Carolina Esteban brings the trained eye of a fashion designer into photography. Her knowledge of fabric, volume, construction and visual research informs the way she approaches portraits, while travel and street photography give her room to work with what cannot be planned. Light, shadow and gesture become a meeting point between designed images and observed life.
I wanted to understand how those disciplines influence one another. Carolina’s answers move from fashion and artistic portraiture to improvisation, humility and the long process of learning to see. She values images that remain simple and natural, even when the ideas behind them are carefully considered.
Find Carolina Esteban online
The interview
Hi Carolina, how long have you been working as a photographer now?
I've been working as a photographer since 2012.
What inspired you to become a photographer? What were your first steps?
I am a Spanish designer based in Madrid. I studied fashion, advertising, and public relations, and I have a Masters in photography. I am a fashion designer with over twelve years of experience who specializes in luxury fashion (women's wear and kids' design). I studied a degree in photography and attended other workshops, and since then I've been working on different projects. I have dedicated myself to investigating the world of photography on my own.
In general, my passion and interests in other cultures—art, photography, graphic design, and coolhunting—have brought me to work from different points of view. I focus on the details, the fabric research, and the craft creations. I have good knowledge of fabric, stitch, volume research, and garment construction. I apply all this knowledge to photography and try to experiment with it.
Traveling has given me a worldwide perspective while also giving me photography and fashion experiences. Teamwork, enjoying what I do, sharing ideas, and transforming them into a good project are always great sources of personal satisfaction.
Are you a professional or an amateur photographer?
I consider myself a photographer in the middle. I like to think that I´m a professional with an amateur soul.
What is your favorite subject to photograph?
My favorite subjects are artistic photography—portraits, to be more specific. I try to mix my fashion knowledge. I love light, shadows, and experimental photography. I always wear my camera on trips, and I like to capture street photography through observation and improvisation. I´m interested in the unplanned or unprepared reality, trying to capture what is happening without preparing a specific scene.
What kit do you shoot with?
It depends on what you are going to photograph. I have a Canon EOS 70D and analog cameras. I have four lenses: a 50mm, 18-55mm, 55-250mm, and an 18-200mm.
How would you define your photographic style?
Artistic photography. I love to keep things simple and natural.
Which editing software do you usually use?
I usually perform my editing using Lightroom and Photoshop.
John Wanamaker said: Half the money I spend on advertising is wasted; the trouble is, I do not know which half. Do you gain your clients by advertising or in another way?
I don’t spend a lot of time or money on advertising. Lately, I work a lot for pregnant and family sessions, and generally, my job as a photographer is more word-of-mouth. I try to connect with the photographed people and enjoy that moment in a much closer way. I would love to have more knowledge to be able to reach more people and advertise myself better.
How does your typical working day look like? What do you do when you are not working? How many hours/days per week are you working? What do you do in your free time?
I don´t dedicate myself to full-time photography, but I always try to keep the camera close. I work especially on weekends in family and pregnant sessions and sporadically in other types of sessions. When I'm not working, I like to paint, embroider portraits, read, listen to music, watch movies, etc.
What would you do differently if you would start again?
I wish I had done it a little bit earlier. I wish I had more time to learn more.
A professional photographer is also an entrepreneur. Entrepreneurs have many things in common. They read a lot. What about you? What are your favorite books?
I try to be up-to-date on an aesthetic and creative level, etc. and update myself. also be up to date with trends, the study of colors... I have always been interested in meeting other photographers and learning about their work and processes. It seems essential to know the work of painters, illustrators, and film directors; they are a great source of inspiration. In short, cultivate an aesthetic vision, and I think that is achieved by having many references and seeing many images.
My favorite photography-related books are:
- La subversion des images Surreálisme. Photographi. Film. Centre Pompidu
- All about Saul Leiter
- Estética fotográfica, Joan Fontcuberta
- Sobre fotografía. Susan Sontag
- Francesca Woodman. Espacio AV. Murcia
What was the best advice you have ever received as a photographer? Do you have any advice for other photographers?
I love this quote by Joe McNally: "A career in photography is a journey without a destination."
Do not stop learning, searching, inspiring yourself, and practicing. Be humble, do not stop connecting with people and nature, and accept all criticism. And above all, have fun. On a personal level, I think the best advice is to dedicate your time to what excites you and what you need to feel fulfilled in all areas of life. Photography is that for me. Every day I try to learn something new and continue training.
Dorothea Lange said, "The camera is an instrument that teaches people how to see without a camera."
Top mobile apps on your smartphone?
Top 3 websites?
- lensculture.com/
- shotsmag.com/
- WGSN | Create Tomorrow | Trend Forecasting & Analytics
Your last vacation?
Maybe these weeks. This COVID-19-imposed quarantine
Carolina's Work
What stayed with me
What I take from Carolina’s conversation is the usefulness of carrying knowledge across disciplines. Fashion teaches her to notice material, form and detail; street photography asks her to release control and respond to reality. Neither approach cancels the other.
Her advice treats photography as a journey without a final destination. That can sound abstract until it is translated into daily practice: keep learning, accept criticism, stay connected to people and nature, and continue making pictures. The destination matters less than the quality of attention developed along the way.