Behind the Lens with Concert and Portrait Photographer Edgar Salazar

Hawk-IT Interviews
6 days ago
34 min read

Every photograph tells a story, but behind every great photograph is a storyteller.

For photographer Edgar Salazar, photography has never been about simply documenting a moment—it's about preserving emotion, human connection, and the experiences that shape our lives. Whether he's standing in the photo pit capturing the intensity of a sold-out metal show, traveling across Europe with legendary bands, or creating intimate portraits that help people see themselves in a new light, Edgar approaches every image with the same goal: to tell an authentic story.

Growing up in Northern California, Edgar discovered early on that creativity could become a powerful outlet for self-expression. His background as a touring musician, combined with his lifelong appreciation for art, music, and visual storytelling, eventually led him behind the camera, where he found a new way to connect with people and preserve moments that can never be recreated.

Throughout his career, Edgar has photographed everyone from emerging local artists to internationally recognized acts, documenting tours, festivals, and performances across the United States and Europe. Along the way, he has developed a distinctive visual style that blends technical precision with genuine emotion, allowing viewers to feel as though they're experiencing each moment alongside the people in front of his lens.

In this exclusive interview, Edgar reflects on the experiences that shaped him both personally and professionally. We discuss his upbringing, his transition from musician to photographer, the realities of life on tour, his passion for portrait photography, the importance of storytelling, creativity, mental health, and the lessons he's learned while documenting countless unforgettable moments around the world.

Whether you're an aspiring photographer, a musician, or simply someone who appreciates meaningful storytelling, Edgar offers an honest and thoughtful look into the life of someone who has dedicated himself to preserving the moments that matter most.

Let's begin the interview.

Amit Ahuja: Before we dive into your career and photography, we'd love to get to know the person behind the camera. Tell us about where you grew up, the environment you were raised in, and the people who had the greatest influence on your life. Looking back, how did your upbringing shape your values, your perspective, and ultimately the way you tell stories through your photography?

Edgar Salazar: I grew up in a small town called Ukiah, California, about two hours away from the Bay Area, or San Francisco. I'm one of six kids, the second youngest, and the age differences between us range from about three to ten years. It was interesting watching my oldest brother move out, and then eventually my little brother and I doing the same whenever we could.

I was always closest to my sisters. They're the ones who instilled the most knowledge and values in me, especially the ones that have stayed with me long-term and shaped who I am today. We'd always watch romantic comedies together, and honestly, I think that's where I learned a lot of my earliest lessons about love. My sister also gave me a lot of wisdom when it came to navigating relationships, understanding what I was looking for, and making sense of my own experiences.

We all grew up Catholic, and I absolutely adored the imagery, the artwork, and the symbolism. I think that's had a huge influence on my need to create art, whether that's through music, photography, or even painting.

At the same time, growing up Catholic also came with a lot of guilt. For me, that eventually turned into depression. I've always had a pretty somber, melancholy outlook on life. I was very aware of how negative the world could be, and I spent a lot of time worrying about what it would be like stepping into the real world. I carried a lot of anxiety and fear growing up, and that guilt weighed heavily on me.

Because of that, I ended up turning inward. Art became a way to express what I was feeling. I figured that if I felt this way, maybe someone else did too, and maybe creating something honest could help someone feel a little less alone.

I think that's also shaped the way I approach photography. I try to capture people as raw and honestly as possible. I don't want to impose too much of myself onto the image—I want to capture who they are in their purest form. Of course, it's still told through my own lens, but my goal has always been to reveal something genuine about the person in front of the camera.

Amit Ahuja: Our backgrounds often become the foundation of our creativity. Could you tell us more about your cultural heritage and identity? In what ways has your family, culture, and life experiences influenced the way you approach your work and connect with the people you photograph?

Edgar Salazar: I come from a Hispanic family. I was born and raised in America, but my parents definitely carried a lot of the traditional Hispanic values, including machismo. As time went on, they loosened up a bit, but those values were definitely part of my upbringing.

Growing up Catholic also had a huge influence on me. There's that side of Catholicism people often refer to as "Catholic guilt," where you're taught that you should feel guilty because Christ had to die for your sins. Whether I fully understood it at the time or not, that guilt weighed heavily on me. Being in church every week, surrounded by such a somber atmosphere, almost made me feel like I was supposed to carry that same weight myself.

My father struggled with alcoholism, and growing up around that made me promise myself that I would become everything he wasn't. I decided early on that I was going to pursue my dreams relentlessly, and because of that, I was fortunate enough to live out one of my biggest dreams at a young age as a touring musician, traveling across the United States and having some of the best experiences of my life.

I think that's also shaped the way I connect with the people I photograph. My biggest goal with photography is to help people tell the stories they want to tell, whether that's about self-love, overcoming tragedy, or simply celebrating who they are.

That's a big part of why I want to create my tarot portrait series. I want people to choose three tarot cards and use them to tell the story of the struggles they've overcome and how those experiences have shaped them. Because I've had to overcome my own demons, I genuinely want to hear other people's stories and help capture them. Then I want to present those stories in a way that allows people to embrace themselves and reflect on just how far they've come.

Amit Ahuja: Every person's journey is shaped by defining moments. Looking back, what experiences—whether joyful, difficult, or unexpected—have had the greatest impact on who you've become as a person? How have those moments influenced both your outlook on life and the artist you've become today?

Edgar Salazar: I think the experience that had the biggest impact on me was traveling on my own terms.

When I was 19, I got to live out my dream of performing in a band with four of my best friends. We traveled, played shows, experienced new places, met incredible people, and just enjoyed everything that came with being on the road. That experience made me hungry to get back out there.

From that point on, I pursued music relentlessly. I pursued art relentlessly. I guess that's what has shaped me into who I am at heart—someone who creates in many different forms. I don't really like calling myself an artist, but I love creating art, whether that's through music, photography, or anything else.

Getting to experience that dream at such a young age also changed the way I looked at everything that came before it. If I had to relive every part of my upbringing—the difficult moments and the joyful ones—I would gladly do it all over again just to experience that feeling once more. I think that's what keeps me going. We chase new experiences, new perspectives, and new stories because each one helps us grow.

That journey also helped me let go of a lot of the guilt and melancholy I carried growing up. It wasn't an overnight change. It was a long road, but it helped me realize that life isn't always going to be dark. Eventually, something has to give, and things can begin working in your favor, as long as you continue pursuing your passions relentlessly and you do it from a place of love and gratitude.

The more gratitude I've shown, the more I've felt that I've been able to bless not only myself, but the people around me. In turn, those blessings seem to come back in different ways. I've come to believe that the universe naturally wants to perpetuate abundance. As long as we choose to live from a place of abundance, we continue creating more of it—not just for ourselves, but for everyone around us.

Amit Ahuja: Every photographer has a beginning, but no two stories are ever the same. We'd love to hear yours. What first inspired you to pick up a camera, and at what point did photography evolve from being something you enjoyed into something you knew you wanted to pursue professionally?

Edgar Salazar: I first got into photography in high school. I took photography as an elective for about two semesters because I wanted a class that would actually be fun, and I ended up really enjoying the process of capturing moments. I'd say that's where it all started.

Amit Ahuja: Artists often discover their own voice by first being inspired by someone else's. Were there any photographers, filmmakers, musicians, or visual artists whose work completely changed the way you looked at photography? Was there a particular image, concert, or creative experience that made you think, "This is what I want to dedicate my life to?"

Edgar Salazar: Originally, Peter McKinnon was the person who really helped me develop my eye for photography. Through his YouTube videos, he showed me how powerful visuals could be, both in photography and videography. His work made me want to create images that felt cinematic instead of simply documenting what was in front of me.

What really pushed me toward concert photography, though, was seeing Deftones in San Francisco. Seeing their lighting design completely blew me away. I remember standing there thinking, I want to create something that looks and feels like this. Not only did I want to capture shows like that, but I wanted to help create visuals like that for my own bands.

At that point, I was already photographing local shows, and I loved how intimate they were. You could get right up close and capture the raw emotion on people's faces. But seeing what a larger production could look like opened my eyes to a whole different level of visual storytelling. From then on, I just kept working on my craft until I eventually found myself shooting larger venues, bigger artists, and going on tour.

Musically, Septicflesh has always been a huge inspiration. I loved watching their music videos and the atmosphere they created. Even beyond the music itself, I admired the vocalist's artwork, the way they approached production, how they composed their own orchestral arrangements, and even their album artwork. Every part of what they created felt intentional and immersive.

As far as filmmakers go, I was never the biggest cinephile. I gravitated more toward Tim Burton. I grew up watching The Nightmare Before Christmas, Sweeney Todd: The Demon Barber of Fleet Street, and films like that. I was also really drawn to psychological thrillers. I loved stories where there were subtle details hidden in the background that hinted at something deeper.

That's something I try to incorporate into my own photography and filmmaking. I want there to be layers in an image, where someone can look at it more than once and continue discovering little details that add to the story. I'm still working toward that with my videography, but it's definitely where I want to take my work.

Another huge influence was reading Revolver magazine. I loved looking through not only the live concert photographs, but also the portraits of the musicians. I was fascinated by how photographers could capture an artist offstage while still conveying the same energy and personality they brought to a performance.

I think that's ultimately what made me want to pursue photography so relentlessly—to be able to capture someone's entire character within a single frame.

Amit Ahuja: As your career began to grow, how did you transition from simply taking photographs to becoming a professional photographer? What opportunities, relationships, or decisions helped open the doors to concert photography, portrait photography, and touring?

Edgar Salazar: I think the transition from simply taking photographs to becoming a professional happened when I realized the value I could actually offer people.

It's one thing to have the technical skill. It's another thing entirely to show why that skill matters to businesses, bands, and clients, and why investing in professional visuals actually helps them grow. It's not about being salesy. It's about showing people how strong visuals can support what they're already building.

Touring made that lesson even more apparent. I realized very quickly that it isn't just about your technical ability—it's about who you are as a person.

When you're on tour, you're spending weeks, sometimes months, living with the same musicians and crew. You're all sleep deprived, under pressure, and constantly adapting to new situations. In those environments, your true personality comes out. If you're not someone who's easy to be around or someone people can rely on during stressful moments, it makes life on the road much harder.

I learned early on that it's not just about being a good photographer. It's about being someone who can adapt, overcome challenges, and contribute positively to the team.

In the beginning, I photographed whatever opportunities came my way. Restaurants, health clinics, portraits—anything that allowed me to build my portfolio and gain experience.

As I became more involved in concerts, I started approaching everything differently. I'd spend time talking with the bands like they were just regular people. Sometimes I'd simply send them the photos instead of worrying about charging immediately. I focused on building genuine relationships.

Looking back, I think networking and building trust made the biggest difference. Whenever I talked to someone, it wasn't about trying to sell them something. It was more like, "Here's where I think your media is right now, and here's what I could help you create if you ever wanted to take it further." If it made sense for them, great. If not, that was okay too.

At the same time, I genuinely enjoy staying busy. I like working on projects that challenge me and force me to become better than I was before.

Touring also completely changed the way I work. It taught me how to build an efficient workflow so I could deliver content incredibly fast. Sometimes I'd have photos online within an hour of the band leaving the stage, or I'd have a recap video ready the following morning.

Because of that, I started learning to shoot for the edit instead of simply shooting everything and figuring it out later. Before I even walk into a venue now, I'm already thinking about what the final story is going to look like. I know the shots I need, how they're going to fit together, and what the finished piece should feel like before I ever press the shutter for the first time. That mindset has probably been one of the biggest changes in my career.

Amit Ahuja: Concert photography is often described as one of the most challenging forms of photography. Every venue presents different lighting, every performer brings a unique energy to the stage, and every show offers only a handful of fleeting moments that can never be recreated. What originally inspired you to step into the world of concert photography, and after photographing so many live performances, what continues to excite and inspire you every time you walk into a venue with your camera?

Edgar Salazar: What inspired me to get into concert photography was the thrill of capturing moments that only exist for a fraction of a second, whether they're happening on stage, off stage, or now even backstage. I love being able to tell stories through those images.

It all started with my love for music. As someone who performed in bands, I always hated looking back at photos of our shows and feeling like they didn't capture what it actually felt like to be there. They were clean shots, sure, but they didn't capture the energy or emotion. They just didn't have the vibe.

That's something I still notice sometimes. There are plenty of technically great concert photographs that are perfectly sharp and well exposed, but I always ask myself, What is this image actually saying? Does it communicate who that artist is? Does it add to the story of the performance? A technically perfect image doesn't necessarily make a memorable image.

Of course, that's just my perspective. Maybe I don't know the artist or what that photographer was trying to communicate. But I think there's a real craft in being able to take five hundred photographs and narrow them down to ten that truly tell the story of that show.

Early on, I'd beat myself up over that. I'd think, How did I shoot a thousand images and only end up with ten that I absolutely love? Eventually I realized those ten photographs might be extraordinary. The rest can still be good, but those ten are the ones that define that particular performance.

That's the feeling I chase every time I walk into a venue.

Especially on tour, one of the first things I do is study the room. I'm already planning my movements before the band ever takes the stage. I'll notice a photo pit where I can enter and exit from both sides, or I'll find a balcony that gives me direct access to the stage without fighting through the crowd. I'm constantly looking for the path of least resistance so I can move quickly without interrupting anyone.

Honestly, I even enjoy navigating the crowd itself. Moving through a packed audience, working around a circle pit or a mosh pit, finding my openings without getting in the way—that's part of the excitement for me.

What continues to inspire me is that every single show is different. Every venue has its own personality. Every audience connects with the band in its own unique way. My goal is always to capture those moments that will never happen exactly the same way again.

Sometimes it's one person screaming every lyric back at the band. Sometimes it's the entire room moving together, jumping, moshing, or creating a massive circle pit. I'm always looking for those little details that tell the bigger story.

One of my favorite moments to photograph is during a circle pit. I'll look for what I jokingly call the "king of the hill"—that one person standing perfectly still in the center while everyone else is flying around them. I'll slow my shutter speed so the crowd turns into a blur, and suddenly it looks like that person is standing calmly in the middle of a hurricane.

Those are the moments I live for, because they're gone almost as soon as they happen, and if you're ready, you get to preserve them forever.

Amit Ahuja: Throughout your career you've photographed countless artists and unforgettable performances. Looking back, is there one concert, artist, or assignment that fundamentally changed you—not only as a photographer, but as a person? We'd love to hear the story behind that experience and why it has remained such an important chapter in your life.

Edgar Salazar: I think the experience that stands out the most is my first European tour with Death Angel. It was my introduction to touring as a photographer, and it completely changed my perspective—not just on photography, but on life.

Being able to experience different cultures, different music scenes, and the European festival circuit was incredible. Every day felt like I was seeing something I'd only dreamed about before.

The one show that stands above the rest was Graspop Metal Meeting. That day I was running back and forth between stages photographing both Municipal Waste and Death Angel because they were playing the same festival and had been on a similar tour circuit. They're friends with our guitar tech, who introduced me to them, and I just wanted to help them out by creating some images for them as well.

Seeing roughly 250,000 people gathered at one festival was exhilarating. I was also conducting interviews with fans for the band, and it was amazing seeing the excitement from people despite the language barriers. We could still communicate through music.

It was incredible watching people from all over the world travel to one place simply to celebrate music. Whether they were there to see Iron Maiden, who headlined that night, newer bands like Beast in Black, or legendary bands like Carcass, everyone was there for the same reason—to experience music together, enjoy themselves, and create memories.

That festival is probably the most unforgettable show I've ever photographed.

As for the most unforgettable assignment, it has to be that entire Summer of Wrath tour with Death Angel. It was my first real introduction to touring, and Ted took a chance on me. He was incredibly accommodating, took great care of me throughout the trip, and gave me an opportunity that completely changed my life.

I'll always be grateful that he believed in me enough to bring me along, because I got to experience something I'd dreamed about for years but never truly believed would happen.

Now that I've experienced it, all I want to do is go back out there. I want to keep seeing new cultures, meeting new people, experiencing different parts of the world, and continuing to tell those stories through my camera.

Amit Ahuja: Concert photography is all about anticipating moments that only exist for a fraction of a second. Can you walk us through one image that you're especially proud of? What was happening in that moment, what were you thinking behind the camera, and what makes that photograph so meaningful to you today?

Edgar Salazar: I think the photograph I'm most proud of came during Death Angel's ACT III North American tour. I can't remember the exact venue, but I knew something about Mark's performance. I'd noticed he only made a particular jump at two specific moments in the set, and I was hoping he'd do it one more time in exactly the right place.

Because of where I was positioned in the photo pit, I realized I could line everything up with the LED backdrop. At that point in the show, the screen displayed artwork with a large death moth, and I noticed that if Mark jumped at just the right moment, it would look like he had wings.

When he finally made that jump, everything came together. His legs were tucked up, the microphone cable wrapped naturally around the image, and with the backdrop behind him, it looked like he was flying. It almost looked like he had giant moth wings.

That entire night, I made it my goal to capture every member of the band with those "wings." It wasn't easy because the lighting was almost strobing, so I had to time everything perfectly. It all came down to anticipation.

To me, concert photography is all about anticipating moments before they happen. You're constantly thinking ahead—not only about what's happening in front of you, but about how it's all going to come together when you're editing later that night.

That's one of the reasons I love touring so much. I get to spend enough time with the artists to understand how they move on stage, what their lighting cues are, and what parts of the show are important to them. That allows me to collaborate mentally with the performance and capture images that reflect both their personality and the story they want to tell.

Some of my favorite photographs, though, happen after the songs are over.

I love capturing the connection between artists and their fans. Whether it's a band member handing out a setlist, tossing a guitar pick into the crowd, or sharing a quick interaction after the show, those moments always stand out to me.

One of my favorites happened in Germany. A fan handed his battle jacket over the photo rail for the band to sign. The autograph itself wasn't the moment that mattered to me. It was what happened afterward. When the jacket was handed back, the fan and the band member shook hands, and you could see the genuine happiness on both of their faces.

Those are the moments I love the most. More than anything, I love capturing human connection.

Amit Ahuja: We first crossed paths at the Anaheim stop of the tour this past May, where you were documenting Autumn Kings, Melrose Avenue, and Straw View as their tour photographer. While fans only get to experience a few hours of the show from the crowd, your role gave you a much deeper perspective on the entire journey—from the excitement of each performance and the quiet moments backstage to the long drives, late nights, friendships, unexpected challenges, and countless behind-the-scenes experiences that most people never get to witness. Looking back on those two months on the road, what stands out as the most memorable or meaningful part of the experience? How did traveling so closely with the bands influence your growth—not only as a photographer, but also as a person?

Edgar Salazar: The Anaheim show was definitely a wonderful night. Seeing the connection between the audience and the bands, and the excitement on everyone's faces, was one of the highlights for me. I loved being able to witness that relationship firsthand, especially after everything the bands had already gone through to get there.

One of the things I love most about touring is documenting both the highs and the lows. It's not just the performances that matter. It's everything in between.

There were difficult moments, like when Autumn Kings nearly got into a serious accident after one of the trailer springs failed and ended up slashing a tire. Moments like that remind you how fragile touring can be and how quickly things can change.

On the other side of that, I got to capture the relationship between Autumn Kings and their fans. The band makes those interactions incredibly personal, and you can genuinely see how much those connections mean to everyone involved.

I also loved documenting the everyday moments—the conversations backstage, checking in on how everyone was feeling, hearing what the tour meant to them, what they were hoping for in the future, and listening to them reflect on everything they'd gone through just to get to that point.

The most memorable moment for me, though, was the last night of the tour in Las Vegas.

Everyone finally had a chance to relax and celebrate making it through the entire run. After weeks of long drives, late nights, unexpected challenges, and everything else that comes with life on the road, everyone was together in one place. We were laughing, singing, having a few drinks, and simply enjoying each other's company.

There was this real sense of camaraderie. We'd all overcome so much together just to reach that moment.

At the same time, there was a bittersweet feeling because we all knew it was over. Everyone was about to head home and go their separate ways.

I think that's one of the biggest things touring has taught me. The shows are incredible, but it's the people you share the journey with that you remember the most. Those relationships, those conversations, and those moments behind the scenes are every bit as meaningful as anything that happens on stage.

Amit Ahuja: After spending so much time around musicians and performers, you've experienced both the public and private sides of the music industry. What's one misconception people have about artists or life on tour that you'd love to change? What have those experiences taught you about creativity, success, and the people behind the music?

Edgar Salazar: After spending so much time with musicians and performers, and seeing both the public and private sides of the industry, I think the biggest misconception is that life on tour is just one big party.

From the outside looking in, especially through social media, it can definitely seem that way. People only see what we choose to share. They're seeing the highlights—the sold-out shows, the backstage moments, the celebrations—and when you're only seeing the highs, it naturally looks like one big party.

What people don't see is all the work that goes into making those moments happen.

There are long drives, long days, constant planning, and countless hours behind the scenes just to make it to the next show. Then, beyond the tour itself, there are the years of work it takes for a band to even reach the point where they're able to perform outside of their hometown.

That's probably the perspective I'd like people to understand more. Touring isn't just a party. It's a tremendous amount of hard work.

That said, I don't necessarily want fans to sympathize with musicians because of that. The work is part of what we signed up for. We do it because we love it.

One thing I really noticed while touring Europe was how deeply people value the arts. Because music and the arts are much more integrated into education there, I felt like audiences had a deeper appreciation for live music, even if they weren't personally fans of a particular genre.

Here in the United States, I sometimes feel like the arts aren't valued in quite the same way. Years ago, if you wanted to experience music, you either waited to hear it on the radio, learned to play it yourself, or went to see it performed live. Today we have instant access to everything, but I think we've also lost a little of that appreciation for the craft itself.

At the end of the day, though, the biggest thing I'd want people to understand is that touring isn't about chasing a party. It's about dedicating yourself to something you love. It's about putting in the work so you can create experiences and memories alongside the fans. That's what makes all of the long days and sacrifices worth it.

Amit Ahuja: Portrait photography requires a completely different mindset than photographing a live performance. Instead of capturing fast-moving moments, you're creating space for genuine human connection. What first inspired you to explore portrait photography, and what continues to draw you toward telling stories through individual people?

Edgar Salazar: When I first got into portrait photography, what inspired me most was helping people see themselves differently.

A lot of my friends struggled with how they saw themselves, and I wanted to capture them in a way that felt authentic—to show them a version of themselves they might not have noticed before. I think a lot of us have a distorted view of ourselves. We don't always recognize our own beauty or appreciate the little things that make us unique. Sometimes it helps to have someone else reflect that back to you in a respectful and honest way.

That's what continues to draw me to portrait photography. I want to help people embrace themselves and become more comfortable in their own skin. I love noticing the little nuances that make someone who they are—the way light falls across their face, their expressions, their body language, the little details they probably don't even realize about themselves.

When I'm photographing someone, I ask a lot of questions. I want the session to be about them rather than just taking pictures of them. I want to understand who they are, what they're passionate about, and what their story is.

One of my favorite approaches was during a couples session. Instead of simply posing them, I asked them to tell each other the story of how they first met. It turned the session into something that felt more like a date than a photoshoot. As they told their story, I watched their expressions change. You could see the love in their eyes, their body language softened, and they stopped thinking about the camera. They were just reliving that memory together.

Those are the moments I love capturing.

More than anything, portrait photography is about telling someone's story. It's about capturing their perspective, the relationships they're building, the moments they're living through, and preserving those in a way that feels genuine.

Amit Ahuja: The most memorable portraits reveal far more than someone's appearance—they capture emotion, vulnerability, confidence, resilience, and personality. When someone steps in front of your camera, what story are you hoping to tell about them? When they eventually see the finished photographs, what do you hope they discover about themselves that perhaps they didn't notice before?

Edgar Salazar: I want to capture the little details about them that they may not have noticed themselves. It could be the way the light falls across the contours of their face, the emotion in their expression, or how they naturally carry themselves in a particular environment. Whether it's a portrait under moonlight, in a dark and moody location, or somewhere that feels meaningful to them, I want the setting to support the story they're trying to tell.

My goal is always twofold. First, I want to create the session they envision for themselves. But second, I want to photograph them in a way that makes them feel empowered and reflects the most authentic version of who they are.

Ultimately, what I hope they discover is a deeper sense of self-perception and confidence. I want them to walk away feeling empowered—not because I changed who they are, but because I helped them see something that was already there.

I want them to look at those photographs and say, "That's me. That's who I've been all along."

Amit Ahuja: Many people believe they're "not photogenic" or feel uncomfortable being in front of a camera. Creating a meaningful portrait often begins with building trust before taking a single photograph. How do you help your clients feel comfortable enough to let their guard down, and what has portrait photography taught you about human connection, empathy, and the importance of making people feel truly seen?

Edgar Salazar: Whenever I meet a new client, I like to do a bit of a vibe check first. If we have the time, I'll invite them out for coffee and we'll just talk like friends. It's a chance to get to know each other, learn about their vision, and start building a mood board together. I want to know what kind of story they want to tell, what kind of art they naturally gravitate toward, and what they hope to walk away with from the session.

The more we can bounce ideas off each other and have an easy conversation, the more successful the session usually becomes.

If we don't have time to meet beforehand, then I try to create that connection during the shoot itself. I'll ask them about their upbringing, meaningful moments in their life, or when they've felt the most seen, the most beautiful, or the most confident. As they tell those stories, they begin reliving those emotions, and that's when I can capture something much more genuine.

One thing I learned from event photography has also carried over into portraits. I always think about taking three photographs. The first one is for the client who hired me. The second one is for my own portfolio. The third one is for the story.

By the time we get to that third photograph, people usually aren't thinking about the camera anymore. They've relaxed, opened up, and become more vulnerable. They're simply existing in the moment, and those are almost always my favorite images.

Because of that, I try to make my portrait sessions feel as candid as possible. Even if it's technically a posed portrait, I want it to feel real.

The funny thing is, I don't really consider myself photogenic either. I actually hate being in front of the camera. I don't love making content, and I definitely understand what it feels like to be uncomfortable during a photoshoot.

That's one of the reasons I have so much respect for photographers who hire other photographers to photograph them. They're willingly putting themselves on the other side of the camera so they can understand what their own clients experience. It teaches empathy. It teaches you what makes someone feel comfortable and what doesn't.

I try to do the same whenever I can because I think it ultimately makes me a better photographer.

At the end of the day, I'm also just kind of awkward. I'm a goof. And the moment I realize someone else has that same goofy, goblin-like energy, everything changes. We start joking around, experimenting with funny poses, and suddenly the pressure disappears. There's no fear of being judged anymore.

I think that's when the best photographs happen. When people stop trying to pose perfectly and simply allow themselves to exist, they become the most authentic version of themselves. That's the person I want to photograph.

Amit Ahuja: If someone could only see one portrait from your entire portfolio—one image that best represents your artistic voice and who you've become as a photographer—which photograph would you choose? What's the story behind that image, and why does it hold such a special place in your heart?

Edgar Salazar: If I had to choose one portrait from my portfolio, it would be a session I photographed in Montgomery Woods State Natural Reserve, close to my hometown.

At the time, I wasn't doing anything particularly experimental with lighting or film. I believe I photographed it on a 24–105mm lens at 85mm with an off-camera speedlight positioned about 45 degrees above the subject. The setup itself was fairly simple, but everything came together exactly the way I had envisioned it.

The photograph is set in the middle of the woods. The surroundings are incredibly dark, but the subject is beautifully illuminated. Her skin is softly lit against the darkness, creating this quiet contrast that immediately draws your attention.

Her expression is what really makes the photograph for me. There's a sense of melancholy, but at the same time, there's hope. Half of her face is hidden behind a veil while the other half is visible. One hand gently holds the veil over her head, and the other rests softly against her cheek.

She had emerald green hair that caught just enough of the light to stand out, and she was wearing this beautiful flowing black dress that fit the atmosphere perfectly. The whole outfit felt almost ethereal.

That image represented my style at the time because it wasn't about creating someone new—it was about capturing someone as they truly were. I wanted to photograph her authentically while presenting her in a way that allowed her to see herself differently.

I actually met her at an art expo. We ended up talking for quite a while because we both connected over art. One of the first things that caught my attention was the jewelry she made. She collected natural stones during her travels and wrapped them by hand into pendants and rings. It was beautiful work.

The session was meant to photograph both her and some of her jewelry, but it became much more personal than that.

One thing I really loved was learning that she tries to do a portrait session every year around the same time. For her, it's a way of documenting her life and reflecting on how far she's come.

I think that's why this photograph has stayed with me. It wasn't just a beautiful portrait—it became part of someone's personal journey. It represents everything I hope portrait photography can be: something that allows people to look back on who they were, recognize how much they've grown, and appreciate the person they've become.

Amit Ahuja: Every artist develops a creative voice over time. Whether you're photographing a sold-out concert or creating an intimate portrait, your work has a recognizable style and emotional quality. How would you describe your artistic voice today, and how has it evolved throughout your journey? More importantly, what emotions or experiences do you hope people walk away with after viewing your photographs?

Edgar Salazar: I don't know if I've ever fully thought about what my exact point is with photography, especially outside of portrait sessions. With portraits, I know it has a lot to do with self-acceptance, self-love, empowerment, and helping someone walk away with a new sense of confidence.

With concert photography, I've always been drawn to capturing fleeting moments between the audience and the band, whether that happens on stage, off stage, or backstage.

Touring has changed the way I approach that. It's made me look for more. When I first started photographing concerts, I was mainly focused on the band. Now, especially after doing more tours, I think about the whole story. I want the main shots of the band, the main shots of the audience, and then the more artistic images that describe the atmosphere of the tour itself.

In a way, touring has shaped my photography by making me focus on the details that help build FOMO for the people who weren't there. I want the images to make someone wish they had been in that room. I want them to feel like they missed something special and maybe want to come out next time.

But overall, the main thing I want people to walk away with is a sense of deep connection in all its forms.

I want to capture the raw emotion of a frontman screaming their heart out, reaching toward the audience, hoping someone out there understands what they're trying to express. And maybe through that image, someone else realizes they're not alone.

With portrait sessions, I want people to look at the images and really think about the person in front of them. I want them to wonder what that person's story is, what they've overcome, and why their story matters. And hopefully, in doing that, they start thinking about their own story too—their own hardships, their own trials, and everything they've overcome to become who they are.

Amit Ahuja: Inspiration doesn't always arrive on schedule. When you find yourself feeling creatively stuck or burned out, how do you reconnect with your passion for photography? Are there particular habits, places, experiences, or people that help reignite your creativity?

Edgar Salazar: I find myself in creative ruts pretty often, and whenever that happens, I usually look for inspiration by consuming more art.

Sometimes that's listening to new music and asking myself, What kind of visuals would I create for this? What kind of atmosphere does this song have? Other times it's traveling somewhere new and thinking about the story I could tell in that location. It could even be playing a new video game and paying attention to the storytelling, the environments, or the visual design.

Most of my inspiration comes from music. I'll hear a new song and immediately start imagining the visuals that could accompany it. I'll think about the color palette it evokes, the mood it creates, and then ask myself what kind of story those colors and emotions could tell.

One thing I've learned is that creativity rarely comes from simply sitting around waiting for inspiration. It usually comes once you've already started creating.

I remember reading The Artist's Way, and one of the ideas that stuck with me was to just keep writing, even if it feels like you're rambling. Eventually, you find your rhythm, and once you reach that flow state, ideas begin pouring out.

I think photography works the same way.

Sometimes I'll intentionally recreate a photograph I've already made because I want to master that technique. Other times I'll take that same idea and push it in a different direction. Eventually, you stumble across a new approach or have one of those little eureka moments that you never would have found if you hadn't started creating in the first place.

Another thing that's helped me tremendously is limiting myself.

Instead of bringing every lens I own, I'll force myself to use just one. There was a period where I shot almost everything with a 50mm lens, and that limitation forced me to become more creative. Instead of changing lenses, I had to change the way I saw the scene.

I like to think of focal lengths this way: a 35mm lens is great for telling the overall story of a scene, a 50mm lets you balance the environment with finer details, and an 85mm really isolates a specific subject. The 50mm has always felt like the sweet spot for me because it gives me enough context while still letting me focus on those smaller moments.

If I really need to get out of a creative rut, though, I'll go somewhere I haven't explored in a while, bring one camera body and one lens, and force myself to work within those limitations.

I think limitations often create better art. When you take away your options, you're forced to solve problems creatively, and that's usually where I find myself growing the most.

Amit Ahuja: Creative careers are incredibly rewarding, but they're rarely easy. Behind every published photograph are long hours, missed opportunities, difficult moments, and sacrifices that people rarely see. Looking back, what have been some of the biggest obstacles you've faced throughout your career, and how have those experiences helped shape the photographer—and person—you are today?

Edgar Salazar: Creative careers can be some of the most fulfilling opportunities you'll ever have, but they also come with a lot of sacrifices.

When I'm on tour, I'm basically on call from the moment I wake up until the moment I go to sleep. My brain is always working. I'm thinking about the shots I'm going to capture, editing while we're driving to the next city, planning the next social media post, organizing the week's worth of content, and sometimes even putting together a weekly recap. There really isn't an "off" switch.

Even when I'm home, I'm thinking about the next opportunity, the next project, or the next thing I want to create. My mind is almost always in work mode.

Another challenge is that, in my everyday life, I'm actually very introverted. I'm pretty quiet. But when I'm working, especially at events, I have to put on a different persona. I have to be social, approachable, and able to connect with people all day long. Learning how to manage that while also protecting my social battery has definitely been one of the more difficult parts of the job.

One of the biggest obstacles I faced early in my career, though, was learning how to establish boundaries and set expectations with clients.

When I first started offering photography services to bands and portrait clients, I had one client whose experience almost made me quit photography altogether because I genuinely thought that behavior was just part of the industry.

Eventually, I realized I needed to be much clearer about what my services included, what clients were paying for, what I could realistically deliver, and where the boundaries were. That experience taught me how important it is to communicate professionally and set expectations from the very beginning.

More importantly, it taught me to recognize my own value.

It helped me understand what I actually bring to my clients, whether that's portraits, concerts, or touring. At the end of the day, people need images that represent them well, whether they're using them online, in print, or anywhere else. People naturally judge a book by its cover, and strong imagery creates opportunities.

If I can create photographs that help someone tell their story, strengthen their brand, or open new doors for them, then I know I'm providing something that has real value. That's probably one of the biggest lessons my career has taught me.

Amit Ahuja: There's often a strong connection between creativity and mental health, especially in careers that demand constant emotional investment and artistic output. Throughout your journey, how have you navigated that relationship? What habits, routines, support systems, or personal philosophies have helped you maintain your well-being while continuing to create meaningful work?

Edgar Salazar: It's funny you bring that up because it's something I've thought about a lot, especially over the last few months. It seems like creative people are often more likely to struggle with some form of mental illness or emotional turmoil.

I think about people like Vincent van Gogh. He was an incredible painter, but he clearly struggled internally. Or Edgar Allan Poe, who's one of my favorite poets. He had his own battles as well.

I think there's an incredible amount of emotional investment that goes into creating art, and sometimes it's difficult to separate yourself from the work you're making.

Even when I was writing music, there were times when I had to step into the mindset of a character or a subject. To write honestly, I'd almost have to become that person for a while. If I was writing from a darker place, I'd intentionally put myself into that emotional state so I could create something that felt genuine.

The downside is that spending too much time in those darker places can take a toll on you.

One thing that's helped me is simply returning to nature. I don't necessarily meditate, but I spend as much time outside as I can until I start feeling lighter again. Nature has always been one of the best ways for me to reset mentally.

Taking care of my physical health has also become incredibly important. Making sure I'm getting enough sleep, exercising, and taking care of my body has had a huge impact on my creativity. Someone once told me that the better you take care of your body, the more naturally your creativity can flow because you're not constantly distracted by everything else.

That idea has really stayed with me, and I've tried to make it part of my daily routine.

I think my personal philosophy is to take care of yourself, but also be kind to yourself. Yes, work out. Eat well. Build healthy habits. But also allow yourself to enjoy life. Give yourself a little reward at the end of the week. Celebrate your progress instead of constantly chasing the next thing.

I've also learned that it's important to know when to step away.

Sometimes you have to step back from the pressure of constantly creating. At the end of the day, we're not creating for social media—we're creating because we have a story we want to tell.

The moment you become too focused on creating just to make another post, that pressure starts building. It comes from social media, but it also comes from yourself. Suddenly you're creating because you feel like you have to instead of because you genuinely love it.

I've found that when I reconnect with why I started creating in the first place, the work becomes much more meaningful, and so does life outside of it.

Amit Ahuja: After everything you've experienced throughout your career—the incredible opportunities, the challenges, the long nights, and the sacrifices—what continues to motivate you to pick up your camera? What still excites you about photography today that keeps you passionate after all these years?

Edgar Salazar: The thing that keeps me passionate about photography, despite all of the highs and lows, is the journey itself.

I love seeing where this path can take me. Every tour, every portrait session, every new client, and every new country presents an opportunity to learn something I didn't know before. Photography has introduced me to incredible people, unforgettable experiences, and places I never imagined I'd have the chance to visit.

More than anything, though, I love telling stories.

Whether it's documenting a band's first headlining tour, creating a portrait that helps someone see themselves in a new light, or capturing a fleeting moment that would otherwise be forgotten, I feel incredibly fortunate to preserve those memories for people.

That's what continues to motivate me every time I pick up a camera.

At the end of the day, I don't really see photography as just taking pictures. I see it as creating a visual legacy for the people I work with. Years from now, those photographs will remind someone of who they were, where they had been, what they overcame, and the people they shared those moments with.

If my work can help someone relive those memories, feel understood, or inspire them to chase their own dreams, then I know I've done my job.

And that's what keeps me excited to do it all over again tomorrow.

Amit Ahuja: Thank You, Edgar Salazar for sharing your story with my readers today.