For inspiration and consolation, I considered the famous quote, “Many are called but few are chosen.” There’s a variation of this quote among photographers that reads, “Photography calls many but chooses few.” And it was this variation that helped me dedicate the years of effort required to gain the traction I needed to survive.

I have to mention that my level of obsession with photography back then was off the charts. I used to read countless blogs, watch tutorials, and consume every single bit of information I could find. Not having any other source of income, or a detailed business plan was very scary. Driven, and hungry, I sacrificed my social life, relationships, and all the other trappings of regular life to achieve my dreams.

Obsession is a component many amateur photographers often take for granted, when in reality it can become a powerful force. It’s critical to focus on what’s important when you’re starting out. And hopefully, the adversity you experience will build the character needed to complete the journey.

DW: What was your path toward becoming a professional photographer? Are you self-educated, did you have mentors, and did you go to school for photography? 

RP: Yes, I am self-educated. I think the photographer who had the biggest impact during my early years was Zack Arias. His ethics, respect, and practical approach towards photography influenced me a lot. Nowadays there are so many photographers out there that are doing fantastic work in terms of portraiture. However, what appeals to me most is attention to simple and clean execution styles. I like Platon´s work a lot because of this.

DW: Please tell me about the cameras, lenses, flash, and other photographic gear that you use.

RP: Ha! I am probably the least sophisticated guest you´ll have answering this question. I don´t own a lot of expensive top-of-the-line gear. Until today, my market has never ever asked me about the type of gear I use, they only care about the results I can deliver for them. Which is to say, I believe cameras, lenses, flashes and all that are literally tools, some more necessary than others. In essence, what matters most is how I use them.

That said, like other photographers I appreciate getting new toys. However, one needs to remember that in business, you should get what you need instead of only what you want. Personally, I prefer a quick return on investment when it comes to the gear I use. As a result, I believe in simplifying my kit. That’s why I invest more money in lenses than camera bodies.

For instance, in the personal work you see on my Instagram account, I use prime lenses such as a 50 and 85mm 1.4. Then there’s my dependable 16-35mm that has taken a serious beating. It’s been subjected to everything from rain to concrete, mud, and dust.

My lighting gear consists of PCB´s and/or Profoto lights with 48” to 60” modifiers. I often go bare-bulb too because of the difficulty of using modifiers in some of the places I shoot. I´m seriously considering going into medium format photography, and most likely I will, once I figure out which system suits me better, and which kidney I have to sell on eBay to pay for it.

DW: Your darkly lit dramatic portraits of Salvadorans are compellingly beautiful. Please tell me more about this body of work. What is your process for shooting these images? And, what was the experience of meeting these wonderful people like?

RP: When I finally was able to save some money from my photography work, one of my goals was traveling to other countries. I believed that getting out of my comfort zone would be a great learning experience. During my visits to fourteen different countries, I´ve learned a lot more about human nature and the psychology behind portrait photography.

My personal work is not really about photography. It’s about human interaction that implies a portrait at 1/250th of a second from which people can perhaps feel what I felt when I was in front of each person by just looking at an image. Beyond one-word titles, I don´t caption my Instagram posts, because I believe the photos speak for themselves.

Photography is just a medium. My feed on Instagram is entirely based in personal work. I´m currently shooting in rural areas of El Salvador where photography is the medium, but with the goal to explore human nature in its most simple, humble, and real way. I get nothing out of it except experience, knowledge, and getting really close to the people I want to meet and help.

As some of your readers may know, El Salvador faces many social adversities such as poverty, injustice, violence, and more. Despite the thousands of destinations photographers often dream about, there is something about rural El Salvador that I wouldn’t trade for the world.

I love shooting in El Salvador more than everywhere else because I love my country. Despite and perhaps because of their adversities, Salvadorans are warm, friendly, and generous. Salvadorans’ unique sense of humor, and kindness is often referred to as their true currency.

I guess it’s the type of thing you have to experience in the flesh. Maybe it’s how I approach people or vice versa, but in every single portrait I do there is always respect, honesty, humility, and laughter. Additionally, I get to hear all kinds of life stories. Each one is filled with tales of resiliency that make me grateful for what I have. It’s taught me that being down-to-earth in an era of full-blown vanity is a good strategy for finding true happiness. Plus, whenever possible I make small donations to families and communities. Every little bit helps.

DW: What are some of your influences? Do you have favorite artists, authors, and photographers?

RP: A ton! We can all learn from anyone as long as we know what to look for. I like learning from books, paintings, business strategies, movies, music, biographies, and more. I particularly love underdog stories.

My favorite book is Mastery by Robert Greene. My latest discovery is Francis Bacon´s paintings. I don´t know much about painting, but his work genuinely impressed me.

DW: What was your childhood like? What does your family think of your career? And how has this influenced you?

RP: I´ve always been stubborn and somewhat of a rebel. If someone tells me I can´t be a photographer because its not sustainable, then I will give it my all to disprove them.

I had a wonderful childhood as a troublemaker thanks to my patient and loving family. My mental chip is a creative one. I always need to find my own way of learning and doing things. My family and people close to me understand that. Freedom and independence are valuable assets to me. I yearn to see, experience, and photograph as much as possible.

DW: As a fellow commercial photographer, I really admire the commercial photography section of your website. How does your personal work affect your commercial work? What do you like to photograph the most?

RP: It´s all related. I get hired commercially for my personal work, and I learn how to produce commercially from my personal work. It´s a never ending cycle between those two. 

© Ricardo Platero 2020 — Personal Work in the UK

© Ricardo Platero 2020 — Commercial Work for López Hurtado El Salvador

DW: What is your dream commercial assignment? What is you dream personal project?

RP: Commercially is hard to say as I don´t aim for the photo work itself, but what value or difference it could create for my clients. I don´t see it as a monetary reward alone, but as the personal satisfaction of being able to help someone else achieve their goals. These types of activities bring me a joy greater than money.

In terms of personal projects, I´m in the middle of my biggest one to date, which is shooting a cultural and heritage portrait series in the Mesoamerican region. Funny as it is, I´ve never done an exhibit or published any of my personal work. All of it is unedited – sort of on purpose. I´ve photographed three out of six countries, and covered several subjects I’m personally interested in.

“It took me two years to get to the ethnic group that uses this mask as part of their cultural heritage since colonial times.”

DW: Besides shooting, your website mentions brand management and design. Please tell me about these parts of your business.

RP: A few years ago I noticed that clients were having trouble placing content in print and digital media. Often their online efforts wound up being misused to the extent that it undermined the value of my photographic contributions.

Consequently, I developed a brand management service with a multimedia focus for medium size companies where I produce content, design websites, materials, and help them promote their brand and company services through social media. What I deliver is similar to what a small ad agency would do, but without the bureaucracy and high cost. I personally deep dive into the company for the purpose of promoting their brand and services to their customer base. For the past few years I´ve specialized in helping niche B2Bs.

DW: Congratulations on attracting so many Instagram followers with only 95 posts. What are your thoughts and experiences with social media?

RP: It´s fun! Personally speaking, I don´t aim to have a big following or anything like that. I just like interacting with everyday people. No matter how many followers or likes, I always personally thank everyone for their friendly comments – it’s the Salvadoran way.

In terms of business, that’s a different story. For the best results, it’s necessary to make sure your social media game is on point. I´ve seen amazing things happen through these channels.

DW: I really love your Panama photographs of indigenous people. In terms of subject matter, they remind me of Irving Penn’s work. How do you gain the trust and cooperation of the people you photograph? Please feel free to share any thoughts you like about this experience.

RP: It’s a great question, and one I often am not asked. It’s all about preparation, unconditional respect, and a bit of psychology. Imagine all of a sudden a complete stranger arrives at your neighborhood and asks to take pictures of you, your family, friends, and neighbors just because they are a “photographer.” That sounds weird and kind of odd doesn´t it? Well that is the perspective any indigenous villager might have towards anyone with a camera.

The first few days at any village I will not use a camera at all. The reason for this is because I need to create rapport, and trust with people first. It has to be sincere, so they know I’m not there to steal their images and/or spirits with bad intentions.

I live and eat like the people during my visits.  And due to restrictions on how much I can travel with, I certainly sleep less comfortably than they do. By listening carefully, I learn what they want me to learn. And from all this, a spirit of cooperation evolves that makes the photographs we create together possible.

And it’s only through all this that a photographer can get this type of access. And of course the Cacique´s approval is vital. Nothing happens without his approval.

I should also mention that it took me a full year of preparation to get production permits and get in the mental and physical shape required for this project.

My personal experience travelling with production permits from Central American governments is that this is the best and safest way to travel as a photographer. They’re a pain to obtain, but are always worth it. Diplomatic relationships between nations are there for this reason.

© Ricardo Platero 2020 — Emberá Cacique 

Locations like Emberá Village possess different types of social dynamics. The things one hears, sees, and experiences often come as a complete cultural shock. Say for example if there’s no electricity or cell phone signal – then human interaction is the only way.

At night you hear the most bizarre nature sounds ever. And in terms of being “clean and neat” – well, I couldn´t take a shower in the river for more than a week because I´m simply not a fan of snakes or crocodiles.

From 6 pm to 6 am there is nothing you can do but either stay alone in complete darkness, or if you are lucky, talk to someone about anything. I think those kind of experiences give you an edge you cant get anywhere else because on top of the circumstances, you have zero margin of error to make photography happen.

I do not practice photojournalism in any form, so each portrait I did there was a collaborative process between the community and me, born out of trust. I’d sum it up with words by saying, I went in as a visitor, and left as a friend.

DW: Shooting in rain forests, jungles, mountains, and other remote areas can be very difficult. Please share your thoughts and advice on equipment choices, travel, and safety for making these shoots so successful.

RP: Get a fixer wherever you go! They will save you money, time, and possibly your life. Get production permits if necessary, and find ways to make your subjects interested in actively collaborating with you. If you succeed at this, you will get the sort of access a regular visitor can´t. And get a good pair of boots. Trust me on that. Get boots!!!!!

DW: Do you like shooting black and white photographs?

RP: I love it! One of my favorite forms is blind shooting street photography. I love it. Back in London I spent days walking and freezing outside for the pure joy of doing it. Shooting from the waist teaches you how to see and compose by pure gut. One good portrait out of a 10-hour journey is always a good day in that mode.

DW: How has COVID-19 affected your work and life in El Salvador?

RP: Fortunately not too much. As long as I have an Internet connection, I can run my business. I stopped photography production for a few months, but everything else went on as usual. Luckily for me, I’ve been busier lately than I was prior to the pandemic.  

DW: What would you like say or share with your fellow photographers in the United States and elsewhere?

RP: Read a lot. Lift weights. Sleep and eat well. Make mistakes. Be humble. Do personal projects regularly. Hard work beats talent every single time. And last but not least: Don´t underestimate what you can achieve in a year or a decade. Be ready to fight your way into this industry.

DW: Ricardo, it’s been a pleasure interviewing you. Thanks for your time, and I look forward to seeing more of your work.

RP: ¡Muchas gracias a vos! 

I hope this interview has inspired you. You can view more of Ricado’s work on his website and on Instagram. Thanks for visiting The Cranky Camera!

RETURN TO THE CRANKY CAMERA HOME PAGE