Interviews
Rafael Gonzalez
Rafael Gonzalez is a photographer based in Panama City, Panama. Influenced by skateboarding culture, urban landscapes, and everyday life, Gonzalez has developed a signature visual language that explores the relationship between these elements through meticulously constructed images. His photographs, taken in a variety of locations, seem to transcend time and place; they could exist anywhere, in any decade, and reflect the layered complexity of urban life where cultures and societies collide or coexist. Using a wide range of cameras across multiple formats, from 35mm to 4×5 and even motion picture film, he brings a distinctive edge to his work, marked by dedication and authenticity. This technical versatility complements his unique approach to the art of image-making. His work has been featured in publications such as Juxtapoz Magazine, i-D, Leica Fotografie International, The Leica Camera Blog, Booooooom, Lomography, Ilford Photo, Hypebeast, Monster Children, and Huck Magazine.
Your photography often captures the essence of urban life and skate culture. What draws you to these subjects, and how do they influence your creative process?
I started my photography journey as a way to document what was happening around me, mostly during skate sessions with my friends and while traveling. Skateboarding and daily life have always been closely intertwined for me, and these subjects felt like a natural starting point when I first picked up a camera. Over the years, they’ve continued to shape my visual language. There’s something raw and spontaneous about these moments that really inspires me.
You’ve mentioned a preference for analog photography. What is it about shooting on film that appeals to you, and how does it shape your work?
What appeals to me most about shooting on film is the whole process from start to finish. There’s something really meaningful about loading a roll into the camera, slowing down to explore different compositions, hearing the sound of the shutter, then later developing the film and seeing the images for the first time. It’s a more intentional and tactile experience that keeps me connected to what I’m creating. On a visual level, I’m drawn to the contrast, tones, and textures that film offers, it helps me translate the atmosphere of a moment in a more artistic and personal way.
Skateboarding teaches you to see the city differently — not just as a backdrop, but as a space full of possibilities and stories.
Can you tell us about your publication, Interstate Magazine? What inspired its creation, and what do you aim to convey through it?
Intêrstate (@interstate_mag) is a print publication focused on skateboarding culture and visual arts. I started it with my friend Constantino Carneiro (he’s a graphic designer and skateboarder) as a side project. It began as a way to give life to the photos I shot during my travels, rather than letting them sit unseen on a hard drive. We wanted to create a physical platform that highlights the creative side of skateboarding and the people involved in it. So far, we’ve published four issues, featuring work by skateboarders, artists, and photographers like Soy Panday, Octavio Barrera, Nich Kunz, Benjamin Deberdt, Victor Cascarigny, and Josue Watts, among others. Right now, we’re working on a new issue, and looking ahead, we hope to feature even more voices. We also want to expand beyond print, curating art exhibitions and events in different cities around the world to keep building community and sharing inspiration through skateboarding and visual culture.
Skateboarding seems to play a significant role in your photography. How has your experience as a skateboarder influenced your perspective behind the lens?
Skateboarding has definitely shaped the way I see and photograph the world. The nature of skating teaches you to be constantly aware of your surroundings whether it’s looking for new spots in the streets or finding creative ways to navigate and reinterpret the urban environment. That mindset naturally carried over into my photography. It helped me develop a strong sense for composition in street scenarios, and to notice the small details or overlooked fragments that give character to a place. I think skating trains your eye to look at the city differently, not just as a backdrop, but as a space full of possibilities and stories.
You’ve worked with various film formats and cameras. Do you have a favorite setup, and what makes it stand out for you?
My favorite setup is the Hasselblad 503CX. I really enjoy the fact that it’s a modular system, you can customize it depending on your needs, whether it’s swapping out viewfinders or film backs. That flexibility is something I really value. The square format also gives a unique perspective when composing an image, and it adds a timeless, classic feel that fits well with my visual approach. That said, when I’m walking or skating around the city and want to keep things light, I often go with the Leica M6. It’s simple, intuitive, and incredibly reliable. The build quality is solid, and the lenses are top notch. It allows me to stay more spontaneous while still capturing high-quality images.
Travel appears to be a recurring theme in your work. How do different environments impact your photographic approach?
Traveling, whether locally or internationally, is one of the main things that keeps me inspired to shoot. Being in a new environment naturally pushes me to explore more and stay alert to the details around me. It brings a sense of curiosity and motivation that really fuels my process. At the same time, travel helps me refine my vision. After spending time in different places, I come back home with a fresh perspective. Suddenly, the streets I pass by every day feel different, I notice new angles, light, or elements I hadn’t seen before. So in a way, travel not only influences the work I make on the road but also deepens the way I see familiar environments.
In past interviews, you’ve cited photographers like Henri Cartier-Bresson and William Klein as inspirations. How have their works influenced your style?
What I admire about both Henri Cartier-Bresson and William Klein is their unique approach to photographing the streets. Cartier-Bresson was a pioneer of street photography and the concept of the “decisive moment,” which really taught me the importance of timing, composition, and being present. His ability to capture life unfolding in such a precise yet natural way has had a big impact on how I shoot. On the other hand, William Klein’s work inspires me in a different way. His raw, energetic style and the fact that he pushed boundaries across so many fields like fashion photography, reportage, film, painting, and graphic design, motivates me to explore beyond one genre or medium. His experimental way of working reminds me that photography doesn’t have to fit into one box, and that’s something I try to apply in how I create and present my work.
What advice would you offer to emerging photographers looking to find their unique voice in the realm of analog photography?
My advice would be to focus on what genuinely excites you to shoot, whether it’s people, places, or specific things/moments. That passion will naturally guide your voice. At the same time, take the time to study the work of the masters; there’s a lot to learn from their approach, but instead of copying it, try to adapt that inspiration into something personal. If you have the chance, experiment with different film formats and cameras. Each one offers a different way of seeing and can help you become more versatile, both technically and creatively. Most importantly, enjoy the process. Analog photography is as much about the experience as it is about the final image.
