Interview: Suzie Weiss, Travel + Portrait Photographer
Photographer: Suzie Weiss
Based: Melbourne, Australia
Instagram: @suzieweiss
Quick Questions:
Favorite lens? Leica SL 24-90mm f2.8-4
(usually at 90mm)
Sunrise or sunset? Not a morning person
but never
regret a sunrise
Presets or manual editing? Manual
Favorite snack when travelling? Hard-boiled eggs
Somewhere you’ll always recommend or return to:
Varanasi in India
Photographing people + adventures in documenting cultures
1. What first drew you to photographing people as your main subject in travel photography?
I am an inherently social creature and my favourite travel experiences are always the interactions I have with people and learning about their culture. Making portraits of the friends I make along the way quickly became my way of capturing those memories and being able to share the stories of their journeys and mine.
2. How do you approach building trust with people you photograph, especially in communities unfamiliar with cameras? Any tips ?
The most asked question! I never approach a subject or situation with my camera poised or too obvious. Building rapport is about genuine engagement and an interest in the people that you encounter and it takes time to establish and build trust. Be curious and take an interest in what they are doing or making, ask questions (I’m very good at sign language!), join in if it’s appropriate, make a joke and share a laugh. It’s only when I feel like people are comfortable and enjoying the exchange that I will ask them if I can take a picture of them. An uncomfortable subject will make an uncomfortable portrait.
3. Have you found cultural differences in how people respond to being photographed, and how do you navigate that?
There are so many different factors depending on the country or region, religion and the age and gender of the people you may be photographing. Often women in less developed areas are very shy about being photographed and it may be frowned on in their culture. Again, it becomes about taking the time to develop trust and connection with them before introducing the idea of a photograph. I have found being female often helps and I can spend time with women and children and get pictures without anyone feeling threatened or offended which can be sometimes be much harder for male photographers. Younger people are also generally more confident with strangers and photographers and taking a few selfies or joining them in filming a TikTok dance usually breaks the ice!
“The time spent living and experiencing daily life in a Suri village and having the opportunity to get to know the people and their culture was an incredible privilege. We hung out for a few days getting to know everyone before we brought out our cameras and when we did we were able to capture some beautiful portraits of new friends.”
- Suzie Weiss
4. How do you balance capturing a beautiful portrait with ensuring it tells a story about a person’s culture or environment?
I always start out intending to capture wider shots to tell the story of someone in their environment but before I know it I’m right up close and zoomed in to 90mm capturing a head and shoulders portrait. I just love tight portraiture so I am always looking for faces that tell a story, expressive eyes, interesting clothing or jewellery, something about that person and their face or expression that gives a cultural context but leaves something for the viewer to ponder. I believe a good shot is often one that raises as many questions as it answers. Making portraits is my way of preserving and keeping alive my travel memories and when I look back at them I remember how I felt in that moment and what was special and unique about that person or place. When I share them my hope is that the image conveys that to the viewer. I also look for details that speak to a subject’s story and try to hero that in an image. It might be their eyes, the lines on their face, their hands or jewellery or body scarring on their back.
5. Do you tend to work only with natural light, or do you bring equipment when travelling for portraits?
When I am travelling I only shoot with natural light. Soft flattering light in the early morning or late afternoon is ideal but I can usually find a nice shady spot in the middle of the day. A cheap black bedsheet hung on the side of a car or under a tree can be handy to set up a quick makeshift studio, but I generally like to keep it as simple as possible when I am out shooting and travel light with just my camera on my shoulder and a spare battery in my pocket. I find less is more and way less obtrusive and intimidating and I also hate lugging gear around. I love a dark doorway or hut entrance to create a black or moody background or shooting from below using a blown-out sky as a clean white background option. Shooting indoors is a great option in harsher light in the middle of the day and I look for windows for flattering side light
6. How do you personally define ethical portrait photography while travelling?
Ethical travel portraiture is the practice of creating images that honour the individuality and dignity of the people encountered while travelling. It means seeking consent, respecting cultural contexts and portraying subjects responsibly and with authenticity - capturing not just appearance, but stories, in a way that reflects respect and human connection. I am often asked about this aspect of my work and I am very careful to always photograph and travel in an ethical way.
I am very conscious to never exploit or take advantage of poverty or disadvantage and never take pictures of anyone who doesn’t consent. I want my pictures to reflect my connection with a subject and don’t think there is anything appealing about a portrait of an angry or uncomfortable subject. I hope it’s apparent from my work that my subjects are all willing and usually enthusiastic participants. I am really careful about photographing children and always prefer to have the consent of a parent or an adult nearby. Children will often ask for sweets or money but I am really careful not to succumb. Most don’t have any access to dental care so sweets are a terrible option and if the children and their families realise they can make money from tourists they may find themselves on the streets, supplementing the family income rather than going to school. I always have my camera bag loaded with pens and notepads and all the hotel amenities I can get my hands on. A toothbrush, soap or a pen and paper are a real treat for many and a much more ethical option.
7. Has photographing people in remote communities changed how you see travel or humanity as a whole?
Absolutely. I have come to love uncomfortable travel, and as a result I have had the most extraordinary and life-changing experiences and interactions. I have seen first-hand and been humbled by the resilience, resourcefulness and grace of people living in some of the most extreme and difficult circumstances and environments. I have seen joy in the most unlikely places and have really come to appreciate the simple things. Getting off the beaten track with my camera has shown me the very best of humanity.
8. Is there a place or community you dream of photographing next?
I have always wanted to visit and photograph Jerusalem but in the current political climate that will unfortunately have to wait. Last year I did some work in an art centre in an indigenous town camp on the outskirts of Alice Springs and my dream is to return for an extended stay to photograph and document the lives of an extraordinary and resilient community who are so connected to their ancient culture and stories.
9. Do you have a favourite portrait from your travels, and what’s the story behind it?
This feels like choosing a favourite child! I have a soft spot for every portrait I’ve made as each reflects a unique and memorable experience and when I look back its like revisiting old friends. If I had to pick it would be the beautiful green-eyed girl I shot in the sandy Thar Desert near the Pakistani border on my first trip to India. We spent an amazing afternoon with an extended family who are renowned traditional Sufi musicians and dancers and were welcomed into their family compound. There was a lot of excitement and everyone was keen to brew us a cup of chai and show us around their homes which were traditional mud huts around a communal courtyard. Amongst the craziness I noticed this exquisite little girl hanging back quietly in the shadows. Her eyes stopped me in my tracks and she had an extraordinary presence. She was shy and it took time sitting in the sand in the sleeping area with her siblings and cousins climbing all over me and tag teaming with a friend who took shots of the other kids to distract them while I took her picture. I think it was the first time I felt that one of my shots truly told the subject’s story, and when I look at it all these years later I feel her presence just as I did the day I met her.
10. Which destination (city, country, or region) surprised you the most or left the greatest impact on your photography?
I think everywhere I have visited has left a mark on me and influenced my photography but my travels in Ethiopia really stand out. It was the roughest travel I had done but was a truly life changing experience. I spent time camping in remote areas in the Omo Valley in tribal communities without power, bathroom facilities or running water. I thought I knew was I was getting into before I left and had some reservations! The reality was even more primitive and challenging than I could have imagined but I wouldn’t change it for the world.
The time spent living and experiencing daily life in a Suri village and having the opportunity to get to know the people and their culture was an incredible privilege. We hung out for a few days getting to know everyone before we brought out our cameras and when we did we were able to capture some beautiful portraits of new friends. On this trip I created a body of work of subjects isolated on simple black and white backgrounds and really enjoyed showcasing the incredible beauty and detail of the people and their jewellery, face paint and exquisite foraged headpieces without distraction, a style that I have continued to apply and develop. The work was really well received and some of the shots have been exhibited in New York and Paris which was super exciting. My Ethiopian adventures cemented my love of portraiture that is built on connection - a moment shared between the photographer and subject where the viewer is invited to join.
*Take a peek below behind the scenes, with the bottom right image the result of the BTS on the left.
11. Have you pursued any study for photography? If so, share your experience and how it’s helped your photography?
I learnt film photography and darkroom processing at school. In the late 90s I got my first digital camera which terrified me, so I enrolled in a course at a local technical college to help with the transition. It was fantastic to go back to basics for a full refresher on the fundamentals and science of photography. It has definitely helped develop my practice to be able to understand and rely on technical knowledge to help execute creative ideas. Some photographers are naturally intuitive and happy to wing it. I like to know how things work and when and why - I’m a bit of a control freak! I’ve done a number of photography workshops and have lots of photography and travel buddies and mentors. Shooting and hanging out with other photographers has taught me so much and I think is the best way to continue to grow and improve. I keep post-processing pretty simple - mainly because I’m predominantly self-taught and I find it really challenging.
Joining and participating in communities like The Travel Photography Club is such a great way to keep learning, be challenged and of course to connect with like minded people and to have access to all their experience and tips and tricks.
12. What advice would you give photographers who want to start photographing people while travelling but feel shy about asking?
Be yourself and be authentic, respectful and curious. Allow yourself plenty of time when you are out exploring and shooting, and first and foremost, enjoy the experience. Take the time to engage and have fun with the people you meet and when it feels like they are comfortable with you, ask if you can make a picture or just gesture by lifting your camera slightly. Take some shots of whatever it is they are working on, the wares they are selling or some part of their shop or environment. If you are in a market buy some fruit or nuts from their stall. Often in a group there will be a more confident cheeky person - start with them and then when others see it’s fun and safe they will be more open to the idea. I have sometimes spent ages photographing groups of giggling teens making the peace sign to build rapport and gain the trust of the shy beauty hanging around the edges! Flattery is also helpful and I learn helpful words such as “beautiful”, “super model” and “handsome” in the local language as soon as I arrive in a new country! If you walk away from an afternoon wander with two or three meaningful shots that truly capture the essence of your interactions, then it's been a successful outing.
Thank you so much Suzie for sharing your insights, advice + adventures!
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