by Yvette Depaepe
Published the 27th of April 2026

Nichole Chen  is a talented photographer with a diverse portfolio. Each genre presents a different challenge, and together they enable her to express herself more fully and personally. She is committed to creating a sense of connection with the world and her experiences of it. She strives to create images that convey a particular emotion, something that can be shared and experienced by others. At the same time, she is drawn to simplicity, often reducing a scene to its essential elements — light, form, and space — to make the image feel clear and intentional. Ultimately, what matters to her is that the image leaves a lasting impression on the viewer.

I invite you on a journey through her work, with the aim of discovering the person behind her images.

‘A Night to Remember’

Dear Nichole, firstly, I would like to thank you for taking the time to answer this questionnaire.
Could you please start by introducing yourself briefly, telling us about your hobbies and describing any other projects you are involved in?
Hello, I’m Nichole Chen and I’m based in the Washington, D.C. area. As well as photography, I enjoy travelling and listening to music, especially classical and Broadway. I’m also drawn to different forms of art, as well as experiences that are thoughtful and well-crafted, whether in terms of food, design or the small details of everyday life.

‘Moonlit Ascent’

When and how did you first become interested in photography?
I started photography relatively recently, mainly as a way to capture everyday moments with my family and scenes from my travels. It has gradually become something much more profound—something that allows me to observe, interpret, and connect with the world in a more thoughtful way.

‘Rainy Night at Place Vendome Paris’

For many of us, photography is either a hobby or a way of life. So, how would you describe your relationship with it?
For me, photography is a way of both seeing and understanding. It enables me to slow down, observe more carefully and appreciate moments that would otherwise pass me by. I’m drawn to the balance between intention and unpredictability: sometimes I carefully compose a scene, and at other times I respond instinctively to what unfolds in front of me. This keeps me engaged and exploring. Over time, my focus has shifted from capturing something 'perfect' to expressing a feeling or atmosphere. In that sense, photography has become a quiet way for me to connect with the world around me.

‘Contours’

‘Grace in Shadow’

‘Midnight at the Colosseum’

Which of your experiences has had the biggest impact on your journey as a photographer?
While on a trip to Iceland last year, I badly broke my ankle while taking photographs in an ice cave. This forced me to cancel the rest of the trip and spend a long time recovering at home. At the time, having to stop so suddenly was frustrating. However, looking back, it wasn’t the incident itself that has stayed with me, but what came after. For the first time, I had to turn inwards rather than outwards. I spent that time examining my work more closely, not just selecting images, but also considering what I was trying to express. This quietly changed my approach to photography. I became less focused on taking lots of photos and more interested in refining my work, editing it and understanding my own visual language.

‘Into the Blue Silence’

‘Frozen Passage’

‘Sentinal of the North’

You have your own distinctive style, yet your work is highly diverse. I see splendid architecture and wildlife photography, as well as landscapes and street scenes, to name a few. Could you explain why this is?
I’ve never felt the need to restrict myself to one genre. Different subjects offer different perspectives, and I’m naturally drawn to that variety. The common thread in my work is not the subject itself, but my response to it, whether that be simplifying a scene, focusing on form and light, or capturing a certain mood or sense of presence. In this sense, architecture, wildlife and street photography are simply different contexts in which the same visual language can be expressed. Over time, I’ve come to see this diversity not as a lack of focus, but as a means of exploring more deeply. Each genre challenges me in a different way, and together they enable me to express myself more fully and personally.

‘Crimson Flow’

‘Path tot he Sea’

‘Reflections of Infinity’

What is more important to you when it comes to your images: the mood or the story, or technical perfection?
For me, they are both important, but they serve different purposes. Technical control provides the foundation, allowing me to shape an image intentionally. However, on its own, it isn’t enough. Ultimately, what matters is the feeling an image conveys, whether that's a quiet mood, a sense of tension or simply a real-feeling moment. I’ve come to place more emphasis on mood and expression. If an image is technically perfect but fails to resonate, it feels incomplete. Conversely, a photograph that carries a strong atmosphere or emotional connection can linger in the memory, even if it isn’t technically perfect.

‘Edge of Silence’

‘Wings of the Storm’

‘Happy Return’

How do you engage with your subject matter beyond the role of observer?
I don’t see myself as a completely detached observer. While I always maintain some distance, I try to establish a quiet connection with my subject, whether through patience, presence or simply responding to what unfolds. Sometimes, it's about sensing the rhythm of a place or the presence of an animal, rather than trying to control it. Even with more structured subjects, such as architecture, I don't just document a space; I interpret it and express how it feels to me. In that sense, the relationship becomes less about observing from the outside and more about engaging with the subject intuitively.

‘Beauty & Innocence’

‘A Glance Back’

‘Impression of An Aging King’

Do you carefully prepare the locations where you intend to take photographs?
It really depends on the subject. When it comes to landscapes and architecture, for example, I tend to prepare more carefully, taking into account factors such as the location, the light and how conditions might change. Portraits are often planned to some extent as well. However, with wildlife and street photography, I take a more open approach. There’s always some level of preparation, but it's more about responding to what unfolds in the moment than trying to control it. For me, it’s about finding a balance between being informed and ready and staying open and responsive to what’s actually there. Preparation gives me direction, but the final image often comes from things I didn't anticipate.

‘Girl in Pink’

‘Beneath the Infinite’

Describe your overall photographic vision.
My photographic vision is rooted in creating a sense of connection with the world and with my experiences of it. I strive to create images that convey a particular emotion, something that can be shared and experienced by others. At the same time, I’m drawn to simplicity, often reducing a scene to its essential elements — light, form and space — so that the image feels clear and intentional. Ultimately, what matters to me is that the image stays with you over time.

‘Urban Maze’

Could you tell us more about your creative process, from the initial idea to the final product?
My creative process often starts with the observation of something visually interesting, even if the scene itself seems ordinary or cluttered. It is usually the underlying structure that draws me in — the lines, the geometry, or the way light interacts with space. From there, the process becomes more intentional.  I work to simplify the scene, both in terms of how I frame it and how I refine it later. Elements are reduced and distractions removed. Sometimes I also introduce or emphasise certain details, such as an aeroplane or a lantern, to strengthen the visual balance and overall expression. What starts as a complex or chaotic environment gradually becomes something more distilled and controlled. For me, the creative process is about transforming what I see into something clearer, more refined and more aligned with how I experience it.
Both images below are of the same tubular building in Chongqing, where I simplified the structure and added small details to shape the image. I was struck by how people live within such a dense and unusual environment.

‘Tubular Building I’

‘The Tubular Building II’

Where do you find inspiration, and what inspires you the most?
I find inspiration in many places, but most often in the way that light, atmosphere and form combine to transform an ordinary scene into something more intentional. Travel is a constant source of inspiration, as each place has its own rhythm, character and perspective. I’m also inspired by art, music, architecture and cinema, all of which influence how I think about mood, structure and composition. Above all, though, I’m inspired by moments of quiet presence — when something feels visually simple yet emotionally complete.

‘Shadow of Time’

Many people believe that the right gear is unimportant if you're passionate about photography. Could you please tell us about the equipment you use, including your camera, lenses, lighting and tripod?
I currently use Sony mirrorless cameras, primarily the α1 II and α7R V, paired with different lenses depending on the subject. When photographing wildlife, I often use longer focal lengths, such as 300 mm and 600 mm, and sometimes teleconverters. For landscapes and architecture, I tend to use wider lenses or mid-range zooms. I also use a tripod when needed, particularly in low light or for more controlled shots. However, I see equipment mainly as a tool that supports the creative process, rather than as something that defines the image. What matters more to me is how I use the equipment to shape what I see.

‘Spitzkoppe Arch’

‘Rise of the Sea’

Which is your favourite photo? Please tell us the story behind it.
One of my favourite photos was taken on a recent trip to Hokkaido in Japan, where I photographed cranes for the first time. It was snowing, and the whole scene felt incredibly pure and romantic. The cranes moved with such elegance — almost as if they were curtsying at the end of a performance, their movements gentle and deliberate. I was struck by how their movement seemed to echo something beyond the scene itself, subtly connecting to Japanese culture and the sense of restraint, grace and quiet respect often expressed through simple gestures. This image is special to me not only because of its beauty, but also because of the feeling it conveys: a sense of peace, refinement, and atmosphere. It was one of those rare moments when everything came together naturally, and the memory stayed with me long after I left.

‘Winter Pas de Deux II’

Who are your favourite photographers or mentors whose work has influenced you and why?
I’m inspired by photographers whose work combines a strong visual language with a distinct emotional or atmospheric quality. Those I admire include Michael Kenna, whose work exudes simplicity and quiet restraint; Fan Ho, who masterfully shapes light and mood; and Henri Cartier-Bresson, whose sensitivity to timing and form is unparalleled. I’m also inspired by artists from outside the world of photography, as inspiration can come from many sources, including painting, architecture, music and cinema. Above all, I’m interested in work that feels intentional and visually strong, whether quiet and restrained or bold and expressive.

As we’re coming to the end of this interview, could you tell us about any photography projects you’d like to be involved in?
I’d like to be involved in projects that enable me to spend more time with a place or subject, rather than just creating individual images. I’m particularly interested in work that evolves through repeated visits, gaining a deeper understanding of a place and allowing the images to develop a stronger sense of atmosphere, culture and visual identity over time. Ultimately, I’m interested in work that feels coherent and connected as a whole.

Is there anything else you would like to add? What do you think about using 1X to showcase your work?
I have only recently taken up photography, so the opportunity to keep learning and evolving is especially meaningful to me. I’m grateful to be part of 1X; the platform has played a significant role in shaping my development as a photographer. The platform’s strong emphasis on curation has encouraged me to be more thoughtful and intentional in my work, and I continue to find inspiration in the community. 1X is more than just a place to share images; it has become a space where I can continue to learn, grow and refine my vision, and I truly value being part of it.

Thanks, dear Nichole, for this most interesting interview ...