It all unfolded on the streets, alongside fellow skateboarders looking for the perfect spot, sharing in the silent satisfaction of capturing moments on film, moments meant to vanish forever. Skateboarding and photography became intertwined in his story, two passions fueled by movement, instinct, and the rush of seeing the world through a unique lens.

A love that began on wheels, between city streets, film rolls, and fleeting skateboarding tricks captured on film.

It all started on the board

“Looking back, no one in my family was really into photography. We had a few analog cameras lying around, mostly used for family portraits, birthdays, special occasions, or whenever we traveled together. But it wasn’t anything serious or professional.

It became a personal passion once I got older and started skateboarding. When I joined the skateboarding community, I met some skaters who were already into photography, videography, art, drawing—everything creative. That’s when my love for both skateboarding and photography really took off.

I started bringing a camera along with me whenever I went out with my friends, capturing anything that caught my eye. Eventually, I zeroed in on skateboarding and street photography. And that’s pretty much how it all began.”

Locked in the dark room

“I’ve always loved the entire process of analog photography. I’d spend hours picking different films, developing them, sometimes printing a few, and getting lost in the darkroom. I’ve always been really relaxed about the process, and over the years, I’ve only got more into it. That’s probably the main reason I still prefer shooting with film over digital.

It’s the aesthetics of film photography—the grain, the texture, the contrast, the colors, the shadows. It just speaks to me in a way that digital doesn’t. I love shooting with different formats of analog cameras and uncovering new things with each roll. Every camera offers something unique. For instance, a large-format camera has a completely different composition compared to a 35mm one.”

Skate Culture

“When I first started skating, I had friends who were already professional photographers, creatives, and graphic designers. Out of curiosity, I’d always watch them and ask about the cameras—what that lens did, how they envisioned the shot. From time to time, I’d ask if I could try their cameras, and eventually, I decided to buy one for myself to document Panama’s street culture in my own way. I began searching for skateboard magazines, and I was drawn to the photo annual issues from Transworld Skateboarding Magazine. What I loved about them was that they didn’t just showcase skateboarding, but also gave a glimpse into the behind-the-scenes: the spots, the architecture, the lifestyle of the skaters. The more magazines I found, the more I fell in love with photography’s ability to document not just moments, but stories.

Inspired by those magazines, I bought a cheap camera and started documenting the same moments around me—the behind-the-scenes during sessions. Traveling through skateboarding helped me refine my photographic style. Going from spot to spot with friends, discovering new cities, made me see the streets around me in a whole new perspective. When you’re skating down the street, you’re constantly aware of your surroundings, and that awareness sparked a sense of knowing where to look. Applied to photography, it led me to find new opportunities—from angles and compositions that hadn’t occurred to me before.

Now, no matter where I am in the world, the purpose of my photography remains the same: to capture the unnoticed. How a single photo can evoke an emotion from something that seems insignificant—whether it’s a detail in an alley, a reflection in a shop window, or the way light hits a skyscraper while a friend lands a trick. That’s the power of photography for me.”

Skating from Panama to the World

“Panama has undeniably shaped my photographic style. It’s a place where you can find both untamed nature and towering futuristic architecture—two sides of the same country. This duality has allowed me to incorporate both elements into my work, offering me a unique perspective. We have one of the largest skylines in Central America, and that’s probably why I’ve always been captivated by architecture. Growing up here, the city played a huge role in developing the approach I now apply whenever I visit other cities around the world.

However, skate culture wasn’t that developed in Panama. I had to approach it with a different perspective—in a more documentary way. There weren’t many skaters, and certainly a few exceptional ones, so I started looking for other facets beyond the act of skating itself. I focused on what these guys were doing throughout the day, their lifestyle, their interactions. These elements are still crucial in my photography, and I owe a lot of that to Panama.

As for cities outside the island, New York and Barcelona have had the most influence on me. Every time I go, there’s always something new—whether it’s related to culture, skateboarding, or art. These cities inspire me to keep coming back, camera in hand, ready to capture what’s around me. There are so many other places I’d love to visit too—some of the Balkan countries, Tokyo, São Paulo… the street photography capitals.”

Film rolls & Cameras

“I have a few favorite cameras. One of them is definitely the Hasselblad 500—a unique and extraordinary square format. There’s something visually captivating about this format for me. It’s a refreshing change from the typical 35mm. It forces you to approach composition differently, and I love that challenge. I feel at ease when shooting with this camera; it’s solid, and even though it’s heavy, I always make sure to carry it with me.

Another one I always keep close is my Leica M6. I’m obsessed with this camera. It’s discreet—people don’t even notice when you’re shooting with it, which is a huge advantage in street photography. You can capture genuine emotions, raw feelings, in the most natural way.

As for film rolls, my favorite has to be HP5. I love the contrast, texture, and grain it produces. It’s versatile too; I can use it in any situation—whether it’s a bright sunny day or a low-lit indoor scene. It just works everywhere.

Shooting with film and analog cameras can be tough, though. It’s a heavy load to carry around. When I’m in Panama, I usually just take one camera, and if I need another, I can grab it at home. But when I’m traveling, I never know what I’ll come across or what situations I’ll encounter, so I tend to pack a variety of cameras. Every moment calls for the right camera, and I need to be ready for anything.”

Special Projects & Future Rides

“Of all my projects, ‘Urban Landscapes’ is probably the one I hold closest to my heart. It’s a series of panoramic photographs I shot across Panama, Barcelona, New York, and Bogota. It’s still a work in progress, and I’m planning to add more cities in the future. It was on display at the Museum of Contemporary Art in Panama. It’s especially meaningful to me because it was my first exhibition at such a prestigious art venue in Panama. They gave me a budget to create large prints, something I had never done before, so that was a thrilling experience.

For the past few years, I’ve been working on a magazine called ‘Interstate.’ It’s a mix of skate photos from my travels around the world, along with shots I’ve taken here in Panama. I’m currently working on a new issue. These kinds of projects are the ones I’m passionate about—there are no rules or limits, just pure love and dedication to the craft.

What drives my photography is continuing to explore new places, discovering fresh spots, and meeting new people. If opportunities arise to collaborate with certain individuals or brands, I’m open to it, but my focus remains on the journey itself. Personally, I want to evolve as a photographer and start diving more into cinematography, especially projects shot with film cameras like 16mm or 35mm. A skate documentary, filmed on analog, is definitely something I’d love to bring to life.”