of frustration because I couldn’t really focus on it. I was always taking photos of my kids, mostly using film. I have so many negatives and stuff that is not scanned or maybe even developed. I was building up an archive, but not actually doing anything with it.

About five years ago, I became unwell and this really gave me a reason to look seriously at the work I was doing and reflect on what I wanted to do with my life. It took me quite a while to recover and it really affected my perspective on things and I realised that I had to re-evaluate my work-life balance.

In 2019, I applied for the NCAD certificate course in Photography and Digital Imaging, and it was really inspiring, opened my mind, gave me a different understanding of what I could actually do studying photography. Lizzie Downes next to her work ‘Inside’. Photo by Marina Dmitrik

I loved the visual culture and theoretical aspect as well as practice and just being with other people who had similar interests. I think it’s important especially for a photographer, looking at other people’s work, discussing it, sharing your work. We learn as much from each other as from our lecturers and tutors.

Then I applied for the photography degree in Griffith College which I’m studying now.

During the lockdown, when all our projects and shoots were cancelled, I found that I was able to turn things around and use the opportunity to focus on my family, and I ended up producing a photobook.

What topics excite you and are most often reflected in your work?

Particularly and primarily, I am interested in people, portraiture, and documentary or a hybrid of these. I have been focusing a lot on my family, trying to find ways of bringing photography to my locality and my community. I really admire photographers who have managed to spend their whole career just focusing on their local community, like for instance Saul Leiter, who always found something new to photograph just around the block in his locality (although he did live in New York!).

There are always opportunities, we just have to be patient, and we will find them. We don’t have to fly off to India or the Amazon to find topics for projects. I am interested in the idea of the female gaze and I want to give a voice to those who are underrepresented, women in particular. Those who I photograph are not the subjects but are always active participants.

Tell me what you are working on right now

At the moment, I am working on things related to college: assignments and other stuff; I’m working on a film about seagulls in Dublin City (laughs).

They are kind of contentious because they are known to attack people. I suppose they create problems with noise and nesting habits, but they are protected by EU law. However there are varying opinions on them and their presence in the city. I’m interviewing different people and trying to show their feelings about this. I think they are an essential part of the city, but there are those who love or hate them.

Hope to see your work soon! And what does your project cycle look like?

At the moment... chaotic (laughs). Under ideal conditions, I tend to do a lot of research, reading around the subject as much as I can; looking at other photographers who have done similar work on whatever my theme is. In the NCAD course we had to put together an actual physical workbook, as we were progressing with a project.

Here I would put all my contact sheets and drafts before actually starting shooting; I really feel that this kind of approach puts me in a much stronger place: when I have this wealth of information and exposure to other perspectives. Then I can put this aside, go into the project and do what I want to do.

I tend to plan a lot, and then shoot a lot. Even when I am shooting film I tend to take lots of pictures and it is hard to stop. But the nice thing about film is that it really makes you much more present with your subject. It makes you check less and you have to be very much “in the work”. Then the editing, which I find very painful and difficult, takes a long time. Sometimes I go back and re-shoot more, or end up having too much and cutting it down.

There is an opinion that it is “impossible to create a shoot without a good idea.”

Do you prefer planning or improvisation?

Actually both, because it’s really about being open to ideas or being ready for something to present itself. When I go out for a daily walk I would often bring my camera just in case. And, of course, the day I don’t bring it is always the day something amazing appears. Generally, I do plan, maybe even over-plan, but I keep telling myself to be ready in case something happens.

Sometimes I feel that everything has already been said, shown or shot before me.

Inside, a portrait by Lizzie Downes. Photo courtesy of Lizzie Downes

Do you have that feeling? In general, is there a new word in photography now?

It is true. Sometimes I think: “Wouldn’t it be amazing to be doing this work in Victorian times when only a few people were doing it, very few women”. Maybe there would be more space to emerge.

When looking on Instagram I find so many amazing people, they are amateurs who are doing incredible work and I think: “They don’t need me doing that new work.”

But then you might see someone who’s doing something similar to you, exploring an idea you share, that can be encouraging. However, it is very easy to feel deflated and wonder: What the hell am I doing?

Please tell us more about the Zurich Portrait Prize, how were you nominated for it?

Honestly, I never expected it at this stage of my career. I feel like I’m just starting out. When I entered the competition, I wasn’t working on anything in particular and thought: I need to get into the habit of submitting my works to exhibitions.

When you’re starting, you often feel really insecure and lacking in confidence about your work. I found this difficult at the beginning, but now I’m gradually growing in confidence – and, really happy to have been shortlisted. It is a good exercise to apply for such things, and the photo I submitted wasn’t the usual style of portrait I make.

For me, this was an unusual approach, more like theatrical art, improvisation. It was something that happened rather than was prepared, posed or set up. It was a stroke of luck for me.

How do you feel about plagiarism in photography and how do you “protect” yourself from it?

I might be more shocked than anything, if I saw someone had copied my work because it was good enough to copy (smiles). But I do feel for people who have had their work used, for instance, some people rephotograph other’s pictures and present them as their own to make a lot of money from it, but the original photographer doesn’t get anything. I think that happens a lot. If the person is losing out financially and doesn’t get compensated or get any credit, then that is unfortunate and not fair.

What would you say to yourself at the beginning of your career?

I would say: Don’t be too concerned about others’ expectations of you. Take good advice but follow your own instincts. I often ask myself:

Why didn’t I study photography thirty years ago? But the circumstances are different. I still tell my kids: study what you really want, don’t choose because of others. You need to do something you love.