20—25 Sam Ferris
2025 is here. As we shift our gaze from 2024, we look to a fresh set of twelve months, new opportunities, new challenges, new dynamics and new frontiers for photography. To help navigate 2025, we turn to some of the most established photographic talents in Australia and beyond with a series of questions. About photographs and photographing. But also about life.
20 photographers. 25 questions each.
In the first instalment, we hear from Sydney street photographer, Sam Ferris.
Sam Ferris, born in Melbourne in 1985, is an acclaimed street photographer known for his vibrant depictions of urban life. He holds an Honours degree in the Arts and a Master of Teaching, beginning his serious photographic journey after moving to Sydney in 2010. His work has been exhibited internationally, with his first solo exhibitions, Staring at the Sun and Rain Rain Go, held in 2024. That year, he also published his second monograph and joined the judging panel for the Australian Life Photographic Prize.
Ferris has received numerous accolades, including the $10,000 Australian Life Photographic Prize in 2023, and has been a finalist in prestigious competitions like the Head On Photo Festival Prizes and the Moran Contemporary Photographic Prize. His photography has appeared in publications such as Leica Fotografie International, The Guardian, Lonely Planet, and Eyeshot Magazine. In 2019, he was named Australasia’s Top Emerging Photographer in the Documentary/Photojournalism category, and his first monograph, In Visible Light (2021), sold out across three printings.
A co-founder of the Aussie Street Festival and a member of the Burn My Eye Collective, Ferris actively contributes to the photographic community. His portfolio has been featured in Reclaim the Street (2023) and 100 Great Street Photographs (2017). He has also been commissioned by clients like Leica Camera, Credit Suisse, and Xiaomi. Ferris lives in Newtown, NSW, continuing to document the intricacies of city life.
What sort of cameras are you shooting with at the moment?
At the moment, I’m shooting with a Leica M6 paired with a 28mm Elmarit f/2.8 lens, a deliberate choice to slow down and stop accumulating so many terabytes of digital files each year. In truth, it hasn’t slowed me down much. For digital, I use a Leica Q2 that I was very fortunate to be given Matt Stuart, one of my heroes. I’ll be forever grateful to Matt and will one day endeavour to pay his kindness forward. Both the M6 and Q2 are compact, precise, and ideal for capturing dynamic street scenes.
Favourite photo you’ve ever taken?
One of my favourites is an image of birds flying past a beautifully illuminated building during a foggy Sydney morning. It was an unplanned moment that came together perfectly. It’s probably my most well known image, and I still enjoy looking at it.
Favourite camera / lens of all time?
Probably the Leica Q2—it’s the camera I’ve done some of my best work with. The controls are straightforward, and it’s quick and reliable, which makes it easy to use. I trust it, and that lets me focus on the moment at hand.
If you could only photograph one city for the rest of your life, where would it be?
Sydney, but it’s complicated. It’s interplay of light, shadow, and constant movement is endlessly inspiring, yet there’s something there that runs deeper. The city’s soaring cost of living and pervasive sense of anxiety and isolation can feel overwhelming. Through photography, I navigate these tensions, capturing moments that reflect both the city’s energy and the quiet longing for connection beneath it all.
What’s the best thing about street photography?
The best of street photography lies in its accessibility—it’s an art form open to all, free of gatekeepers, and you can make what you want out of it. It invites anyone to explore, yet mastery demands dedication: the patience to observe, the skill to anticipate, and a desire to freeze moments that may otherwise go unnoticed. It’s democratic, yet continuously and endlessly challenging and rewarding.
What’s the worst thing about street photography?
Its difficulty and high failure rate—most shots aren’t good, and there are no shortcuts, tiktok tutorials, or hacks to guarantee success. Unfortunately, this can lead some to imitate rather than innovate. Yet, it’s this very struggle that fuels creativity and makes authentic, compelling images all the more rewarding.
Favourite photo book of 2024?
Monument by Trent Parke might have been published in 2023, but I only got my hands on it in 2024—and what a book it is. It contains no text, just images, but they speak volumes. The photographs showcase Parke’s incredible mastery of light and storytelling, exploring Australian identity while delving into universal themes like memory, destruction, and connection. Beautifully crafted, it’s a powerful reminder of how photobooks can offer an immersive, tactile experience that stands apart in our digital age.
Favourite photographer?
There are a bunch. Winogrand, Meyerowitz, Frank… I guess first though, for me, it was Alex Webb, for his incredible use of light, colour, and layered compositions that make each frame feel alive with complexity. Jesse Marlow and Matt Stuart, whose work balances sharp observation and humour. Trent Parke and Narelle Autio for their ability to capture the emotional heart of Australian life. Together, their work continually redefines how I see photography.
A location you’re yet to visit but would like to?
I’d like to see more of Western Sydney.
35mm or 50mm?
28mm! It’s the focal length of the Leica Q2, I use it on the M6 and it feels right for anticipating and framing street scenes.
Film or digital?
Film when everything works. Digital for the freedom.
What’s the best film you saw in 2024?
Spirited Away with my kids.
Which band is on high rotation in your Spotify at the moment?
My Spotify wrapped was a bit of a mix, due to the kids hopping on it. I think my top artists were a mix between Kendrick, Action Bronson, Anime theme songs and songs about Minecraft.
Favourite podcast?
Kill Tony and The Complex Sneakers Show
What’s your coffee order?
It depends on how tired I am: flat white, long black, or a double espresso for maximum kick.
Favourite time of day to photograph?
Early morning or late afternoon, the golden hours, hands down. That’s when Sydney’s light does its best work—soft, dramatic, and ever-changing.
Where will photography be in five years from now?
Probably still arguing about the place of AI-generated images in photography. Tech will keep pushing boundaries, that’s inevitable, but the ‘good stuff’ will still be about seeing and reacting, about storytelling and capturing those moments that are human-felt.
Where will photography be in 25 years from now?
Who knows… The megapixels will be gigapixels, and we’ll probably be snapping holograms in augmented reality cities. But no matter how it goes, the basics—light, timing, and human connection—will still be what make a photo worth looking at.
Thoughts on AI?
For me, it’s antithetical to what I want from photography. But I can also see how AI’s handy for some things in the industry. I don’t see it replacing the gut instinct, ironic eye, or emotional connections that go into making great photography. A machine might spot patterns, but it can’t find meaning.
Thoughts on Trump?
The phenomenon of Trump is inescapable. It’s that feeling of passing by the scene of a car crash, where you’re unable to look away. The unpredictability of the next four years echoes how chaotic and divisive the world feels right now. I guess this means—especially for my friends in the US—that photography matters more than ever: capturing human reactions, everyday resilience, and the quiet stories that aren’t always in the headlines. These moments tell us more about who we are and how we’re coping than any political commentary.
Thoughts on billionaires?
Sure, wealth can fund art and culture, but let’s not pretend that makes up for the bigger picture. How can so few hold so much while so many are struggling to survive.
What’s the most important piece of advice you have for street photographers?
Be open, honest, and persistent. Respect your subjects and remain optimistic, even when most shots don’t work.
Is there an Australian photographer whose work is piquing your interest at the moment?
Trent Parke and Narelle Autio will always be incredible inspirations in the Australian photography scene. Jesse Marlow continues to make wonderful work wherever he goes and is killing it in his new role at Leica, which I’m sure will do great things for the Australian street photography community.
What are you looking forward to in 2025?
Being on the streets, having a beer and talking shit with my mate Mike Keevers. Spending time with family. Going through the archive.
And finally: why photograph?
Photography saved me. It helped me connect with Sydney and reflect on life’s beauty, struggles, and fleeting moments of connection. It’s a way to see, feel, and create meaning.