Written by Stylist & Fashion Blogger Jamie Lee Kendall
PR contact Jamie Lee Kendall 415-362-8300 or westcoastleathersf@gmail.com
West Coast Leather recently conducted a catalogue photoshoot with fashion photographer Paul Tocatlian. The photoshoot took place at the Yerba Buena Gardens in San Francisco, California. Model: Darlene @darlene.webm (Instagram).
She modeled several outfits including A Chevron French Orange and Gitane Blue leather jacket. It is priced at $1,500
She also wore the Love Multicolor Women's Jacket ($1,600). The Jacket was originally from North Beach Leather and inspired by Artist Robert Indiana. Robert Indiana's 1967 screenprint is currently on display in the Museum of Modern Art Love.
Along with the jacket, she wore the two-Tone Skinny Leg No Pocket Leather Pants which has exposed ankle zippers ($795).
Below are links to Paul's articles that he wrote: Street Style Ignited: Darlene for West Coast Leather – Tocatlian Blog
Below is an interview we conducted with Paul.
Q: Tell us a little bit about yourself and your background. How did you end up in the Bay Area?
A: I’ve had the chance to live on three continents, spending 17 years in France, 2 years in Australia, and many more in the United States. I spent time in the New York area before moving to the Bay Area in 1999. The Bay Area’s diversity, energy, and openness sparked something in me that still fuels my work to this day.
I come from a family of artists and musicians. Naturally, I didn’t inherit any of those skills. I can’t play an instrument to save my life, and my drawing abilities peaked with stick figures. But for some reason, the camera felt like home. Photography didn’t start as a career for me. It was more of a quiet obsession, something I carried with me wherever I lived. What began as a hobby gradually grew into something deeper. It became a way to connect with people, explore identity, and capture the unspoken moments that make us human.
Today, it’s the heart of what I do. Each place I’ve lived and visited has added a layer to how I see and frame the world. That global perspective continues to shape the kinds of stories I aim to tell through my lens.
Q: We have worked on several projects before (you and West Coast Leather). We really liked this project with all of the color at Yerba Buena Gardens. Do you do a lot of work location scouting?
A: Absolutely. I love exploring new spaces and seeing how light and color change throughout the day. Locations can completely shift the feel of a shoot. When the wardrobe and environment click, like they did at Yerba Buena Gardens, the results can be magical. It’s part instinct and part research. I usually walk around a location beforehand to get a feel for it, take test shots, and imagine how the story could unfold there.
I’m always on the lookout for new locations. I’ve even put together a Google Map (https://kisau.com/2023/09/15/photoshoot-location-in-the-san-francisco-bay-area/) where I share some of my favorite places to shoot across the San Francisco Bay Area. For me, location plays a huge role in shaping the tone and emotion of a photoshoot. I enjoy researching or wandering a city to find that perfect backdrop. That said, some of the most memorable locations have come from recommendations. This is especially true when I’m traveling and working internationally. For example, Casa Nomada in Bali (https://kisau.com/tag/casa-nomada/). Being open to those suggestions and surprises adds a layer of spontaneity that I really value.
Q: Where did you learn photography?
A: Like many photographers, I remember my first camera and the thrill of capturing my first image. It was intoxicating and addictive. My first camera was a Kodak Pocket Instamatic. In the 1970s, I had been gifted a superpower. The ability to freeze time.
As time went on, my prized possession became a Canon A-1. I found myself drawn to photographing people and capturing their stories in a single frame. Decades later, with a digital mirrorless camera in hand, I organized my first photo shoot in the streets of Saigon. What began as creative chaos soon turned into something magical. The models, the surroundings, the light. It all came together in a way that told a story.
The icing on the cake came when one of my photos of Vân Nguyễn, taken at the Bà Thiên Hậu Pagoda, won the 500px Takeover March 2020 Edition Quest (https://kisau.com/2020/03/08/nguyen-van-is-the-face-of-500px-for-march/). Despite its technical flaws, the image resonated with the 500px community of 15 million photographers. That moment reminded me that a photo’s true value lies not just in its technical merits but in the story it tells.
With every shoot, I realized there were infinite possibilities I hadn’t yet imagined. I discovered that collaborating on photo shoots could bring people together in ways I hadn’t anticipated. The camera became a tool for connection, growth, and shared creativity.
Q: Tell us a little bit about your experience with video reels and your tech savvy?
A: Video reels have become a fun way for me to share a different side of the shoot. I love capturing movement, energy, and the moments in between. I edit all of my own content and enjoy finding the right rhythm, matching visuals to sound, and telling a story in 15 to 30 seconds.
I’ve always loved technology. I spent nearly three decades working in tech while honing my photographic skills. These days, I no longer build technology. Instead, I use it whenever I can to help tell better stories. Whether I’m experimenting with new tools, organizing assets more efficiently, or enhancing the visual experience, technology is now a part of how I create and connect with others.
Q: We love your new photography book, The Melbourne Portraits Project: A Photographic Ode. How was it to make it?
A: This book means the world to me. It started during the pandemic when I began photographing creatives around Melbourne as a way to stay connected and keep the artistic spirit alive. I called it The Melbourne Portraits Project (https://kisau.com/the-melbourne-portraits-project/) and after more than 100 shoots, it became a full body of work. The book is a celebration of resilience, individuality, and creativity. The streets became my studio. Every corner of the city revealed something raw and honest.
The final book is 196 pages and is organized into 12 chapters. Each chapter celebrates a different photographic theme that emerged through those collaborations. It was even featured by Ted Forbes on The Art of Photography (https://kisau.com/2025/01/31/the-melbourne-portraits-project-featured-by-ted-forbes-on-the-art-of-photography/), which was such an unexpected and humbling moment. I also created a companion website to go along with the book. It offers behind-the-scenes insights, extended stories, and photos that didn’t make it into the print edition. Making the book was a journey in itself. Curating, sequencing, and writing were all part of the process. But most of all, it was about honoring the people who brought their energy and stories to every frame. The book is a heartfelt tribute to Melbourne and the creative community that kept going even when everything else came to a halt.
Q: What is your favorite part of the photoshoot process from start to finish?
A: For me, it always comes back to collaboration (https://kisau.com/fashion-editorial/photoshoot-collaboration/). It starts the moment we connect, whether it’s a brand, a model, a designer, or a stylist. From there, we begin exchanging ideas and building trust. That early conversation lays the foundation. Every step is a chance to co-create. We choose outfits that reflect personality or narrative. We scout locations that add atmosphere and depth. We experiment with light and angles to elevate the emotion of the moment.
On shoot day, it's all about the energy in the room or on location. When everyone brings their vision and vulnerability, something powerful happens. It becomes something none of us could have created alone. People often use the word “collaboration” when a shoot isn’t paid. But for me, collaboration is at the core of every shoot. It does not depend on budget. It is not just about working together. It is about building something meaningful together.
Even after the shoot, the collaboration continues. I love sharing previews and hearing reactions. When possible, I also enjoy selecting final images together and seeing how others interpret the finished work. Whether the images end up published, printed, or shared online, it always feels like we are putting something bold into the world. It becomes a celebration of fashion not just as clothing but as self-expression. At its best, a photoshoot invites everyone involved to be bolder and dream bigger. That’s what keeps me coming back.
Q: What are some upcoming projects that you are excited about?
A: I just returned from South Korea (https://kisau.com/tag/south-korea/) where I had the chance to shoot in both Seoul and Jeju Island. It was an incredible experience capturing fashion and street style in such dynamic and visually rich locations. In recent years, I’ve also shot in Vietnam, Bali, and Spain. Each place offers its own rhythm, palette, and spirit. These experiences continue to shape my vision and expand my understanding of fashion as a global language.
Next, I’m heading to Paris and Vienna with several exciting shoots lined up. I love discovering and showcasing local designers from around the world. Whether they are emerging voices or established talents, I enjoy helping their work find new audiences through visual storytelling. It is always inspiring to see how fashion and self-expression vary from place to place while still feeling deeply personal and universal. I hope these new images from my travels will be part of my next book, Around the World in 80 Photoshoots. There is a lot to look forward to, and I’m excited to keep exploring and creating.
Q: What haven’t you done that you want to try?
A: I’m really drawn to the idea of creating a short visual documentary that follows the work of an emerging designer or artist. There is so much storytelling potential in that kind of project. I think it would be a great way to stretch creatively. Another idea I’d love to explore is carrying the same creative team—model, stylist, makeup artist, and designer—across multiple photoshoots. There is something really special about building trust and creative rhythm over time. I love seeing how each shoot evolves when everyone is growing together.
More broadly, what excites me most is the idea of continuous learning. Every shoot brings something new. It is about staying open, expecting the unexpected, and letting the process guide you. I want to keep being bolder and dreaming bigger. I want to allow people to see themselves in new ways through the images we create together. Looking ahead, I’d love to dive deeper into branding and identity work and tell more stories that explore the intersection of fashion and self-expression. There is still so much more to create. And I feel like I’m just getting started.
