I think I decided what I wanted to do with my life when I was about thirteen.
I was born in 1983, long before smartphones and Instagram. I photographed things that seemed completely irrelevant — except they weren’t to me.
I developed those pictures, held them in my hands, and it felt like magic.
I developed those pictures, held them in my hands, and it felt like magic.
At fourteen, a Walkman and a microphone became homemade radio shows.
At sixteen came my first Hi8, and I took that thing everywhere: friends, concerts, streets, whatever I could see from my window… even inside my bag to Atlántida, a nightclub in Sitges. If you remember the size of a Hi8,
you’ll understand the commitment.
At sixteen came my first Hi8, and I took that thing everywhere: friends, concerts, streets, whatever I could see from my window… even inside my bag to Atlántida, a nightclub in Sitges. If you remember the size of a Hi8,
you’ll understand the commitment.
Then came music videos, cinema and an obsession that eventually became my profession. For more than 15 years, I’ve been producing, editing and telling stories for Cellnex Telecom, Sony Music, Nestlé, Freixenet and Stepforward as well as DJs and artists including B Jones, Marsal Ventura and many others.
I also have what I affectionately call digital Diogenes syndrome: thousands of photographs, tapes and videos I’ve digitised and kept over the years. And yes,
I still have both my Hi8 and MiniDV cameras. Apparently, I’ve never been very good at letting a story — or a camera — disappear.
I still have both my Hi8 and MiniDV cameras. Apparently, I’ve never been very good at letting a story — or a camera — disappear.
These days, I shoot with a Panasonic Lumix GH7, and AI has joined the toolbox too. The technology has changed enormously since that first Hi8, but the reason I pick up a camera hasn’t:
I still love capturing things that might seem irrelevant to someone else — and finding the story that makes them relevant.
