Interview with Daniel Ramos (Second Prize Series at BSPF 2025)

©Daniel Ramos

Tell us something about yourself and how you became interested in street photography.

I’m a street and documentary photographer from Mexico City, also known as Histogrammer. Photography came into my life slowly, almost by accident. Years ago, I started wandering through my city with a small camera, not knowing exactly what I was looking for. I began to realize that photography was giving me a reason to walk, to observe, to be more present, and a way to connect with people.

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How would you describe your style of street photography?

I’d say my style is emotional and intuitive. I look for everyday moments that feel honest, sometimes tender, sometimes chaotic. I really enjoy working with layers, using light and color to build depth and tension in a frame. I think that complexity and imperfection can be beautiful. I try to stay open, present, and let the street surprise me.

Who or what inspires you in your photography?

I’m inspired by people’s stories, routines, and quiet resilience. Mexico City itself is a constant source of inspiration because it is chaotic, beautiful, and full of contrast.

Photographically, I’ve learned a lot from Alex Webb, David Alan Harvey, and Susan Meiselas. Webb taught me to embrace complexity through layers and color. Harvey made me understand that photography can be a very personal journey and that your camera is a key to be present. Meiselas reminded me that images carry responsibility, they can preserve stories that matter.

Is it easy to do street photography in the place where you live? How do people react when you photograph them on the street?

Doing street photography in Mexico City is intense. It is inspiring, unpredictable, and sometimes challenging. The city is full of life, and people are expressive, but also cautious, especially when they see a camera
I try to approach others with respect and openness. A genuine smile or small conversation can open doors. Sometimes people react with curiosity, other times with indifference or even suspicion. I’ve learned to be okay with that. It's all part of photographing in a place that’s very alive and layered, just like the stories I’m trying to tell.

What does a typical day of street photography look like for you?

Because of my day job, I can usually only go out on weekends, but I try to shoot whenever I can. Sometimes I focus on ongoing projects like “Barras Insurgentes” or “Carnival on the Outskirts”, other times I just walk around with no clear goal, letting the city guide me.

Some days I shoot a lot, others I barely press the shutter. I’ve learned not to force it. For me, photography is more about being present than chasing results.

What type of material do you use for street photography and why this particular setup?

I use digital cameras, mainly a Sony A7C II with a 35mm lens. That focal length feels natural to me. It gives enough context but still keeps things personal and close.

I also carry a GoPro to capture behind-the-scenes videos or small moments in motion. I like to keep my setup light and simple. The less I think about gear, the more I can focus on being present.

Tell us something about your winning series.

“Carnival on the Outskirts” is a series about the carnivals that happen on the edge of Mexico City, in neighborhoods that are often overlooked. These celebrations are vibrant, chaotic, and full of symbolism. Behind the costumes, there’s a deep sense of identity, resistance, and community.
For two years I spent several weekends photographing in places like Tlaltenco, Zapotitlán, and Tezonco. I wasn’t just documenting an event, I was trying to understand what it means to celebrate joy in the middle of hardship. The series is a tribute to that spirit, and to the people who keep these traditions alive.

How did you get to know BSPF?

I found out about BSPF last year through my dear friend and talented Mexican photographer Sandra Hernández, also known as Vita Flumen. She told me she would be attending the festival in Brussels in 2024, and that’s when I started looking into it more seriously.

Her experience and encouragement inspired me to participate, and I decided to submit a project that same year. I’m really grateful she pointed me in this direction.

What does the BSPF and winning second prize mean to you and your career?

It means a lot. “Carnival on the Outskirts” is a very personal project that I made with time, love, and a lot of walking. Having it recognized by BSPF gives me confidence to keep going, to trust my voice, and to believe that stories from the margins matter.

It also means a great deal to show a part of Mexico - photographed by a Mexican - in an international space. So often, Mexico is seen through outside eyes. Being able to share my own perspective, rooted in lived experience, feels like an act of representation and resistance.

And finally, it reminds me that there’s a global community out there! People who still believe in photography as a way of connecting and telling the truth. I feel honored to be part of that.

What advice would you give someone who is starting out in street photography?

Start by walking, with or without a camera. Pay attention to light, to sounds, to the way people move. Don’t worry about taking “great” photos right away. At the beginning, it’s more important to train your eye than to chase results.

Also, don’t compare yourself too much. Social media makes it easy to feel like you’re always behind, but photography isn’t a race. It’s something you build with time, honesty, and patience. Stay curious, stay kind, and remember that before being a good photographer, you have to be a good person.