What can a photographer learn from a mime? For Omar Z Robles, the answer is just about everything.

Born and raised in Puerto Rico and now based in New York City, Omar has built an extraordinary photographic career by bringing together movement, storytelling, and the unpredictable energy of the streets.

His creative journey began in Paris, where he studied under legendary mime artist Marcel Marceau. It was there that Omar discovered the power of communicating emotion and telling stories through subtle movements, an experience that would eventually shape his distinctive approach to photography.

After years photographing celebrities, athletes, politicians, artists, and everyday people, Omar began looking at New York City differently. Instead of simply documenting life on the streets, he started placing ballet dancers within the city's gritty urban landscapes, creating beautiful contrasts between the elegance of dance and the chaos of everyday life.

His photographs have attracted international attention, appearing in publications including Harper's Bazaar, Mashable, and The Huffington Post. His creative vision has also led to collaborations with brands including Leica, Peak Design, Jaguar, and Gap.

In this episode of The P.H.Y.S Podcast, we sit down with Omar to talk about his journey from Puerto Rico to Paris and New York City, the influence of Marcel Marceau, his love of street photography, and how he developed a photographic style that has connected with audiences around the world.

But beyond the beautiful photographs, this is a conversation about curiosity, creative freedom, trusting your instincts, and understanding that sometimes the most powerful stories don't need words.

Because photography isn't always about what we're looking at. Sometimes it's about what we're feeling.

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On this episode of The P.H.Y.S Podcast, I sit down with John Thatcher, a San Francisco-based creative leader who has spent the past 15 years working in branding, design, marketing, and storytelling, helping businesses find their identity and connect with the people they're trying to reach.

From high-end designer furniture to cowboy boots, John's career has taken him through some pretty different industries. But whether he's helping launch a campaign, leading a creative team, or working through a complete brand overhaul, the challenge is often the same. How do you take an idea, make it interesting, and turn it into something that actually works?

And more importantly, how do you do that without creating something that looks and sounds like everybody else?

John brings an interesting perspective to the conversation because he understands both sides of the creative business. There's the part where you get to come up with ideas, experiment, and make something you're genuinely excited about. Then there's the part where budgets, deadlines, clients, expectations, and actual business results come into play.

Finding a balance between those two worlds isn't always easy.

Over the years, John has led creative, design, and marketing teams, developed campaigns, helped shape brand identities, and worked on projects where creativity isn't just about making something look good. It has to connect with people, communicate something meaningful, and ultimately help a business grow.

What I find interesting is how much of that applies to photography.

As photographers, we spend a lot of time thinking about cameras, lenses, lighting, editing, and developing our own style. But whether we're trying to build a photography business, attract clients, develop a recognizable identity, or simply get our work noticed, we're also dealing with branding and marketing.

And most of us weren't taught any of that when we first picked up a camera.

John also has a genuine appreciation for photography and photography books, which makes this conversation particularly interesting. There's a connection between understanding great visual work and knowing how to use that visual language to tell a story people actually care about.

We get into what makes a brand memorable, the difference between having a recognizable style and simply following trends, the realities of leading creative teams, and why being talented isn't always enough to build a sustainable career.

We also talk about the business side of creativity, understanding your audience, communicating your value, and learning how to make decisions that support both your creative ambitions and your financial goals.

Because at some point, if you want to make a living doing something creative, you have to figure out how to make the business side work too.

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