We sat down with Jefferson Liu, the artist behind the cover of our most recent issue, to talk about memory as inspiration, the craft of portrait photography, and the connection between artist and subject. You can explore Liu’s full series "Meaning Less" in Vol 11: PARADOX, available now!

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Mollye Miller: You seem interested in fashion photography but with a conceptual and abstract twist. Where does this inspiration come from or when did it begin for you?

Jefferson Liu: I appreciate the depth that emerges when capturing beauty tinged with subtle unease, using photography as a means to reconcile past experiences. I’ve always admired the precision and creativity that comes with fashion photography. I tend to borrow a lot of cues both technically and conceptually from the genre. 

Miller: Who are some of your favorite photographers? What about their work stands out to you?

Liu: Artists like Marco Klahold, Andres Gallego, Zhong Lin, and Melanie + Ramon each captivate me with their distinct styles and mastery of their craft. They’re all just so damn good. 

Miller: What tips for success can you share with other photographers, specifically portrait photographers?

Liu: To me, success boils down to this question: What does fulfillment mean to you? I understand everyone has different ambitions, and life makes staying true to those intentions difficult. For me, it's finding purpose and joy in creating. 

Miller: Have you done commercial fashion photography in your career? If so, what did you like and not like about those shoots or projects?

Liu: I actually have a background in advertising. In that world, shoots are typically large in scale with abundant resources, offering a stark contrast to the simplicity of my personal projects, where it's usually just me, my camera, and the subject. This duality allows me to appreciate both realms for their unique attributes. I’ve come to accept that navigating the two worlds brings new perspectives and upholds my dedication to quality, no matter the project. 

Miller: Your pieces come across as conceptual. How do you usually come up with your series ideas?

Liu: My ideas often stem from uncomfortable memories and moments in life. It always felt too on-the-nose and personal to portray them directly through reenactment. I find the process of hiding ideas and feelings much more meaningful. 

Miller: How does storytelling in your photography go hand in hand with world building in game design? In other creative work projects?

Liu: In essence, all forms of art serve as vehicles for storytelling. Whether conveyed in a single frame or over the course of hours, they bridge the gap between the artist and the audience, fulfilling a shared desire for connection.

Miller: What is your process in bringing each shoot concept to fruition? For instance, do you create storyboards for your shoots or use another visual outline?

Liu: My creative process is straightforward. Throughout my day, ideas sift through my mind—some promising, others less so. I make a point to note down overarching themes. Over days, weeks, or even months, I contemplate various ways to manifest and refine the original concept. Everything remains internalized. While I do plan for the technical details, I prefer the flexibility of fleshing it out with a subject during the photoshoot. 

Miller: Do you consider editing as part of the creative process? (What software do you use to edit?)

Liu: Absolutely. Editing is where the character and mood truly come alive. The raw image lays the foundation, but it's in post-production, using tools like Adobe Lightroom, Photoshop, and Color.io, that the refinement process adds depth and richness.

Miller: What type of lenses do you like to work with most?

‍Liu: My preferred lens is the Canon RF 28-70mm F2. It combines the versatility of a zoom lens with the speed and depth-of-field characteristic of a prime lens. The slight distortion at wider angles, coupled with some additional filters, allows me to craft images with a controlled, dreamy, and subtly fantastical quality. It’s a super heavy lens, but I find the advantages far outweigh the weight. 

Miller: Tell us a bit about the craft that goes into designing your photo sets and lighting set up. And how do you respond if things don’t go according to your vision?

‍Liu: Lighting is paramount, even its absence holds significance. Photographers and cinematographers liken the process of lighting to 'painting.' Whether in the studio or on location, I gravitate towards a natural aesthetic. This choice directs attention to the subject and conceptual elements, either integrating them seamlessly or intentionally juxtaposing them. A touch of the unconventional adds depth and intrigue. 

Miller: Do you ever add writing or explanations to accompany your photos? Or do you prefer to let the photograph and its story stay open to interpretation?

‍Liu: As a fairly private and cynical individual, I typically avoid titling or captioning my photos. My aim is to keep the specific memory that inspired the image undisclosed to the general audience. Revealing it feels too exposing, and frankly, I doubt most people would care. I find contentment in burying my personal narrative beneath the surface of the image. That all being said, I also recognize the necessity of titles for publications, 'Meaning Less' felt like a suitable compromise.

Miller: You work with a lot of models in your photography. How do you select who to feature in your photos?

Liu: My process for selecting subjects is fairly unscientific; it's based on the mental image I aim to create. Certain individuals simply resonate with the vision. Recently, collaborating with other artists has been particularly rewarding, fostering a sense of symbiosis.

I do employ a vetting process, often conducting interviews with potential subjects beforehand. A casual vibe check helps address key questions: Do they resonate with the concept? Are they committed to spending hours collaborating? Will we get along? What memories do they have that I can relate to? And, crucially, are they allergic to Florence, my ever-present dog?

Miller: What tips do you have for working with models? How do you help them feel at ease in front of the camera?

‍Liu: Effective communication is crucial. Discussing the setup, setting expectations, and establishing ground rules help maintain a professional environment for the session. On set, the focus shifts to building a connection. I've found that both the subject's and my own performance improve when we can evoke emotions that create a sense of authenticity. Capturing the nuance of a genuine moment is nearly impossible to replicate, regardless of the quality of direction.

Miller: Victoria Nguyen, Solaris Blackburn, and Danah Denice are three models you’ve photographed whose images we have published in our magazine (volumes 9 and 11.) Do you think of these models and others as creative collaborators? How does this relationship work best for your shoots? For example, do you know the models beforehand and get to know them prior to shoot day?

Liu: I feel very fortunate to have worked with Victoria, Solaris, and Danah. I see them as more than collaborators. Each brought something personal and unique to the sessions—something I could never have planned for, in the best of ways. I consider my subjects as partners in our endeavor to find "the shot." Interestingly, I had never met any of them before our photoshoots; our connections developed entirely through our work together.

Miller: I see you’re the group creative director at AKQA. Such a cool job! How would you describe what AKQA does? How do you describe your role there?

‍Liu: I've been with AKQA for 15 years, a creative advertising agency that prides itself on being at the forefront of technology and innovation. I lead a team of incredibly talented creative professionals, working on a variety of projects ranging from photo and video production to branding.

Miller: A lot of photographers struggle with separating their personal and professional work (the artwork they love creating vs the work they get paid to do most often). Do you consider that you’ve found the ideal in your creative career? 

Liu: Initially, I was uncomfortable with my two worlds influencing each other and tried to keep them as separate as possible. Nowadays, I've realized that blending them has been advantageous. My professional experience has taught me the value of precision, planning, and professionalism. This influence has made my personal work feel more deliberate and technical, evolving into a style that I now enjoy leaning into.

Miller: Do you do any street photography? That kind of emotive, unfiltered, urban aesthetic shows up in some of your portrait series on Instagram. Why or why not?

Liu: As much as I enjoy street photography, I don't think I'm very good at it. I tend to hyper-fixate and prefer controlling the elements. Portraits allow me to dial in a few aspects at a time, whereas the unpredictable nature of street photography makes it too challenging for me to adapt my ideas. My sense of reward comes from capturing human expressions, whether planned or spontaneous.

Miller: What is your favorite series you’ve created so far? Why?

‍Liu: It depends on when you ask me. One consistent observation I've made about myself is that I like my own work more after some time has passed, but not too long. When it's too recent, I tend to beat myself up, feeling like I could have done things better in one way or another. When it's too old, I see the imperfections in my past techniques. However, I always like my dog photos.

Miller: Your work has a “filmic” quality…a term people use a lot these days to describe grainy, atmospheric photography. Do you use film? If so, why? If not, what do you like about using digital photography to produce work that still has noise and texture?

Liu: I shoot both film and digital, each with its own advantages and disadvantages. For most of my sessions, I bring at least two cameras. A digital workflow provides immediate feedback, allowing me to review and refine images on the spot, giving me a better sense of what the final image will look like. Film, on the other hand, is fickle and unforgiving, but when it lands, the resulting image is truly special. There's a nuance in the colors that cannot be replicated through digital data. I find myself chasing that organic feel even in my digital shots. 

Miller: What new projects are you working on now?

Liu: Lately, the ideas haven't been surfacing like they usually do, for whatever reason. For me, the camera isn't like riding a bike; I do need to practice. To stay sharp, I've been working on portraits of local artists and musicians, waiting for the next concept to pop into my head.

‍Miller: Let’s do some rapid either/or questions!

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Miller: Cats or dogs? 

Liu: DOGS!

Miller: Fantasy or sci-fi?

Liu: Sci-fi

Miller: Snowstorm or heatwave?

Liu: Snowstorm

Miller: Comic books or cartoons?

Liu: Comics

Miller: Manga or mangos?

Liu: Mangos

Miller: Kanye or Kendrick?

Liu: Wu-Tang forever

Miller: Graphic novels or action films?

Liu: Lately, films

Miller: Train or plane?

Liu: Train

Miller: Tom Cruise or Tom Ford?

Liu: Tamagotchis 

Miller: Morning or night?

Liu: Morning