Currently, Pari is the staff photographer at The New Yorker. His work has been exhibited at Museum Haus Konstruktiv in Zurich, and his first solo show was at Giacobetti Paul Gallery in New York. In 2013, Pari was listed as one of the photographers to watch in The British Journal of Photography and as one of the most influential young creatives in New York City by Refinery 29. Pari was also part of the PDN 30 photographers list in 2011.
Pari's work has appeared in The New Yorker, Vanity Fair, Zeit Magazine, GQ, Le Monde M Magazine, New York Magazine, The New York Times Magazine, Süddeutsche Zeitung Magazin, Wired, Rolling Stone, Time, and Esquire. His studio is in New York City.
One of your interview’s you have mentioned in the early age you influenced form Ara Güler’s one of the books. Do you think he is still an influence for you? Is there any photographer that you find closer to you and follow? How much do they effect you?
Ara Guler was one of the first photographers that I was exposed to. I was born and raised in Istanbul and he is certainly somebody who made his own mark in photography and everybody is very familiar with his body of work.
I think there is a difference between being influenced and informed when it comes to doing your own art. Having your own style means having your unique response to a subject matter. I am constantly looking at art and that is not just photography; it is sculpture, painting, music and performances. All art forms borrow something from one and other. Photography is an art form that has the ability to capture a moment and create an instantaneous sketch of that situation visually. It is a very powerful tool. I am now mainly looking at painters such as Francis Bacon. I am truly fascinated by his work.
We know that you are still making Analog photography. We are wondering in printing process do you have any digital help? Can you talk about the process?
Today, almost every single image that we see in magazine, online or in gallery it has gone through a level of digital manipulation. I use technology to help me achieve what I would have done in the darkroom but with extended control with the help of digital technology after the negative has been digitized. I think what is essential here is that printing is also another stage of producing art that could enhance what somebody is trying to achieve visually.
Usually for selecting photographs they say it is better to make a selection with others. Even we are hearing some artists are working together with their companion. After making your photographies are you getting any help?
Someone who knows your work and what you respond to can definitely help you with a selection process of a big body of work. However, I prefer to do the first cut myself as there is a certain feel I am going for in my work and want to edit the work as a selection of images that translate my vision at its best. I work with photo editors very closely such as at TheNewYorker and they help me edit my work in many ways. For example, the director of photography at The New Yorker, Whitney Johnson has been a great supporter and mentor since she has helped me develop my photography in different ways.