With a photographic practice shaped by fashion, youth culture, and a distinctly cinematic eye, emerging photographer Felix Jackson is quickly building a world of his own. Exploring themes of the body, dress, and identity, his imagery balances vintage references with a sense of whimsy and emotional intimacy. Though still in the early stages of his career, Jackson has already cultivated a strong independent practice, underpinned by thoughtful artistic direction and an instinctive understanding of styling and image-making.
In conversation with Felix Jackson:
What first drew you to photography, and when did you realise it was something you wanted to pursue seriously?
Borrowing my dad’s camera as a kid drew me in. I can remember the first time I used it, I took photos of all of the flowers around the motel pool where we were staying. Growing up in small-town New Zealand meant getting creative with what I had. I made a lot of imagery with my friends using sheets, curtains, and props from op shops and dollar stores. I knew by the time I reached university that I wanted to pursue photography seriously, interlaced with fashion and other artistic endeavours.
How would you describe your photographic style?
Aesthetically, I often lean on vintage references and a bit of whimsy when I can. This is often emphasised by my love for film. As an adolescent I spent a lot of time on early Instagram, Retrica, and VSCO (if you know you know), which I think sparked an initial love for a filmy grade. There’s always an artistic intention and a sense of care, a bit of storytelling shoehorned in
Are there any artists, themes, or experiences that shape the way you see visual storytelling?
A huge source of inspiration for me came from photographers and artists I researched early on. Tim Walker, Wolfgang Tillmans, Ren Hang, Campbell Addy, Louis Fratino, Collier Schorr. I’ve sourced a lot of print and digital media that I usually go back to as it comes in clutch. Sometimes inspiration strikes at random, I often frequent the charity shops and lost treasures can be the catalyst to a new project. All habits I picked up as a teenager!
New Zealand has a uniquely close-knit creative industry. How has being based here influenced your work and perspective?
The closeness of this industry has been the undercurrent to building my career path. At one of my first jobs in Tāmaki with Becky Hemus I was introduced to Doris de Pont, who connected me with Dan Ahwa, who connected me to many others (the list goes on). These relationships have fostered some of my coolest projects to date. I’m always inspired by my friends, the culture, and community. Special thanks to my regular collaborators and confidants, and the photographers I get to regularly work alongside, like Holly Burgess, Scott Hardy, and Jake Dennis.
How important is lighting, composition, and atmosphere in the way you build an image?
It’s certainly important to me, but it doesn’t always need to be controlled or finely tuned, natural daylight can work wonders. Ultimately my subject matter is the anchor of my image, and the way I compose the shot around them, through constant practice with lighting and building atmosphere, enhances it. I do think the atmosphere is really important. I want my work to feel like it has a presence and that you could hold it or sit with it for a moment.
What are some of the biggest lessons you’ve learned navigating the industry as an emerging creative?
That I am my own agent. Sometimes I’ve had to be stern with myself about working outside my comfort zone or engaging with new people and opportunities. I think you have to chase things. I’ve also come to expect the odd blunder, I could not tell you the number of times I’ve made myself sweat when something’s gone awry, but they’ve always been my biggest lessons and it usually comes right in the end. Oh, and you can never have too many back-up batteries.
This article originally featured in the Winter ’26 issue of Fashion Quarterly.
As told to: Natalia Didovich
Imagery: Felix Jackson
