ManicWorld Magazine

–Can you share the story behind one of your most significant projects?
For me, every project I’ve worked on holds something special. But if I had to choose one, it would be the most recent campaign for Boutique De Nana, ‘Fruits.Sports’, which upcycled vintage Adidas pieces.
The story behind this campaign is deeply personal and close to my heart. My mum has always been a major pillar of strength and inspiration for me—a strong woman who fought to provide her family with the best life, often sacrificing her own dreams and goals.

The aim of this campaign is to advocate for the importance of embracing culture in sports. It’s also a tribute to women who have sacrificed their dreams—such as playing sports, which some cultures consider ‘unnecessary’—to support their families.

Yousra Esladig, CEO and Founder of Boutique De Nana, is another source of inspiration. Since moving to Cardiff, she has become a mentor to me, helping me navigate the fashion photography world, which I once found almost impossible to break into. Yousra is one of those women who sacrificed her own life and culture to move to the UK in search of better opportunities—just as I did when I left Spain and my family behind to pursue my dream of becoming a freelance photographer. This is why I feel so connected to the story behind this project.

–How has your approach to photography evolved over time?
I feel that my approach and style have evolved significantly since I decided to fully dedicate myself to photography. In the beginning, I was more focused on the experimental side of things, trying every technique or idea that came to mind and applying them to various styles. I suppose that’s common when you’re just starting out—there’s a desire to try everything related to your craft. This was especially true for me, having just finished my degree in Fine Arts and an MA in Photography. My mind was, let’s say, a hodgepodge of ideas and concepts.

I also believe that, like any other form of art, a photographer’s perspective is volatile—it evolves and fluctuates with the socio-cultural circumstances we live in. So, back in 2019/2020, I was naturally more focused on documenting my feelings and experiences during the lockdown. I explored themes such as mental health, self-awareness, and the beauty found in everyday objects. I became fascinated by how light could transform a space depending on the time of day that almost feels completely different.

I’ve always had a strong interest in fashion photography, and around that time, I started experimenting in that field as well. I took fashion self-portraits, using whatever I could find around the house—blankets, curtains, duvets—and played around with different fabrics and textures.

Looking back, I see that those early explorations were crucial in shaping the photographer I am today. Spending time in lockdown learning and deepening my understanding of different aspects such as editing, retouching, and lighting has made my work more refined, with special attention to detail, while still retaining a sense of experimentation. Each project now feels like a step forward in my creative journey, and I’m excited to see where it takes me next.

–Can you describe your creative process from concept to completion?
My creative process can feel a bit chaotic at times since inspiration comes from diverse sources—a poem, a song, a film, or even a conversation. Typically, it begins with a pre-shoot consultation where the client or team shares the project vision, and we collaborate from there.

I start by brainstorming ideas and writing them down in a notebook, then I search for visual references on Pinterest until I identify the main theme. Once I’ve gathered enough inspiration, I create a moodboard, adding references for poses, styling, lighting, and any other references I find interesting. I share this moodboard with the client or team for feedback, ensuring we’re aligned on the creative direction.

Next, I scout locations or studios that suit the project. For editorial shoots, I put together a more detailed moodboard with specific references for styling, makeup, location, and the overall schedule. If it’s a location I haven’t worked in before, I visit ahead of time to get familiar with the space and lighting.

As the shoot date approaches, I prepare a call sheet and a shot list, often creating a storyboard to ensure I capture all key images. The day before, I pack up equipment and any props we might need for the shoot.

And then, it’s when the magic happens!