James Boogie People: Talk With Ismail Zaidy, Photographer

We catch up the man who comes with some passionate with capturing the moment, family-man, and he is a photographer. We talk about the colour, a reason, and what things can make him laugh out loud. He shared the unpredictable story to our article who called, James Boogie People. Here we comes, Ismail Zaidy.

(Kami bertemu dengan pria yang datang dengan hasrat mengabadikan momen, family-man, dan seorang fotografer. Kami berbincang tentang warna, gambar, tempat, alasan, dan hal-hal yang dapat membuatnya tertawa terbahak-bahak. Ia berbagi kisah tak terduga pada artikel kami yang berjudul, James Boogie People. Inilah dia, Ismail Zaidy.)

Could you tell us a bit about your childhood in Marrakesh and how that environment shaped your visual perspective?

(Bisa ceritain sedikit tentang masa kecilmu di Marrakesh dan gimana lingkungan itu membentuk perspektif visualmu?)

I grew up in Marrakesh surrounded by colors, textures, and a constant play of light and shadow. Rooftops became my playground, and later, my studio. That environment taught me to see beauty in simplicity and to transform the ordinary into something poetic.

(Aku tumbuh di Marrakesh yang penuh warna, tekstur, dan permainan cahaya dan bayangan. Atap rumah jadi taman bermainku, lalu berubah jadi studio. Dari situ aku belajar melihat keindahan dalam hal-hal sederhana dan mengubah yang biasa jadi sesuatu yang puitis.)

When was the first time you felt that “photography is not just a hobby, but part of my identity”?

(Kapan pertama kali kamu merasa “fotografi ini bukan sekadar hobi, tapi bagian dari identitasku”?)

When I started photographing my siblings on the rooftop, I realized it was more than images—it was about memory, family, and identity. That was the moment it became who I am.

(Saat aku mulai memotret saudara-saudaraku di atap, aku sadar ini lebih dari sekadar gambar—ini tentang kenangan, keluarga, dan identitas. Sejak itu, fotografi jadi bagian dari siapa diriku.)

Who or what, outside the world of photography, has had the greatest influence on your work?

(Siapa atau apa di luar dunia fotografi yang paling memengaruhi karyamu?)

My family first and foremost. Their presence and trust shaped everything. Also, Moroccan culture—the fabrics, music, and traditions—constantly inspire me.

(Pertama tentu keluargaku. Kehadiran dan kepercayaan mereka membentuk segalanya. Selain itu, budaya Maroko—kain, musik, tradisi—selalu jadi sumber inspirasi.)

If you weren’t a photographer, what other field do you think you would pursue?

(Kalau kamu bukan fotografer, bidang apa yang kira-kira akan kamu tekuni?)

Something creative still—maybe design or architecture. I enjoy building things that last and tell stories through form and space.

(Masih di jalur kreatif—mungkin desain atau arsitektur. Aku suka bikin sesuatu yang bisa bertahan lama dan bercerita lewat bentuk serta ruang.)

You often work with your siblings. How does family influence the dynamic behind the scenes?

(Kamu sering bekerja bareng saudara-saudaramu. Seberapa besar pengaruh keluarga terhadap dinamika di balik layar?)

It makes the process very natural. There’s no barrier, no performance. They know me and I know them. That intimacy translates into the work and gives it honesty.

(Prosesnya jadi alami banget. Nggak ada batasan, nggak ada kepura-puraan. Mereka kenal aku, aku kenal mereka. Kedekatan itu masuk ke karya dan bikin hasilnya jujur.)

Is there a photograph that was emotionally the hardest for you to take? Why?

(Ada nggak foto yang paling berat secara emosional buat kamu ambil? Kenapa?)

Yes, photographs where I explored themes of absence. Capturing the feeling of someone missing in a family portrait is emotionally heavy because it reflects real moments in life.

(Ada. Foto-foto yang mengeksplorasi tema tentang kehilangan. Menangkap rasa “ada yang hilang” dalam potret keluarga itu berat, karena mencerminkan momen nyata dalam hidup.)

You often incorporate fabrics and face coverings in your work. How much of that element is connected to your personal life or cultural background?

(Kamu sering pakai kain dan penutup wajah di karyamu. Seberapa erat elemen itu dengan kehidupan pribadi atau budaya?)

Completely. Fabrics are part of Moroccan daily life—whether it’s clothing, household, or ceremonies. Covering the face is both cultural and symbolic: it protects identity while inviting the viewer to imagine.

(Sangat erat. Kain adalah bagian dari kehidupan sehari-hari orang Maroko—baik untuk pakaian, rumah, atau upacara. Menutup wajah itu sekaligus budaya dan simbolik: melindungi identitas sekaligus mengundang penonton untuk membayangkan.)

What do you do when you experience a creative block?

(Apa yang biasanya kamu lakukan kalau lagi kena “creative block”?)

I step away. I go to the gym, travel, or just spend time with family. Inspiration always comes back when I live fully outside the camera.

(Aku menjauh dulu. Ke gym, jalan-jalan, atau sekadar waktu bareng keluarga. Inspirasi selalu balik lagi ketika aku hidup penuh di luar kamera.)

What technical mistake or spontaneous moment ended up producing one of your favorite photographs?

(Ada nggak kesalahan teknis atau momen spontan yang justru menghasilkan foto favoritmu?)

Once, strong wind blew the fabric I was using into a different position, and it completely transformed the image. That accident gave me a new direction in my work.

(Pernah, angin kencang bikin kain yang kupakai bergeser posisinya, dan itu langsung mengubah total fotonya. Kecelakaan itu malah ngasih arah baru buat karyaku.)

In a fast-paced world, why do you choose to maintain a slower and more intimate tempo in your work?

(Di dunia yang serba cepat, kenapa kamu memilih tempo yang lebih lambat dan intim dalam karyamu?)

Because that’s where meaning lives. Photography for me is not about speed but reflection. A slow pace allows intimacy and poetry to emerge.

(Karena di situlah makna tinggal. Buatku fotografi bukan soal kecepatan, tapi refleksi. Ritme lambat memungkinkan keintiman dan puisi muncul.)

If all cameras disappeared from the world tomorrow morning, how would you continue telling stories?

(Kalau besok pagi semua kamera di dunia hilang, gimana kamu bakal tetap bercerita?)

(Through writing, or maybe painting. I believe storytelling is larger than the tool—it’s about finding a way to transmit what you feel.)

(Lewat tulisan, atau mungkin melukis. Menurutku bercerita itu lebih besar dari sekadar alat—yang penting menemukan cara buat menyampaikan perasaan.)

How does it feel to see deeply personal work spread widely on the internet, sometimes without the context you intended?

(Gimana rasanya lihat karya personal banget menyebar luas di internet, kadang tanpa konteks yang kamu maksud?)

(It’s a mix of pride and frustration. Pride that people connect with it, frustration that sometimes the depth is lost. But I’ve learned to accept that once work is public, it belongs to others too.)

(Campur aduk antara bangga dan frustrasi. Bangga karena orang bisa terhubung dengan karyaku, tapi juga frustrasi karena kedalamannya kadang hilang. Tapi aku belajar menerima, begitu karya dipublikasikan, ia juga jadi milik orang lain.)

How would you like people to remember Ismail Zaidy 20 years from now?

(Dua puluh tahun dari sekarang, kamu pengen orang mengingat Ismail Zaidy seperti apa?)

(As someone who showed that art can come from rooftops, family, and simplicity—and still resonate worldwide.)

(Sebagai seseorang yang nunjukkin kalau seni bisa lahir dari atap rumah, keluarga, dan kesederhanaan—tapi tetap bisa menggema ke seluruh dunia.)

If you could only photograph one subject for the rest of your life, what would it be?

(Kalau hanya boleh memotret satu subjek seumur hidupmu, apa yang bakal kamu pilih?)

Family. It’s endless, it changes every day, and it always carries meaning.

(Keluarga. Itu nggak ada habisnya, selalu berubah setiap hari, dan selalu punya makna.)

Which single photograph would you choose to represent yourself if you could only leave one behind, and why?

(Foto mana yang bakal kamu pilih untuk mewakili dirimu kalau cuma bisa ninggalin satu saja, dan kenapa?)

Probably from my “3aila” project—because it started everything. It captures love, identity, and memory all at once.

(Mungkin dari proyek “3aila”—karena dari situlah semuanya dimulai. Foto itu menangkap cinta, identitas, dan kenangan sekaligus.)

If you had to choose one place other than Morocco, which place could represent or support your photography style?

(Kalau harus pilih satu tempat selain Maroko yang bisa mewakili atau mendukung gaya fotomu, di mana?)

I think the Netherlands. I’ve spent time there for residencies, and the mix of light, water, and openness resonates with my minimal style.

(Aku rasa Belanda. Aku pernah di sana untuk residensi, dan kombinasi cahaya, air, serta keterbukaan sangat nyambung dengan gaya minimalisku.)

If you had to describe your personality with three colors that often appear in your work, which colors would they be, and why?

(Kalau kamu harus menggambarkan kepribadianmu dengan tiga warna yang sering muncul di karyamu, warna apa saja dan kenapa?)

Pastel pink for softness, cyan for calmness, and beige for grounding. They reflect both my work and my nature.

(Pink pastel untuk kelembutan, cyan untuk ketenangan, dan beige untuk pijakan. Warna-warna itu mencerminkan karya sekaligus sifatku.)

If your photographs could release a scent, which color would “smell” the most fragrant, and why?

(Kalau fotomu bisa mengeluarkan aroma, warna mana yang paling “wangi” dan kenapa?)

Pink would smell the most fragrant—like roses. It carries both nostalgia and tenderness.

(Pink, pasti. Baunya kayak mawar. Membawa nostalgia sekaligus kelembutan.)

What things can make you laugh out loud?

(Hal apa yang bisa bikin kamu ngakak keras-keras?)

Spending time with my siblings. They always manage to make me laugh no matter the situation.

(Waktu bareng saudara-saudaraku. Mereka selalu bisa bikin aku ketawa dalam situasi apa pun.)

Thank you Ismail Zaidy for being a James Boogie People, warm regards <3

(Terima kasih Ismail Zaidy sudah jadi bagian dari James Boogie People, salam hangat <3)

Thank you as well. It’s an honor to share my story and be part of this.

(Terima kasih juga. Suatu kehormatan bisa berbagi cerita dan jadi bagian dari ini.)