Your work is deeply rooted in street photography. In this type of photography there’s often no time to think, only to react to what feels right in the moment. What is it that instinctively makes you pause and frame something?
What catches my eye are the small, ordinary moments that most people pass by without noticing. I think that’s what makes it special. That spontaneity, if you can call it that, is what I enjoy the most.
I’m drawn to everyday life, to the kind of moments we usually take for granted. Over time, those small things have become something quite special to me.
Not having time to think and just reacting instinctively is a big part of it. There’s a kind of quiet rush in those moments, being fully present for a second, and then it’s gone.
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There’s a saying in Spain: “Give him alms, woman, for there is nothing in life like the sorrow of being blind in Granada”. If someone walked through Granada with your eyes for a day, what would they start noticing that most people miss?
I think when an environment feels unfamiliar, it actually makes it easier for me to stay curious. Because it’s different from what I’m used to, like here in Granada, I naturally pay more attention. I notice things I wouldn’t normally see.
In the end, I just photograph whatever feels special or different to me.
It doesn’t really matter where I am or what the context is. I always seem to come back to the same things, small moments, beautiful light, and details that resonate with me.
Light seems to play a central role in your work. How do you see and use light when you’re shooting?
I’m very drawn to the way light behaves, not just in photography, but in everyday life. I love what it does to a space, to a moment. It can completely transform something simple into something special.
When I’m shooting more personal work, street photography, architecture, interiors, light is almost everything. It adds depth, contrast, and emotion. It makes things feel less plain, and in a way, it helps the image tell a story.
That said, when it comes to fashion, I approach it differently. I usually prefer a more neutral and balanced light, something that doesn’t overpower the subject. So I try to adapt depending on what I’m shooting.
Your work often reflects a strong sense of place. How have the different places you’ve lived in or traveled to influenced your way of seeing and photographing the world?
A lot, actually. Before traveling or living somewhere else, I didn’t have the same level of appreciation I have now for those everyday, local moments.
When you’re in the same place for a long time, you get used to everything. It becomes normal, and you stop noticing the small things. But once you leave or experience different places, you start to see things differently.
For me, it made me appreciate what I have at home much more. I began to notice the details, the atmosphere, the authenticity of a place.
I think every place has its own character, and I’m always curious to understand what defines it. But at the same time, it’s often easier for me to capture that feeling in places I know well, like my hometown, because there’s a deeper connection there.
"There’s a kind of quiet rush in photographing those moments — being fully present for a second, and then it’s gone."
In a world where everything is constantly moving faster, what draws you to slower, quieter moments in your photography?
I really like this question, because it’s exactly that, everything feels like it’s moving too fast.
Since photography has gone from being a hobby to my work, I try to approach it in a calm and intentional way. I feel like when you rush creativity, or something that is meaningful to you, it loses part of its value.
For me, slowing down is essential. It allows me to actually see and feel what I’m capturing.
At the same time, photography has become a kind of therapy. It’s something I genuinely enjoy, and one of the few moments where I can disconnect from everything else.
What do you hope people feel or take away when they see your photographs?
More than anything, I want people to feel something real.
I try to put my own feelings into what I photograph, so in a way, they can see what I see, through my eyes, even if just for a moment.
And at the same time, I’d like them to feel like they’re there. Like they’re sharing that space or that moment with me, even if it’s just for a second, a very small, almost imperceptible moment.
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