Q&A with Kate Shanasy

We recently had the pleasure of speaking with Kate Shanasy, an Australian photographer whose work is grounded in intuition, spontaneity, and a deep sense of connection. Her images often feel effortlessly composed, a result of her ability to move with creative flow and respond to the moment as it unfolds. 

In this Q&A, Kate shares how seasonal living and travel shape her vision, the story behind her introspective ‘DUNES’ series, and the importance of staying curious, adaptable, and aligned with purpose, both creatively and personally.

Q. You describe your photography as capturing a sense of effortlessness and ease, which we love. How do you achieve this 'slightly undone' curation in your work?

KS Oh, hah! I think by working more intuitively, being present, and getting into some kind of flow and ‘feeling’ the moment, rather than trying to create it. I love not totally knowing where the shot is going. Keeps things spontaneous and fresh, and that intrigues and energises me.

Q. Working seasonally between Blairgowrie, Melbourne, and Europe, how do these locales influence your creative vision and subject matter?

KS Exploring new environments, landscapes, cultures, food, people, etc., means I can lead with curiosity and all my senses stimulated; feeding off each other, but also often collaborating with the experience of others at the same time. A win-win, ongoing creative frenzy.

I also think it’s important to keep creativity moving. I liken this to the flow of water as a calming metaphor; that it’s fluid and ever-evolving in many forms, depending on its environment (e.g. fresh river, salty ocean, ice, mist, rain, etc.). I believe I may have  a fear of staying still, like stagnant water that accumulates bacteria and diseases. YUCK. Even the thought of that in my body is the motivational kick I need to keep things moving and flow happening. 

Pictured: 'Enzo 2024 | delizia al limone (LEMON DELIGHT)' 

Q. Transitioning from writing and videography to photography, how have these disciplines informed your approach to visual storytelling?

KS Hmm. While the craft and output for each differ so much, what they all have in common is their ability to uniquely tell a story and connect, so it’s taken me a hot minute to realise that at the heart of what I do, I’m a connector and storyteller; connecting people with people, ideas with people and ideas with ideas. And the joy of this is often in the journey, too.I started as a writer with Broadsheet Media, but I wasn’t any good. I just liked meeting interesting people and interviewing them, and helping to tell their story. I gravitated to videography after that, and I still love it, but I can over-invest and disappear down a rabbit hole for an embarrassing length of time. I love photography the most because it can be incredibly in-the-moment and keeps me on the move. Perhaps my background in writing and videography has shaped my photography in the way I try to pack as much information in one still image as I can (when appropriate). I do love to push the boundaries whenever I can - not to be rebellious, but because I’m curious for the outcome. I’m always seeking new ways to tell the richest, most authentic, and compelling stories I can.

What this could look like is perhaps playing with shadows in my photography to hint at more that’s happening out of frame. Similarly, focusing on a human reaction to something that’s occurring off-camera is another way to add intrigue and depth… It's about what the viewer can’t see that’s the most telling sometimes. And then playing with long exposure and motion blur is a fun way to bring in video elements like movement. And then for sound and ambience, perhaps incorporating a record player or candlelight in the composition helps to subconsciously give the viewer a richer sense of the vibe in the image.

There’s a lot more I can say here, but really I just adore how playful it can be and seeing how much information I can pack into one shot. The possibilities here are kind of limitless in a way, and the more I unlock, the more I learn how much more there is to unlock. I think I’m addicted to this shit.

Q. Your 'DUNES' collection has seen significant success. What inspired this series, and how do you feel it resonates with your audience?

KS The coastlines of the Mornington Peninsula are often photographed in the peak of summer with blue skies and vibrant beaches, but actually I think these back beaches hold significant meaning to people year round and through more solemn and reflective winters, too. The DUNES series is moody and intimate and timestamps a slow and sensitive time for me during the COVID pandemic. I only had a 5km radius to explore for much of the year, but actually what I saw and the connections I made in nature were extraordinary in this time. My camera was my witness, and nature my friend so really I learned I didn’t have to feel alone. I think that’s special and its vulnerability is perhaps what resonates with people. But also the tones and colour palette in the series style so well with all the goodies at Coastal Living - a match made in heaven and a valuable relationship ever since. So too with House of Spoils on the other side of the world in Los Angeles. Crazy to think our local back beach landscape resonates with a global audience, too.

 Pictured: 'Kate Shanasy with “Roundabout”, “Rolling”, “Algae”, “Groove” from DUNES'

Q. Collaborating with brands like Broadsheet and KitchenAid Australia, how do you balance commercial objectives with your artistic integrity?

KS By asking the question of why? And then asking it again and again; going deeper and deeper until I feel I’ve reached the ‘heart’ of the commercial objective. Bringing in a human element is a nice way for commercial work to feel natural, purposeful, relatable, and authentic. I definitely don’t always get it right. It requires time, space, budget etc., and too often these are the first things to be squeezed to get projects over the line. Wherever I can, I like to take my time and get lost in time, and give space for my heart to get in the game. Or better still, if you don’t feel aligned to the brand and/or the objective, give it a miss and catch the next one. There is ALWAYS more work out there. Delude yourself of this until you believe it, because having an abundant mindset is your greatest weapon.

Q. Your work has been featured in publications such as The Design Files, Houses Magazine and Gourmet Traveller. How do you tailor your photography to align with the ethos of these diverse platforms?

KS I try not to tailor it, actually! In these examples, my work was featured retrospectively after they’d already seen the images. When work is commissioned, though, my number one driver is to try to capture the essence of a brand/person or brief. My approach here is if I believe the process feels authentic, then what’s created should inevitably hit the mark. And then publications can reach out if what they see aligns with their core values. It’s a flip of the script (just how I like it) and I think it betters the chances of staying true to objectives and the ‘heart’ of the brief. Let it run wild a bit! Let intuition, nature and imperfection decide a little, rather than ticking off a shot list. Trying to work the other way around and mould whatever you’re doing to get into a publication doesn’t flow the same for me. It’s like swimming upstream. I’m aware how privileged it is to find work that aligns with our core values, so I try to make the most of this and bring positivity and purpose to it, while not for a second taking it for granted.

 Pictured: 'Broadsheet x Intrepid Travel | INDIA 2024'

Q. What advice would you give to aspiring photographers who are just starting out?

KS Your number one priority, I think, is to help people. Be useful to them. Anticipate their needs and make it a fun and pleasurable experience to work with you.

Hire equipment until you can purchase it, and always stretch to buy the best you can afford and grow into it.

Mix business with pleasure! Why the hell not! Photography is so broad so best to follow your interests in food or perhaps sport, and offer to shoot the new menu at your local restaurant or cafe, or maybe the games at your local footy club. Volunteer to develop your skills, meet like-minded people, and the money will eventually come. And then getting paid for work you were happy to do for free is such a sweet feeling and never gets old.

Get into good admin habits early, like filing your jobs by date and setting up your accounts with MYOB or Xero.

Just keep making progress because you never fall lower than the progress you’ve built. And no one can take your growth or learnings away from you!

I have always prioritised working with good people over cool brands. Initially, this was unintentional, until I realised that choosing peace over status is well worth it in the long run.

Move like water! It’s the best analogy. Keep flowing and creating new pathways while evolving and adapting to your environment along the way. Like a stream. Weeeeee, fun!

Pictured: 'NGV - Winter Masterpieces Exhibition - Pierre Bonnard, 2023.'

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Learn more about Kate Shanasy and her photography here: KateShanasy.com and follow her on Instagram to stay up-to-date with her life and adventures.