Pix Collective

The PIX Project — from a distance — is a straightforward ritual. Seasoned New York-based photographer Pete Voelker summarises his creation in seven words on SPOTZ’s website: PIX is a call and response project. For each Zine, Voelker collaborates with a photographer to release a prompt image. It’s presented to the world with the same prompt as every photo before it: Look at the photo. Be critical of the photo. Submit your own photo. Photographers from all around the world are then given the opportunity to respond by submitting their own work, the best of which Voelker sequences into a thirty page Zine with the prompt image as it’s cover. It’s a simple mechanism. A basic communication between those who create.

It’s also a collaboration that relies on a complicated understanding of creativity and worldwide imagery which Pete tethers together. Pete Voelker becomes a universal translator of sorts as he chooses the images which will become his zine:

“I believe images carry a kind of visual syntax that photographers instinctively understand, almost like a shared vocabulary that goes beyond words. This silent conversation exists in the nuance — the way light falls on a subject, or how a shadow creates tension. For photographers, these elements aren’t just aesthetic choices; they’re forms of expression that convey mood, intention, or hidden narratives.”

When asked about the sometimes abstract links he forms between photo responses, Pete elaborated on this visual syntax further:

“It's a skill that’s grown organically over time but is rooted in my undergraduate education studying for a BFA. When I first started PIX, I was more focused on the technical or thematic links between images, the tangible elements that any viewer might recognize. But as I connected with photographers from different backgrounds and experiences, I began to see deeper threads — the emotional undertones, the subtle cultural references, the shared struggles or triumphs — that linked their work in ways I hadn’t anticipated. The more I engaged with this global community, the more I understood that photography isn’t just about what we see; it’s about what we feel, and those feelings connect us all.”

Now on the 38th and 39th print, PIX has become something beyond its simple mechanics. Each prompt encourages photographers to look more closely at their own work to see the suggestions buried in an images form. Each submission is different. In PIX 028, Pete submitted his own picture as the cover image. In an act of extreme “curiosity and vulnerability”, Voelker finally felt like he understood the spirit of PIX and its place in the community enough to add his own work into the publication.

The image he shared was from his book ‘Time Elapsed, Time Remaining’ (released in 2023). Pete travelled the full length of the European Union and North Atlantic Treaty Organization’s eastern border, documenting borderlands across 12 states. Contributing an image that was so dear to Voelker gave him a fresh perspective of his own project…

“I wanted to experience PIX not just as its creator but as someone taking that first step of sharing an image, inviting others to respond, and being part of the dialogue.”

Pete always aims to choose images based on what they can encourage in other photographers. The zine has worked with many industry professionals, some — like Eugene Atget — which had passed before being featured. These kinds of editions to the PIX Project are picked by Voelker because they create a different challenge:

“Responding to an image created by someone who is no longer with us changes the dynamic; it's like reaching across time to engage in a dialogue with a visual pioneer. It prompts participants to think about their work in the context of photographic history, to consider how techniques, themes, or cultural narratives have evolved. There's a sense of reverence in these editions, a deeper contemplation that bridges the past with the present in a way that feels both respectful and innovative.”

Each unique challenge directs Voelker’s decision making when he builds his 30 page Zine. He was adamant about breaking down barriers that exist in the art world by blind editing each edition:

“The diversity of experience and perspective brings fresh energy to each edition of PIX, creating a richer, more unpredictable visual dialogue. It’s this blend of raw experimentation and refined technique that makes the project so compelling and accessible to everyone. I make each edit blind, meaning I just look at the photographs, without names attached, and put together the portfolio purely on a visual basis. This sometimes means friends and colleagues who I've personally invited, don’t get included, but it's nothing personal.”

Original Magazine was also given the opportunity to speak to one of the project’s most recent muses, Joe Skilton. Originally from York, Joe has built his reputation by capturing deeply personal shots with his subjects, which was captured in his image for PIX 038. Voelker’s vision for the emotive language behind photography is exemplified by Skilton, who admitted to normally working with known models to create his intimate images:

“I mostly shoot people that I know, or even know at least a little bit. Otherwise, I reach out to people based on a connection no matter how slight - then our photographing becomes our initial connection I suppose. I do that much talking whilst meeting someone that the pictures become almost secondary and in so - happy accidents. London can be that all-consuming that it's hard to see those you know and love. Sometimes a moment with a camera together is the perfect excuse to catch up with someone.”

Initially growing his art on the internet, Joe learnt to use a camera through his family and their 90’s albums, the skatepark, Flicker, and Tumblr. He also credits any growth he’s experienced as a photographer to his book collection; the 1961 book ‘A Dialogue With Solitude’ by Dave Heath had “the most profound impression in [his] understanding of what photography can be”. When it came to picking the cover image for PIX 038, Skilton’s focus on connection encouraged him to reach out to friends and family to find the right image:

“I had a wide selection at first. Once you start looking into an archive as messy as mine you start to see all kinds of possibilities, I asked my friends and family around me what they thought worked first - and then took that selection to Pete for his advice also. I totally agreed with his insights.”

While the PIX Project can be summarised very simply as a call and response, what photographers like Joe Skilton and Pete Voelker are contributing is much more complex. These zines open a dialogue between photographers that can cross barriers between countries, experiences and job titles. It is the ultimate leveller between older photographers and those wanting to enter the industry; all that’s required is the foresight to understand Pete Voelker’s sometimes intangible collection of images.

About PIX - PIX is a call-and-response photography project that began in 2019, inviting photographers from around the world to participate in an evolving visual conversation. Each zine starts with a prompt image by a cover artist, followed by responses from contributing photographers, carefully curated to create a seamless narrative.

About Spotz - Spotz is an independent publishing imprint focused on visual storytelling, founded by Pete Voelker. From concept to production, Spotz is dedicated to supporting the creative process through open calls, collaborative projects, and limited edition publications.