In 1976, while on the set of Apocalypse Now in Pagsanjan, Laguna, Philippines, I had a formative encounter with the legendary American photographer Mary Ellen Mark. Known for her uncompromising photojournalism, Mary Ellen placed my brand-new Nikon camera in my hands, positioned herself against a weathered white wall, placed an upside down Ifugao basket at her feet and guided me through the process of taking a portrait. That moment was the beginning of my lifelong engagement with photography.

Mary Ellen’s belief in capturing tension over flattery has remained a central influence in my work. Her approach taught me that the most compelling images arise not from precision or control, but from instinct, movement, and trust between photographer and subject.

I’m continuing to develop my project, The Angelenos, which focuses on the diverse people of Los Angeles. While the city is known for its rich cultural and ethnic diversity, its residential communities remain deeply segregated. People of different racial and social backgrounds often live parallel lives in distinct neighborhoods, sometimes physically adjacent, other times separated by miles.

As part of my process, I typically spend three hours walking through each neighborhood to observe and connect with the environment. This city, home to nearly four million people, is shaped by its vast diverse residents and the lingering shadow of Hollywood. Through portraits and scenes of everyday life, the series will explore the layers of identity, aspiration, and contradiction that define life in Los Angeles.

I view the world through the lens of my own history, making assumptions, forming opinions, and passing judgments without even noticing. As a photographer, I find myself wondering: does that shape what I see, or does it keep me from truly seeing? Mary Ellen Mark wrote in her book On the Portrait and the Moment, “Don’t be afraid to be who you are, and think what you think, when you’re photographing.”

In 1976, while on the set of Apocalypse Now in Pagsanjan, Laguna, Philippines, I had a formative encounter with the legendary American photographer Mary Ellen Mark. Known for her uncompromising photojournalism, Mary Ellen placed my brand-new Nikon camera in my hands, positioned herself against a weathered white wall, placed an upside down Ifugao basket at her feet and guided me through the process of taking a portrait. That moment was the beginning of my lifelong engagement with photography.

Mary Ellen’s belief in capturing tension over flattery has remained a central influence in my work. Her approach taught me that the most compelling images arise not from precision or control, but from instinct, movement, and trust between photographer and subject.

I’m continuing to develop my project, The Angelenos, which focuses on the diverse people of Los Angeles. While the city is known for its rich cultural and ethnic diversity, its residential communities remain deeply segregated. People of different racial and social backgrounds often live parallel lives in distinct neighborhoods, sometimes physically adjacent, other times separated by miles.

As part of my process, I typically spend three hours walking through each neighborhood to observe and connect with the environment. This city, home to nearly four million people, is shaped by its vast diverse residents and the lingering shadow of Hollywood. Through portraits and scenes of everyday life, the series will explore the layers of identity, aspiration, and contradiction that define life in Los Angeles.

I view the world through the lens of my own history, making assumptions, forming opinions, and passing judgments without even noticing. As a photographer, I find myself wondering: does that shape what I see, or does it keep me from truly seeing? Mary Ellen Mark wrote in her book On the Portrait and the Moment, “Don’t be afraid to be who you are, and think what you think, when you’re photographing.”

Pico-Robertson, Los Angeles

Mirna, Sherman Oaks