How did you get into photography in the first place? And what drew you to street photography?
I’ve loved photography since receiving my first camera as a high school graduation gift. From that point on, I experimented with different types of photography, and while I majored in film in college, I continued to take photography classes alongside my studies. It wasn’t until about two years ago, however, that I allowed myself the time and focus to truly dive into photography specifically street photography. I’ve always been drawn to visual storytelling and to how a single moment can be interpreted in multiple ways depending on framing, light, and color. While film trained me to think in sequences, street photography offered a more immediate way to capture these moments.
Your On the Doorstep project is really beautiful. We see a lot of photos out of India but your focus on the threshold between private and public life is a fresh, interesting angle. What first drew you to doorsteps specifically as a subject while photographing in India? I’m wondering, does your hometown, Cartagena, have a similar custom of living more “al aire libre”?
In India, I was struck by how much life unfolds in this threshold. Doorsteps felt like in-between spaces, neither fully private nor fully public. You could see people resting, socializing, children playing, or simply existing. I wasn’t initially seeking out doorsteps as a subject, I began noticing these moments repeating themselves naturally as the days progressed. You definitely see this in Cartagena as well, especially in the evenings. You see people sitting outside with doors open, domino games in the middle of the street, and children immersed in full soccer matches. One key difference, however, is that in Cartagena outdoor life tends to center around communal activity, whereas in India the doorstep often feels like a direct extension of the home itself.
Many of the scenes feel unposed yet deeply intimate. How did you navigate photographing people in such close proximity to their homes while maintaining trust and respect? Or is that even an issue in a country where people think differently about privacy or public space?
I was very careful when taking these photographs. The doorsteps felt so closely tied to the home that I wanted to be sure I wasn’t intruding on what felt like a private space. Even though the images were taken outdoors, the feeling was often that I was photographing people within their home environment. Surprisingly, most people didn’t seem to mind at all, quite the opposite. Many were eager to participate, to pose, and even to invite me further into their homes. There was a sense of pride in sharing their small slice of the world. Still, I remained very attentive to boundaries, and if anything ever felt intrusive, I stepped back.
You’ve described the doorsteps as feeling like a “natural stage” for daily life. When you were shooting, did you feel more like an observer or a participant in those moments?
Mostly an observer, but not a distant one. I tried to observe without interfering and always be very respectful if I felt any adverse reaction to me being there I would thank them and walk away.
Street photography often walks a fine line between documentation and interpretation. How do you personally define that balance in your work?
For me, the photograph begins as documentation but my interpretation always comes in with the framing and subject selection. The images are honest to the moment, but they’re also shaped by my perspective and what I’m drawn to emotionally.
When editing this series, what criteria helped you decide which images belonged together and which didn’t make the final cut?
I looked for images that shared a similar rhythm, drawn to the sense of peacefulness and togetherness they convey. There’s a quiet, positive energy in people simply sitting and being. I was also interested in moments where a mysterious interior contrasts with the exterior group, creating subtle layers within the scene.
Lastly, you’re a member of the Women Street Photographers group. How has being part of that community influenced your confidence, opportunities, or approach to photographing in public spaces?
Being part of Women Street Photographers has been a huge source of inspiration for me. It has reinforced my passion and given me clear goals and benchmarks for where I’d like to take my work. It has also provided an important sense of validation as a street photographer. Being recognized as a finalist several times has given me the reassurance I need after spending countless hours shooting and editing.
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