In many ways, New Orleans is a living legacy, where traditions like its legendary Mardi Gras celebrations, its culinary delights, and its artistic crafts- poetry, painting, performances, and paper art- are passed down from generation to generation. Photography, too, plays a key role in writing history, capturing and preserving these sacred traditions. Just as a family photo album reflects the legacy and changing nature of a home and its surroundings over time, photographs of New Orleans tell the story of its evolution — from the bustling vibrant streets, carnival parades to the chefs perfecting intercontinental classic dishes, from the cowboys and bikers to the dancers lighting up the streets.

A good example of a family photographic legacy is Chris Scheurich, who inherited a photographic legacy passed down from his father. In this exclusive interview, Chris speaks of how he feels his work is a continuation of his father’s photographic journey, one that began in the 1970s when his father would take him through the streets of New Orleans to capture and preserve historical images of the city’s celebrations. It was in those moments, witnessing the parades, the crowds, and the essence of New Orleans, that Chris learned the importance of documenting the soul of his city. Christopher’s inherited legacy of photojournalistic prowess also bled into fashion photography, making him a trailblazer in the institution. His work represents not only a continuation of his father’s vision of preservation but also of a broader cultural legacy that stretches across generations. 

New Orleans itself is a place where the richness of its heritage is continually shared, celebrated, and passed down, cementing its status as the most unique city in the U.S. Additionally, New Orleans has increasingly been known as the “Hollywood South” due to its prominent role in the film industry and pop culture. There have been efforts to preserve that rather than let modern developers and chain stores entirely overrun and redevelop the city. Great atmosphere, incredible food, lots of beautiful public spaces, cultural and historical magnificence, warm and vibrant, top notch

If your father was not first a photographer, do you think you would have still found your way to the art of photography? If yes, why do you think that?

My father has definitely influenced my choice in subject matter. My father began documenting New Orleans’ culture in the 1970s. As a small child, I would go out with him when he shot different cultural events around the city. When I document New Orleans culture, it feels like a continuation of his work.

Which is your favourite camera, and why do you prefer it?

Pentax 67ii. I love that it is just a massive version of the 35mm SLR I learned on. It’s a lot to travel with, but totally worth it!

Wow, you make a lot of fashion images, and all of them are spectacularly nice. It begs the question of: How do you balance capturing the artistic vision of the designer with the need to make the clothing and model’s personality shine through in the final shot?

Shooting fashion is like cooking. It needs a balanced mix of ingredients to come out right. I think clothing and models beg for a proper environment or feeling, and knowing that is somewhat intuitive when creating the image.

Are there photographers or lens artists from whom you draw inspiration?

Absolutely! I love so many fashion and documentary photographers. For fashion, I love the heavy hitters like Glen Luchford, Craig McDean, Bruce Weber, Miles Aldridge, and Corrine Day. For the documentary, the portraits of August Sander and Oumar Ly are always a reference.

In the series of images that you sent to us, which is your favourite, and what is the story behind it?

The image of the 3 men in front of a brick wall with a gun has a lot more context than meets the eye. This photograph was taken just days after Hurricane Ida pummeled New Orleans. The 3 men are standing over an orange power cord that runs to a generator supplying power to a community of people struggling to survive the brutal heat during the power outage. The men
had fought off someone attempting to steal the generator the night before. They were taking turns guarding it through the night.

There is a recurrence of the number code “504” in some of your images. What is the history behind the number code that is tattooed on most of the indigenous people in your images?

“504” is actually the telephone area code for my city. The tattoo is a symbol of home town pride. I think the celebration of life and culture in New Orleans is often expressed with that tattoo. New Orleans people are very proud of our culture.

In your own opinion, what do you consider to be a “good image”? You make a lot of shots on set. How do you narrow down your selection to that one image you feel good about and are willing to share as the final product?

Most of the time, you know the moment you take it. A good photograph contains a feeling in the moment. After a while, you just know the ones that are it. Shooting film gives you a strong connection to this feeling. Without any review, you have to know when to move on.