“Displaying photographs in the spaces where the images were taken deepen their meaning and help the community see itself reflected in them,” José Carmen López.
José Carmen López, better known on Instagram by his handle @El_Led_, is a photographer whose work is deeply rooted in his upbringing in San Luis Potosí, Mexico. Raised in a hardworking and festive family, he is the eldest of four siblings. Now 35, he balances a career as an engineer with his true passion for photography. “I am an engineer by profession and a photographer by vocation,” he says.
His journey into capturing moments has shaped not only his personal growth but also his perspective on the world around him. “Photography,” José reflects, “is a powerful tool for telling stories, revealing realities, and expressing emotions.”
José’s hometown of San Luis Potosí has inspired much of his work. “San Luis Potosí is a city with a strong religious identity, reflected in its many churches and patron saint festivals,” he describes. “Located in central Mexico, it serves as a crossroads of cultures, receiving influences from both the north and south of the country.”
“However, it is also a city marked by inequalities,” José notes, “where those with money are prioritized: private cars over pedestrians, supermarkets over traditional markets, and private housing developments over the outskirts and downtown areas. This context has influenced my work in two ways,” he adds.
“On one hand, I’m passionate about showcasing the city’s cultural diversity through my photography, capturing the blend of colors that reflect the life and traditions of the locals,” José says. “On the other hand, photography has become a means of social activism for me, whether it’s making inequalities visible or dignifying spaces, people, and traditions that are often met with indifference or rejection.”
His passion for photography was sparked during his youth, when he began capturing family life and the everyday moments. “I started taking photos at 17 with a cell phone. My goal was simply to document family life, my friends from the neighborhood, and the everyday life of the area where I grew up,” José recalls.
“From there, I kept taking photos without a clear goal, and it wasn’t until I turned 30 that I decided to buy my first DSLR camera. At that time, in 2018, I was doing a research stay in France, surrounded by a completely different reality,” he adds. “I wanted to capture my memories in a more professional way. So, after purchasing the camera, I decided to explore photography on my own.”
During that year in Europe, he traveled to several cities, “almost always alone with my camera,” he recalls. “It was a very valuable experience, as I devoted myself entirely to the practice of photography. Though at that time, my subjects were mainly landscapes and architecture.”
Upon returning to Mexico, José decided to formally pursue photography. “After three years of little photographic activity, I decided to study photography at the Instituto Potosino de Bellas Artes,” he recalls. “That was my real introduction to the art of photography. Before that, I had focused more on the technical aspects and personal documentation. Studying at Bellas Artes helped me understand the state of the art of photography. It shaped my photographic style, and gave meaning to my work.”
Explaining why he chose the camera as a means of expression, he says, “I was attracted to the practicality and immediacy of the digital camera. Coming from screen printing, where the process was more labor-intensive and required a workspace, photography allowed me to capture images anytime, anywhere.”
Over time, José understood that photography is not just a technical tool, but also a powerful medium for storytelling. “I’m fascinated by its ability to show reality faithfully, but also to interpret the world through the photographer’s gaze.”
As for artistic inclinations in the family, José shares, “On my dad’s side, not really. My dad was a street vendor, and my mom was a homemaker. His family has mostly been involved in commerce, and many of my mom’s relatives have been dedicated to agriculture and livestock. “My siblings are engineers, and my sister studies graphic design,” he adds, “She, like me, is one of the ones most inclined toward art.”
Regarding his development as a photographer, José experimented, participated in workshops, and learned from great masters: “I learned through a bit of both,” he says. “The technical side of handling the camera I mainly learned self-taught. Later, I joined the photography workshop at the Instituto Potosino de Bellas Artes (IPBA), where I took classes with teacher Maru Martínez Juache. After that, I took a couple of courses in street photography with masters Ernesto Ramírez and Jesús Flores.” These experiences helped him refine both his technical skills and artistic vision.
In his work, José focuses on social, cultural, and religious themes, often documenting daily life and interactions of people in public spaces. “In recent years, I’ve learned that photography can dignify spaces, traditions, and people who are often overlooked. Since I started, it has allowed me to connect with my surroundings in a deeper way.” Along the way, José has learned the value of the form to shed light on social struggle, “I not only seek to document but also provoke reflection and awareness,” he says.
In terms of his style, José says, “I lean toward street photography and documentary photography. I’m drawn to social, cultural, and religious themes, especially those that reflect street life. I tend to photograph markets, street vendors, patron saint festivals, cemeteries, and people interacting in public spaces.”
José is particularly drawn to religious themes, especially when the sacred and popular merge. “Patron saint festivals, for example, are events where faith mixes with the cultural identity of a community, and I love documenting those expressions,” he shares.
From a young age, José has been fascinated by the theme of death, both socially and culturally. As he describes, “Memory, forgetfulness, and how people relate to the deceased are central themes in my life and photography. This was reflected in my first photographic series, ¿Nunca te olvidaremos? (We Will Never Forget You), where I explored how time transforms memory and funerary spaces.”
His first series, ¿Nunca te olvidaremos? explores how memory and time shape our relationship with death. “The phrase “Nunca te olvidaremos” appears on many gravestones, but with time, it begins to lose its strength,” José reflects. “I wanted to capture that decay, both in the tombs and in memory itself.”
This project, created in the Panteón Municipal del Saucito, was not only a creative endeavor but also a personal one. “I’ve been visiting this cemetery for years since the death of my father,” he shares. “It sparked a lot of questions for me about death and memory. That’s why it was the first topic I wanted to explore through photography.”
This was the first series he created and was also part of the collective exhibition Ciclos, presented last year at the Centro de Difusión Cultural of the IPBA, as part of the FOTOVISIÓN photography festival. José details that the series consists of 14 photographs presented as diptychs. “It’s quite different from the street photography I currently do, as all the images were taken inside the Panteón Municipal del Saucito, the city’s most important cemetery.”
The main subjects of the photographs were tombs and their ornamental elements. José describes the message (we will never forget you) as a promise made when we lose a loved one, but over time, it loses its strength, “something reflected in the deterioration of the tombs.” He adds, “That’s why I framed the title of the series with question marks.”
This project holds particular significance for José, “Not only because it was my first, but because the cemetery had been a place I frequented since my father’s passing more than 14 years ago. His sudden and tragic death raised many questions about death and memory.”
He adds, “Since then, these themes have become central to my work, and when I chose photography as my tool of expression, I knew it was the first subject I wanted to address. When I presented the series at Bellas Artes, I gave postcards to visitors, designed as obituaries, dedicating the series to my dad, who never got to see my photography.”
José shares that the pinhole photographs in this series are very meaningful to him. “Creating them was a lengthy process: building the camera, going to the cemetery, developing the negatives, and making the contact prints. When I saw these photos printed, I felt a very particular emotion.”
Unlike digital photography, “Here, the image is created from the moment the camera is built,” he explains, “choosing its size and shape. Like film photography, the result isn’t immediate, creating a sense of anticipation and suspense about whether the image will turn out well.”
This project led to his second series, Mi Tesoro, (My Treasure) which focuses on children’s graves. “Unlike the first series, this one wasn’t so much about conceptual reflection but more of a documentary record of these spaces of mourning and remembrance.” José shares that the series consists of six pinhole photographs and was part of the group exhibition Siguiendo al Unicornio (Following the Unicorn), presented at the Casa de las Bóvedas during World Pinhole Photography Day.
José’s photographic journey is deeply rooted in the everyday life of his community and the spaces that are often overlooked or forgotten. His ongoing projects, such as Entre mercados (Between Markets), shed light on the central markets of San Luis Potosí, which are currently struggling due to neglect and changing consumer habits.
José’s use of photography as a means of documenting these spaces speaks to his commitment to preserving their essence, particularly through the medium of color photography, which he feels best captures the vibrancy of urban life.
“These markets have been pillars of daily life in the city,” José notes, “but they are slowly being overshadowed by the rise of supermarket chains.”
The project began as an exercise in his analog camera workshop, but as he explored it further, José saw the need to expand the series to include digital photography, aiming to tell the story of spaces that are essential to his daily life and the pulse of his city. “The name Entre mercados refers not only to the subject matter but also to the space that is part of my life,” he notes.
In addition to his work in documenting urban spaces, José is exploring the intersection between street culture and religiosity through another project, Letanías Urbanas (Urban Litanies). This project draws from his deep personal connection to religion, despite no longer practicing faith. “Coming from a very religious family, I am fascinated by how religious symbols and practices become interwoven with daily urban life,” he says. This project is still in production but remains a powerful exploration of how culture and religion coexist in the streets.
José’s photography is not just about documenting, but also about creating personal connections with those he captures. He recalls the powerful moment of gifting a photo to a young man he had photographed years ago—a picture of him painting a flag after his soccer team won. “When I gave it to him, he was so excited, and it made me realize why I love photography—it’s about creating connections, sharing moments with others.” José treasures these moments, where his work resonates with the people he photographs.
As he continues to document his community and the city, José has also started printing and gifting urban portraits he’s captured, as a form of appreciation to the people who have unknowingly become part of his work. He explains that, while it can be difficult for him to approach strangers due to his introverted nature, he finds immense satisfaction in sharing these images and seeing the joy they bring to the people in them.
One such interaction, when he gave a young man a photograph of himself, encapsulated the power of José’s work. The young man, holding the photo, excitedly shouted, “¡A huevo, que chido!” and ran off to show his friends. José’s connection with his subjects through his lens leaves him with a sense of fulfillment, a reminder of the profound impact photography can have.
Reflecting on his journey, José offers advice to aspiring photographers. “Take more photos of everything,” he says. José regrets not capturing more moments with his father. He encourages others to document their everyday life, to start small, and not to worry about shooting grand subjects initially. “The best approach is to begin with the everyday, with their closest surroundings. Over time, they will discover that many people are interested in their world and in the way they see it.”
José’s advice resonates strongly with the lessons he learned from his workshop with Ernesto Ramírez, Mirar lo Cotidiano (Looking at the Everyday), which he considers one of the most valuable experiences in his photographic career. It taught him to focus on the everyday and find beauty in what others might overlook.
However, working as a photographer in Mexico comes with challenges. José speaks candidly about the insecurity in his city, where crime and organized crime often make people view photographers with suspicion. Carrying a camera in certain areas can lead to unwanted attention, and street vendors may associate photography with something negative. Yet despite these challenges, José finds joy and meaning in dignifying spaces, traditions, and social actors through his street photography.
“One of the most rewarding experiences of being a photographer in Mexico is the opportunity to show the beauty of places and people through my photos,” he says. By doing so, he feels he is bringing art to the people, reminding them that beauty can be found in everyday life, not just in galleries or museums.
José approaches his craft with a careful and thoughtful process, always preparing his camera and selecting the right lens for the moment. He often prefers wide-angle lenses to capture dramatic perspectives but switches to telephoto lenses for more intimate moments. José explains, “I don’t usually change lenses during my outings. I also carry my student ID from the School of Fine Arts, mainly to inspire trust and to identify myself quickly.” He walks a lot, always ensuring he’s equipped with water and comfortable shoes for his photography excursions.
In the future, José dreams of creating a public street photography exhibition inspired by Chuy Flores, where his photos, particularly from the Entre Mercados series, could be printed large and displayed in the markets themselves. “The idea is to bring the artwork closer to the people, especially those who might not usually visit galleries or museums,” he says. By exhibiting the photos where they were taken, he hopes to give them deeper meaning and allow the community to see themselves reflected in the work.
José Carmen López’s photography continues to evolve, but his mission remains the same—to capture the soul of his community, provoke reflection, and raise awareness about the issues that shape the world around him. His work not only tells stories but also creates connections, leaving a lasting impact on both the people he photographs and those who view his art.
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Soledad Quartucci, CEO, Latina Republic
Latina Republic envisions a world where the beauty and resilience of Latin American and Caribbean cultures are recognized and appreciated globally. By amplifying the voices of artists and cultural custodians, we strive to cultivate a deeper understanding of the region’s challenges and triumphs. Our goal is to inspire greater appreciation for the arts as a tool for empathy, unity, and transformative social change. Through our work, we aim to equip all stakeholders with essential insights for addressing regional challenges, ultimately enriching the global cultural landscape and portraying the victories and hardships of everyday life in Latin America.