Ian Howorth is a UK-based documentary photographer known for his exploration of identity and culture. Born in Peru to a British father and Peruvian mother, he moved frequently during his childhood, living in nine different homes across three countries before settling in Brighton, England, at the age of 16. This diverse upbringing has profoundly influenced his photographic perspective, leading him to delve into themes of belonging, nostalgia, and the subtle nuances of English landscapes and personal histories.
Howorth’s notable works include his first book, Arcadia, published in 2019, and his second, A Country Kind of Silence, released in 2023. His photography has been featured in publications such as The Guardian, The New York Times, It’s Nice That, and Huck.
In this interview, we explore Ian’s creative journey, his inspirations, and the experiences that have shaped his distinctive approach to photography.
What first drew you to photography, and how has your relationship with it evolved over time?
I think it happened very naturally - photography has always been very accessible, even in the film days - you can just grab a cheapo point and shoot and snap away. I think for me, with my background in video, I kinda knew what i was looking for from the technical side so it became more of why and what will I shoot with some purpose. I think photography for me has grown a lot more complex since those early days where I felt free to try different things and share away on socials. Now, with a couple of books behind me, there is a silent pressure to produce more work and that quite naturally leads to thinking of photography as a body of work and how it might work as a book or exhibition. This quite naturally takes some of that carefree fun away, but there is also much to be gained from it as well in terms of focusing the mind and telling a story.
Imagine one of your photos is being used to introduce you to the world. Which one would you pick, and why?
Haha, that's a tough one - but I guess if I had to choose, it would be Past Times from ARCADIA - it's very representative of the work I think. (see above)
What subject or theme do you find yourself returning to the most?
I’m always thinking about space and the relationship the subjects I photograph have. This could be simply from an emotional point of view to more complex thematic themes such as does one say something about the other. Sometimes the subject isn’t enough, even though at first glance it might appear so.
How do your personal experiences and memories influence the way you frame and capture a scene?
I’d say hugely - I think the way I photograph has also been very similar to how I’ve spent chunks of time throughout my life - alone. For one, I'm an only child, so I naturally spent time alone, but I found that as I grew older and we moved around more, I was seeking to make sense of the world around me in my own head. Although that might sound like I'm solitary, I'm not necessarily - I think because of the fact that we moved from country to country, I need time alone to process things and live in my head a little. I’ve always been visual, so this manifested itself in me going on long bike rides when I lived in the US just to see the world around me. The way I photograph is similar. I like being alone when I do it, I find it a natural way to think and break things down.
In both Arcadia and A Country Kind of Silence, you reflect on memory and place. How do you decide which locations or moments to include in your narratives?
I wanted something I felt encompassed what England was all about - both are slightly different projects which can exist in the same world - Arcadia is more happenstance whereas A Country Kind of Silence was shot for with more intent. So for the sake of this question it makes more sense to answer with regards to ACKOS. I think photography is never reality - there are too many factors at play that defy that - for one, there’s me and my interpretation, which some might not agree with. Then there's variables like time of day, season and weather - all these factors play into someone’s perceived reality. In the end, it's personal and in short, it's my way of interpreting how I understand England.
Which camera and lens do you love using the most, and why?
I think of cameras as tools - I don't get attached to them very much - some work better than others but all in the end serve a purpose. Until they don’t. I guess the Mamiya 7 has been my longest serving companion, and aside from the great results it yields , it's a very easy camera to use.
What role does nostalgia play in your photography? Do you intentionally seek out scenes that feel timeless, or is it something that happens naturally?
I think it does to a degree, but I think nostalgia is just the initial interest - I also think it's a word used very cheaply to describe something that can be more complex and subtle.
Your images have a distinct sense of quiet and stillness. How do you create that feeling, even in bustling or active environments?
I guess I'm trying to create a dream world in a very real place - or at least, my own narrative within a place that is accessible to most. I think it just requires a bit of patience and understanding of what conditions are needed to get the shot you want.
What do you consider your greatest photographic achievement?
I think just being able to make a living as a photographer is what makes me happiest. I always find time for my own projects even when doing other work - so long as I have that, I'm happy.
What’s the most challenging part of being a photographer?
Dealing with internal torment and self imposed pressure in regards to work you’re trying to create. Time, money and life can be obstacles that can sometimes be difficult to overcome in order to feel like you’re being productive.
What do you think is the most overused element in photography today?
I think of photography as a journey for everyone - so it doesn't really bother me what people do so long as it's making them happy. But I think focusing too much on equipment or having a Leica or whatever is taking you away from what photography should be all about.
If you could photograph any place or subject that you haven’t yet explored, what would it be, and why?
I would love to spend time in Siberia or somewhere really cold and remote - there's something very appealing about a landscape that is alien to me, but also theres a lot of appeal in getting an insight into the everyday things that are different and that the people have had to adapt to due to the weather conditions and geography.
What photo did you capture that surprised you the most?
I’m sure there are plenty of examples - but one stands out recently on a walk in Yorkshire. A lake quite high up in the moors had this incredible rocky shoreline that was almost monochrome in palette which contrasted so much against the colorful sky and brushland in the background - I never expect to get surprised by something that seems so alien to me somewhere I know so well.
What is your idea of photographic happiness?
I think just seeing a project come together - I think that taking a photo is like giving a project its voice - but the idea should be there already. But it's pretty magical when a series of photos or even just one, can encompass precisely what you’re trying to say with a project.
Looking ahead, what direction do you see your photography taking in the future? Are there any new themes, projects, or ideas you’re excited to explore?
I think there will be some changes for sure - certainly in the themes I'm exploring but also in the way I'm working. It’s a challenge for sure, but one I'm excited about.