Vanessa Abramowitz

305 is Fixer Magazine’s dedicated space for honoring the unique photographic perspectives that shape Greater Miami. Here, we recognize those whose work builds a lasting visual legacy, documenting the rhythms, textures, and layered narratives that define the city. These photographers capture the nuances of Miami’s everyday life—the culture, history, and character that lend it a singular identity.

We invite you to explore this curated selection, a testament to the individuals who, through their lenses, chronicle Miami’s distinct place in the world.

- What first drew you to photography, and what keeps you motivated to pick up the camera today?

I’ve always been drawn to storytelling through a specific lens. I love how you can represent a moment, but also shape the mood and narrative depending on the framing, light, and color. I studied film, but photography gave me a more immediate way to capture this. What keeps me going is the chance to freeze those everyday moments that often go unnoticed.

-Do you have a recurring theme or story that you find yourself returning to in your work?

I always return to the idea of public life as a stage , especially the ways people interact with their environment and with each other. Lately, I’ve been drawn to the spaces that sit between private and public, like doorsteps and thresholds. I love working with hidden figures in the shadows and the slow reveal into the light that these in between spaces allow.

-Do you trust instinct or patience more when anticipating a shot?

Instinct. I like to respond to the rhythm of the street. There’s a kind of dance that happens when you’re in tune with your surroundings, you just feel when something’s about to happen.

-What’s one thing people would be surprised to learn about how you work or approach a shoot?

That I rarely go out with a plan. I might have a loose idea, but I try to stay open to whatever the street gives me. Some of my favorite images have come from letting go of control.

-What’s the photo you’ve never shared, and why is it still hidden?

Any pictures of me , I actually hate getting my photo taken.

- Would you rather take a technically perfect photo with no soul or an imperfect one that feels true?

The imperfect one, for sure. I’ll always choose capturing the moment over technical perfection.

-Every photographer has a “defining moment” behind the lens, a shot or experience that marked a turning point. What’s yours?

The first time I saw a street photography exhibit, I was amazed. It made me realize the difference between taking a photo and making one. These photographers weren’t just capturing whatever caught their attention, they were using light, shadow, composition, and timing to build something intentional. They framed their subjects within their surroundings in a way that created intrigue and tension. That was the moment I understood how layered and deliberate street photography could be.

-When it comes to photography, do you think time is a constraint or an ally?

An ally. You can’t rush the shot, sometimes you’re out for hours and don’t see anything interesting. It’s often a waiting game: waiting for the right subject to react, or to step into the light. You also have to be patient with the story itself, it might not become clear until months after the photos are taken.

-What’s the longest you’ve ever waited or worked for one single shot?

I’ll usually work a scene for about 30 minutes, and if it doesn’t happen, I keep walking. But I’ve definitely spent hours wandering, waiting for the right person to walk into the perfect background, with just the right light and expression. When it all comes together, the waiting feels worth it.

-What’s the hardest part of developing a long-term project: finding the subject, staying committed, or knowing when it’s finished?

I often struggle with committing to a single project. Sometimes I head out with a clear idea or focus, but that usually fades the moment something else grabs my attention. I’m not sure if that good or bad, but it’s just where I am right now. The few projects I’ve seen through tend to come together after the fact,once I start noticing a common thread connecting certain images.

-Do you see yourself more as a creator of single, powerful images, or as someone building stories across a body of work?

When I’m out shooting, I’m focused on capturing strong individual moments. But even if it’s not intentional, the images tend to build into something larger. In the end, it’s still my vision coming through.

- What advice would you give to photographers struggling to turn loose images into a cohesive body of work?

Go through your photos. Don’t think chronologically or geographically, look for themes, moods, recurring gestures or colors. If you pay attention, you’ll start to see your vision come through.

MIAMI TALENT

Vanessa Abramowitz is a Miami-based street photographer, born in Colombia. She studied film at Boston University. Her work explores the poetry of daily life, capturing the subtle humor and beauty found in everyday human interactions. She uses the street as a stage to observe and reflect on the rhythms of public life. Vanessa’s photography has been featured in international festivals and exhibitions, including Women Street Photographers, the CIP Festival, the Rome International Photo Festival, and group shows in London and Chicago.

iNSTAGRAM

305: Vanessa Abramowitz

Vanessa Abramowitz

MIAMI TALENT

ROBERTO MATA SCHOOL OF PHOTOGRAPHY

305: Vanessa Abramowitz

Vanessa Abramowitz

MIAMI TALENT

PHOTO CONFESSIONAL: Ernesto Costante

ROBERTO MATA SCHOOL OF PHOTOGRAPHY