Born and raised in LA, photographer Sequoia Ziff has a magical way of merging fantasy and ultimate realness. Her photographs present human flaws in a complex light, holding in tension in a combination of vulnerability and spirit in striking, monochrome portraits. Ahead of her opening at Saatchi Gallery in London (where she is now based), Twin catches up with Sequoia to talk photography style and the magic of portraits.

How did you get started in photography and what’s your favourite camera to use?

I have known that I have wanted to be a photographer for as long as I can remember. It has always been my obsession.  I worked on shoots through high school, decided not to go to college and have been living for it since.  I am pretty low maintenance when it comes to gear, I found what works for me early on and have only made minor changes as my style has evolved.  I have always worked with Canons, I started on film and now tend to work with the same camera for every shoot, a Canon 5d Mark 3.

Why black in white over colour?

Taste. A lot of the time, it’s just what I think looks better. It removes a sense of time and place and keeps the focus on connecting with the subject. I do love colour though….in moderation.

Why portraiture?

I love people. Having your photo taken is a vulnerable process, and my job is to soul gaze all day long. That kind of vulnerability can be uncomfortable for people, and I enjoy helping people feel beautiful, just through the process of shooting them.

How did your style develop?

I have always been really specific in what I like aesthetically: old architecture, old movies, vintage clothes and a sense of timelessness. Anything that combines that with some haunted magical realism is always a bonus.

What is a good photograph to you?

One that makes you feel deep empathy and one that allows you to daydream.

Tell us about the worldwide tribe project. How did it come about?

I was the featured artist at Summit at Sea this year, the idea was to humanise the refugee crisis and dismantle the fear by bringing larger than life size portraits to the centre of the ship. I had known about the amazing work that Worldwide Tribe does and contacted them about partnering and ended up working with one of their partners on the ground in Greece documenting portraits and life in the camp. Excited that the show is coming to London next month, and will be featured at the Saatchi from August 9-31st.

Has Instagram helped or hindered the medium of photography?

Both. I think that social media is an amazing tool for photographers, and it has meant that upcoming generations are more invested and interested in photography than ever before. It’s made everyone a photographer. It means that as an artist, you are able to build a network and self promote to a much larger audience, and from anywhere in the world.

As a user of social media, I’m exposed to so many awesome artists that I may not have discovered without platforms like Instagram. That being said, I think that art often doesn’t have the intended impact that it would offscreen and in person. For me, social media is more of a business tool than an artistic one and the more time that  I spend off-screen,  the more present, inspired, and grounded I feel.

What are your plans for the rest of 2017?

Shooting as usual. Since moving from LA to London, I have been working a lot in the music industry,  so will continue to be shooting a bunch of album artwork and press shots for bands. 

Worldwide Tribe exhibition is at Saatchi Gallery London, August 9th – 31st 2017

Tags: Feminism, feminism photography, feminist photographer, interview, Twin XVI