I graduated from Northwestern University's theatre department, with an emphasis in directing. In 1983 I founded Lifeline Theatre with 4 of my good friends, and we're still going strong! I served as Managing Director for 7 years, then as Production Coordinator. To support my theatre habit I pursued my passion for photography by working for two of Chicago's top headshot photographers: Tom Fezzey and Helmut Lipschis. I soon realized that taking pictures of actors was my dream job--the perfect melding of directing and photographing. In 1988 I opened my own studio.
As a theatre person myself, I understand my clients' dreams and lifestyles, and share a common acting and directing vocabulary. I realize that the thing that makes headshots daunting is that, unlike when you're on the stage, you have no context. There's no character (but yours!), no lines, no relationships. So I will be your director. We collaborate--I'll give you lots of ideas and mini-scenes to think about, so you've got something to do. It takes your mind off of what you LOOK like, and puts that spark in your eyes. I'm your editor and won't snap a picture that wouldn't reflect some part of your essence. The result is that you censor yourself less because you have a job to do, and the pictures look truly engaged and authentic.
Suzanne Plunkett
photographs
Because it's my dream job!
I graduated from Northwestern University's theatre department, with an emphasis in directing. In 1983 I founded Lifeline Theatre with 4 of my friends, and we're still going strong! I served as Managing Director for 7 years, then as Production Coordinator. To support my theatre habit I pursued my passion for photography by working for two of Chicago's top headshot photographers: Tom Fezzey and Helmut Lipschis. It didn't take long to realize that taking pictures of actors was my dream job -- the perfect combo-platter of getting to know people and helping them be their best, directing, and photographing. In 1988 I opened my own studio.
As a theatre person myself, I understand my clients' dreams and lifestyles, and share a common acting and directing vocabulary. I realize that the thing that makes headshots daunting is that, unlike when you're on the stage, you have no context. There's no character (but yours! Eeek!), no lines, no relationships. So I become your director. We collaborate--I'll give you lots of ideas and mini-scenes to think about, so you've got something to do. It takes your mind off of what you LOOK like, and puts that engaged spark in your eyes. I'm your editor and try really hard not to snap a picture that doesn't reflect some part of your essence. The result is that you censor yourself less because your brain is busy, and the pictures look truly authentic.
WHY I DO THIS