JULIO CESAR

Your passion for cameras started at a young age. Can you share a specific childhood memory that sparked your love for photography and cinematography?

There is no specific moment I recall, yet I’ve always known that I wanted to take photos and make films. It made sense, but it wasn’t until later in my life that I realized it. My journey into photography began with a deep sense of curiosity. As a child, I was always captivated by cameras, and the idea of freezing a moment in time felt almost magical. When my father brought home an old camera, I was instantly

intrigued. However, it wasn’t until he gifted me my very own camera that I truly began to dive into photography. What started as simple curiosity soon transformed into a full-fledged passion. Over time, I found that photography became a therapeutic outlet for me, offering a way to express emotions, communicate feelings, and tell stories in ways I had never known before. Cinematography was also closely related to photography. As a kid, I frequently went to the cinema, and it was impossible not to start thinking about how certain shots were made, where the light came from, what equipment was used, and so on. My curiosity for photography was followed by a growing interest in film. As I grew, I realized that both photography and film allowed me to connect with the world on a much deeper level. It was no longer just about creating beautiful images, it became about capturing raw, genuine emotions and moments that could speak to others. This realization ultimately led me to pursue a career in photography and cinematography. Thats when I realize that I came to this world, to create. that’s why i’ve always describe myself with the phrase, “Created to create.”

You describe creating images as a way of expressing emotions and thoughts. How do you approach storytelling through your visuals?

For me, storytelling is about capturing the essence of a moment, whether it’s a still or moving image. Storytelling through visuals goes far beyond just framing a beautiful shot. It’s about conveying emotions, ideas, and experiences that may not always be immediately obvious but that resonate on a deeper, subconscious level. When I approach a project, I think about the mood and atmosphere I want to evoke, and how I can use the visual elements like composition, light, and color to subtly convey these emotions. Sometimes, the story is in what you don’t see, in the space between objects or in a shadow that hints at something more. I focus on human emotions and the atmosphere, bringing out the feeling of a scene or the rawness of a subject’s expression.

For example, in Ikigai, a short film where I was the director of photography, I wanted to create a visual distinction between the normal world and the fantasy world. The film is about a child who travels between his dreams and the real world. We achieved these visual differences by shooting everything in the normal world with natural light, primarily using bouncers from the sun to light the scenes. In contrast, the fantasy world was shot using bloomy filters and high-key lighting, which helped create the sensation that something was off. I love creating a unique visual language for each story I work on.

Similarly, even an ordinary object or scene can take on layers of meaning depending on how it’s shot or framed. By carefully choosing what to reveal and what to withhold, I can tap into the subconscious, evoking feelings that might not be immediately understood but are still felt deeply. In this way, my visuals become a language of their own, one that speaks directly to the emotions of the viewer. I see both photography and cinematography as forms of art and communication.

Your work is heavily influenced by films, paintings, and life experiences. Can you name a particular film, painting, or personal moment that has had a significant impact on your artistic style?

It’s hard to name just one film, as I consider myself a cinephile. I have a deep love for all kinds of movies from everywhere, and my influences come from a wide range of directors. Some of the filmmakers who have shaped my work include David Lynch, Terrence Malick, Luis Buñuel, Stanley Kubrick, Andrei Tarkovsky, Alfonso Cuarón, Xavier Dolan, and many more. From each of them, I’ve learned so much and found endless inspiration. Their subconscious influence is always present in my work, often in ways that are subtle but profound.If I had to point to one film that truly impacted me, it would be The Tree of Life by Terrence Malick. The way Malick captures the beauty of life, the vastness of nature, and the emotions tied to personal experiences really resonated with me. Stanley Kubrick’s 2001: A Space Odyssey completely changed my perception of filmmaking. Kubrick’s meticulous, almost clinical approach to every detail of the film, the philosophical depth, and how he blends technology with humanity really

opened my eyes to what cinema could be. It’s about more than just telling a story, t’s about exploring the vastness of human experience, and that perspective has shaped how I approach filmmaking Both movies share a sense of poetic and spiritual cinema, which is something I strive for in my own work.I try to create images that aren’t just visually stunning but that also evoke a sense of wonder and reflection.

In addition to film, I draw a lot of inspiration from paintings, particularly from artists like Johannes Vermeer. The way Vermeer uses light to create beauty and mystery in his works speaks to me deeply. I also find that the blocking in paintings helps me craft interesting poses for my subjects in photography. It allows me to guide them into compositions that feel purposeful and full of life. Understanding how light shapes a scene in paintings has helped me approach lighting in my own work, whether it’s to enhance the mood of a portrait or create atmosphere in a scene. I’m also greatly influenced by the surrealism of René Magritte. His use of juxtaposition and unexpected visual narratives pushes me to think outside the box and explore new ways to communicate ideas through imagery.

Beyond art, life experiences and being observant of my surroundings are some of my greatest sources of inspiration. Whether it’s a fleeting moment I catch on the street, the way the light hits a building, or a conversation that sparks a feeling, I believe that creativity is about staying in tune with the world around you. Observing those little moments and capturing them is what keeps me inspired and allows me to continue evolving as an artist.

Lighting plays a crucial role in both photography and cinematography. How do you use lighting to enhance the emotions and atmosphere in your work?

Lighting is everything in my work; it has the power to evoke emotion and create atmosphere. It’s not just about making sure a subject is visible, it’s about using light to tell a story. In my work, I think of light almost as a character in itself. It has the ability to transform the mood of a shot, guide the viewer’s emotions, and even suggest hidden meanings. As a cinematography teacher once told me, “Cinematography is a profession similar to painting, except that our tools aren’t pencils, but lights.” That always stuck with me and became my approach to lighting for both photos and films. In the end, we are painting with light. Similar to painting, we create mood, sensation, or symbolism through the atmosphere and light we craft.

I like approaching the lighting for each project differently because no two lighting setups are ever the same. Lighting also helps us create meaning in an image. For instance, in Ikigai, I used natural light to represent the “real world” and high-key, bloomy lighting for the “fantasy world” to distinguish the two and create a sense of unease in the fantasy realm. That contrast between worlds wouldn’t have worked without the careful use of lighting to evoke the right mood.Ultimately, lighting is not just a technical decision, it’s an emotional one. I strive to use it in ways that not only support the narrative visually but also engage the viewer emotionally, helping them to feel what the character is feeling or what the scene is trying to convey. Whether it’s a stark light in a dark room to emphasize isolation or a warm golden glow to create a sense of nostalgia, lighting has the power to transform an image or a scene and elevate the emotional impact of the story.

You’ve worked with renowned artists and had your work featured in major publications. What has been the most memorable project of your career so far, and why?

I feel incredibly honored that such well-known artists have appreciated my work enough to have me capture their essence in one way or another. Working with amazing talents like Olivia Rodrigo, Sofia Reyes, and Piso 21 has been a dream come true and an ongoing source of inspiration. Every time I collaborate with a recognized artist, I’m reminded of the immense passion, drive, and talent they bring. It’s not just about taking a great photo or creating a beautiful shot; it’s about collaborating with individuals who pour their heart into their craft, and that energy motivates me to push my creativity even further.

One particularly memorable experience was working with Olivia Rodrigo during a portrait session. She had such an authentic presence, and I was amazed at her ability to stay grounded despite all the attention she was receiving. She wasn’t just performing for the camera—she was fully present in the moment. It reminded me of the importance of being true to yourself and letting that authenticity come through in your work. Another unforgettable moment came when I worked with Sofia Reyes, my first time photographing a Mexican artist. Born in Mexico, it was especially meaningful for me to capture Sofia’s concert in Palm Springs. I got to live with her and her team for that tour. It was a great experience that really nourish my career. Being surrounded by individuals who constantly challenge boundaries pushes me to want to create more and explore my own potential.

Fashion photography allows for a lot of experimentation. What excites you the most about shooting fashion, and how do you bring your unique vision to each project?

What excites me most about fashion photography is the opportunity to experiment with different styles, concepts, and emotions. Fashion is an ever-evolving art form, and each shoot allows me to push my creativity and vision in new directions. I approach each project by focusing on the story I want to tell through the clothing and the subject’s personality. For me, fashion is an extension of storytelling, and I strive to bring a unique blend of artistry, emotion, and style to every project.

I have two examples that perfectly encapsulate how each fashion project is experimental and unique. One example is my photoshoot for Vigour Magazine, a Canadian fashion publication, where my editorial Hollywood Cinderella was featured. The concept for the shoot emerged from a simple yet captivating conversation with designer Santiago Acebras, the founder of D’SANTI. We wanted to showcase a modern-day princess, someone who is no longer confined to traditional fairytales, but instead navigates the chaos and glamour of Hollywood. The idea was to juxtapose the beauty and elegance of an almost ethereal, princess-like gown with the electric energy of Hollywood at night. We used the neon lights, bustling crowds, and iconic streets of the city as the backdrop, creating a narrative about a contemporary superstar who commands attention in a world as fast-paced and dynamic as the person wearing the dress.In another project for Malive Magazine, a French publication, I created Vulnerability Structure. This photoshoot served as a visual exploration of the intersection between masculinity, emotional openness, and urban architecture. I placed men—symbols of societal expectations of stoicism

—against the rigid and unyielding geometry of the city’s structures. The contrast between the physical forms of the city and the vulnerability of the subjects invited viewers to reflect on how emotional openness can break free from traditional structures, showing that strength can be found in vulnerability. It’s about how, sometimes, breaking free from societal expectations allows us to find new power and beauty.

These publications and the experimentation behind them are perfect examples of how I approach each project with a fresh perspective. I’m always looking for new ways to tell stories, whether through the lens of high fashion or more conceptual, emotionally-driven themes.

Being both a photographer and cinematographer, how do you switch between the two creative processes? Do you find that one influences the other in your work?

The transition between photography and cinematography feels quite natural for me because both disciplines are deeply intertwined in my approach to visual storytelling. When I’m working as a cinematographer, I focus more on the movement, continuity, and pacing of a scene, but my foundation in photography constantly influences the way I think about composition, lighting, and framing, even in a dynamic environment. Photography helps me to think in terms of still moments—how to capture that one frame that tells a complete story within itself. Cinematography, on the other hand, gives me the opportunity to explore the movement within a scene, to see how a character’s emotions evolve over time, and to build on the atmosphere I created in a single image. In essence, both disciplines influence each other. My work in cinematography often drives me to be more precise and thoughtful in my photography, making me focus on the details that elevate an image beyond just its subject. Likewise, my

background in photography has made me more attuned to lighting and composition when I’m shooting moving images. Whether I’m shooting stills or moving images, I am always thinking about how the visual can enhance the emotional connection with the viewer. Both mediums allow me to express the same emotions and themes, but in different ways—photography in a single moment, and cinematography over time.

Ikigai, A short film that you where director of photography, was an official selection at the Silicon Valley Film Festival. What was the biggest challenge and the most rewarding part of that experience?

As the director of photography for Ikigai, the biggest challenge came in creating two distinct worlds— each with its own visual language—through cinematography. The film explores a child’s journey between the real world and the fantasy world, and the task was to establish a clear visual contrast between these two realms while maintaining consistency and coherence throughout the story. For the real world, I used natural light to give the scenes an organic, grounded feel, capturing a sense of reality. In contrast, for the fantasy world, I employed high-key, bloomy lighting to create an ethereal, surreal atmosphere that felt removed from the everyday. The challenge was balancing both worlds and ensuring the transitions between them were seamless, while still conveying the emotional shifts the protagonist was experiencing. Every lighting choice, every angle, and every moment had to serve the purpose of guiding the viewer through these worlds, both visually and emotionally.

The most rewarding part of the experience, though, was seeing Ikigai on the big screen, especially when it was selected for the Silicon Valley Film Festival. There’s something incredibly fulfilling about watching a project you’ve poured so much creativity and energy into come to life in front of an audience. It felt like witnessing a part of myself, my vision, shared with the world. Being part of a team that brought Ikigai to life, from the initial concept to the final product, was not only professionally rewarding but also deeply emotional. To see my work recognized at a festival and to hear the audience’s reactions reaffirmed my passion for cinematography and filmmaking. It reminded me of the power of visual storytelling and the connection that cinema can create, and that was an unforgettable experience.

You believe that creativity is a spiritual path to the human soul. How do you stay inspired and continue evolving as an artist?

The act of creation is, for me, a spiritual journey. It’s a way of exploring and confronting our emotions, desires, fears, and hopes. This journey allows us to evolve and transform, and the process can be healing in ways that words or logic can’t always reach. It’s in these moments of creation that I feel most connected to the world around me, as I express things that are often too deep or too complex to articulate otherwise. Whether through photography or cinematography, I find that the creative process is a way of reflecting the human condition, both the light and the darkness. I stay inspired by remaining open to life’s experiences and emotions. I often find inspiration in the people I meet, the places I visit, and the moments of stillness that allow me to reflect on the world around me. I also make sure to challenge myself creatively by experimenting with new techniques or trying new forms of storytelling.

Staying humble and connected to the human experience helps me evolve as an artist, always searching for deeper meaning in the work I create. For me, it’s important to keep a connection to the soul in the creative process, something I believe is echoed by filmmakers like Andrei Tarkovsky and David Lynch.

Tarkovsky’s view on art resonates deeply with my approach to creativity. For him, art isn’t just about external beauty, it’s about capturing and conveying a deeper truth. This philosophy mirrors my belief that creativity is a spiritual journey, and through my photography and cinematography, I strive to connect with the soul, whether in the moments of stillness or the intensity of emotion. Lynch views art as a gateway to the subconscious, a space where hidden emotions, desires, and fears can be explored and brought into the light. He believes that true creativity comes from a deeper place, beyond the conscious mind, and that art has the power to reveal the mystery of existence itself. This idea aligns with how I approach photography and cinematography, by capturing raw, unspoken emotions that speak

directly to the subconscious, allowing me to communicate feelings that may be difficult to express with words.

What advice would you give to aspiring photographers and cinematographers who want to make their mark in the industry?

To aspiring photographers and cinematographers, my advice would be to stay true to your unique voice and vision. It’s easy to get caught up in what others are doing or in the latest trends, but the most powerful work comes from authenticity. Don’t be afraid to experiment and embrace your individual style, even if it feels different from what’s currently popular. Art is about expressing something genuine, something raw, and that’s what will make your work stand out. When you create from a place of sincerity, it resonates with others on a deeper level.

Another important piece of advice is to embrace failure. The creative journey is not always smooth, and setbacks are inevitable, but I truly believe that failure is one of the greatest teachers. It’s through failure that we learn, refine our craft, and develop resilience. Each challenge is an opportunity to grow, so don’t shy away from it. Instead, embrace it, learn from it, and let it fuel your growth. Keep pushing yourself, even when things don’t go as planned.