Interviews
Eduardo Oropeza
Eduardo Oropeza (b. 1996) is a Mexican photographer and visual storyteller originally from Puerto Vallarta. Currently moving between countries and cities for commissions, his practice is rooted in a nomadic approach to image-making. Working primarily with analog formats, his photography blends street, conceptual, and lifestyle genres to evoke nostalgia, memory, and emotional stillness. His work is marked by cinematic tones and quiet observation, capturing both staged and spontaneous moments. Eduardo’s photography has been featured in editorial and commercial projects across Mexico, the U.S., and Europe, including book publications and assignments for hotels and cultural institutions.
What first drew you to photography as a form of expression, and when did you realize it was the medium you wanted to fully dedicate yourself to?
It was a combination of a few factors. Cameras were always around my parents’ house, so from early on, I was already taking photos on family trips or for school projects that leaned toward the arts, since I couldn’t draw or play any instrument then. I fell in love with the process of making images, capturing scenes, the colors and all. It turned out I’m a very visually oriented person, and at that time the iPhone had just been released, making photography even more accessible, so from there it snowballed. It was and still is my way to say to the world, “I’m here”–this is what I do, it’s where I can materialize my vision to reality, at least at the moment. I would also like to delve more into filmmaking on a larger scale, and I really like painting, but that’s just a hobby.
Being born and raised in Puerto Vallarta, how has the coastal environment influenced your photographic style and the themes you explore in your work?
To have that closeness to nature has been fundamental for me. Subconsciously or not, it has definitely shaped my perception of the world and given me a special connection with the ocean. It’s a constant source of inspiration, and it always feels good to be back in my hometown, where I’ve captured many memorable images, often in a very different manner in terms of subject matter and style compared to when I’m in other countries or urban settings.
It was and still is my way to say to the world, ‘I’m here’—this is what I do, it’s where I can materialize my vision to reality, at least at the moment.
In 2019, you transitioned from digital to analog photography for your personal projects. What motivated this shift, and how has it impacted your creative process?
While I had always used film cameras here and there, even when my work was mainly focused on digital assignments, I started to feel a bit stuck and lacking inspiration. Everything seemed repetitive, shallow, even too easy. I also spent the time editing, trying to emulate basically what a roll of film does. Switching to analog was a consequential decision. I gravitated toward something more demanding and somehow more gratifying at the same time, a process that required me to slow down and be intentional, present in the entire process. For me, there’s nothing like it, and I hardly think of switching back. That said, the most challenging part has been adapting my commercial work to this format. While film is becoming more popular now, and clients often seek that “look” it delivers, it’s still a challenge to find gigs that offer that level of creative freedom, so of course I still shoot digital when needed to get the work done, I just haven’t owned a digital camera for a few years now.
Your book, Desiderium, delves into the transience of existence. What inspired this project, and how did you approach conveying such a profound theme through your images?
At the time I was putting together that project, I was going through many changes both professionally and personally, which led me to a realization of the fleeting nature of life and how I was coping with the past and present. Photographs have the ability to stop time—a moment, and through that feeling, perhaps of longing or romanticizing something that has or hasn’t been experienced, I started looking at my work from a different perspective. Putting together a compilation from those recent travels allowed me to give them meaning and find closure to that period.
You’ve experimented with various film stocks, including Kodak Vision3 500T. How do different film types influence the mood and narrative of your photographs?
For me, consistency is key. When choosing a film stock for a certain scenario or light, it’s important to understand its capabilities. Experimenting with different stocks helps you get a better idea of what to expect in terms of colors, contrast, grain, and how well the latitude holds up in shadows or highlights. I usually go for ISO 200 or 400 in color and 400 or 3200 for black and white. There are many options, but I tend to stick to the ones that give me the look I’m aiming for. I really like motion picture film for stills developed in ECN-2, though I don’t have much access to it and it’s more expensive to develop. I typically only use those cartridges for my Super 8 camera.
Balancing freelance assignments with personal projects can be challenging. How do you manage this balance, and what strategies help you stay creatively fulfilled?
This has to be one of the most difficult things for me to fully achieve yet. That really is the dream, isn’t it? When you are able to make your passion financially sustainable and not burn out in the process of making that happen. While I still don’t have a clear answer for that, I think it’s essential to stay true to yourself, believe in what you create, and try not to lose the spark. Sometimes, inspiration and fulfillment come from the least expected moments or places, so being out there, staying curious, and embracing opportunities is part of the search for that balance.
For aspiring photographers aiming to develop a unique voice in their work, what advice would you offer to help them navigate their creative journey?
I would suggest getting fully immersed in the craft. If you really want to improve or learn, experiment a lot, try different techniques and genres of photography, and capture whatever attracts your attention or feels connected to you. Don’t try to imitate others, but it’s okay to be inspired. After shooting many subjects, you’ll start seeing patterns and figuring out what you enjoy photographing most. Even then, you don’t have to stick to it; you can always redefine your style. Whether it’s just a hobby or work, I wouldn’t worry about equipment at first, but focus on developing visual sensitivity. Do what’s within your reach, like visiting museums, galleries, checking out photo books, watching films, and surrounding yourself with creative people. Dare to fail; you’ll learn a lot from your mistakes.
How do you hope viewers feel or reflect when they encounter your photographs, and what lasting impression would you like your work to leave?
Often the word “nostalgia” gets thrown around when people talk about my work, and although I do seek a sense of timelessness in my images, my intention is to tell stories through them—to capture the temporality of the present. What viewers perceive is certainly open to interpretation. Whether it makes them feel something or think of someone, most importantly, when it inspires them, that’s when the circle is completed. And I hope one day people can look back at my images and feel the way I do when I see the work of photographers from decades ago, whose work I admire and draw inspiration from.
