Q&A with Photographer Delaney McQuown

‘BLT Contemplation’ is not only a self-portrait, but sits within your long-term photo project that encourages women to seek liberation through unidealised and humorous photographs of themselves. Can you tell us how this project came about and why it is important to you?

Self-portraiture is an ever-evolving journey, one that began for me in college when I started noticing changes in my body through photographs. Like many women, I struggled with insecurities about the person I saw reflected back. But rather than shying away from the camera—an art form I deeply loved—I chose to embrace it.

I began taking photos of myself in so-called "unflattering" ways to confront and understand the emotions that surfaced when I saw images I didn’t like. This practice became a form of therapy, guiding me from a place of judgment to one of acceptance and, ultimately, self-love. 

By choosing kindness toward myself instead of criticism, I was able to create thousands of images that celebrated my authentic self.

This transformative process inspired me to extend the same approach to other women navigating their own journeys of self-love. Using humor and a sense of playfulness, I aim to help women find freedom in simply existing within an image—unapologetically and joyfully—in a photographic state of play. 

In light of this project, can you tell us about the message behind 'BLT Contemplation'?

'BLT Contemplation' came about completely by accident. I had been working on a personal project for hours, drawn in by the lighting near my window. Feeling stuck and uninspired, I decided to take a break, shower, and return with fresh energy. When I came out, my roommate had made me a BLT. I sat down to enjoy it, and in that unplanned moment, I snapped a few photos.

What I love most about this image is how authentically it represents me. There are no staged props—just me, fresh out of the shower, in my home, eating dinner. The imperfections in the photo tell a story: the scuff marks on the wall reflect the lived-in nature of my space, and the scabs on my knees highlight the reality and lived-in state of my body.

This image holds a special place for me because it feels raw and real. I’m incredibly proud of it and grateful for the recognition it received. It deepened my exploration of self-portraiture and reinforced my commitment to embracing and documenting my most authentic self.

The practice of photography concerns itself with numerous concurrent gazes, from the subject, the viewer and the photographer themselves. Within the context of your long term project, how do you take into account these gazes in your practice?

Spectatorship is a given when partaking in the image making process. Exploring themes of self-acceptance and self-awareness, I feel it is crucial for the subject to disregard the viewer’s gaze as much as possible. When we consider the gaze of viewers, we feel more critical of our appearances and are less likely to explore unconventionality and unideal imagery. When we stop considering the audience, less emphasis is put on self-curation and there is more room made to care for and explore creative labour. This experimentation creates more authentic images and allows the subject to be closer to neutrality as they must see all sides of themselves to become totally familiar and self-accept. Why would you need others for something called self-acceptance? To ignore viewers’ gazes, I encourage my subjects to engage in play for themselves, rather than performance for others. 

To divert the power of my gaze as the photographer, I try to get on the same level as my subjects. I aim to establish a safe space where we participate in what feels unnatural or uncomfortable together. Whether it be wearing the same vulnerable clothing or acting silly, I will always put my subjects’ comfort first. I will never ask my subject to do something I wouldn’t be comfortable doing or demonstrating first. When creating an image, it is a collaboration and we are in it together. 

What are your thoughts on the role of women in photography today, and how do you think the industry can better support women photographers?

There’s always room to create more opportunities for women in photography. Our perspectives—shaped by our experiences and how we navigate the world—deserve to be heard and celebrated. Historically, the contributions of women in photography have often been overlooked, and I hope to play even a small role in changing that.

While I can’t single-handedly resolve issues like unequal pay, limited access to high-profile assignments, or the lack of women in leadership roles, I do believe in the power of advocacy. I strive to encourage women to champion their own voices and pursue both professional and personal projects that truly reflect their vision.

Currently, I work as a commercial photographer at OMS Photography. Although the company was founded by men, they’ve cultivated an environment where women’s perspectives are genuinely valued, celebrated, and supported. Working with a team that respects my voice has allowed me to explore aspects of my craft that I might not have imagined otherwise.

To women entering or navigating the industry, I’d say this: seek out studios, clients, and projects that value your story and align with your values. And don’t hesitate to walk away from opportunities that don’t feel authentic to who you are and what you stand for.

Are there any other themes or stories you’re particularly drawn to exploring in your future work? 

I am continually drawn to exploring the female experience through photography—as you can see, it’s a theme that deeply resonates with me. 

Currently, I’m working on a personal project called 'Swimsuit SZN'. This ongoing series invites women-identifying individuals to join me for a session in their favorite swimsuit, surrounded by some of their favorite things. The swimsuit, one of the most body-centric garments, becomes a tool for fostering self-acceptance and neutrality.

Through this photographic state of play, there’s no pressure to “prepare” for swimsuit season. It’s an open invitation to come as you are. To make the experience even more collaborative, I’ll wear my swimsuit too, celebrating the shared journey toward self-expression and confidence.

As for the future, I am working on small series utilizing archived photographs I took of my younger sister throughout our childhood. It feels like a form of research... investigating the insertion of a camera at a young age and its impact on self-perception with continual underlying themes of girlhood and the female experience. It still has a long way to go, but I think there is something worth discussing there. 

These projects will be something I continue to work on as I explore the camera’s impact on self-perception in tandem with the female experience.

This year, the World Food Photo Awards sponsored by Tenderstem®Bimi®Broccolini will take place between 21 - 25 May 2025, across the West, East and North Galleries.