Karen Ishiguro is a fashion and portrait photographer based in Auckland, New Zealand / Aotearoa. Her work is described as young and whimsical, and her images often evoke a sense of wonder, playfulness, femininity, and elegance.
How did you begin your photographic journey?
I started out when I was around 15 or 16. Picked up my first little digital camera my uncle bought me from Japan which is where it all started. My uncle was a amateur photographer himself, so it was a way for me to connect with him and have things to talk about. He was really supportive of my journey and bought me my first Nikon DSLR too (still a Nikon girl to this day as well!). He mainly shot landscapes and scenery, which is what I shot initially too.
Eventually I ended up getting more into portraiture and realised how interesting people were to photograph. That lead me to fashion and the commercial scene which is mostly where I work in now.
How would you describe the evolution of your photographic style, and what key experiences or influences have shaped it?
My work has evolved but I believe the core has stayed intact. Some of my earliest work, from when I was still in my teens, still makes sense to me and I can clearly see how those images lead me to where I am today; the furniture has changed but the house has stayed the same.
There are notable photographers that shaped my work though: in my early years it was Nirrimi Hakanson and Zhang Jingna.
Now it's people like Jamie Hawkesworth, Alasdair Mclellan, and Cho Gi-Seok.
There are of course countless more but those are the names that come straight to mind.
You currently reside in NZ, but many of your shoots are in LA and London. Tell us about your travels.
I lived in London for two years in my early 20s which is where some of these images come from. Beyond that though, I've been fortunate enough to shoot some things overseas which has been such a joy and privilege. I've always enjoyed traveling and seeing the world.
One of the best places I ever visited was Iceland – which was life changing. Visiting New York when I was 19 was also an incredible experience and something I'll never forget. I think traveling is so important as an artist, even if its just to see world class exhibitions. But going somewhere else, outside of your normal life, and seeing how things are done, made, experienced, is so enriching and stimulating for that creative brain.
How does being based in New Zealand influence your work? Are there unique challenges or advantages to working in fashion here compared to major fashion capitals like New York or Paris?
Being in Aotearoa, New Zealand, I find you have to be clever about how you go about things. A lot of clients wants images that look like they were shot in NY or Paris, but there are a number of distinct differences: 1. There is a totally different sunlight quality; 2. Totally different architecture style; and 3. You have to deliver it on, often, a low budget.
Even with things like styling you often don't have access to the same kind of clothing that those major cities do. But because of these limitations, I think we have to be more ingenious and clever about how we go about things.
Do you use strobes, or prefer natural lighting. Do you shoot tethered or just with camera?
I really like both strobes and natural lighting; sorry for the boring answer! They both bring a different feeling and mood to an image. If I HAD to choose though, I think I would use natural lighting. And if I was a millionaire, I would build my own dark room and only ever shoot in film. But that's for when I win the lottery.
Regarding tethering, I tether about 95% of the time. Almost 100% if I'm on a job. When I want more flexibility, like maybe when I'm shooting for a personal project outside, I will only shoot to card. I just want to be agile and be able to move to a different spot without feeling like I'm literally tethered to something. I want to be able to change my mind freely. I feel like a kid that wants to take her shoes off, screaming "UNSHACKLE ME!"
New Zealand is known for its incredible natural landscapes. How do you incorporate these unique environments into your fashion shoots, and what mood or story are you trying to create?
I love incorporating them as much as I can if time and budget allows. One of my favourite places to shoot is Piha beach out in West Auckland. It's a stunning beach that is really unpopulated in the winter. Black sand beach with the most beautiful dunes on the other side. My favourite however is shooting in the South Island. You just can't beat those mountains and light quality. Truly blessed to be surrounded by such grand landscapes.
What's the New Zealand fashion scene like from your perspective? Is there a distinct 'Kiwi' aesthetic that you try to capture or are inspired by? Is it similar to how Australians have a humorous, irreverent 'ocker' culture?
I'm not sure if we have much of a distinct Kiwi aesthetic in the fashion scene. I think we are pretty on par with the trends of the world. There is of course a general Kiwi aesthetic that's pretty similar to the Aussies; beers, mowing the lawns, and rugby.
I think this is more relevant in the commercial sector as you have to 'talk' to your audience more. The fashion scene here is small and insular, but that doesn't mean it's out of touch. There are so many incredibly creative designers, photographers and artists here. For such a small country, I think we have a lot of incredible talent.
Are there any upcoming personal projects on the horizon?
I have a few ideas cooking in my mind but nothing in the works at the moment. I am constantly returning to floral subjects as that's something I love to photograph – classic I know – but I think there's something quite nice in constantly returning to your original muse.
Other than that I'd love to do my own solo exhibition but I feel like I never make work that's 'good enough' for something like that. Which is ridiculous because I love my work, but it's one of those imposter syndrome things I suppose.
I'm also trying to shoot more during my 'off' hours and remembering to just 'shoot for fun' too. It's not just my work, nor does it have to be a personal project either. I can carry around a camera and snap moments that feel beautiful and let that just be that. I'm tired of these moments getting lost in my iPhone storage. I'm trying to be more intentional with how I spend these 'off' hours, both in photography and in other areas of my life.
You can see more of Karen's work on her website.