Niamh Barry is a Dublin-based Irish photographer, videographer and documentary maker. In our first OTwo interview of the year, Alice Keegan and Laura Molloy chatted to Niamh about her life, career, and the growing industry of photography.
Throughout Niamh’s career, she has shown a commitment to spotlighting queer artists and creatives. When asked what the proudest moment of their career to date was, Niamh mentions their 2021 project, ‘No Queer Apologies,’ a photobook and exhibition exploring the queer experience. A turning point in her career, an opportunity was given for people from all around Ireland to share their stories and Niamh stated that this was when they realised that, “this is what I want to continue and foster.”
Niamh has had an incredibly busy year. Another big moment in her career, she worked on a documentary with just a small team, with herself acting as the “brains and drive behind it”. Niamh sought to challenge their own capabilities and skill - “pushing [themself] and seeing how far [they] can go.” Their documentary, Something in the Air, took both passion and motivation but when the videographer met the subject of the film, Raychel Sanner, a transgender storm chaser, it all began to come together. While it started out as a photo series, as Niamh began to tackle the issues of climate change and the dwindling of trans rights, Niamh realised that an in-depth documentary could be produced alongside it. "What’s going on in the Global West, things like climate change and storms increasing and increasing in terms of their impact, whilst at the same time human rights of trans people are all quite in flux right now,” - the symbolism of Raychel choosing to chase storms struck Niamh as monumental. Filmed in May of this year, the documentary is set to be submitted to film festivals in the coming months, while the photo series will be on exhibition in Photo Museum Ireland in Temple Bar, Dublin, from the 30th of August.
Niamh is also a prolific gig photographer. They have photographed artists ranging from Julien Baker to Clairo to Adrienne Lenker. However, for Niamh, the most exciting concert to work at was Boygenius’ American tour. Though there were some hiccups regarding visas, they were “sorted out in the end”, and overall the experience, in all its chaotic glory, was “honestly just such a dream” which she “still [doesn’t] believe even happened”. Chappell Roan was also an “exciting” experience but Niamh notes that “no matter how big they are” the driving force behind who Niamh photographs is usually that they are queer, something which is reflected in the photos, both the atmosphere of the crowds and the entertainment provided by those on stage - “it’s like a combination of everything”.
Queer music is not the only part of the queer experience Niamh has delved into through the medium of photography, however. Through their work, Niamh has explored Irish femininity, masculinity and sexuality, particularly in the context of Ireland’s long and dark history, which has been so intertwined with the Catholic Church. When asked if this is something that may be developed further, Niamh explains that, “It was something that I was working on for so long. And then I came to a bit of a wall with it . . . I just fell out of motivation for it, because I had [explored] it so much and trying to expand it and expand it became a bit exhausting . . . I needed space from it, I think”. Whilst shifting her focus to other projects for the time being, Niamh hasn’t ruled out returning to the themes at another time, clarifying that they are omnipresent in her work regardless of how conspicuously they may manifest; “I definitely think I will go back to that, 100 percent. It’s always going to be within it all anyway”. Christianity and religion in general, Niamh clarifies, has always had “a way of influencing the way that queer people have existed” in certain spaces, therefore it would be a “shame not to go back to it”.
In terms of how Ireland supports artists, there needs to be a lot more support.
On their personal experience of the Irish photography scene, Niamh found that breaking into the industry required, “a lot of hustle, self-motivation and being very diligent”. They discussed various barriers that they faced, including the difficulties encountered in paying rent without a steady income and employment in photography. Upon finishing college, Niamh recalled asking herself, “Okay, how do I make this into something that is viable and something that I can actually live a life where I’m not under financial stress?”. However, it would seem that for artists in Ireland, as a direct consequence of the lack of government support of the arts, financial instability is inescapable. Niamh acknowledges that, “that’s just the kind of life you have to choose when you choose art, sometimes.” Has she found ways to cope with this incessant uncertainty, particularly during the periods of her career where she suffered financial strain? “I tried to push through that as much as possible and remind myself that it will get better,” Niamh says. This “hoping for the best” mentality is one shared by artists throughout the country as Niamh affirms that, “In terms of how Ireland supports artists, there needs to be a lot more support.” Regarding the industry itself, prejudices are inherent, and often not just implicit; “it’s always going to be difficult when you’re someone who’s not a cis white man”.
Despite these setbacks, Niamh’s optimism is admirable. Even during points where she felt dejected and blocked creatively, Niamh has “pushed through” - and found these darker periods leading them to new places - they travelled to Berlin for, “a bit of a change, and to take some space from Ireland”. However, she does sombrely recall one particularly tough winter, where she couldn’t afford Christmas presents for her family. Such experiences and feelings are undoubtedly familiar to artists and creatives everywhere. However, as it always does, the tide turned and momentum was gathered, Niamh also credits the Agility Award which they received in 2024 for this, and states that the “small funding” she was awarded “just goes to show how important it is to fund artists”.
Niamh has also faced criticism with regards to her work as a queer photographer - particularly from men. They highlight instances where there were attempts to “dim down the experience of underrepresented people” to cartoons and analogies, alongside other “strange comments” which have been directed towards them online. Nonetheless, Niamh has refused to become disheartened.
The above are, of course, not the only areas under which the arts are scrutinised and attacked. As outlined by Niamh, the impact of government support of the arts can be monumental. But in the current state of the world, as Kneecap member Liam Óg Ó hAnnaidh, better known by his stage name, Mo Chara, has been brought before the British Court, and author Sally Rooney is now increasingly under the microscope due to her outspoken support of the Palestinian people, her condemnation of Israel’s actions, and her solidarity with the activist group, Palestine Action. The arts have proven to be a powerful and particularly inflammatory mode of bringing attention to the genocide in Gaze. Yet beyond the complicity of governments, art institutions too can silence artists in their activism. Niamh mentions how art institutions may refuse to select and showcase artists vocal in their support of Palestine, and highlights fears that some artists have about their activism being weaponised against their career development, and “used against [them] in the future.”
Niamh refers to the growth of the far-right and their “dangerous capabilities” which artists “should not underestimate” and states that amidst this, “the likes of Sally Rooney using her royalties to support Palestine . . . that’s so amazing.” Niamh reinforces that artists must aim to bring attention to Palestine, against the rise of the far-right, censorship and “general centralism where people can’t even speak out about something that’s extremely horrific,” which lead to “tyrannical governments, because if they can control that, they can control everything”. Art, for her, is “a tool … of expressing our way of supporting it, but also trying to create a platform for it as well and even trying to change a few people’s minds”.
Niamh reinforces that artists must aim to bring attention to Palestine, against the rise of the far-right, censorship and “general centralism, where people can’t even speak out about something that’s extremely horrific."
After stressing the importance of staying informed, Niamh went on to discuss their own educational background. Niamh completed a degree in business and sociology from Trinity College Dublin in 2021. She explains how her parents, who weren’t college-educated, guided her to study a degree with job security. Niamh recalls being told, “You need to do something where when you get out of college, you have job security . . . you need to support yourself, [and] you need to be able to build a life”.
Niamh continued to tell us that even though she decided to “follow the more academic side of [herself]”; she was content with her choices. Looking back at their time in college, Niamh reflects on how they don’t “regret doing what [they] did at all, because [they] did enjoy what [they] studied . . . more the sociology than the business, obviously.”
Despite enjoying her degree, Niamh explains the challenges of not having a creative background in her career. When asked about their experiences, they say, “I literally knew no one, because no one in my family ever even thought of the possibility of it. Because again, I didn't grow up with my mam and dad being artists, or my uncle being an artist or whatever. It wasn't like that at all.”
When asked if going to art college or studying a creative degree would be beneficial for networking and growing your circle, Niamh firmly agreed. Niamh stresses that “networking, even with college lecturers or tutors,” can be of great help. “Having that support is unbelievable, along with those people who are very well-versed in the discipline that you’re studying”.
According to Niamh, “It's 100% worth going to college for whatever you want to do. No matter what field you end up in after college, you just need to have that motivation to either start your own business or become a photographer.”
As an artist, Niamh comments, “You really do have to motivate yourself and really like to push yourself.” They recounted their own experience of setting up a print store online (which they have since closed down). The store was, “up for a brief time, selling some Boygenius photos.”
She explains that the purpose of the print shop “was because [she] needed to make money back from flights at that time.” Niamh told OTwo that they were “really struggling financially,” but that setting up your own shop “is a good way to start off”. By “offering your prints” you are “making sure that you value the work you're making”.
As explained by Niamh, setting up a business does not only provide monetary value, but also intrinsic value in both you and your work. Niamh tells us the “one thing [she] would say about having a print shop is that when [she] started out, [she] had absolutely zero value in [herself]”. Since starting their career, Niamh’s work has naturally gained more attention which created space for an extensive learning process. “Obviously, I didn't really know [certain aspects of photography] back then. So it is a good way to try and start to make some money, and support yourself. Print shops can also be really great for fundraisers as well - it's a way for people to be able to support your art, but then also support whatever cause that you're advocating for.”
While learning the various practicalities of the photography industry, Niamh also discovered their creative preferences. They describe their own photography work as, “moments that normally go unseen,” and prefers to capture “moments that you might just not even notice if you didn't actually pay attention to it”.
[Niamh] describes their own photography work as, “moments that normally go unseen,” and prefers to capture “moments that you might just not even notice if you didn't actually pay attention to it”.
Reflecting on her past experiences of street photography, Niamh shares some insights from her trip to Vietnam she took earlier this summer. Niamh tells us how, “It was just so much fun taking photos there, because so much is going on - there's so many beautiful things happening that are very small,” Niamh says. “It's about capturing those small things - it could just be a group of women around a fire, laughing, and capturing that moment.” Niamh finds a lot of value in “using photography as a tool to platform those people and those stories that normally go unheard or unseen.”
When asked about future plans and if Niamh had any specific projects they’d like to do next, it became clear that they would love to pursue more tour photography. Although, Niamh notes, “A lot of people have joined that circle, so it's becoming more competitive - it's harder to get jobs in it.” She continued to discuss how gig photography isn’t her “number one disciplinary within photography,” so going on a tour would come with its own unique challenges.
On the topic of travel, Niamh affirms that, “Being able to travel with work in any regard is just so much fun . . . I would love to even visit somewhere like Mexico, photograph there, or South America,” Niamh says that with her line of work, she has been able to travel to unexpected destinations in the past. “I luckily was able to go to Cuba around two years ago, and that was so amazing and I definitely would go back … There's also so many countries in Asia I want to see. I only got to go to Vietnam so that was like such a small portion of Asia. There's so much else to see over there, so I'd love to kind of visit that continent again.”
Closer to home, Niamh has previously photographed Ireland's hit music festival Electric Picnic, and captured several artists including Irish band, Florence Road. Despite it being an enjoyable experience, Niamh describes music festivals as, “quite intense” and she explains how they can be “so taxing on your body”.
“It's really hard - you have to bring your gear around everywhere, and then you've nowhere to actually put your gear in festivals sometimes... The staff are like, oh it's over there, and then you walk 20 minutes with all your stuff, and then they’re like, no, it's over there.”
Niamh believes that festivals greatly need, “a proper space for media to actually go to and lock up their stuff and be able to relax or charge their things.” She says, “It's a real shame that some of the facilities don't exist for the media, or else it's just like, a prefab. I feel like the facilities could be better at festivals for the media in general, for video and photography.”
Niamh suggests that if you are new to the industry that you “support other photographers as well.” As a photographer, “it's not just about you, it's about the community - because if the community can't grow, then you won't as an individual either."
Despite the challenges of working in photography, Niamh still speaks highly of the career. They warn that, “It's not linear, the kind of progress is not linear, and the money isn't linear.” Niamh outlined the financial difficulties that comes with working in a creative industry. She emphasised that unless you are “extremely wealthy or have financial support,” you will likely need to make sacrifices.
Niamh’s advice for those beginning their careers in photography is that, “You just really have to push yourself and keep going - even when it feels really bad,” But they also advise towards a balanced approach - “It's okay to take a step back … and put yourself first … that's also really important, because you can't make something if you're not fully okay or there.”
“If you take a break for whatever reason, it's always something you can go back to or keep doing,” They also note that it’s important to keep the passion for the medium alive, even when it’s also your source of employment. “Work on your own stuff too, if you can l-outside of like the paid stuff it's like what else can you do, and are there any other passions you can go into with your camera … Because that also is part of it too, and I think people kind of forget that a little bit. The main thing is that if you do need to take a break, there should be no shame with that.”
Niamh suggests that if you are new to the industry that you “support other photographers as well.” As a photographer, “it's not just about you, it's about the community - because if the community can't grow, then you won't as an individual either”.
If you would like to explore some of Niamh Barry’s work, you can attend her current exhibition in Photo Museum, Temple Bar, Dublin which opened on the 30th of August. The documentary ‘Something in the Air’, the exhibition is based on, will be shared with various film festivals around the globe.
In the meantime, Niamh regularly shares snippets of her work on her Instagram account - @narryphotographyvids.