This article appeared in ‘Reflected Selves: Exploring Portrait Photography.’ This issue explores the intimate exchange between photographers and their subjects, revealing how identity, emotion, and connection shape each portrait. Featuring artists devoted to capturing authenticity and presence, this issue highlights photography as a shared journey, one that goes beyond the surface to preserve the essence of a fleeting moment.
Anastasia Nysten (AN): You’re currently in Italy, photographing the 98-year-old photographer Nino Migliori. Can you tell us more about your project?
Roger Moukarzel (RM): I’m working on a new body of work documenting renowned photographers from around the world. It’s been an incredible experience. Nino’s career spans over 75 years, and at 98, he’s still actively creating. He’s currently working on a project about butterflies. Meeting someone like him, who remains so creative, humorous, and passionate, is truly inspiring. I wanted to capture him in natural light, in an honest and intimate way, as people like him have such extraordinary stories to share. At this stage in my career, I feel drawn to surrounding myself with those whose experience and depth of work surpass my own.
AN: How did you meet Nino?
RM: I’m in Bologna for a two-week, one-on-one coffee workshop – something I’ve been passionate about for a long time. While here, I realised it was the perfect opportunity to reach out to Nino, as I know his wife. I contacted her, and she kindly arranged for me to photograph him. I deeply admire photographers like Nino, who have dedicated their lives to the craft, and it was a privilege to document him in such a quiet and reflective way.
AN: How did you first get into photography?
RM: I started at 12, “borrowing” my brother’s camera. I used his film without him knowing and took photos of my neighbourhood in Beit Shabeb, Lebanon. My first picture was of an old house with a mulberry tree. When my brother developed the film, he noticed my shots. He asked, “Did you use my camera?” and, to my surprise, he wasn’t mad. Instead, he said, “You’ve got an eye for this. You can use my camera anytime.” That was my introduction to photography.
AN: What did your brother do with the camera?
RM: He was an amateur photographer, and growing up, I was surrounded by journalists. My grandfather and father ran Ad Dabbour, the first political magazine in the Middle East. That environment played a huge role in shaping my path as both a photographer and journalist.
AN: So, your photography journey started amidst conflict. How did your career evolve from there?
RM: Growing up in Lebanon during the conflict, I naturally became a war photographer. But after years of shooting conflict, I needed a change. I moved to Paris and began working as a fashion photographer. My approach in fashion was the same as in war: quick, instinctive, and raw. Models like Naomi Campbell found my approach unusual at first. But they soon embraced it because it was fresh, unposed, and authentic. This style evolved into what was called Reality Pictures in France.
AN: That’s quite a transition. You mixed commercial photography with artistic work, didn’t you?
RM: Yes. I funded my art through my commercial work, which allowed me to explore my creative side freely. Having a commercial job gives you the financial stability to pursue personal projects without the pressure of external expectations. This freedom helped me maintain my authentic artistic vision.
AN: Did you attend art school, or were you self-taught?
RM: I never went to art school. I was self-taught from the start. I did earn a BA and an MBA, but photography has always been my passion. Being an autodidact has shaped my career in a unique way. It’s slower, but it’s a much more genuine path. Even after attending NYU to stay connected with younger generations, I still return to the basics, learning as I go. For example, ten years ago, I gave a lecture at my university and introduced analogue film. The students at the time didn’t even know what it was. Back then, film was unfamiliar to them. But over time, trends shifted, and suddenly analogue cameras and film became fashionable again, everyone was excited about shooting on film.
AN: You mentioned your exhibition at the Maison Européenne de la Photo, Les Femmes dans la Photographie. Can you tell us about your approach to this exhibition?
RM: For this project, I used a Rolleiflex camera, which has a special place in my work. I wanted to capture women in photography who weren’t used to being in front of the camera. Many were older or had unconventional beauty by traditional standards. The challenge was to make them feel comfortable in front of the camera, so I didn’t shoot them directly. Instead, I used mirrors and shot through them, creating an abstract yet intimate portrait. I didn’t want a typical studio setup; I wanted to capture them in their natural environment.
AN: You’ve also worked on the Nulle Part Ailleur project, which touches on global warming. What inspired that?
RM: For Nulle Part Ailleur, I wanted to make a statement about the impact of industry on nature. I created a backdrop of industrial imagery and shot it in Lapland, with the Sámi people under extreme conditions. The stark contrast between the serene snow and the industrial backdrop created a powerful visual metaphor for the destruction of nature. I aim to let the images speak for themselves, without words.
AN: You seem to travel a lot, but you’ve mentioned you don’t particularly enjoy it.
RM: Exactly. I don’t love travelling, but it’s a way to discover new things. I’ve always believed in spontaneous creation. For example, when teaching at NYU, New York, I took my students to the Brooklyn Bridge without permission, breaking laws to capture candid moments of New Yorkers. Similarly, I’ve photographed in Africa, creating images that are striking because they don’t need explanation, they just are.
AN: Your work seems deeply inspired by personal experiences and the world around you. Is your creativity driven by external events or your own thoughts?
RM: My work is rooted in my daily experiences; what I see around me, whether it’s the news, personal interactions, or challenges I face. I don’t just capture beauty; I want my work to make people think. For example, with my veiled women series, I wanted to show that regardless of our religious or cultural differences, we all wear veils in some way. It’s about understanding the world’s contradictions and exploring human emotions deeply.
AN: What’s next for you? Any new projects?
RM: I’m always exploring new ideas. Currently, I’m focused on photographing renowned photographers, capturing their stories and creative processes. I’m also excited about upcoming projects that merge art and history, creating dialogues between the past and present.
About Roger Moukarzel
Roger Moukarzel is a Lebaneseborn photographer whose work captures the raw and real essence of life. Known for his candid, unposed approach, Moukarzel’s photography spans multiple genres, from fashion and war to intimate portraits. Throughout his career, he has documented the complexities of the human experience, from the impacts of conflict to the subtle beauty in everyday life. In this interview, Moukarzel takes us on a journey through his photographic career, his influences, and the personal projects that continue to shape his vision.
