Take us back to the beginning of how you discovered you had this creative part of you and how you became an artist.
Well, I think my creative side was born when I was 12. My grandmother used to teach me how to draw and had a lot of books about drawing, like how to draw Disney characters. And then my father started to teach me how to play piano, so my creativity started to grow. Then I joined a student group where we learned about 3D animation. One day a school friend was like, “Check out this thing I did with Photoshop.” He showed me some text with a fire effect and I was like, “I want to do that!” So I started searching for tutorials about it and image manipulation, etc. I got really interested in that and I was doing a lot of pictures for friends, like everyone when they’re first starting. I started doing photography with a 50mm macro lens. I thought that the macro world was really cool and I started doing it.
How did you know when you finally made the leap from hobbyist to professional photographer?
When I started selling my photography and charging for my work. However, I used to take my camera everywhere, to parties, on every trip with my friends. And when I started selling my photography, something happened. I lost the passion. Something happened inside of me that made me want to quit doing photography. I was like, “I don’t want to do this anymore. I’m going back to animation.” And I started doing 3D and motion graphics again. But, I’ve been freelancing for over seven years and doing a lot of stuff, including professionally shooting photography occasionally.
What is your thought process like while working inside Photoshop?
I actually have two processes. When I use Photoshop, I’m very experimental, rather than starting off with a solid idea from the beginning. It’s the way I learned Photoshop, just messing around. I take the picture and I don’t know what I’m going to do with it, you know. Then, every time open a picture in Photoshop, I just play with it, experiment, and I don’t limit myself to any preconceived concepts. This sometimes can be bad because I don’t have any guidance then.
Let’s say I’m working on a picture of a woman I took. I see her face, her pose, etc. and I just start thinking, “Okay, maybe I should add a sword. I’m going to throw the sword in the back and see how it looks.” And when I throw the sword in the back, I’m like, “That looks great, but she needs armor to be like a warrior!” And it just goes on and on like that.